His round of concerts this fall have been much livelier than the ones in the past few years, with extended dance segments merged with more introspective material. However, as he says below, he felt he’d reached the end of that particular thread and brought back the clattering noise and angular beats of his earlier work, fusing it with his more-refined songwriting on his latest album “Playing Robots Into Heaven,” which actually is a solid impressionistic description of what the music sounds like. His music shifted dramatically in 2013 with the release of “Overgrown” and the song “Retrograde,” bringing a more-soulful groove to his previously cold and static beats, and for his next three albums he pursued a more songwriter-y muse, continuing with electronic experimentation while showing the influence of the masters he’d grown up on, like Joni Mitchell and Leonard Cohen. For the past dozen years, British singer-songwriter James Blake has been one of music’s most influential and compelling outliers: a classically trained pianist with an equal love disruptive beats and electronic noise a heart-rending singer whose high, reedy voice can ace a Joni Mitchell song and light up hip-hop hits by Travis Scott, Kendrick Lamar, Frank Ocean, Beyonce, Kanye West and Jay-Z a serial collaborator who’s worked with singers from SZA to Rosalia and beyond.