Makeness @ Sneaky Pete's, Edinburgh, 28 Jan

Independent Venue Week is a gig-goer’s Christmas, and tonight’s line-up at Sneaky’s has a full stocking of surprises. Opener Zerrin brings us an enormous voice, a single bass guitar and wandering goth-pop balladry. She attacks each track with sheer charisma, and her songs take winding, unpredictable loops in favour of any straightforward hook. Her best is Bluebeard, a bluesy, sinister lullaby influenced by Angela Carter that shows Zerrin in full control of her storytelling. Next is Paradise Palms’ own Eyes of Others, tonight joined by Callum Easter, whose unassuming, dreamy set grows, track by track, into a proper party. He sits low in the mix, having a gentle bop and drowning in blue haze, whilst his baggy, almost psychedelic beats reach the boil.

"This is as close to a home-show as it gets for me," announces Makeness – aka Kyle Molleson – as he introduces his uncle behind the drum kit and, a little later, his dad on the violin. The opening strings to Day Old Death are so warm and expansive that you can almost feel the ice melting on the Cowgate, before the track builds into a surge of bleeping lazers and steely industrial guitar. Tonight’s family feeling is mirrored by a crowd that’s attentive and affectionate, even in the face of errant wires putting the set on hold. It doesn’t take long for Molleson to regain control of his spaceship-sized deck, and the ghostly chimes of Stepping Out of Sync receive a throaty cheer from the floor. "Oh you know it?" Molleson beams, delighted. Makeness excels on tracks like this; chilly vocals clear and catchy enough for Radio 1 coupled with a joyful, wonky approach to making people dance.

Later we’re treated to a new track, Toast. It’s huge, mad, cinematic techno and if you close your eyes, you could easily believe that there’s 20 musicians on stage. Molleson darts from twisting knobs and setting dials to attacking his guitar like a prog-rock virtuoso, looking completely at home in the process. Finishing on 14 Drops, a mix of heated brass and distorted synth that swells into an uplifting floor-filler, he works in the Blanck Mass-style eardrum-bursting rattle from Loud Pattern’s brutal last track. Get you a producer that can do both, or, in Makeness’ case, one hundred things at once.