Justice Festival Hall, Melbourne

There have never been so many Justice t-shirts in one place as at Melbourne's Festival Hall, on the 6th of January. Justice fans across the state had congregated on the venue to witness the first ever solo show of the French duo's much-hyped new live form. However, in spite of the epic live show everyone was expecting, the stage was deceptively plain – featuring just two 3×3 stacks of Marshall Guitar Amps and a conspicuously covered centrepiece.

After Canyons finished up, it was time for the "secret" guest, Ed Banger's main man: Busy P. What he had called Justice Radio began with heavy metal, bewildering everyone. After a while of the crowd being confused, he delved into the Ed Banger record bag with his own classic Chop Suey.

However, his set peaked with Daft Punk's Da Funk, a track the audience knew so well that, on multiple occasions Busy P cut the track entirely, letting the crowd chant the riff out. Once he was done and the stage was clear, the centrepiece was uncovered, revealing two large synthesizer banks with Justice's logo sitting between them.

In 2007, Justice wrote the single greatest track to begin a set with ever: Genesis. It only took one epic bass note of the hit to get the crowd cheering and throughout their set, the energy in the audience was completely controlled by Justice. The duo understands perfectly the role of each of their tracks – even the teasing of the crowd with the Civilisation vocals was perfectly timed, making the crowd ecstatic at the possibility of hearing the track itself.

When they did finally bring it in, it was a much harder version of it. If you were a naysayer of Civilisation when it was released, claiming that Justice strayed from their sound, hear it live and have all your worries obliterated.

One of the most epic moments of the night was when the synth rack split in two and rolled apart, revealing a glowing keyboard and stool, upon which Gaspard Auge sat. He then played the chords for D.A.N.C.E. Rehearsal in what has to be one of the most powerful sing-along breakdowns of all time. The lyrics of D.A.N.C.E. were known backwards by everyone; allowing the crowd to be almost as loud as the music.

The word "epic" is probably overused in this review. However, there's a good reason for it: There is no word in any language to than can better describe Justice live. As Audio, Video, Disco began to play, the synth racks transformed into a pipe organ, with a series of glowing cylinders erupting forth from the top of them. Justice brought Audio Video Disco to a crescendo, building it up until it crashed out and they finished their set.

But, of course, the crowd promptly demanded an encore; and the duo returned to the stage with their latest single On ‘n' On, complete with Xavier de Rosnay on the keyboard at the front. After showing off their powerhouse abilities, they brought the crowd home with the hard electro lovers' favourite Phantom, eventually working to the actual end of the gig.

But the moment that best encapsulated what Audio, Video, Disco is about was really early on: The Marshall amps that dominated the stage surprised everyone, revealing the built-in LED screens. This was a key part of the lighting that the show wouldn't have been the same without.

The new Justice album is the much the same – when played live, suddenly everything makes sense. The album isn't made for home listening, rather, Audio Video Disco was an album tailor made for giant stadiums. Each track comes into its own and just emits a raw power live. That is why, after playing Festival Hall, Justice have prevailed.