Daniel Johnston is an intriguing character. Adored by all who know him, dismissed by all who don't, there is no such thing as a casual fan when it comes to the US indie icon. This helps to explain why there is a queue around the building by 20:00.

The other reason is the position of The Wave Pictures as first support. The understated trio play to a healthy audience on Halloween night, with more than a few dressing down for the occasion. A peculiar brand of subdued yet tight and rhythmic music is aired by the band.

Singer David Tattersall, whose hair has grown alongside his vocal range, is impressive on a lovelorn ode to Johnny Cash and Elvis, which is a highlight with its mournful, playful lyrics. Other tracks fail to reach these heights as the obligatory support show mumbling sets into the crowd, although additional instrumentation adds another dimension.

Nevertheless, the group aren't done, closing with 'Come On Daniel', which is "not about that Daniel," The Wave Pictures profess. A gentle, building number, it offers a light introduction to Laura Marling's short performance.

Despite being able to sell out the Bloomsbury Ballroom, and most other venues, herself, Marling is testing new material on this tour. After satisfying those familiar with her tunes, she plays solo versions of 'Ghosts' and 'My Manic and I', which are politely received.

It is the new tracks that soar though, country-tinged 'Mama How Far I've Come' and the cutting 'No Hope In The Air' performed with freshness and vigour. Dressed in 50s fare in preparation for a hen party later, her five-song cameo is filled with vigour and new-found finesse.

This is in stark contrast to the main event, Daniel Johnston. Sloping onstage in typical inconspicuous fashion, he uncomfortably strums his guitar and gently reels of some forgettable openers. It seems a real effort for him to sing and, despite the obvious enjoyment of most of the audience, there is no spark to get a stranglehold on the stragglers.

The Wave Pictures add some much-needed depth to the set after an interval as they act as his band, with drums, guitars and accordions shaking up proceedings. Meanwhile, The Beatles' 'You've Got To Hide Your Love Away' and a rendition of 'Casper The Friendly Ghost' are spot on.

'Don't Let The Sun Go Down' illustrates why he is held in such high regard, but after the treats of earlier on, it is hard to get involved in the music. While slightly disappointing, Johnston simply reinforces his status a cult hero who is very nervous in the live arena. He is a rather inaccessible enigma and seemingly happy to be so.

6/10

By Greg Rose