There was something instantly exciting about watching the eight-piece River City Extension play the tiny Blank Club this past Sunday, especially seeing them employed such atypical rock instruments as a banjo, violin and trumpet. They played passionate, heartfelt indie-folk that was sincerely fun to watch and different from any other bands currently wearing the indie-folk label.

With barely enough room to fit everyone on stage, River City Extension brought so much energy and talent they instantly took control of the crowd. I predict this relatively obscure New Jersey band will build a solid buzz in the indie rock world within the next couple of years.

With eight people, they were free to vary their instrumentation from song to song. They played keyboards, guitars, percussion, mandolins, you name it. All the different instruments and the fun that was driving their music, made the show feel like a jamboree, similar to the infectious live shows of Edward Sharpe and the Magnetic Zeros. But rather than Sharpe’s freaky, hippie vibe, River City Extension played folk music that was honest, working-class and pure New Jersey rock and roll.

At times, they drifted into the quiet intensity of Fleetwood Mac or the down-and-out guttural pain of Bruce Springsteen. Their songwriting was clearly influenced by Arcade Fire—though a much more complex version of the group. They utilize dynamics to its full extent. When they reached full volume with everyone singing in union, it was a downright hootenanny, without a shred of irony or pretense.

The end of the set brought smiles to everyone’s faces. The band jumped off the stage, carrying percussion, and singing a passionate acapella song. They danced around the audience taking all the pain imbedded in their music and turning it into joy.

Local Ben Henderson, is filling in on bass with the group on this tour, opened the show with a set of his solo material. His music was well-received, as usual. River City Extension’s violinist joined him for a few songs along with Good Hustle bandmate Dan McKee.

“It’s good to be home in San Jose,” Henderson told the crowd, “If only for a day.”

Rock critics have been obsessed with Kurt Vile’s supposed “trad-rock” sound, constantly comparing him to classic rock icons like Springsteen. I’m sure it doesn’t hurt to be spoken of in the same breath as the Boss, and certainly he’s one of the Philadelphia musician’s many musical heroes. But I think this is a tragic case of confusing an artist’s influences with his art.

Listening to Vile’s latest, Smoke Ring For My Halo, I hear the low-fi indie-rock of contemporaries like Yo La Tengo (who, don’t forget, love them some retro rock) and Beck. Vile has a personal, intimate way of delivering a song that is miles from the big, poppy sound of FM radio heroes past, and Springsteen’s worldwide-sized anthems.

Yes, Nebraska is the obvious exception, but Vile’s sound doesn’t have that reductive starkness, either. On the contrary, I’d say he’s completely of his time, the epitome of the forward-looking 21st century singer-songwriter: patching together a unique and remarkable pastiche-rock sound under slightly numbed but still emotional lyrics about the state of his world today. Let’s leave the Springsteen comparisons with Gaslight Anthem, shall we?

Kurt Vile plays the Catalyst in Santa Cruz on Wed, Jun 6, 8:30pm; $15/$17.