Following a rash of recent activity from the brothers Hartnoll, including a lavish vinyl and CD collector’s reissue of their groundbreaking 1991 debut LP Orbital and a series of limited-edition 12” EPs featuring early singles, it was time for the UK leg of Orbital’s colourful-sounding Green and Brown Tour to commence, having recently returned from California’s Coachella Festival.

While the original idea was to play only the debut album in its entirety, including some tracks never before played in a live environment, the band have made their own, this was later expanded to include a second set featuring the progressive techno of their second LP – also called Orbital (the fan-base coining the terms The Brown Album and Orbital 2 to distinguish it, as they had with The Green Album).

So, to Exeter University’s Great Hall. By estimation, it has been some twenty-five years since Orbital last played here, back in the days of the Middle of Nowhere album in 1999. Welcomed back older, wiser but no less lacking in their love of live performance, Paul and Phil bounded on stage after a build-up of climactic synthesised white noise – Phil emitting a “never say die” raver look, with bare feet and pendants, Paul taking the role of the smartly-dressed “elder statesman of electronica”, both emitting the twin rays of light from their trademark headwear (please send in a postcard if anyone know of the definitive name for such pieces of equipment!).

The set-list was, as should be expected with an ‘albums in their entirety’ gig, pretty easy to predict. Opening with the Star Trek sampling ‘The Moebius’, the presentation of the tracks was both faithful to the source material, and yet still felt fresh and up-to-date; evidence of the forward-thinking duo’s approach to bringing rave music to the masses back in the early nineties and the wonders of modern equipment and instruments that can both recreate but give a present-day sheen to proceedings.

In this respect, they are reminiscent of electro-pioneers Kraftwerk, who famously digitized and updated their entire studio, before taking a travelling version of it on the road to recreate their songs so precisely. At no point did any of the material feel old-fashioned or in need of renovation, and the minimal yet atmospheric backing videos and effective lighting and strobes only added to the experience.

Notable highlights of the first set included the frenetic ‘Oolaa’ – complete with the sample from Jeff Wayne’s musical version of The War of the Worlds, the insistent opening peals of ‘Chime’, which the crowd went crazy for, the darker-sounding, and very underrated ‘Midnight’ and the classic come-down anthem ‘Belfast’.

It’s great to see that Orbital in no way regard the tracks that helped them make their name so long ago as millstones or “those songs they have to play” that people would otherwise riot over if they were not included in a set-list. Their enthusiasm and ability to draw energy from the crowd is admirable, even though they’re over a third of a century older than when these tracks first came out.

After the rollercoaster of a first half left proceedings suitably blissed-out, it was time for a short interval (accompanied by a vintage film of what appeared to be a village fete!) and a top up of drinks from the bar before part two. Here, we got the second Orbital album, again in full, beginning with a pre-recorded tape of the intro track ‘Time Becomes’ – an in-joke the brothers included which aped the beginning of their debut album to make people think they’d bought a faulty pressing of the album!

What is evident from hearing both albums back to back is the clear progression and evolution in sound. Even by 1993, some three-or-so years after first recording, Orbital were already leaving the rave days behind, crafting more intrinsic, thoughtful techno and electronica, expanding the melodies into longer, more elaborate compositions. ‘Planet of the Shapes’ is the gatekeeper to all this, with its scratchy Withnail and I sample of “even a stopped clock gives the right time twice a day…” and menacing synth chords.

The invigorating and extended ‘Lush’ followed, leading straight into the superb environmental anthem ‘Impact (The Earth is Burning)’ which manages to sound infinitely euphoric and dramatic in equal measure. Ending with yet another anthem that was delivered so early in their career (‘Halcyon’) Orbital leave us content in the knowledge that not only are they one of the most revered live acts, but their albums – skillfully crafted and rounded out – remain up there with the best that have been committed to tape.

With both albums delivered, and the band returning the love and admiration from those in attendance, you’d be forgiven for thinking that was that. But no – returning for an encore, we got a few more gems including ‘Dirty Rat’ from their most recent album Optical Delusion, and of course, ‘Satan’ – which this reviewer completely forgot had not been an actual album track on the debut album, with its inclusion as an encore providing a climactic ending to the evening.

What’s that old saying? “You can’t teach an old dog new tricks?” – maybe not, but in Orbital’s case, old dogs or not, when the tricks they’ve got up their sleeves are this good, you don’t necessarily need new ones. Anyone up for a joint Snivilisation/In Sides tour next?

The Green and Brown Album Tour continues through the UK until May 5.

‘Orbital’ is reissued as a 2LP/4LP/4CD+hardback book with unreleased bonus material, and is out NOW.