Intimate seemed to be the adjective on the lips of Christopher Taylor, the man behind Sohn. The previous night he had sold out the Shepherd's Bush Empire, so the vastly smaller confines of The Haunt were stark to the man behind moniker.

It was a word he revisited more than once as he whirled through material from his critically acclaimed debut Tremors.

It was a transfixing hour as the hooded Taylor sat behind his keys and flanked by a pair of darkened assistants, combined keys, synths, loops, delicate vocals and samples to grand effect.

The show built steadily in stature as it went on. Taylor has worked with the likes of Lana Del Ray and Banks so it is little surprise his particular brand of production retains some elements pop. These were dripped in at an increasing pace throughout the set, before reaching a peak in finale The Wheel.

While that was an undoubted high point, to gloss over the rest of the set would be a disservice to subtly of Taylor’s work. His voice, though perhaps not as bold as Tom Krell, aka How To Dress Well, is wonderful and his production is Darkside-esque. Combining all these ingredients was a recipe for a delicious serving of UK talent.