Four Tet puts his four-hour Alexandra Palace set on Apple Music

Four Tet has released the complete recording of his 22 November 2025 DJ set at Alexandra Palace on Apple Music. The mix runs for four hours and 25 minutes across 57 indexed tracks, preserving an entire evening from doors to close in the Great Hall rather than chopping it down to a neat festival-sized hour.

Four hours is where the interesting decisions start showing up

Kieran Hebden has never been particularly interested in keeping DJ sets tidy. His longer sessions can move through house, techno, UK bass, garage, ambient passages and records that make perfect sense only after the previous three have softened the landing. A four-hour archive gives that approach enough room to be heard properly: early-room pacing, mid-set detours and the decisions made once the crowd is fully locked in.

That matters at Alexandra Palace because the room is enormous and Four Tet played without a support act. The original event ran from 18:30 until 22:30, placing the full arc of the night in one pair of hands. There is nowhere to hide in that format. The first records have to make a nearly empty Great Hall feel intentional; the final stretch has to land after thousands of people have already been dancing for hours.

The Apple Music version keeps the whole night intact

Apple Music lists the release as a 57-song DJ mix dated 22 November 2025. The total runtime is slightly longer than four hours because the indexed presentation preserves transitions across the recorded set. Rather than serving up a highlights reel, the platform has kept the scale of the original performance. Headphones, sofa, train journey, accidental kitchen rave — choose your own four-hour commitment.

The release also joins a growing run of full Four Tet DJ recordings on Apple Music, including sets from Toronto, Lost Village, Lightning in a Bottle and The Warehouse Project. That archive gives listeners something studio albums cannot: a record of what Hebden is actually playing out, how quickly his selections change and which older tracks stay useful long after their release cycle has finished.

The production was designed around the middle of the room

The photos from the November show underline how different the setup was from a standard end-stage concert. Lighting and production designer Ed Warren built a hanging visual structure that stretched into the Great Hall, using beams and suspended elements to shape the space above the audience. Four Tet’s large-room shows have often treated the crowd area as part of the visual composition, and this edition continued that approach.

For a DJ set, that is a useful choice. There is no singer to follow around the stage and very little reason for thousands of people to stare at a pair of hands over a mixer all evening. Moving the visual focus into the room gives the music somewhere to expand without turning the booth into theatre.

A live archive is more useful than another polished recap

Full-length DJ recordings are still oddly inconsistent across electronic music. Sets disappear behind temporary streams, rights issues trim sections, and track IDs often survive longer in comments than the audio itself. Apple Music’s DJ-mix format deals with licensing at track level and keeps the session attached to an artist catalogue, which gives this kind of performance a more durable home.

There is no new tour announcement hidden inside the release and it does not need one. The appeal is simpler: one of the UK’s best-known DJs has made a very long, very specific night available in full. If you were there, it is an unusually complete memory jog. If you were not, four hours and 25 minutes is enough to get considerably closer than a 90-second phone clip ever will.