From the moment A.C. Newman and Neko Case of the New Pornographers burst out with the title track from their third album Twin Cinema, those who had made it to the Rialto Saturday, Oct. 1 to watch the Canadian superindiegroup knew they were in for a treat. And thanks to their blend of indie legitimacy and pure power pop, the band’s performance was fun and hard-rocking enough to win over the hearts of even the most Pitchfork-ed cynic.

The seven-plus members of the Pornographers have been playing together for about eight years, in various shapes and forms. Started by Newman, Case and Dan Bejar of the Destroyers (who opened the show) in ‘97, the band’s current line-up includes John Collins on bass, Kathryn Calder on piano and vocals, Blaine Thurier on synthesizer, Todd Fancey on guitar, and Kurt Dahle – who practically stole the show – on drums.

If it looked like there were a ton of people on the Rialto’s normally massive-looking stage, there were, including one (Bejar), who appeared, disappeared and reappeared throughout the night (usually with a different drink in his hand each time).

Like Bejar on Saturday night, the band has appeared, disappeared and reappeared during their 8-year run, all the while amassing a substantial following thanks to both their collective and solo work.

Both the devotees and the curious were at the Rialto in force, bipping and bopping along to the band’s mix of pop harmonies, smart lyrics and audacious instrumentation. Of course, it didn’t hurt having Tucson’s favorite chanteuse Neko Case on stage, breathing beautifully into the eager ears of her admirers, one of whom screamed, “I love you, Neko!” at the first song break.

Playful throughout the night (the band bantered about sliding around in chicken fat, for instance), their hour-and-half-ish set mostly contained material from Twin Cinema, including the wonderfully contagious near-anthem “Use It,” with Dahle’s Moon-esque drumming and Calder’s rowdy piano.

Newman’s high-pitched voice on “Sing Me Spanish Techno,” reverberated into the Rialto’s open spaces, and the kids showed their appreciation, dancing ‘80s prom-style to the mix of crunchy guitars, pounding drums and mini casio.

“The Bones of an Idol” – a jarring, foot-stomping reverie – felt a little off, especially sandwiched somewhere between “These Are The Fables” and Electric Version’s “All For Swinging You Around.” Before falling into a glorious jamboree of drums, melodion (kind of like a keyboard you blow into) and Case’s sweeping vocals, “Fables” showcases Newman’s introspective songwriting. Meanwhile, the band’s rendition of “Swinging” was power pop at its best, with Dahle’s drumming as reason #1 why.

“The Laws Have Changed” from Electric Version made a welcome appearance, with Case and Newman singing back and forth amid the rest of the band’s harmonizing, Thurier’s skilled synth and Collins’ driving bass.

Their first encore featured a request from the crowd, Electric Version’s “From Blown Speakers,” for which Thurier jacked up the synth on the song’s chorus of “It came out magical/out from blown speakers.” The band then came out for a second encore, with Bejar tartly singing “Jackie, Dressed in Cobras,” delighting the crowd who refused to leave the building until they’d had their fill, chicken fat and all.