It’s easy to see why Agnes Obel used to suffer stage fright.

With her delicate vocal and sparse piano there is nowhere to hide; a duff note would sound like foghorn in a convent.

But the perfectionist streak which hampered her confidence a few years ago is now beginning to pay off.

Once her vocal chords had warmed up out came the crisp, tone-perfect voice, as strong and as moving as Martha Wainwright’s as it hovered over her impeccable piano playing, which has the lush touch of English minimalist Michael Nyman.

Tracks from her two albums were reworked with clever arrangements. Three extra vocals from her “United Nations” of back-up musicians matched Obel’s tone. Their creative approaches to string playing turned several tracks from 2013’s Aventine into hypnotic, driving numbers, as outros were built up into thick rousing, powerful layers from looping violins and cellos.

A new one - up-tempo and evoking Arcade Fire - suggested Obel is feeling more expansive and ambitious. Covers of Elliott Smith’s Between The Bars and John Cage’s I Keep A Close Watch were pleasant rather than touching – unlike the rest of the performance.

I can’t have been alone in wanting to have her sing me to sleep with a few more of her own angelic lullabies.