Outside during the interval, ripples of chatter passed between audience members over what they had just seen.

Piccadilly Nites Version 1 is the first “audio-visual single” to be released on a joint record label owned by Noise Of Art and the British Film Institute.

Footage from E A Dupont’s 1928 film about night life in roaring 1920s London is unsympathetically spliced-up, looped and overlaid with the sort of repetitive, amateurish graphics that come free with computer software – swirly circles, bursting daisies, that sort of thing.

Les Hommes Du Train Vs Overlap provided a remixed live soundtrack to the film.

In style, sound and scale, the experience seemed better suited to a dark, humid nightclub than the solemn grandeur of the Dome Concert Hall.

The remix was driving and wild, at times a little too much. Were it not for the awful “funky” visuals playing behind the band – did the creators not remember early 1990s clubbing? – it would have been more than engaging.

Opinion was divided, at least among the chilly smokers, and we felt slightly hostile towards what was to follow.

The Oyster Princess, Ernst Lubitsch’s 1919 silent satire on the American bourgeoisie (and the night’s main feature), had mercifully been spared any 21st-century meddling.

The film tells the story of a spoilt, diva-ish princess who wants a husband. She smashes vases in frustration until daddy (an oyster tycoon named Quaker) promises to buy her one. The princess is appeased, but in their rush to find her a prince, she ends up marrying an idiot.

The film was given a fittingly witty, irreverent live score by Belgian “avant big band” Flat Earth Society, who gamely made bleating noises into mics, clattered drums and exploded into riotous noise in time with the action on screen.

Charming, but as a live experience, underwhelming. The band’s talent was stifled by the constraints of the format and the film, while amusing, was not enough to compensate.