Australian rock hasn't produced many emo frontwomen, but the Jezabels' Hayley Mary certainly ticks all the right boxes. She has the requisite agonised intensity, and a self-absorption so complete that she appears to be barely aware of the audience at this sold-out, tour-closing show. The audience, though, are very much aware of her – she commands wary attention in the same way a simmering volcano does. Anyone familiar with PJ Harvey, Siouxsie Sioux or even Paramore's Hayley Williams will recognise Mary's style, but she undeniably has something: when she's going full pelt, the other Jezabels may as well not even be there.

Mary aside, what the deliberately misspelt Sydney quartet offer is standard goth/emo fare. There's a touch of novelty in their lack of a bassist, but it seems more an oversight than an attempt to do emo differently; punk-influenced drummer Nik Kaloper simply fills in the gaps aggressively. Keyboardist Heather Shannon is his counterpoint, thickly spreading chilly layers of synthesiser as if icing a gothic cake. Their confrontational formula drives every song except the encore, Disco Biscuit Love, which switches tack completely. This is the one where the Jezabels figuratively tear off their black clothes to reveal 1980s pop neon beneath, and it comes as a welcome surprise after an hour of wracked drama.

It's often hard to engage with such highly charged, yet unremarkable music. This isn't to dismiss the set's obvious high points – the mini-symphony Hurt Me, Mary's chilling ululations on Try Colour – but they only underscore the lack of originality elsewhere. Mary, though, is a solo star in waiting. When the Jezabels return to the UK to tour next year's debut album, she'll be one to watch.