Bat For Lashes are regarded with curious awe, particularly here in Natasha Khan’s home town of Brighton.

An audience that just minutes ago were unselfconsciously singing along with support act Yeasayer, suddenly focused in reverential quiet as Khan took off her shoes to begin the set.

The ethereal multi-instrumentalist presented a much more energetic, Bjork-like clash of sounds than the subdued Corn Exchange show she played in April, confrontationally shining strobe lights into the audience for Two Suns.

Khan was assured on stage, stomping and leaping, doubling over and howling into the microphone with fists clenched on the thudding incantation Trophy.

In her scarlet party dress she undulated sensuously with a string of bells on slow-building Tahiti, as if intoxicated by their resonant chimes, singing in eerie, Tori Amos-style modal harmonies.

The sacred ambience of flickering fairy lights draped around the set was matched by hundreds of glowing mobile phone screens throughout the auditorium.

Daniel was genuinely moving, Khan’s voice soaring above the versatile band.

The dynamic beat was provided by electronic drum pads, kettledrums and various percussion instruments. Layered with autoharp, fuzzy synthesisers, keyboards, guitars and the rasp of strings, the group can create immense and endlessly-evolving soundscapes.

For their encore, a TV screen was wheeled out and Khan sang a duet with her white-wigged alter ego.

Bat For Lashes are, clearly, the accessible face of experimental music-making.