Allo Darlin’, named after the catcalls of Soho builders, consist of Australian Elizabeth Morris and her indiepop accomplices, all of whom moonlight in other bands – Elizabeth is in Tender Trap, bassist Bill plays with Darren Hayman and the Secondary Modern, and guitarist Paul and drummer Michael are in Hexicon.

They’ve assembled a debut album featuring a great deal of ukelele, a heavy dose of wide-eyed childlike wonder at the world, and songs about popcorn, Woody Allen films and funfairs - any of which could push this album into twee overload. But somehow the emotionally honest lyrics teeter just the right side of sentimentality, telling Jens Lekman-esque bittersweet tales about lost loves and new lusts. Elizabeth’s perspective of an outsider looking in on London – a city that "has a way of taking every little thing" – gives an air of curiosity about the capital, and a way to embrace themes of loneliness and outsiderdom.

Opener Dreaming, a duet with Pipettes svengali Monster Bobby, echoes the innocent breathy female/ominous baritone male pairing of Isobel Campbell and Mark Lanegan. A couple share their differing perceptions on a night out, reminiscing about night buses, discos and stars that turn out, more prosaically, to be satellites. The Polaroid Song continues the nostalgia theme, with polaroid film acting as a metaphor for a new relationship: "Will we still look happy when we’re not so over-exposed?’ Elizabeth worries, over a backdrop of flutes and jangly guitar.

A spirit of playful lyrical borrowing (look, you can’t call it theft when the band are this adorable; the lyrics are just resting in their account, OK?) runs through the album – ballad Heartbeat Chilli takes its chorus from a line from I Walk The Line, What Will Be Will Be is based on Que Sera Sera, and the bouncy Kiss Your Lips breaks out into a full-on Weezer singalong. Standout track Let’s Go Swimming, about a life-affirming moment sitting by a lake in Sweden, is entirely the band’s own creation. Swoonsome slide guitar and gorgeous vocals usher us into the joy of something "simple and true" that "all of the hipsters in Shoreditch could never style... all the bankers in Moorgate could never buy."

This is a beautiful, happy, skippy gem of an album; the sound of a band that can’t quite believe they’re getting away with it. And there’s something about that ukelele, an instrument everyone feels they could pick up and play, that makes this album relentlessly accessible and cheerful. This summer, we’re all included on the Allo Darlin’ guestlist.