Thom Yorke’s headline show was billed as a "live mix" with longtime co-collaborator Nigel Godrich and visual artist Tarik Barri. Did this mean we would be watching the duo press buttons behind a mixing desk, as so many electronic gigs can, tediously, be? Live electronica doesn’t always thrill in a gig setting, unless you’re in a heightened state of mind or dancing. And for the frontman of Radiohead, a rock band so famous for their soaring, captivating gigs, the contrast may prove too gaping to shake off.

But from the sublime first track, Interference, it was clear that Yorke’s voice would be centre-stage. It was rich, languid and just as extraordinary as ever. Also, this was much more than a mix.

Yorke and Godrich created a dynamic soundscape with guitars, keys, loops, synths and pads to play a suite of tracks from solo albums Tomorrow’s Modern Boxes, Amok, The Eraser and new material. Artist Barri created immersive interpretations of the music, live: yellow spiderwebs, pollen globules, waves of melted fingerprints, inky tadpoles, stars exploding, mountains dissolving.

Although working semi-regularly with Radiohead, Yorke has been releasing solo material for 12 years. But when it was released in 2014, Tomorrow’s Modern Boxes was criticised for lacking emotional oomph. Live the songs were shot through with technicolour. A Brain in Bottle was vivified with guitar chords that verged on the funky. Impossible Knots untangled into a rich syncopated passage. Yorke put on a terrific show: leaping like a jack rabbit, slinking this way and that, wiggling his hips. At times, he was theatrical, acting out the "nose growing some" and flinging his body around the stage.

Two Feet Off the Ground was an unholy rumpus, the bass reverberating through the floor and into our rib cages. It is sometimes said that music has the capacity to awe because it can bend time and space and with Barri’s visuals spiralling into intergalactic landscape, it felt that we’d been taken to a different planet.

Thom Yorke performs live at the Roundhouse Credit: Getty

Although the rhythmic spine of the sound was industrial techno, trip-hop, house, hardcore and breakcore, it had a live-band feel. In Cymbal Rush and Atoms For Peace, Yorke’s famous falsetto appeared effortlessly. Amok’s Default was gorgeous, levels sound and light enhancing the way the song tightens, then slackens and releases its warm chorus.

Highlight Black Swan felt like it could fall apart at any moment, backed by cubist-style Picasso visuals, dominated by a bludgeoning thump.

The final encore was Spectre, written originally as a Bond anthem (but was rejected in favour of Sam Smith’s Writing’s on the Wall) – the only Radiohead song in the set. Unlike the studio version, which is flush with Jonny Greenwood’s orchestral strings, this was just Yorke on keys. The stark precision of his voice, at once calm and vulnerable, and the song’s simple prettiness, made for one of the most moving and uplifting finales I’ve seen.