Hyperdub boss Steve Goodman – an artist in his own right as Kode9 – set out his vision for dubstep back in 2006. The music, he said, should be productions that always “had a solid sub bass foundation, but in an ideal world, anything else goes on top of that”. His label, which is celebrating its 10th year, embodies that ethos – with releases ranging from the early wonky output of Zomby and the melancholy dubstep of Burial to Goodman’s own bass-led productions and the Detroit techno of Kyle Hall.

At Corsica, that eclectic roster is represented with live turns from laidback R&B singer Jessy Lanza and the unpredictable avant garde noise of Dean Blunt. Lanza’s stripped-back stage show – it’s just her, a sequencer, some LED lights and keyboards – draws an eager crowd who watch as she opens with album standouts Giddy and Kathy Lee. But her preoccupation with keeping her technology in check means there’s little connection with a crowd that knows every word of her subtle, sombre songs.

There was no chance of Dean Blunt’s performance being detached. He is known for his roomfuls of dry ice and retina-burning strobes, and his gigs can feel like an endurance event mixed with a sensory-deprivation experiment. Tonight he arrives on stage with a minder and a guitar player, and shows no signs of changing tack despite landing a deal with Rough Trade. There are no recognisable songs from his well-received Redeemer or Narcissist II albums, but instead guitar-led tracks punctuated with his trademark droll delivery . For the first half of the set there is no stage lighting, with Blunt posing on the monitors in the shadows, but during the second half the strobes start and the audience are treated to 10 minutes of meandering sub bass.

Fittingly the night is finished by Goodman who plays a DJ set led by the breakneck bpms of footwork. His anything-goes bandwagon rolls on.