I arrived just as Chestwig was completing his set, and there was much build-up in anticipation of the headline act. By the dim light cast from the red neon lightning trimming of the DJ box figures moved between instruments, fiddling this and that. At last Infusion took the stage to a burst of applause, if in unremarkable lighting conditions. The set-up was compact along the shallow stage, but it seemed to work okay, and it allowed a very close connection between band and fan. Jamie Stevens (who put down a cracking DJ set at Brown Alley some 8 hours later) seemed unable to stop bopping up and down as if on a pogo stick, but he sustained consummate control, as they all did.

The flexibility of the band is immediately apparent in how they move widely between, within and without of certain genres. Each member also plays at least two (and no doubt more) instruments rather well, and they all put in for vocals.

The first half hour was mostly filled with recognizable tunes from previous albums and that raised the heat nicely on the dance floor, keeping it packed tight the whole gig. With the engine warm, they started to roll out tracks from the album being hereby launched – All Night Sun Light. The enthusiasm from the faithful dropped slightly as their brains worked harder to take in the new.

I really liked one of the first tracks, featuring a warm and complex synthesized vocal filter spread evenly over a buoyant band base. There was then a track with a more trance-like riff, but also acoustic drum kit, which brought a crisp yet soft flavour to the beats. There were vocal lines with enhanced echo for “And I like it, when I shake, better with you”, which sounded quite sexy.

I felt this passage of the set then deepened and lifted. They were heading into the more ambient territory of their repertoire, and this was the stuff I liked the most. All of a sudden we were out of the sweltering city, through the perturbing incongruity of the suburbs, and out in to the open air with the windows, the sun roof open and the wind blowing through our hair.

But one dedicated fan was keen to express to me her disappointment with this gig. She preferred the “great old school” tracks to this new stuff, her complaint being, primarily, that it was “way too rocky and heavy”. I agree with an aspect of what she says in that I much preferred the more subtle slower tunes to those that were driven with more grit. But complaints regarding the “poor sound” I felt could be mostly attributed to the venue. I have observed this at Roxanne Parlour before; it just seems too loud, as though they are trying to push a fat sound through a skinny system. The gig was originally planned to be at Billboard, which is a far superior venue in terms of the amplification and the space. But I eventually left contented at the buoyant sounds on offer.