Tonight's show at Roundhouse is something of an Erased Tapes mini showcase with both artists on the bill holding a place on the esteemed label's roster. Openers Dawn of Midi is one of the imprint's latest additions, reissuing their debut LP next month.

Consisting of a drummer, a double bassist and a pianist, the trio play the entirety of their full-length, Dysnomia, each track flowing seamlessly into the next through cyclical rhythms that it's hard not to be entranced by. What makes Dawn of Midi's sound so unique, though, is the unique way in which they play their instruments. Drummer Qasim Naqvi uses parts of his drum kit neglected by most, hitting the rim of the bass or the stand of the cymbal. Meanwhile, pianist Amino Belyamani has one arm seemingly permanently reached into the body of Nils' gigantic piano, interfering with the strings to create new sonic surprises. What this results in is classical instruments that make electronic-sounding music. It's no wonder they have found themselves on Erased Tapes - the perfect home for the band's sonic explorations with its emphasis on bridging the gap between the classical and modern music worlds.

Tonight is about one man, however. Nils Frahm is Erased Tapes' poster boy, and for good reason. His electronic compositions are both huge and yet emotional on an intimate level, while his minimalist piano pieces touch the listener's very core, each note consumed by impassioned purpose. It is Frahm's ability to move his audience on a deep, internal level that has led to this second sold-out show at London's Roundhouse. The venues' iconic Victorian aesthetic complements the timelessness of Frahm's music, a similar example of old and new styles working perfectly in conjunction with each other.

On a stage littered with at least seven different keyed instruments (including a beautiful homemade organ), the set finds a perfect balance between the German's solo piano pieces and his grander, cinematic electronic compositions. The latter sees the musician jumping between keyboards, flicking switches and pressing buttons like at an operator in a spaceship control room. An appropriate image, given that these synth-heavy moments feel like an adventure into the great unknown. Frahm plays with such intensity that it is virtually impossible to move your eyes away from him, the speed and technicality of his finger movements hypnotizing in both their action and sound. Various spotlights add to the drama, turning Nils into not just a figure but a defined silhouette bathed in golden light, emphasising each movement and stroke.

There are elements of Frahm's live show that are far harder to appreciate when on record. As the name might suggest, 'Toilet Brushes' actually consists of Nils Frahm drumming on the insides of his piano with a pair of toilet brushes, creating an almost tribal sound that is comical in its execution but also undeniably powerful, and, toilet brushes aside, demonstrates his innovative way of approaching traditional instrumentation. However, all good things must come to an end, and tonight that end comes with fan-favourite 'Says'. Synth flourishes rise, crash and repeat in waves, culminating in an all-consuming crescendo that sees a standing ovation to the sweaty but triumphant Frahm. This show was confirmation, if any were needed, that he is one of the true pioneers in modern music, and will be held high amongst the classical legends he takes so much influence from in generations to come.

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BTS: Nils Frahm
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