The well-drilled 90 minute set shows the range of her material,five albums down. She enters toJupiter 4’s ominous,extraterrestrial reverb,and then pulls out Eighties stadium rock chords forComeback Kid,her four-piece band busy with pedals and effects and textures. She goes to Nashville with the sweet old numberOne Day before terrifying us with the witchy new releaseMemorial Days,which comes with bonus tubular bells solo and late-night nightmares. No wonder David Lynch cast her in hisTwin Peaks remake.
The one cover,Sinead O’Connor’sBlack Boys on Mopeds,is raw and vulnerable. She sat alone on the stage and sighed deeply. “If anyone wants to take a deep breath with me,it’s totally cool,” she said. But then on to her new singleSeventeen,which played live shares some of the propulsive energy of the Stevie Nicks’ song by almost the same name.
She finishes the set with her slinky little earworm,Stay,before returning for a three-song encore after a mercifully short interval.
The way the show ends is not with a banger,but a whisper –Love More,the one that builds slowly to a soaring wail,that astonishing voice alone on a darkened stage.