Last Tuesday, cialis mind Spazzkid took to Great Scott with two very talented friends in tow. For fans of synthpop, stomach sales this was a spectacular night, cheap with three forward thinking musicians going all out (despite one set being marred by sound issues). While everyone brought something great to the table, Spazzkid’s manic, balls-to-the-wall set was a true highlight- not just of the night but of the summer music season.

Go Yama started the night off on an incredibly positive note. Mixing cascading pad work with some excellent guitar solos, the Cambridge local put together a set that was equally dancey as it was deep. Leaping through genres like it was his job, Yama’s set saw shades of electropop, trap and even a chiptune breakdown or two. He also showed a great awareness of his balance knobs, tweaking treble and bass to draw the biggest reaction from the crowd. After a standout hour, he ended his set with a groovy remix of Jamiroquai’s “Canned Heat”- bravo.

Follower Beat Culture’s set unfortunately sounded a bit less dynamic. Working with the noise aesthetic, the Hong Kong native assembled ringing tapestries of sound while exploring combinations for extended periods of time. Unfortunately, Great Scott’s sound system isn’t made for acts like this and the result was a muddy mixture of elements with the vocals buried entirely. While there were highlights- most notably a slick drum’n’bass breakdown near the end of the set- altogether this was a waste of Beat Culture’s talents.

Before getting into his set, it’s important to note what a presence Spazzkid was throughout the night. Through both Go Yama’s and Beat Culture’s sets he lived up to his name; no one was dancing harder or socializing more. Even if he hadn’t played a song, he still would have been the most memorable character of the night.

However, when he hopped up on stage he blew that away. I can honestly say I’ve never seen a performer with more earnestly joyful energy than this guy. On the pads and laptop, he was headbanging, miming and lipsyncing to every song, and whenever he had an extended loop cued up he’d run into the crowd and start dancing with everyone. While at first it was a bit disappointing that he was using a prerecorded vocal track, the onstage dynamism this opened up made it completely worth it.  It’s not unheard of for an artist to have as much fun as the crowd, but Spazzkid actually made you feel bad if you stopped dancing for a second.

The quality of the music was excellent, too. Focusing on the lighthearted, bouncy synths he has become known for, the set mixed tracks from his album Desire with some remixes (most notably a very cool tropical take on Alice Deejay’s “Better Off Alone”). However, the highlights were the cuts from his excellent new EP Promise. Channeling the even higher energy he has embraced in the new material, Spazzkid used these cuts at peak moments. Bookending the set with the disco-influenced “Lovers” and standout single “Promise,” he took the audience on a spectacular exploration of his favorite sounds.

While Spazzkid’s output has been reliably quality, this show cemented his status for me as a true rising star. To see a performer put together such a technically adept set while also expressing such palpable excitement and appreciation is something special. I usually scoff a little bit when bands gush about how much they care about their audience onstage, but when Spazzkid said, “this song is dedicated to all of you, because I love you!” my heart went just a little bit fuzzy.