It will come as a surprise to nobody that Rüfus Du Sol could sell out Rod Laver Arena three times in a row.
The trio have become one of electronic music’s most technically ambitious live acts since forming in Sydney in 2010.
It’s ambition that’s paid dividends, as Tyrone Lindqvist said last night: “We don’t take it for granted, many of our favourite bands haven’t lasted this long.” He’s not wrong—longevity isn’t exactly a trait of Australian electronic music, which has often fallen to passing fads and been more of an imitator than an innovator, at least as far as our chart toppers are concerned.
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But Lindqvist, Jon George and James Hunt have built their reputation through a hybrid performance approach that merges live instrumentation with electronic production. Their setup centres on a sophisticated Ableton Live rig running across multiple computers, allowing the group to trigger stems, loops and effects while maintaining the spontaneity of traditional band performance. And how rare that live band element is in modern electronic music—you can genuinely feel it missing from most live techno shows.
Certainly not from Rüfus. Lindqvist handles vocals and keyboards, George manages synths and guitar, while Hunt commands drums and additional electronic percussion pads – and does so wearing a leather jacket, no less.
Their production relies heavily on analogue synthesis to create their signature warm, melodic sound. The technical mastery is apparent on their live shows, where they incorporate massive amounts of lighting and laser technology and a glitterati of confetti cannons.
Last night saw a whopping industrial stage setup, scaffolding hosting lasers soaring far above them and flanking them on all sides. Often industrial aesthetics are used as a cop out for cheap set design, but Rüfus Du Sol’s live stage show is little short of spectacular—all function, zero filler.
It’s a live show that fits their status. The Sydneysiders saw their third album Solace reach number two on the Billboard Dance/Electronic chart, while fourth record Surrender debuted at number one and won Best Dance/Electronic Album at the 2022 Grammys. They’ve consistently sold out venues like Red Rocks Amphitheatre and the LA Memorial Coliseum—three nights at Rod Laver Arena is right on trend.
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The real test of any electronic act is how their biggest tracks translate live, and Innerbloom, their 2016 breakthrough that runs nearly 10 minutes, becomes an almost transcendent experience in the live setting—the kind of track that justifies the ticket price alone. Treat You Better and On My Knees hit harder with the full band treatment, while You Were Right builds with the kind of tension that only works when humans are actually playing the damn thing in real time.
They go hard, too. This isn’t button-pushing—Hunt’s drumming drives the energy while George’s synth work adds layers that recordings can only hint at. When they lock in during tracks like You Were Right, it’s a showcase of how electronic music works as performance, not just playback with lights. It’s a masterclass in how technical proficiency and live performance craft can elevate electronic music beyond DJ sets into full stadium productions.
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