I DONT KNOW HOW BUT THEY FOUND ME started as a secretive retro-pop project and now moves forward with its front person steering solo after the original duo era.

From secret shows to a one-steerer era

The sound blends new wave synths, rubbery bass lines, and crisp drums, with a sly crooner delivery and a wink to VHS-era style. Expect a set built on fan staples like Choke, Razzmatazz, Leave Me Alone, and Do It All The Time, with newer cuts threaded between.

Hooks with a VHS glow

Crowds skew mixed and friendly, from longtime pop-rock fans tracing roots from Panic! at the Disco to newer indie kids trading DIY pins. In the early days they played unannounced shows and pretended the band did not exist, a running bit that shaped the myth. Songwriting often starts on bass and vintage keys at home, then gets fleshed out with tight harmonies and glittering synth hooks on stage. Heads-up: the set choices and production touches described here are informed guesses and may change once the lights go up.

The scene around I DONT KNOW HOW BUT THEY FOUND ME: thrift-store neon and kind energy

You will see thrifted suits, skinny ties, striped shirts, polka dots, and glitter liner, with a few VHS-logo tote bags in the mix.

Retro kids, tidy chaos

Chants tend to be simple call-and-response on the band name and clap patterns on the off beat, which keeps the floor lively without shoves. Merch leans quirky: cassette editions, zines, enamel pins, and bold lyric tees that nod to page-layout art.

Little rituals, handmade pride

Fans trade homemade buttons and swap song-interpretation notes, often referencing retro TV bumpers and sci-fi pulp. Up front, the fast numbers spark polite push-and-bounce, then everyone resets for the mid-tempo sway songs. Between sets, you hear people comparing deep cuts from the early EP and guessing about surprise tags that might pop up. It feels like a pocket community built on shared style and hooks, easy to slide into even if it is your first night.

How I DONT KNOW HOW BUT THEY FOUND ME makes bass-led pop hit harder

Vocals run from relaxed baritone to nimble falsetto, with clear phrasing that sells the sly, cinematic lyrics.

Bass-first pop with bite

Arrangements are bass-first, then layered with analog-leaning synths and a guitar that doubles hooks rather than hogging space. Drums keep a clipped, dance tempo, dropping to half-time in bridges to make choruses thump harder when they return. Live, songs often get a longer intro built on a clicky drum-machine pulse before the full band slams in, which heightens the rush.

Little tweaks that signal it's live

A neat under-the-radar move is swapping a synth lead for gang vocals on a final chorus, turning a studio earworm into a crowd chant. Lights favor saturated primaries and a retro TV palette, but they stay secondary to the groove. Keys, guitar, and backing singers lock to the bass so the front mic can float lines above a tight, springy pocket.

If you like these, you will find I DONT KNOW HOW BUT THEY FOUND ME right up your dial

Fans of Panic! at the Disco often cross over for the theatrical flair and bass-forward pop sensibility.

Overlapping playlists, similar hearts

The 1975 fans will recognize glossy synth textures and tight, danceable grooves, even if the songs are punchier and more concise. Neon Trees share Utah roots and a bright, clean chorus style that leans on call-and-response moments.

Scene cousins, not clones

If you chase hooky indie pop with showmanship, MisterWives hits a similar lane, with a communal live feel and stacked harmonies. Those four acts span scene ties and audience taste, which is why the room here feels like a small reunion without the nostalgia baggage. All point to a space where polished melodies meet playful attitude, and that is right where this project thrives.