There are hints at the chaos and calm to be found in his electronic compositions but nothing could prepare the crowd for the sonic onslaught when Hopkins traded the piano keyboard for a pair of laptops, perched atop a raised platform flanked by industrial strength spotlights.

Gears shift jarringly as the audience’s polite, hushed reverence made way for Neon Pattern Drum, its relentless beat and all-encompassing bass instantaneously transforming the space into a euphoric, hands-in-the-air dance party where patrons risked looking foolish by remaining in their seats.

Hopkins has said his most recent album Singularity is designed to replicate the build, peak and release pattern of a psychedelic experience. Trippy, hypnotic visuals crafted to melt minds are projected onto a large screen while two performers with flashing light-wands that could have been designed to direct UFOs in to land, show off some dazzling routines.

Hopkins largely skips the quieter moments from his discography in favour of keeping the momentum high, reaching fever pitch during an intense, acid-techno strafing delivered via 2013 single Open Eye Signal.

As an exercise in both blasting away Sunday night cobwebs and giving an accurate depiction of what a dance party would look and sound like within the Blade Runner universe, the performance was a winner. Hopkins made the iconic venue serve his particular artistic vision, rather than the other way around.

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