Bass virtuoso Stephen Bruner, aka Thundercat, made his return to London on Sunday night to set the East End shaking and sustain the weekend for just a few hours longer. "My voice is just starting to return," he informed the crowd, "I've been partying too much, but I don't intend to stop tonight." For the Hoxton hipsters and funk freaks gathered, it was clear that they agreed with Thundercat's statement - an enormous cheer making obvious what everyone knew already.

Dorian Concept (Austrian electronic artist Oliver Thomas Johnson) got things going with a lush, skittery set. His music sits well within the Brainfeeder label style, Johnson has in fact toured as Flying Lotus' keyboard player, and on Sunday seemed to be playing to a responsive and enthusiastic crowd. His use of R&B style samples, funks riffs and improvised electronics were exciting and meant that it was never clear where the set might go next, or when the next drop might be. Unfortunately there were a few awkward transitions that broke the flow of the set, and the improvisation sometimes moved too far towards noise, but otherwise it was a strong energetic set. It meant that by the time Thundercat took to the stage every one was warmed up and ready to funk.

Bruner was joined on stage by Dennis Hamm on keyboards, Justin Brown on drums and quite possibly the most beautiful bass guitar I've ever laid eyes upon. A six string hollow bodied Ibanez that managed to not only cater for deep, low-end body moving bass grooves, but also for higher, almost guitar-like riffing. As you would expect Thundercat made full use of it and, amidst the octave chords, plucked melodies and insane fretwork, I wouldn't be surprised if he managed to play every single note on the fret board.

The set opened with 'For Love I Come', a George Duke cover that featured on Bruner's debut The Golden Age of Apocalypse, and perfectly set the tone for the evening. That being extended bass jams. With the exception of just 'We'll Die' every song gave way to soloing, funky freakouts and head-nodding noodling, for the most part this was the preserve of Bruner and his bass, but Justin Brown and Dennis Hamm also delivered excellent solo performances as well showing that individually each member of the evening's band was at the same level of technical ability. Brown's drumming was a particular highlight. Like any good percussionist his sense of rhythm was perfect and provided a solid basis on which each song was built. Yet when it came time for him to take the spotlight he was able to quickly switch to a ferocious thrashing that was awe-inspiring in not just speed, but the way in which it still held to a danceable beat that didn't suddenly stop the party in its tracks.

The early part of the show probably wasn't as smooth as Thundercat had hoped. The main pedal he had brought with him for the evening seemed to have given up working, so most of the set was played with a relatively clean bass sound, no wah, and little distortion. During one track he also claimed that things got a little "weird" as his bass guitar dropped its tuning unexpectedly. Not that anyone else in the room seemed to really notice these technical troubles. Sure the first few tracks were a little rough around the edges, but with the crowd already in a party mood it seemed to really lift the band, Bruner especially. Rather than fall foul to such hitches he took everything in his stride and handled it like a pro.

Things really kicked up a gear from then on. After a wonderful rendition of 'DMT' (Thundercat's collaboration with Flying Lotus on Until The Quiet Comes), Bruner segued easily into 'Lotus and the Jondy', with some sections of the crowd instantly recognising the bassline before he started singing. This prompted some of the most enthusiastic dancing of the night; though the real title was probably claimed by encore number 'Oh Sheit It's X'. The set was a pretty even mix of Thundercat's two albums with tracks like 'Walkin' and 'Daylight' off of Golden AgeApocalypse being further stand out moments.

It's fair to say that a lot of the crowd were eagerly awaiting 'Oh Sheit It's X' with several quiet moments between songs being greeted with yells of "oh shit!" from the audience. Live, and even without the usual effects on the bass, the song has its own energy that is absolutely infectious - a shame it wasn't the massive summer hit it thoroughly deserved to be. As the evening drew to a close the song slowed down and the chorus filled the room, sang by pretty much every person in attendance. In that moment its lyrics seemed to become a lament for the end of the weekend and the incoming mundanity of Monday morning. Tube journeys, desk jobs and 'how was your weekend' formalities awaited. If only there was a way to keep the show going - I'd have happily stayed forever because Thundercat taught me that I just want to party and you should be here with me.