Meursault @ The Leith Volcano, Edinburgh, 18 Aug

Things are running behind schedule at the purposefully-refurbished-for-the-Fringe abandoned church that is Leith Volcano. A pop-up bar has been installed in the churchyard amongst the unkempt weeds, a raggedy set-up that doesn't quite belie the ornate setting that has been created within. Though thoroughly rigged with scaffolding, the interior is beautifully realised with gentle lighting that softens the deteriorating stonework. The stage is a large space that covers most of the nave, while netting hangs in front of the chancel, creating a hologram-like effect in its striking illumination.

Sealionwoman struggles through some initial feedback problems to deliver a short set of sultry jazz numbers, while RM Hubbert impresses with a selection of delicately finger-picked instrumentals and morose tales of love and loss (mostly loss).

Thanks to the technical hitches, Meursault have only a scant 45 minutes to play with. The set is drawn mainly from new album I Will Kill Again, and performed by a mixture of keyboard, acoustic guitar, violin, loops and effects. There are also a couple of covers with ecclesiastical references, from Viking Moses and Hank Williams, that land well with the surprisingly reserved audience.

It's left to new song, Art School, to close out an evening that hasn't really managed to get going despite solid performances. Fortunately, Neil Pennycook is ready to deliver something memorable, prowling around the stage to harsh industrial effects – a sound far removed from the usual Meursault fare. After snarling the pivotal lyric, 'fuck off back to art school!' Pennycook is frenzied, tipping over amps and smashing an erstwhile unused electric guitar into the stage. He follows this with a trip beyond the netting and, in silhouette profile, proceeds to submerge himself in the pool that separates the nave and chancel, splashing in despair.

He returns, minutes later, to roaring applause, apologising for the lack of encore due to the fact that he's now soaking wet. These chaotic few minutes could've been the catalyst for an electrifying performance, but, given the aquatic end, it's more of a dull spark, a hint at brilliance too soon extinguished.