Not much guilt seemed to be felt at this evening celebrating the songs you're not supposed to like. There were no dark glasses, upturned collars or wigs, just a cheerful crowd cheering on the little club night that keeps on getting bigger.

What began as a one-song slot on DJ Sean Rowley's impeccably tasteful BBC London radio show has now acquired its own two-hour Sunday lunchtime programme and become a favourite night out for Londoners at Koko.

Here, for one night only, it came to life with the help of the BBC Concert Orchestra, who have probably never arrived on stage to the strains of Rhinestone Cowboy before.

The concept is a hair's breadth away from being School Disco, but thanks to the involvement of the same crowd who created revered Nineties club night the Heavenly Social, Guilty Pleasures actually retains some hip cachet.

Almost all the guest singers this evening were cult rather than A-list names, strengthening the conviction that if these people say a song is cool, it is.

Guy Garvey from Elbow prompted a blissful mass sigh of recognition at the first chords of Chicago's If You Leave Me Now, and a white-suited Ed Harcourt really threw himself into ELO's Sweet Talkin' Woman.

The music of Californian star Andrew Gold seemed to be the guiltiest pleasure of all, with two of his songs represented. The Magic Numbers grinned even more than usual while singing his bouncy 1978 hit Never Let Her Slip Away.

Chas and Dave were given the warmest welcome by compere Rowley and given special dispensation to perform a song of their own, Ain't No Pleasing You. They seemed delighted to be appreciated, with a tinge of irony or otherwise.

Former Specials singer Terry Hall, whom Rowley introduced as "the patron saint of Guilty Pleasures", has claimed that he buys the majority of his music in service stations. He was trumped for enthusiasm, however, by Cerys Matthews, his partner for the Dolly Parton/Kenny Rogers duet Islands in the Stream. She looked as if she could have carried on all night, staying on stage to belt out her compatriot Bonnie Tyler's Total Eclipse of the Heart.

Suggs provided a suitably cheesy climax with a stirring Love is in the Air, and then it was over disappointingly suddenly. The audience had swayed merrily but was never enthused enough to stand up. Maybe they didn't want to be recognised.