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G Major could arguably be tonicized in the midst of the verse (and relabelling some chords as secondary dominants can reflect that,) but the underlying foundation is Lydian as established in the intro, and Lydian cadences to C to open the 4 bar segments of the verse.
The way I see it is that the melody gravitates towards G and the harmonies gravitate towards C. I'd tend to agree that C should be the tonic in this case even though C doesn't appear in the melody at all. That could be the intention of the artist given the unsettling dynamic of the song. On the other hand, the harmonies are so soft at the start of the song, G feels like a better tonic.
Do you have some kind of EQ setting from your OS active as you listen? The dynamic range is not that steep in this track - with an unaltered signal, your audio monitors would have to be outputting at the level of a whisper for the left hand synth to not be audible enough to provide its tension and release that contextually emphasize the stability of C, and the guitar is at a competitive volume with the right hand synth even then. The timbre of the ambient tones is warm and airy, but that is a quality independent of sound amplitude, and isn't obfuscating like an overdriven guitar.
You guys are legends. Love your work :)
Yeah - this whole song is in G major. I'll fix it.
JJM [Chorus rev 1]
G is tonicized througout the piece, and a modulation to C Lydian in the chorus is not likely, especially considering the use of deceptive cadences and cadential I-64 chords, and the absence of any evidence of C being tonicized.