Thom Yorke, Four Tet + Daphni @ The Warehouse Project, Manchester, 2 November

A combination of Victoria Warehouse's 5000 capacity, the necessary stepping up of security with the venue move from beneath Piccadilly railway station in 2012 and an inevitable element of people now attending less to have a good time and more to get completely wrecked have all contributed to an alteration in the atmosphere of The Warehouse Project. This is an event which, despite its size and stature, once managed to fall on just the right side of unsupervised.

Occasionally, however, and with the right line-up, that flush of communal abandon can still overpower; and one of the biggest clubs in the world can feel like a party for these people, at this time, in this place. Tonight, when amid a signature set of awkward abrasions and tripped timeframes, Thom Yorke picks up the microphone and pours the “because we separate” refrain of Reckoner over its fever-dream strings, Room 1 levitates. The silver-tongued thrill that it sends rippling through a suddenly transformed crowd lasts; and by the time Dan Snaith aka Daphni takes to the decks – the starry, pin-pricked backdrop shifting to blasts of jackknifing orange – this vast space has buckled.

Between them, Snaith and Four Tet, by now old hands at gearing a room into first without ever trespassing into the crowdpleasing, work through half of Jiaolong, Kieran Hebden's own new Kool FM and the past couple of years' worth of usual suspects – Joy O's BRTHDTT and Ellipsis, and... OK, lots of Joy O, basically – but pace them in such a way that each feels like it's being given the ceremony it deserves, rather than tossed out like tidbits with so much nonchalance, as they often are at the hands of lesser masters. Four hours in and utterly lost to two of the least cool coolest men in music, the figures caught in this room's yawning black maws are pie-eyed, arms out, and happy to sign off the rest of the year.