Alison Goldfrapp is, like Jarvis Cocker, Kate Bush, Morrissey and Mark E Smith, an English original, a one-off worth celebrating.
She may not be in the Tori Amos pig breastfeeding league of kooks, but she's every bit as good.
Goldfrapp - the band - is a duo with multi-instrumentalist Will Gregory, but on tour he takes a back seat (literally), leaving the spotlight to Alison and the backing band of six.
(He was nowhere to be seen - for all we knew he could have been at home watching Italy v Spain).
On the others came to the stage at Symphony Hall - which was dressed to resemble a cross between a village fete and the set from The Wicker Man.
A maypole topped with a deer's antlers, bunting, strings of lights - and a wicker fence-look backdrop.
All that was missing was a few jars of scrumpy and a tombola.
It set the scene well; new album (their fourth) Seventh Tree is all very pastoral and gentle, with far more in common with debut album Felt Mountain than the sleazy electronica of Black Cherry or the rockier Supernature.
Barefoot, Goldfrapp was dressed in a short pink bat-winged dress complete with pom-poms, while her band were all in white, the girls on harp and keyboards in matching smock dresses, looking like they'd just dropped in from the local druids convention.
The singer herself, despite claiming lack of sleep the night before, was on top form; her soaring voice made for venues likes Symphony Hall, ranging from operatic warble to sultry lower scale huskiness.
Unsurprisingly, the majority of the set was made up from Seventh Tree; kicking off with album opener Clowns and single A&E, alongside the haunting Utopia (from Felt Mountain), the gig took some time to get going.
The last time the band played Birmingham it was at the standing room only Academy - and they were promoting a much rockier album; on Sunday night Goldfrapp seemed a little intimidated and overawed by the venue, but desperate for the audience to get up and dance.
As the gig built up in tempo, the crowd finally got the chance - and courage - with the fabulous Ooh La La and Caravan Girl, arguably the most upbeat track on the new record.
The setlist could do with tweaking before their next gig, however, and take out the slower paced number near the end, to prevent the 'stand up, sit down, stand up...' gymnastics in Brum.
Everyone was just getting into the moment when after just 50 or so minutes, the band were waving their goodbyes, returning for an encore which included the wonderfully sexy Strict Machine and Train (both from Black Cherry).
Not weird, but a little quirky. Wonderful - definitely.