This tribute to the late iconic beat poet Allen Ginsberg by minimalist demigod Philip Glass and grande dame of punk verse Patti Smith was steeped in spirituality. Smith told the audience that she and Glass shepherded Ginsberg through his last rites, and that he was still a strong presence in their lives. When Smith delivered one of her mentor's most provocatively unseating lines - "The asshole is holy" - she vividly captured the essence of the "naughty Buddhist". He may have been guffawing somewhere in St Luke's vault. Duality - reverence and irreverence, embrace of the everyman and rebuke of oppressive rule, gravity and levity in the poetic voice - defines Ginsberg's aesthetic, and Glass and Smith showed an innate sensitivity to this.

At the piano, Glass was a model of Satie-like economy and precision, the delicate sustain of his chording releasing serene ripples of sound through which Smith coursed like a swimmer confronting an ocean liner. Where Glass held his expression in, she pushed hers out, driving that trademark sorceress tone towards combustion and explosion, bathing Ginsberg's quotidian but charged images of old men stopping for tea and gas on highways in a tide of emotion. At times, her voice cracked movingly. At times, she sounded like Dylan.

In addition to the duet, each artist did short solo slots. Glass' Piano Etudes reflected his ability to draw tone poetry from smart conjunctions of high register micro-melodies and gong-like bass figures, while Smith, joined by her longstanding guitarist Lenny Kaye, brought primal lyricism to several profound folk elegies. The highlight was dedicated to the monks of Burma. Ginsberg would have bowed beatifically.