Michael Nyman has set out on his first tour as a solo performer, calling it "The Piano Sings". It's hard to know whether the title is meant ironically, for floating long, lyrical melodies have never been high priorities for Nyman as a pianist. The driving, abrasive sound of the Michael Nyman Band is founded upon his propulsive piano playing, which has always valued rhythmic vitality over everything else. In these concerts, though, Nyman is playing extracts from his film scores over the last 10 years, going back to the original piano versions of music that was orchestrated for The Piano, The End of the Affair, Gattaca and Wonderland.

Nyman threads his way though a sequence of unidentified pieces (true buffs would no doubt be able to assign them to the correct movie) whose melancholy melodies, often modally-tinged and built out of collections of adjacent notes, are steadily unfolded over sustained chords in the left hand. It's all presented in a unassumingly simple way; this is Nyman presenting himself as a latter-day Satie, rather than a fully paid up minimalist.

The highlights of the programme, though, are the scores Nyman has composed to accompany a pair of 1920s silent films. Paul Strand's portrait of New York, Manhatta gets the most interesting music of the evening, a rhythmically complex piece for two pianos in which Nyman duets with his recorded self, while the music for Jean Vigo's A Propos de Nice, has a much more langorous feel, centred on a lazy, Ravelian waltz theme. It's pleasant enough, but really an occasion for fans of Nyman the film composer.

· At Philharmonic Hall, Liverpool, tomorrow. Box office: 0151 709 3789. Then touring.