There are two types of people - those who love Agnes Obel and those who have never heard of her. I’m firmly in the former camp, but if it weren’t for Cardinal, a little-known Canadian noir drama on BBC4, I’d almost certainly be in the latter.

Most people probably discover the Danish musician’s beautifully ethereal music the same way - it’s also been used to soundtrack the likes of Grey’s Anatomy, Big Little Lies and Vigil - which is just as well, as she’s a bit tricky to pin down in terms of genre, or track down on the radio. After all, is her music contemporary classical? New age? Chamber pop? Electronica?

In truth it’s a hybrid of all of the above, as this astounding performance at Symphony Hall amply demonstrated. Backed by a three-piece all-female band, Obel performed selections from all four of her albums during a set she claimed had changed dramatically in the two years since the original gig was postponed due to Covid. That might have disappointed those keen to hear more of her 2020 album Myopia, but the mix of old and new material worked perfectly, showcasing Obel’s wondrously otherworldly vocals as well as her development as an artist, moving away from the Satie-influenced piano balladry of her early work to the denser, more dynamic electronic soundscapes of Citizen Of Glass and the aforementioned Myopia.

The 90-minute performance was also the perfect showcase for the mercurial talents of her insanely-talented backing band. Dressed all in white, the two cellists and percussionist not only added vocals but triggered samples and provided live looping of their instruments to create stunning layers of sound and vocal effects. Throw in some kaleidoscopic-style movie sequences on a big screen backdrop and the overall effect was intoxicating, the intense recital-style performance generating genuine musical drama as nearly every tune built to a crescendo before a pin-drop ending.

The hushed audience and pristine acoustics only heightened the impact, and while Obel joked that Symphony Hall’s original conductor Simon Rattle was the ghost she sings about in Island Of Doom, she was clearly awestruck by the venue and genuinely emotional by the end of a show she admitted might not have taken place. She told the audience she’d considered quitting touring during lockdown, but after a wonderful night like this hopefully she’ll be as grateful as we were that she chose to carry on.

Four stars

Reviewed by Steve Adams at Symphony Hall, Birmingham, on Monday 12 September