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Only the indie community could make a supergroup out of a band whose members look like your dad. Well, one member of the New Pornographers looks like your sister, and another looks like your stoner cousin, but some still look like your dad. And one of those father figures, John Collins, was sitting across from me in the Orpheum Theatre’s lobby yesterday several hours before the Pornographers’ performance with Okkervil River.

Despite his paternal visage and commanding presence, Collins, the New Pornographers’ self-appointed spokesperson, is soft-spoken — heartbreakingly so. Yet, the guitarist still managed to sneak in a few secrets about life on the road and the band’s continued tour after original Pornographer and current alt-country success Neko Case left the tour following a fractured ankle.

“Well, we’re used to it,” Collins solemnly responded, addressing Case’s independent fame and subsequent and somewhat frequent hiatuses from the band. “We do a lot of shows without her. But it’s a drag. … It’s always fun to have her around.”

But Kathryn Calder, co-lead vocalist along with New Pornographers founder Carl (A.C.) Newman, proved last night that she has held far more than her own during the band’s three post-Case tour performances. Heavy-hitting songs like “Stacked Crooked” from 2005’s Twin Cinema and “The Laws Have Changed” from 2003’s Electric Version highlighted Calder’s beautifully lilting, smoother, but still Stevie Nicksian vocals.

However, it was songs like “Testament To Youth in Verse” and “Electric Version,” both from the band’s 2003 album, which not only brought out the best in Calder, they also showcased the true skill of the Pornographers as a whole. The former found Newman and Case evoking emotion with every cooed “no” as percussion boomed away in the background. “Electric Version,” on the other hand, brought the band’s attention to technical detail to the forefront with its arpeggiated diminished triad opening.

“It’s like an Adam and the Ants type of thing,” Collins explained, trying to demonstrate the complicated melodic pattern by patting his knees. “You know, the more of that kind of stuff we can do. … It’s much more interesting. … It’s like a pastiche. You know, we’re not like Danger Mouse or anything, but it’s a great way in this modern age to spruce up what would just be a rock song.”

The New Pornographers may deliver rock songs, and they may have been inspired by rock stars (Collins cited work by seminal punks turned full-fledged rockers The Clash as well as art-rock band Roxy Music’s Avalon as heavy influences during the interview), but the band certainly doesn’t maintain the style of swagger and sass of the average rock star troupe.

“About a week ago, we were all putting our hands together and going ‘everybody hates us, nobody’s here, nobody’s coming’ and then we all slowly put our hands away,” Collins laughed, explaining a pre-performance ritual.

Still, if last night’s performance or the band’s upcoming sold-out shows prove anything, the love for the New Pornographers has lasted well past the honeymoon.