IT starts with grainy old promotional films, screened on a giant Fifties' television set, speaking of Scotland's tomorrow today.

Industry, cars, new homes, new hopes, long before the 2015 SNP. Belle And Sebastian's sleeve artwork has long trodden the retro route too, and there will always be an archness to the Glasgow band, now on their ninth album.

Once they were precocious, masking songwriting eloquence and elegance behind a performing style more akin to a school concert with too many players, always on the edge of calamity, as on an early foray to Leeds City Varieties.

Now, in 2015, Belle And Sebastian still have multiple players – four banks of keyboards; a string section to add to multi-instrumentalist Sarah Martin's violin-playing; a brass musician; percussion; assorted guitars and bass – but they do so with a proficiency to match their sidestep into "disco".

This smart and sharp show is the complete modern package: a nod-and-a-wink filmed introduction by the new album's cover girl, welcoming "Matador recording artists Belle and Sebastian"; intriguing film accompaniment to various numbers; banter and teasing between band members; witty frontman asides from Stuart Murdoch; regular interchanging of instruments by protagonists Murdoch, Martin and Stevie Jackson; a different set list every night.

Latest album Girls In Peacetime Want To Dance contributes five of the 18 songs, The Party Line parading the move towards the dancefloor and Jackson's Perfect Couples far excelling the recorded version. Plenty of favourites miss out but the back catalogue of songs of beauteous melodies and more complex emotions is widely represented, from 1996 debut Tigermilk's The State I Am In onwards.

Come the finale of The Boy With The Arab Strap and I Didn't See It Coming, Murdoch is inviting girls who want to dance on stage. Even the trademark school recorders make an appearance: tres Belle indeed.