Beach House is a group that has routinely operated on their own self-made plane of existence. As far as acclaim goes, they’ve never really projected any explicit desire to “make it.” Yet at present, they have made it in every sense of term. From 2010’s “Teen Dream” through the subsequent release of “Bloom” this past May, the once periphery-dwelling duo has gained both a sizable following and the respect of an industry. But what’s interesting, strangely, is that throughout their six years as a band their music hasn’t gone through any sort of monumental change. The real change lies in culture, the value that’s placed on indie music. Beach House’s performance to a sold-out First Avenue last night marks this very evident change.

Another extension of the Sub Pop family (perhaps more relevantly, the Fleet Foxes family) primed the crowd for the dream-pop vision quest that was to come: Poor Moon. Their sound was good. There’s not much to complain about airtight (albeit watered-down) rock and the impeccable vocal stylings of Fleet Foxes fame. They even knocked off a surprising cover of “Sitting by the Riverside,” from the Kinks influential ’68 album “The Kink are the Village Green Preservation Society” with remarkable skill. But that moment of coolness is all that really stuck in terms of Poor Moon. And as they jokingly urged the audience to “Stick around for the headliner,” you kind of got the idea that they knew, and were okay with that.

This was first and foremost a Beach House show, and the second Victoria Legrand and Alex Scally appeared onstage the audience was spellbound by their unique form of musical sorcery. Opening full-force with the roiling buildup of “Wild,” it became clear how evocative their live show has become with the addition of a set. Don’t get me wrong: their live show has always been evocative, mainly because of the otherworldly mindset that the haunting vocals and dreamy guitars induce. Factor in some surreal, apolocalyptic windmills and red lighting and everything is enhanced. Per usual, Scally and Legrand remained largely unassuming in their physical displays, Scally sitting in the shadows and Legrand perpetually downcast, almost shy. But despite this demeanor, grandiose soundscapes of songs like “Lazuli” and “Silver Soul” took hold of the venue with incomparable power, heightening the ineffable collective emotion that only Beach House seems to summon up.

Though Beach House’s growing fanbase undoubtedly lusted for songs off of Bloom or Teen Dream, the most compelling display of the entire evening came during “Gila,” a track off of 2008’s “Devotion.” The earlier stuff doesn’t have as much of the reverb-coated pop aspects as “Teen Dream” or “Bloom,” but there’s a complexity that’s singular to this time period; and Victoria harnessed this with awe-striking force. Through the set they played nearly every one of their songs a fan could hope to hear played live (save “Heart of Chambers”), and though the audience would have remained captivated if they had continued another two hours, a short encore of “10 Mile Stereo” and “Irene” concluded their performance. It’s a little strange to see Beach House garnering such mass appeal after all this time, but then again it’s pretty undeniable they deserve it.  And with such a consistently amazing live delivery, their staying power is assured.