The house lights start off too bright for tonight’s Bat For Lashes concert. How can she draw us into her glorious, otherworldly, liminal dreamscape? After a polite request from Natasha Khan (magnificent tonight in mutton leg sleeves and a white pleather bodice mini-dress), the atmosphere is adjusted for her dark celestial odyssey. It’s a journey via Los Angeles and Brighton, crossing the threshold between 80s pop and mystical folk, meeting aliens, vampires and sceptres, as well as ‘Daniel’, ‘Laura’ and ‘Sarah’, three hits from her now almost two decades-deep back catalogue. 

Delphi is the through line for the ethereal show though; her longed-for daughter, born in 2020 and the inspiration for this year’s album The Dream Of Delphi. Motherhood, submission to utter devotion (while also missing going out clubbing) and her child’s divine place in the cosmos all feature in Khan’s lyrics, accompanied by crisp piano, icy synth stabs and a wooden staff, pounding slowly and heavily on the floor. 

Longstanding bandmates, guitarist Charlotte Hatherley (of Ash fame) and keyboardist Laura Groves, join in as she carves lines in the air with minimal, interpretative dance moves. Khan’s vocal hits angelic highs, despite just getting over laryngitis. Hugging her bandmates before disappearing into the ether, she seems genuinely moved by the crowd’s warm welcome. Exquisitely witchy, tenderly told pop ballads from a time-travelling goth storyteller. 

Bat For Lashes reviewed at Queen’s Hall as part of Edinburgh International Festival; main picture: Jess Shurte.