Imelda May put on a live show so slickly crafted the audience were treated to a powerhouse of her amazing vocal talent. As soon as she took to the stage, silhouetted in front of her giant backdrop, her distinctive look of coiffed ponytail and 1950s wiggle dress set the scene for a retro extravaganza. Stealing the very best from a musical past that scans rockabilly, country and rock ’n’ roll, she powered through the two-hour set, pausing only to chat amiably with the crowd. “I’m delighted with myself,” she lilted in her native Dublin accent. She is finally where she wants to be – headlining in major venues – and she evidently loves it.

It’s not surprising, though, that she’s got to where she is now. With raw ingredients that include a gob-smacking range, an ability to swing from vulnerable to vixen, pure to predatory and just about everything in between, her performance was theatrical, entertaining and great fun. Backed by her trusty band, led by guitarist Darrel Higham, every song was orchestrated with moments of their individual genius. Dave Prisemans’ crispy brass on Big Bad Handsome Man, Al Gares’ thumping double bass on Johnny Got A Boom Boom and the drum solos were to die for. But always the true star was Imelda May, whether it was the ultra spine-tingling moments crooning Knock 123 or rockin’ out with Tainted Love.

While the predominantly seated audience were appreciative in their own way, it’s possible the cost of popularity will remain the sacrifice of the raw energy and enthusiasm of her earliest fans.