Tuesday night offered a brief, yet insightful, glimpse into the world of Massachusetts-based singer/songwriter Marissa Nadler. Hers is a place of dreamy-folk music underpinned by a darker baroque and, at times gothic, quality which, to these ears, makes for a voice to watch out for.

Using three microphones to create varying degrees of dissonance, her preferred, and the most successful, was the middle stand which had the reverb turned up just enough to give a sufficiently eerie and haunting quality to what might already be a fragile voice. The effect was wholly mesmerising.

For the uninitiated, points of reference might include Jeff Buckley, Hope Sandoval, Joan Baez or perhaps Elizabeth Fraser. Her voice is one which freely and, without fear, soars with the angels, but underneath there is a darkness. Without doubt, her overshadowing influence is Leonard Cohen, with whom Nadler shares not only a stylistically similar vocal phrasing but a narrative songwriting and storytelling thread.

The set included a selection of songs from her highly recommended third album, Songs III: Bird on the Water, including the wonderful Diamond Heart and Leather Made Shoes. For an encore she invited us to enjoy an unlikely segue of Bruce Springsteen's I'm On Fire and Townes Van Zandt's Tecumseh Valley. Not only did she turn the Boss's tune on its head by offering an utterly beguiling harlot-like perspective to his outwardly macho tune, but she managed to evoke the wayward spirit of Van Zandt as well. Marissa Nadler's star may still be young, but it is definitely in the ascendant.