Not many shows happen at the Palace Theater. It’s a blink if you miss it venue, tucked in and among the theaters and jewelry shops on Broadway, and an appropriate setting for a gem of a show Thursday night, Angel Olsen with Vagabon.

By its end, it was an enchanting three-hour journey, where each artist mesmerized with her own witchy powers.

Vagabon anointed the evening with a refined nine-song performance. Despite her shy disposition (and a tendency to remain tethered to the area immediately behind her microphone), the Cameroonian-born Laetitia Tamko melded the organic and the electronic to conjure a captivating set.

With Vagabon presenting with more a whisper than a shout, her gentle resolve underscored sentimental yet dancey tracks chronicling the love experience. The 26-year-old former computer engineer’s songs seem to evidence a quest for acceptance and evolution in the aftermath of unrequited love.

Early on came 2017’s, “Minneapolis” and the back breaking “Cold Apartment.” When set aside the dreamy electro leanings of some of the new tracks on her self-titled LP, “Minneapolis” gave us the punkier side of Vagabon.

Understated production only helped the set; subtle twinkles from a light rig barely registered in the haze floating above the band but below the rafters.

A mid-set run of four Vagabon tracks showcased the range of the artist’s current palette.

The romantic and erotic “Flood” churned with subterranean skronk, while the lyrics of the looping slow roaster “Secret Medicine” belied the communal feel in the room. With a rapt audience dangling from her finger, Tamko herself confessed, “I don’t feel a thing.”

“Water Me Down,” perhaps the best selection off the LP, harnessed a wise-beyond-her-years tension and release to arrive at a toe-tapping groove. The song’s sonic backbone recalls a mesmerizing strain of the electro meditation found in Chairlift’s “No Such Thing as Illusion.”

Vagabon later constructed a digital loop in “In A Bind” with a menagerie of bass-y bricks that induced a trance with two-syllable primal utterances of “uh huh.”

Tamko welcomed Angel Olsen to help on new song, “Every Woman,” though she did not introduce her guest by name. The introduction (or lack thereof) was fitting for a battle cry of a song that laments, “all the women I meet are tired,” before declaring with defiance, “I belong to no one.”

Angel Olsen returned to reclaim the stage as her own, sans the draped covering that she had worn for the guest appearance only a half hour prior. Now clad in a black sparkly gown, and crowned with a NASA wife’s bouffant, it was as if she stepped off the silver screen in to a ball of her own making. If there were justice in this senseless world, Angel Olsen would sing the next Bond song.

Standing in front of a black and white backdrop that depicted an elegant staircase, the set time traveled to and from bygones eras; those of smoky lounges and jazz standards. Las Vegas or even Atlantic City.

The trip frequently diverted course to go full throttle overdrive with straight up rock climaxes, as if My Morning Jacket found a front woman (“Sister”), or if Nirvana found theirs (“Sweet Dreams”).

The steely drone of “New Love Cassette” employed cello strikes, ones that could have leaked out from A Moon Shaped Pool. Early selections “Spring” and “Impasse” (both off of Olsen’s excellent 2019 LP, All Mirrors) rode moody builds to soaring solos (the former) and thundering outros (the latter). The next track, “Lark,” exploded with both in a fit of rage about being unable to erase “old times.”

With a not-sure-what-to-do audience electing to remain seated for the performance, it’s safe to assume that no LA crowd has experienced a bona fide face-melter like this in quite some time.

But The Angel Olsen Band flaunted range and a rare alchemy, shifting from the aforementioned rockers to the deliberate ascent of “Tonight,” with bent and bowed cello notes invoking tenderness with a cinematic and subtle sway. Each song, especially the quieter numbers, were gracefully played through to the last drop.

In spite of the austere aesthetic at play, Angel’s quips to the audience between songs kept things light: “I want to be inside of you,” she mentioned casually.

Despite the propensity to engage with the crowd between songs, it felt impossible to imagine her operating in daily life, or even in daylight for that matter. When not flirting with the Palace Theater, Angel Olsen pivoted in song to cast dark Stevie Nicks spells over the entire room.

In 2016’s “Shut Up Kiss Me,” Third Man-approved yellow and black back lighting matched vicious snare hits, their flashes imprinting real time tin types behind eyelids.

The chosen set closer was a jazz standard once made famous by Mildred Bailey, “More Than You Know.” With all accouterments abandoned, Angel Olsen sat at the piano for a final act of her dark powers.

But the song came in a box, tied with a bow. Angel’s falsetto performed one last high wire act, like a ribbon curled.

Vagabon setlist

Cold Apartment
Minneapolis
Secret Medicine
Water Me Down
Flood
In a Bind
Every Woman (with Angel Olsen)
Don’t Blame it on The Moon (Esther Rose cover)
The Embers

Angel Olsen setlist

New Love Cassette
All Mirrors
Spring
Impasse
Lark
Summer
Tonight
Special
Shut Up Kiss Me
Sweet Dreams
Sister
Endgame
Pops (solo piano)
More Than You Know (standard)
_____________
Chance
True Blue (Mark Ronson cover, with Mark Ronson)