It was an indie night at the Billiken Club, with three different bands that fit into various genres while still maintaining a common link in their D-I-Y roots and eccentric nature.

Dubb Nubb,a folk duo made up of St. Louis-based twins Hannah and Delia Rainey, started the night off.
Armed with two guitars and two microphones, they offered up their bubbly and whimsical version of indie-folk music, harmonizing, whistling and strumming their way through their set.

The high school seniors sang about teenage experiences, ghosts and pretty much anything their hearts pleased.
Both were entirely comfortable on stage, playing and singing confidently and charming the crowd with jokes and giggles. Their whole set was well-performed, minus one or two instances when the vocals overpowered the microphone. Hannah recruited a mandolin for the band’s closer, “Mound City Baby,” a song about their dearly beloved hometown, which ended up being the stand out song for the set.

Shift musical landscapes to Missouri based indie-rock quartet Flaming Death Trap, the most rock-radio-ready of the three acts.
Echoing early Kings of Leon and 80s hard-rock outfits, the band played furiously.
Drummer Rattlesnake’s high-energy performance was absolutely explosive, complete with some stick spinning techniques, and vocalist A Rock’s rough wail added even more edge to the band’s beefed up chords.

Danger Dan’s lead guitar supplied the band with its indie touch, and on songs like “Jack Carowack,” Brandon Blaze highlighted his bass skill.
The minute-long “Depression Makes Me Sad” — which went very simply, “I hate depression, depression makes me sad, that’s why I smoke cigarettes and drink beer instead” — showed off the band’s darker sense of humor. They kept up the energy throughout the show, closing with “Swat Bust,” a high-power rocker, which ended the performance perfectly with every band member throwing themselves into the music and finishing with a bang.

The final act of the night was Oberhofer, Brad Oberhofer’s indie-pop brainchild. The set list came from all over the place, both eclectic and eccentric, with Brad pulling off some neat microphone sound tricks by way of wrapping his mouth around the receiver for feedback.

Some songs sounded like a darker Vampire Weekend, largely thanks to the high-speed drumming and varied use of toms, but Oberhofer’s brand of melodic pop stayed interesting and unpredictable.

The lead guitarist operated as the band’s anchor, handling all of his duties with a collected cool and taking on the xylophone for a song or two, and the bassist grooved his way through the night.

On the faster numbers, Oberhofer’s body shook as he strummed along and belted out his lyrics.
The night was filled with Buddy Holly-esque “uh-oh-oh’s” and melodic “ooooo’s,” (one song is actually named “OOoOoOoOo”), and the band had members of the crowd dancing their hearts out from start to finish.