Charlotte Gainsbourg @ Shepherd’s Bush Empire, London

A tall, lithe figure stands model-esque, centre stage, amid a rag tag bunch of musicians. She is, of course, none too shabby in leather trousers, white camisole and black waistcoat. Yes, Charlotte Gainsbourg is all grown up; has been for some time.

Yet much in the vein of her 10-year-old self (remember the eerie breathiness of ‘Lemon Incest’?), the songs play out like a faraway dream – ‘La Collectionneuse’ feeling especially suited to an 80’s dream sequence. Gainsbourg’s voice is distance and subtly accented as the centre-piece of the track proves to be a sustained “ooh” beneath her silky French tones.

It only seems appropriate, with the venue crammed as it is, for Charlotte to thank Beck, her most recent producer and facilitator of her most recent work IRM: for his work in putting together the band, the songs and the production duties. Initially forgetting where she is, she begins the sentence in her native tongue, before correcting herself half-way through.

This is followed by a crisp intertwine of electronic pulses – very Beck – and Charlotte singing in a nursery rhyme step-like way. As is occasional for Gainsbourg, the subtlety of the performance can mean the energy wanes, but fortunately drums enter just as the track needs a pick-me-up. This builds into a crescendo of ‘las’ topped off with a rock violin.

A pyramid of lighting has eyes transfixed on the stage, as Gainsbourg performs her best Bat For Lashes tune. Hers is a brew of stormy string sliding over a stoically beaten bass drum. Flicking back to her gasping style, she plays a glockenspiel charmed version of Bob Dylan’s ‘Just Like A Woman’ which has the whole room in love with the siren.

Giving out her thanks – Gainsbourg then concludes that she has been lucky to work with Beck, Air, and “some of the best repertoire, my father’s”, not to mention the recovery from her cerebral haemorrhage which inspired this beautifully reflective third album. But it’s with the songs of yesterday at her heart that makes her saunter into ‘Couleur Café’ and its samba refrain for the finale to her encore. She hasn’t really dug her own ground until now – who could from the legacy of Serge? – but with the Beck co-owned project there’s a bit of an individual spark alight.