In this, the era where the notion of 'global community' is something that's regularly shoved down your throat as a music fan, there's a touch of irony to the fact that so often we feel ostracised and disconnected from the artists we listen to. Now that a band can measure the size and breadth of their audience to the 'Like', music is a little more notional, lacking the kinship that it was once centred by. The way that the industry has developed makes it difficult for something to stew and develop organically, so when it does, it is all the more rewarding for those who stumble upon it. Tucked away in the Bay of Dingle for the past few years, Walking on Cars have been allowed to do just that.

"Good evening, are you ok?" a bow-tied doorman asks each entrant - quaint? Yes, but rather an extension of the group's ethos. On first name terms with an incredible proportion of their growing audience, the quintet are managing to build relationships and a true sense of community on a scale that you'll seldom see. And fittingly tucked away in the centre of Dublin's musical tapestry, the Olympia Theatre, we are treated to a clashing of contemporary values against those of the past.

Singer Patrick Sheehy is watchable, swaying and jiving from side-to-side, taking a step away from the microphone habitually and allowing the packed house to fill in the gaps with their voices and hands. Even when on stage alone for his piano solo 'Coming My Way', his saccharine song writing stands up. Whether it's 'Tick Tock', 'Don't Mind Me' or the unprecedented chart-topper 'Always Be With You', the group's journeyman ditties tend to begin slight and build into a type of organic, elemental crescendo, anchored by qualities of melodrama. This is embodied by an explosion of white confetti raining from the ceiling at the pinnacle of the evening, 'Catch Me If You Can'.

Walking On Cars manage to balance traditional Irish folk principles with ballast for pop sensibility; they illustrate this with a quirky, sing-a-long medley of cover songs from Ed Sheeran, Rihanna, Macklemore and Ella Henderson. This kind of relatable, democratised and engaging approach to live music is something that you're more likely to see in a packed pub than an ornate old theatre like this. But their audience's interest and fervour for becoming involved in the show extends into the pieces they pluck from unreleased b-sides and pieces from their back-catalogue. The welcoming idiosyncrasies of a loyal Irish audience make it a little difficult to imagine Walking On Cars being so captivating on a stage outside of their native country, but I can guarantee that they heard the same calls in their first shows outside of the hometown that clearly still drives and defines them.