In a post-COVID world that saw many step up to decks thinking they could become a DJ and a music producer, a saturated market means there are only a few that have stood out. SG Lewis is one of them. 

A singer-songwriter and producer that got his start in 2014 with a very polished and enviable list of collaborators from Dua Lipa, to Tove Lo, and even Australia’s own Ruel.

The EDM artist played one night only in Melbourne at 170 Russell, a special treat in between a tantalising stint opening for RÜFÜS DU SOL on their Australian tour this month. Bringing Australia’s newest club/pop act 2charm to whet appetites in the form of a dynamic dup entree. 

The hyperpop tag team sees lead vocalist Tim Nelson and keyboardist Sam Netterfield of Aussie indie-pop band Cub Sport try on the club scene in a punchy, glittery and very camp production. It takes what made Cub Sport so loveable and repackages it in mystique and a dark sense of seduction. 

Boyfriend is a highlight that feels very so bouncy and carefree, a song befitting the good times ahead. 

An outrageously large mass of bodies swarm into 170 Russell’s basement itching to hear those infectious melodies. The lights flicker and a clock expands on the stage's LED screen. 

There’s a roaring cheer as a man in an impeccably fitting suit steps out on to stage and stays playing with the technological set up. Everything comes to life with a blast. Back Of My Mind a raging tune off latest LP Anemoia ignites the room in purple with its feel-good buzz starting the night off strong and showing off the artist's own vocal chops and buttery voice.

“We’re here supporting RÜFÜS, was anyone there?” he asks the crowd. “My parents have flown in from London. Let’s have a fucking party shall we?” The producer’s most famous hit Chemicals, with its electric guitar and stomping drum builds like a classic disco hit, all that’s missing is a mirrorball. 

UK R&B artist RAHH steps into the spotlight to perform the heavy lifting on the female tracks for the night. Starting with her very own feature on Anemoia, Transition. It’s glitchy R&B with a phenomenal funk bassline, there’s not a single person standing still, all arms are about swaying. 

The London Grammar track Feelings Gone is lush with her velvety tones. It glides along like a tropical sunrise as an array of colours span out across the room bleeding so succinctly into next track Fallen Apart which sees SG back on vocals bobbing to the infectious beat as it ebbs and flows in a climactic build up upon build up eventually exploding in an electronic euphoria.

It’s a blend of modern house music with beautifully executed throwbacks to ‘80s synth pop, pulsing around crisp vocal samples and constantly swelling basslines.

Monstrous drops make this some seriously danceable electronic house, made ever the more impressive by the fact that SG is clearly composing the vast majority of the beats, vocals and sample cuts right in front of the crowd. 

Tracks like glittery deep dance track Aura and the Robyn and Channel Tres collaboration Impact feel so gritty and textured here with the sound dripping off the walls. It’s back-to-back-to-back endless fun.

Heat blows the roof of the place, the walls reverberating to the Tove Lo collab, which come to life with an assist from RAHH. Is it hot in here? It must be because he’s had to take his jacket off. 

“Melbourne, we’ve just toured around America and no crowd has come near to your vibe,” SG tells the crows. “Thank you so much, I always love coming here” 

The night ends with an assist from the crowd this time on the gloriously encapsulating Lifetime, with its choral cry and bouncy guitar. A full beam of white emits from the stage, as if the heavens have opened ready to claim the producer for a job well done. 

With a triumphant raise of his guitar and a smile he bids the crowd a goodnight and strides off presumably to head back into the office for a 9-5 by the way he’s dressed. There really is no one doing it like him.