It’s Chvrches’ second sold-out Boston show in two days, but if a relentless touring schedule has worn on the Glaswegian trio at all, it doesn’t show. Opening with the churning synth of Every Open Eyecut “Never Ending Circles,” the band deploys all the trappings of a pure pop performance: the entire room converts into a supercharged dance floor, the stage pulses with pink light, and at the center of it all, vocalist Lauren Mayberry flits back and forth, twirling in place one moment, punching and kicking at the air the next. She hits the chorus with a surge of energy and conviction that makes it easy forget that the band has been on the road almost nonstop for the past two years, and the hook only hammers in that determination: “Here’s to taking what you came for”.

What did Chvrches come for? The specifics keep changing, but whatever it is, it’s big. A self-described “band born on the internet”, the trio began as a studio-only project that stumbled onto viral fame, found a niche in a side alley of indie cred, and promptly lit it up with neon-bright ‘80s synth arrangements and too-big-to-stay-underground delivery. Right now, they’re mid-leap between buzzy indie pop status and full-on stardom, and look poised to make the landing with grace. Colored by its members’ experiences in a range of prior bands (most notably, multi-instrumentalist Martin Doherty toured in The Twilight Sad), Chvrches takes the skeletons of angsty could-be rock songs and dresses them in glimmering electronic textures, building high-energy tracks that sound sweet but feel steely. It’s a balance that’s brought them to the edge of pop ubiquity, but they haven’t tipped in just yet.

But tonight, the band doesn’t seem too concerned about what might be at stake. Between songs, Mayberry jokes about how far they are from home, but she looks entirely in her element onstage, bantering about life between tours and her bemusement with the all-American weirdness of baseball after catching the afternoon Sox game. Though she’s often the most energetic part of the show, Doherty and Iain Cook perform (both on a wide range of instruments: synthesizer, guitar, sampler, backing vocals) with enough physicality to balance her presence. Midway through the set, she steps back to handle the synth as Doherty takes over vocals on “High Enough to Carry You Over” and “Under the Tide,” serving to emphasize each member’s versatility as the latter builds into one of the night’s most rousing performances.

After a few more tracks from Every Open Eye, the trio wraps up with album highlight “Clearest Blue,” which describes the onset of an anxiety attack. It sounds an odd move, but it typifies the band’s talent for taking a strobe-lit angle on darker topics. Rather than indulging a claustrophobic tone, they build to the catharsis of a high-voltage EDM drop, and even those hearing the song for the first time feel the cue to whip into the night’s most frenzied dancing.

It might’ve been the perfect note to end on, but after the briefest of breaks, the band reemerges to encore with slow burner “Afterglow,” transitioning into a stripped-down intro to “The Mother We Share.” The first single from the band’s debut album, The Bones of What You Believe, remains the group’s biggest song to date, but even as it builds, it feels different in this room, on this sold-out night. It still packs the same punch as it did the first time that I heard it, but it’s not a particular standout, which is only a testament to the strength of the entire set. Instead, it’s just one last massive song in a string of massive songs, the triumphant signoff of an ascending band ready to remind audiences that sometimes underground cool and mainstream-ready cool might be exactly the same thing.