“Briefly” from the appropriately titled “Music for Animals” has a pattering electronic beat that sounds like droplets overlaid with his Harmonium that then uses the loop to create a trance like state. The loop is incorporated very subtlety. With “Spells” he grows ever more animated. Laying his piano over a more urgent beat, his body in a state of kinesis – almost melding with the music. The precocious “Hammers” is introduced as his last song. It is a Piano piece that builds and builds in its intensity, closest to a piece of classical with its flourishing crescendo.

He quickly punctures the audience’s disappointment by joking that it will be the last song before he goes off stage for a glass of wine and then return for the encore. Knowingly breaking the fourth wall.The opening chords of “Says” are greeted with rapture. Syncopating synths with pianos overlaid, pulse like initially but then building into a great wall of sound. Each shift in tempo and transition brings its own form of reward.

“Toilet Brushes” is another Nils favourite where he creates its signature sound by using… toilet brushes – on the innards of the piano. Conjuring a unique percussive sound. He finishes with the beautifully delicate “More” from “Felt”, a track who’s pattering notes replicates raindrops with its piano and xylophone. The delicacy of this track was engendered during an era when he had to literally cover the piano hammers in felt so as not to disturb his neighbours.

He often feels like a mad scientist in his omnivorous approach to music and his unique engagement with the audience. During his Sunday matinee performance he jokes that it will only be culture lovers there during his evening performance given that it clashes with the football. This is modest though, football will disappoint you at least some of the time. Nils, in his devotion to sound, will never.