He has been a pre-eminent pioneer of of art-fringed world music infused pop music since the 70s, and even now in his more senior years Peter Gabriel is still an extremely intriguing and unique stage performer, and his I/O show delivers an epic experience that engages all the senses.

Right from the off you know you’re in for something a little different as Gabriel appears alone on stage in the most understated of manners, looking akin to a medieval scribe, which is fitting as he launches into a treatise on time and imagination – not the last time he’ll touch on those and a variety of subjects including AI, love, exploitation, and our place in the world. He is then joined by Tony Levin front of stage at a faux campfire installation for an intimate fireside rendition of Washing of the Water. Levin employing a twelve string Chapman Stick from which hypnotic bass sounds emanate. The remainder of the band then join the fireside gathering for a gorgeously tribal Growing Up, with sublime jazzy trumpet from Josh Shpak.

Then it’s time for the spectacular visuals to kick in as we are treated to Panopticom and the title track from ‘I/O’, his soon to be released new album, a menacing swirling red whirlpool hovers above the stage which morphs into an unsettling ever-watching giant eyeball. Digging in the Dirt is an absolute delight, the first real crowd-pleaser of the evening, and Gabriel is clearly having a great time on his first visit to Dublin in nearly a decade.

Playing for Time is a beautiful torchsong lament, which segues into Olive Tree, another stunning new song, whilst there’s a heartfelt dedication to former President of Ireland Mary Robinson (who is in the crowd) before settling into This is Home.

Sledgehammer brings the first set to a close with everyone back up on their feet. It might be nearly 40 years since we were first treated to its groundbreaking video but it is still a joyful tour-de-force, with band and frontman gleefully funking it up, there’s even some very nifty synchronised footwork from Gabriel, Levin and lead guitarist David Rhodes.

A brief respite sees a screen descend in front of the the musicians and is used to startling effect once they return – casting foreboding spectres and shadows during Darkness, but then employed as an evolving artwork seemingly painted by Gabriel, mirroring his delivery of the hauntingly elegant Healing.

Road to Joy the sixth track to be released from the upcoming album sees the band erupt into an explosion of energy, before we witness a divine version of the classic that is Don’t Give Up. Building delicately with Ayanna Witter-Johnson performing the Kate Bush vocal part to perfection, a triumphant conclusion sees singers and audience in almost symbiotic unison.

A startlingly scarlet-bathed stage sets the scene for an intensely primal Red Rain, driven by the mesmeric drumming of Manu Katché, whilst we move to more serene ground for And Still which Gabriel dedicates to his Mum, a sumptuous track with the fragile strings of Marina Moore and the multi-talented Witter-Johnson absolutely transfixing.

Then it’s time for Big Time another funky pop-fueled party piece with Gabriel bestriding the stage and showing that he still has some moves, despite as he says himself “he might be some years older and a little heavier“.

Solsbury Hill brings the curtain down on the second set of the night – a whirligig of joy, before we are treated to not one but two encores. In Your Eyes might just be the purest encapsulation of Gabriel’s career, perfectly marrying his pop, art and world music sensibilities, and the exceptional musicians that form his band execute a simply magnificent performance of it.

The night is brought to a heart shattering close with Biko still remaining as majestically emotive as ever, and its powerful coda echoes deep in to the night as Gabriel and band leave the arena one by one after treating us to a colossal night of musical brilliance and visual spectacle.