Frisson is an experience that the audience gets that will often vex the composer and the performer. The best that the composers and performers can do is to have before them a receptive audience eager to hear what they are going to play.
Receptivity is going to require setting, situation, interaction between performer and audience, and subject matter. This sounds like a lot that is specific advice for a performer, but it is also important to note for a composer when he is looking to write works for a performer and for the performer to execute.
For setting, that can be a movie theatre, concert hall, a ballroom, a public park, or a nightclub. Knowing where it is going to be played will be important. The ability for the performer to bank sounds off of walls or the lack thereof can be important to determine how payoffs can be delivered. Knowing whether or not the people can pick up on the sweet drop in a nightclub is whether or not the audience can hear when it is being dropped over the rest of the audience.
Situation is also important. It can make the audience vulnerable or it can make the audience hardened and recalcitrant. If you know the song you are going to play is sweet, tragic or anthemic, it helps to know what the situation is. And while writing for that situation may be difficult as situations are transient, writing various songs that can fill these gaps can be important for selling a song to a performer.
Interaction between performer and audience is incredibly important. Writing sweet songs gives an avenue for performers to endear to that audience, especially if sex appeal can be sold. Writing a tragic song allows for performers to open themselves and make them vulnerable. Crowd-working can be a bit out of the purview of the composer but they can insert themselves by dropping in references to other works that the composer expects the audience to know.
Next is subject matter. This is where people get all technical about various cadences so that they can build musical narratives. All useful. See others responses for how cadences can work. You will also want to look at the explicit story in the lyrics, making sure they tell a story or make rhythms that move the audience. Ask yourself whether you are also going to be exploring themes like are you going to tell a sci-fi story? a bildungsromans? a rustic romance? a swashbuckle adventure? a philippic? All important things to consider.
This is general advice for anyone looking to do this and is absent of any advice for which chords to use. I do this because frisson can be induced by styles which do not abide by traditional practices regarding cadences. People can get frisson with hiphop and techno which can be monotonous or atonic.