The main thing you want to focus on is the half step relationships in the mode.
Think about the major scale. The most common cadence is the V7-I (other most common: vii°-I). Why? Short version, we have the tritone (B and F) both moving by half step into the tonic notes (C and E).
Compare this to lydian. The half step relationship has changed. Instead of F down to E, we now have an F# up to a G. It doesn't seem like much, but this change is HUGE for getting the lydian sound. Both are moving UP, which helps contribute to the brightness of lydian and why it feels higher than ionian (major).
Now the trick becomes finding lydian chords that contain both the half steps moving into the tonic notes (B to C, F# to G). The basic triad with the strongest pull is B minor. Any extended chord that contains this triad (or at least the B and F#) should work.
Hopefully this helps. Modes are a really cool addition to your toolbox once you get them under control. If you're interested, I've done a 3 part blog series specifically on the lydian mode. You can find it at my blog: Mitchell Makes Music.