Born in Ivory Coast and now based in France, Dobet Gnahoré is a striking-looking, highly theatrical performer with a style that blends west African influences with western pop and includes anything from ballads to funk and dance tunes. She is also an impressive, energetic dancer and an effective percussionist. But she needs more distinctive settings for her often socially concerned lyrics, and a more sympathetic backing band.

She began with Djoli, a pleasant, drifting electro-pop ballad from her recent album Miziki, and it was soon clear she would not be helped by her keyboard player, who added anything from mbira-like effects to thumping bass lines, and a guitarist and drummer who clearly couldn’t wait for their solo spots. Their full-tilt approach may be necessary on the festival circuit, but in this intimate setting it rarely allowed her to show the more delicate, soulful side of her work.

As a result, her increasingly rapid-fire dance routines and theatrics were often more interesting than the music. She carried a calabash in a tribute to African women, and threw fake bank notes across the stage before announcing that love is more important than money. She used masks as props in the cool, drifting La Clé, and showed off her drumming skills on Education.

The best songs were left until the end, and included the emotional ballad La Source, the final, stomping Miziki, which brought the audience to its feet, and then the encore, Palea, from her second album more than a decade ago. Now, at last, the band eased off, with welcome results.

• At the Hubs, Sheffield, on 16 October. Then touring until 20 October.