Sublime storytelling

On her first visit to South Africa, she is as comfortable and easy to connect with as if she knew each audience member personally. Such relational generosity is something of a trademark as the singer’s long-term fans and Twitter followers will know.

In what is an ideal setting for such a show please, promoters, put story-telling musicians like this in theatres with good sound where each word and nuance can be heard Vega took the time to explain the provenance of each of her songs.

Themes varied wildly, from panicking when asked a personal question in a doctor’s room (Blood Makes Noise) to feeling a bit spare in a tight community (Left Of Centre) to Tarot characters having an argument (The Fool’s Complaint, one of a number of new songs introduced on the night).

With Vega as the warm, friendly centre of the performance, guitarist Gerry Leonard creates complex soundscapes ranging from the intimate to the squall-strength. He’s low-key, but a sublime musician and the perfect counterfoil for Vega, who either accompanies herself with finger-picked patterns or strummed rhythms on an acoustic guitar not enough to fill all the gaps when it comes to recreating her more experimental work (including audience favourite Tom’s Diner).

The new songs continued the flow of the set and underlined Vega’s enduring appeal as a writer. They felt familiar even though they were being aired for the first time. Look out for Crack In The Wall, I Never Wear White and Don’t Uncork What You Can’t Contain.

Opening act Nakhane Toure boosted his burgeoning reputation, playing to backing tracks that helped fill the large space while not detracting from the strength of his songwriting and some dance moves and stagecraft that suggest an ever-growing confidence in his own abilities.