Once a founding member of art-rock outfit Ponytail, Wong typically uses looping techniques to create a highly technical sound comprised of multiple layers that are delivered in a semi-abstract way. Coming out on his own at first on Sunday, his solo instrumental compositions helped set the stage for the warm fuzziness that would soon follow. Hunched over his pedals while sitting on a chair, he produced a diverse range of ambient sounds that had summer written all over them. It didn’t always work, though, and his overall compositions occasionally felt a little convoluted at times, as if he was trying to fill an empty pocket of sound simply by adding another layer to the mix.

Enter Minekawa, who didn’t actually add that much in terms of substance to the arrangements on offer during their set. Instead of lyrics, she mostly threaded whispered “ooohs” and “ahs” throughout the songs, keeping the volume to a minimum so it in no way became overwhelming.

The end result was a brain-pleasing mix of music that basically rekindled nostalgic feelings of what it was like to be a kid in summer. Take the execution of the pair’s first single “Party on a Floating Cake,” for example, which trembled with all the excitement of an 8-year-old in a candy shop. It was experimental pop at its very best and I, for one, can’t think of a better way to celebrate summer.

The bassist Tomohito was almost in a reverie, a stark contrast with the leading lady’s laser focus and intensity. But when he does wake, he pushed the guitar for pace in a rushing hoe-down. Saxophone and keyboard are also added as guests, adding a soothing and an elegant touch respectively. The saxophone is switched out for a flue, as the country sound is mixed with almost traditional Japanese vocals, with an instrumental jam following it in a wild flurry of flute notes. Proving not to be just a purveyor of country’s ever-present resilient sorrow, the duo mixed things up with a sense of wonder and contentment filling their last songs.