A fizzing, flamboyant cocktail of camp and exotic music, Pink Martini most certainly live up to their name.

Led by diminutive founder and pianist Thomas Lauderdale, this 12-piece multilingual lounge-cum- Latin band went on a global adventure into sound which journeyed through Brazilian big band, old-fashioned Cuban dance music, Italian film score and sophisticated retro pop.

The band's musical eccentricity is inspired by Lauderdale, who was adopted into a family that included two black siblings and an Iranian brother. Then, when he was 12, his father came out of the closet, his parents divorced and the family relocated to Portland, Oregon, where the band was formed.

Striking vocalist China Forbes is also from a multi-racial background - her mother is black and her father is French Scottish.

This goes part way towards explaining the gloriously varied set list and the fact songs are sung in Japanese, Portuguese, Arabic, Spanish, French and English.

With every song revealing a new musical genre and casting spotlights on different corners of the world, the Pink Martini experience could easily be a little overwhelming if it wasn't for Forbes and Lauderdale's informative and colourful song introductions which set the scene perfectly. We hear Hey Eugene is Forbes' own story about a boy who she salsaed with at a New York party and gave her number to but who never called. Hang On Little Tomato is a song addressed to the little red fruit, urging it to cling to the vine and so ripen to perfection.

The second half started with a dramatic, full-bodied version of Ravel's Bolero which melted effortlessly into an obscure Italian soundtrack before skipping exuberantly into their biggest hit Je Ne Veux Pas Travailler, used in the Citroen Picasso commercial.

At times Pink Martini can feel a little too sweet and lightweight but the haunting intensity of old Japanese ballad Taya Tan and the simple beauty of Clementine help balance light and shade, depth and frivolousness.