Owen Pallett has shed his videogame-inspired moniker, Final Fantasy. Fortunately, his signature style and sound remains intact.

Thursday night, London’s Aeolian Hall was filled with hipsters of all ages, anticipating the one-man-electro-orchestra that is Pallett.

I CAN DO THIS WITH MY EYES CLOSED. Hipsters and folk fans gathered at Aeolian Hall Thursday night to soak in Owen Pallett’s anticipated show. (Savanah Sewell /Gazette)

Launching the evening was the freak folk, boy-girl duo Snowblink. The Toronto outfit offered the crowd a brief set of quirky and quaint nature-inspired numbers, guilty of warming one’s soul.

Plucking a guitar equipped with deer antlers, lead singer Daniela Gesundheit showcased her sparrow’s trill while partner, Dan Misha Goldman, filled in the gaps. The duo’s second song, “Rut & Nuzzle,” exhibited soft Feist-like vocal lines punctuated by a hooky bird-watcher’s call. Snowblink employed the front row of the audience in ringing a long string of bells at the precise moment.

While at times Snowblink’s show echoed a Von Trapp family gathering — one could not help but envision the musicians with birds and squirrels gathered around them — these avant-garde folkies masterfully staged a sophisticated and stylishly layered music, acting as a perfect accessory to Pallett’s bill.

After an intermission just long enough for an equipment change-over, Pallett waltzed through the curtain with a massive grin and a bottle of Newcastle in hand. Accompanying Pallett on stage was multi-instrumentalist and backing vocalist, Thomas Gill.

Pallett moved swiftly into material from his long-time-in-the-making, 2010 effort, Heartland. “Midnight Directives,” with its franticly plucked violin arpeggios, wavering synth swell and terrifyingly dissonant vocal accompaniment, received great applause from the captivated listeners.

A miscommunication during the tempo count-in for “He Poos Clouds” caused Pallett to stop the song and jokingly chide Gill with “You’re such an embarrassment.” This was one of several playful exchanges between the two. Pallett’s few minor blips due to finicky equipment and the difficulty of his violin looping technique didn’t detract from the performance but brought the audience closer to the making of the art.

Pallett’s set was dynamic. “Took You Two Years to Win My Heart” demonstrated an artful pairing of beautifully melancholic violin textures and sad words of heartbreak. “This is the Dream of Win and Regine” housed optimistic lines like, “Montreal won’t break us down,” and cheerful violin riffs.

Thus, the death of the moniker did not result in the finality of any fantasy — the Owen Pallett show is every bit as fantastic.