Björk is not the only person to have spoken out about Tibet in recent weeks, but she is certainly the most colourful. Having dedicated her stirring song Declare Independence to Tibet, Kosovo and Scotland in the past, at her first London show since 2003 there was no suggestion that the people of Hammersmith should also consider going it alone.

Nevertheless, a nation ruled by Iceland’s biggest star is a tempting thought. Marching onto a stage decked in banners with animal motifs, it was as if Hogwarts had a new headmistress, and this one was dressed as an Easter egg.

In a spirited attempt to pin down a sound that could form a suitable frame for the most unusual voice in pop, she was followed by surely the most diverse band ever to fill the Apollo’s stage.

There was musical director Damian Taylor, playing a succession of touch-screen electronic devices apparently modelled on Asteroids and Tetris. Malian special guest Toumani Diabaté coaxed marvels from a traditional kora on Hope. Jónas Sen, in suit and tie, played church organ and harpsichord.

Meanwhile, a 10-piece, all female brass band, The Icelandic Wonderbrass, blew and danced and waved flags while togged up for a psychedelic version of the Battle of Agincourt.

Björk does not really go in for crowd-pleasing, but a set that omitted most of her best-known songs still managed to be fantastically uplifting as silver confetti exploded, green lasers pinged around and flames burst from behind the tuba player.

The high spirits of latest album Volta dominated, from the tribal R&B of Earth Intruders to the frantic, driving synths of Wanderlust. The latter’s repetition of the phrase “relentlessly restless” was a neat summary of the whole show.

The odd calmer moment offered pauses for breath, including a stunningly beautiful Jóga and The Anchor Song, just her voice and the muted horns in a semi-circle around her.

Another ballad, The Dull Flame Of Desire, featured guest Antony Hegarty of Antony And The Johnsons, perhaps over-doing the exoticism by introducing a second voice almost as otherworldly as her own.

The colour, the spectacle, the futuristic pageantry of it all was frequently overwhelming. Bjork has never seemed quite human, and here it appeared she really could do magic. During Hunter she shot long bursts of string from her fingers, leaving everyone gladly entangled in her wondrous web.