Apart from the high of performing, the touring experience for small-to-mid-sized bands these days is all about small victories. Canadian gothic country singer Ora Cogan broke her own spell for a moment to espouse the joys of more-than-a-service-station Tebay, and there was surely an additional satisfying glow in knowing that her Glasgow show had been moved to a larger venue.

Cogan’s sound is a dark psychedelic folk melange but actually very soothing and mesmeric in execution by a full band, incorporating keys and violin, plus lashings of echo on her already alluring voice. Her music undulates from the ethereal to the earthy, even in the course of one song. Opening number ‘Lucile’ featured spacey synths, like an alien contact, alongside creaky fiddle. The group were joined by Matthew Broadley from support act Greet for the languorous Mazzy Star twang of ‘Cowgirl’ while ‘Holy Hells’ was a lysergic Californian canter in the vein of The Doors or Jefferson Airplane. New song ‘Division’ began with a stoner rock doomy clang but developed as a sultry incantation with the bass picking up pace, volume and urgency as the song progressed.

The needle swung back to folk rock on ‘Crickets’ with its dual fiddle and Pentangle vibes but the band’s jamming instincts were roused again on space raga ‘The North’ from new EP Bury Me. There was seemingly more to come beyond the rockabilly rumble of ‘Feel Life’ but Cogan and co were foiled by the pesky curfew.

Ora Cogan was reviewed at Stereo, Glasgow.