Live Review: The Presets, Roland Tings, Kult Kyss

The remedy to mid-winter chill? Move or, preferably, dance. Punters took this to heart as the Enmore Theatre was transformed into a heaving, hot pile of bodies on a memorable Saturday night in June.

First on stage, Melbourne's Kult Kyss celebrated their first ever gig in Sydney. Their music relies heavily on a driving bass drum. It propels the synth lines, which then let singer, Rromarin (Claire Rayner), soar over the top. Her Grimes-like vocals lends well to the booming production. A cover of Lorde's Homemade Dynamite, new song Chi Cup and dancing in socks highlighted an impressive opening set.

The room was filling fast at this point, with a hugely energetic crowd starting to warm up. Roland Tings, aka Rohan Newman, provided the backdrop for the pre-party and his set built nicely on a slow, almost atmospheric base. Utilising a magical cube with lights, dials and buttons, Newman expertly manipulated his sound along with a drummer and synth player, combining to provide layered electronica that rivalled the headliners. Declaring that The Presets proved that house music can combine with a love of punk, Newman effused his love for the main act as his set culminated towards a great version of One Hundred. A strong, well-paced set.

Exactly ten years earlier, at the same venue, The Presets were showcasing an album that launched them onto the worldwide stage. It is no small coincidence that the same venue hosted the local electronic-duo ten years on. An instrumental intro from the top of Hi Viz started the night before Julian Hamilton and Kim Moyes took to the stage. Moyes, donning a pink wig, resumed his position behind the drums and just like that we were transported back to 2008 by Apocalypso's Talk Like That. It launched a homecoming show for the ages.

Our first real taste of the new stuff was Martini, the first of seven songs to be played from the exceptional new album. A backdrop that varied from bright colours to hypnotic shapes, along with a dazzling light-show, enhanced the experience as the diverse all-ages crowd simply lost their collective shit. Screaming along to words from Ghosts, a more downbeat cut from 2012's Pacifica, the crowd weren't prepared for the transition into Do What You Want. It was segueing like this that punctuated an expertly produced performance.

A slow build-up to one of their biggest tracks, This Boy's In Love, provided a massive drop into the well-known riff — to the delight of the now profusely sweating Enmore crowd. While some of the audience may not have been as clued up on the new album as others, people didn't dance any less for Beam's I Go Hard, I Go Home and Are You The One?. Squeezing crowd favourite My People between them was an inspired move.

About the only complaint to be made was that their DMA'S collaboration, Are You Here?, didn't really fit into the massive bangers rounding out the main set; including 14U+14ME, whose ending gave the crowd a quick breather and chance to mop up the dripping sweat.

The encore interestingly combined the final tracks from both their new album (Until the Dark) and the decade-old Apocalypso (Anywhere). Perhaps it was an intentional way to bring together the last ten years of The Presets into a huge homecoming show, which Hamilton mentioned throughout the night. "It's always great to come home to Enmore!"