Live Review: Banoffee, Darcy Baylis

Darcy Baylis makes austere house music with great peaks and troughs. His vocals are very affected, somewhat atonal mumbling one moment and Drake-like sing-rapping over hip hop beats the next. His electronic compositions could soar later at night in front of a bigger crowd, but they fall slightly flat in this sparsely attended warm-up slot.

Banoffee enters the stage looking kind of like a manga character, with fake-blonde plaits stretching almost down to her waist. Originally from Melbourne, the now LA-based artist has returned temporarily and is playing a few Australian dates before heading back to her adopted home. Tonight's set really feels like a homecoming show. She dedicates songs to friends in the audience. She talks to the entire crowd like we're old pals. It's cosy and celebratory.

The electro-pop artist's first act is to strap on an electric guitar and thumb some half-distorted chords, over which she sings heavily AutoTuned words meditating on the concept of permission. It's Angel Olsen-meets-808s & Heartbreak, an impressive and unexpected opening gambit and it totally works. Next, as if to assure people that, yes! This is the Banoffee show, she plays Ripe, replete with synth touches and glitching electronic beats. For the last chorus, two dancers suddenly leap onto the stage, seemingly out of nowhere, and go hard at some hip hop moves before disappearing again just as quickly. Body Suit is staccato and wonky and Banoffee comes out from behind the decks to showcase some of her own less-choreographed, more freeform movements.

A new, as-yet-unreleased song sees the re-emergence of her two backing dancers. It's clever to deploy them sparingly for maximum impact so they remain a feature, rather than a constant distraction from the songs. The subject matter of Banoffee's lyrics is broader and deeper than that of many electronic musicians. One highlight tonight is a heartfelt paean to her dad. Another keyboard-led song, Fall Fast, is dedicated to her best friend, who's in the crowd tonight. With lyrics like, "Whoever marries you/Will be committing to two" - it's a delightful reminder that some of the purest loves - and love songs - are for friends.

After a slow and sensuous version of Ninja, she wraps things up with the strong and slinky I'm Not Sorry. The song peaks with an epilepsy-inducing light show and Banoffee maniacally whipping her long plaits from side to side. She is clearly someone with an understanding of both songwriting and stagecraft. It's exciting to imagine what she'll do as her crowds and stages continue to grow.