With spring only just upon us, footy fever and pouring rain were the unlikely precursors to what would be a thoroughly enjoyable evening at New Guernica – one of Melbourne’s most unique nightspots. On display was Joakim Bouaziz, a French man known best for his versatile production history and his hats. Also the founder of Tigersushi, he is a connoisseur of all things musically outlandish, offbeat and outré.

A tall and commanding figure at the booth, Joakim reminded us at once of a businessman and an art student – a sharply dressed man and a smooth operator. Amid a relaxed crowd of modest size, he began his three hour set with a safe mix of disco and funky house. Sporting a basic setup consisting of two CDJs, a small mixer and a sticker-covered MacBook, Bouaziz appeared comfortable and in control. As LCD Soundsystem’s I Can Change pushed us toward the one hour mark in high spirits, a technical mishap resulted in a short period of total silence and a regrettably tangible stylistic shift. After openly lamenting his malfunctioning equipment and cavorting around the booth during the downtime, Joakim launched into a progression of pounding, deep electro tracks with a strong techno influence. The main room darkened and filled with smoke, and a noticeable lack of vocal tracks and danceable melodies marked the end of the set’s beginning.

Respite in the Cubby House meant a decision allowing me to appreciate New Guernica’s versatility as a live music venue. Patrons can opt for a comfortable experience by nuzzling up in one of the cosy nooks, or a more energetic one by braving the densely packed main floor. There are very few venues in Melbourne which offer such a choice.

Back in the main room, the crowd was growing hungry for more accessible tunes. Joakim responded by paying homage to some of Melbourne’s popular exports. Cleverly placed snippets of Cut Copy’s Hearts on Fire and the Temper Trap’s Sweet Disposition elicited hearty cheers and lightened the mood considerably. Joakim’s set was a delicious musical moussaka; an honest representation of his proclaimed amazement with “people like Goths who are just into one thing”. He utilised considered track selection and precise technique to deliver a performance which was attuned to the crowd, the venue and the hour. Genre was at the mercy of fluidity, and it was a very enjoyable night for everyone in attendance.