For the hundred or so sloshed teens that piled into Gilkisons on Wednesday night, the show they received was a considerably better than a standard club set. What they had stumbled upon was the world premiere of Norwegian wiz-kid Lido’s live show. The end result was an ambitious but highly rewarding show in what seemed like the most unlikely destination to play his first show; thousands of kilometres from home, in a dinky club draped in tinsel. It looked like the kind of place that would host your high school formal.

His signature punchy approach draws comparisons with French producer Madeon, who like Lido, is known to push the boundaries of dance and pop to new realms. Who knows – maybe Lido is as similarly poised for world conquering as Madeon.

While both supporting acts before him played off turntables in darkness, Lido played on a standalone stage under a bright spotlight, inviting full examination of his extensive set up. He put himself under considerable duress, dashing between a keyboard, two microphones, a control panel, two laptops, a drum machine and two turntables. It was a fair assumption that this would be streamlined at some point.

Between fade-outs of his happy-trap edits, he launched into stunning acoustic piano interludes, where he sung into a vocoder creating haunting melodies reminiscent of Daft Punk. The kids stepped away from the bar queue; drawn towards the stage craning their necks, trying to get a look in on what the hell was going on. The slow-ish tempo made it dancing a difficult task, but there was so much intrigue in the performance that the pace didn’t seem to bother the crowd, who stayed for the full duration of the performer’s 1 am set. At times Lido would shudder and shake his head at the reverb on the microphone, but it didn’t detract from the performance at all.

He featured his pop indulgence with remixes of Bastille, Disclosure and AlunaGeorge. However, after a considerable buildup it was his remix of alt-J’s ‘Left Hand Free’ that really stole the evening. He transforms the work of alt-J using spaghetti Western sound effects, shotguns and the signature synth, giving it a comically haunting vibe.

Albeit a common sight for Perth crowds, Sable got the night underway and reaffirmed his status as one of the guns of the Australian scene. Operating in a kawaii niche, he produced a Hello Kitty sound, full of glitchy samples and sugar coated drops. He dropped crowd pleaser ‘Surf’ as a satisfying set-closer, with that in vogue horn sounding a lot like Hudson Mohawke’s ‘Chimes’.

SOPHIE was only spotted a handful of times on stage during her set with QT. With one hand on her hip and a wooden strut about her, she could almost have been mistaken for a Barbie. She emerged for renditions of ‘Hey QT’ and the extremely popular track ‘Lemonade’, before QT then departed from the frilly sugar hits into sections of inaudible white noise.

All three acts challenge the confines of genre, but none as bold and convincing as Lido, for whom a surge in popularity is surely imminent.