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Claire Rousay's set at The Point (which is a church, mind you) was incredibly intimate, sad, introspective, but overall beautiful. Her setup was designed to resemble her bedroom, including a rather NSFW image of an adult actress (I had to laugh because I'm sure the church loved that). Each song sort of blended together in a big, sweeping wash of electronics and field recordings, including samples she took of audience members' voices in real time.
I wish I could have attended her Ableton workshop the next day, but it overlapped with other sets I wanted to catch. Regardless, for someone who admittedly wasn't too familiar with her work beforehand, I was impressed with what she's doing and especially how she's doing it. I mean, parts of her set had her just lounging on her bed looking at her phone, but every move was intentional. It was all meant to convey a certain mood to the audience, that mood being "I'm surviving depression and loneliness in front of the world".
One again at The Point, Ikue Mori and Fred Frith put on a very straightforward but highly enjoyable noise set together. It's wild to think about how the both of them have been on the cutting edge of experimental music longer than many of the audience members have been alive - hell, Ikue and my mom are almost the exact same age (their birthdays are the same year and only a month apart!). Their both in their 70s and still making music that's every bit as strange and challenging as they were making back in the day, if not more so.