Icelandic multi-instrumentalist Ólafur Arnalds released Re:member in late summer to critical acclaim, an album artfully blending electronica, classical, and ambient sounds into a lovely warm nourishing goo. How does said album, full of technical intricacies and woven textures, translate to a live experience? On the basis of a live show on Halloween night at the London Palladium: incredibly well indeed.

Arnalds was joined on-stage by a live string quartet and drummer Manu Delago (who also played as support act prior to the main show) - and, get this - two self-playing pianos that work via algorithms triggered by the main piano played by the young composer. This ground-breaking technology is known as ‘Stratus technology’ and was developed by Arnalds himself.

It’s something that in the wrong hands could prove gimmicky, but in the way its executed on the album and in a live setting it is anything but. On a good number of tracks the extra pianos don’t even feature, allowing a broad-range of soundscapes and ideas to emerge from the evening. “Each time they (the pianos) are played is a little different, making every performance unique” Arnalds has said, and the feel of the evening was very much a ‘live’ and organic experience.

Most Re:member tracks feature, and there’s even an audience participation moment with Arnalds recording the crowd harmonising an “aaaaaah” and then using this sound to build a track. He’s mild-mannered on stage and instantly likeable, full of wry throwaway lines and gentle humour. All tracks excel live; from the beat-less gorgeous ambience of ‘brot’ to the more frenetic ‘udir’; shout-out to the lighting design also, really adding to the spectacle and drama when it was needed. An emotive encore of ‘Lag Fyrir Ömmu (Song For Grandma)’ capped off a very fine evening.

A considered, controlled element remained a through-line throughout, while being anything but mechanical or staid. It was a performance full of beauty and joy, an artist at the top of their game if we’re being honest.