Natasha Khan’s music has been called spooky, ethereal and dreamy but the overwhelming mood at this homecoming show was exultation.
“Thank God I’m alive!” sang Khan at full volume, accompanied by a string section, on the opening Lilies, which set the tone for a UK tour finale that felt a bit special. There was a rare outing for keening ballad Bat’s Mouth and a cover of Fleetwood Mac’s Rhiannon, both performed at her piano.
However, for most of the evening the Bat For Lashes singer was matching her art-pop tunes with a tireless aerobic workout and even physical enactments of her lyrics. Her interpretation of the “two suns are shining” line in Glass added a note of glee to its icy synth-pop.
Khan’s dancing was evidence of a joyous immersion in her songs, which have developed a pop urgency while still being otherworldly.
Oh Yeah sucked us into its queasy groove and surging vocals, Marilyn featured distorted guitar and Khan on theremin, and Rest Your Head’s clattering, ravey flavour sounded ripe for a chart-topping makeover by Calvin Harris.
When she wasn’t leaping around, Khan was blowing kisses to her family on the balcony or brushing off beery endearments.
She may have her admirers but it was the music that enraptured this audience: a hushed silence was maintained for the heart-tugging piano ballad Laura.
Khan hoisted up an old amp to blast out a male choir recording during a fervid rendition of The Haunted Man and returned for an encore of Daniel, a glorious melding of retro synths and cello.
“Really good fun,” was Khan’s verdict, which hardly does this phenomenal performance justice.
