Norah Jones last played London in 2004, when her slow, inoffensive songs sent this reviewer to sleep.

What a difference three years make. The Snorah of old - the one who hid behind her piano, saying little - has been replaced by a vibrant entertainer with real musical integrity. "I slept till 1pm today," she announced, punching the air. "So I'm dedicating Sunrise to myself."

This wasn't the version fans were expecting. Amid primary-coloured mood lighting, Jones reworked her biggest hits with a flair that got everyone sitting to attention.

The opener, Come Away With Me, saw her playing electric guitar instead of trademark piano. Buoyed by the first-rate Handsome Band, five multi-instrumentalists on everything from banjo and flute to lap steel and double bass, she riffed like Bonnie Raitt but still stayed true to the song. I've Got To See You Again, however, was virtually unrecognisable but for Jones's silkily nuanced lyrics; underpinned by percussive rumbles and guitarist Adam Levy's innovative licks, it veered from jazz-blues to prog rock and hinted at interesting projects to come.

Tracks from Not Too Late, Jones's third and current album, were faithfully delivered. Rosie's Lullaby was soothing, never soporific. Sinkin' Soon was a music-hall riot, aided by furious guitarstrumming from support act M. Ward. The anti-Bush lament My Dear Country got a burst of applause when Jones duetted with herself on a toy piano. There were soulful covers: Creedence Clearwater Revival's Green River and Arcade Fire's Ocean of Noise, learned the night before.

And finally, a request from the crowd. "I wasn't going to do Don't Know Why," admitted Jones of her multi-million-selling debut single. "I could do Painter Song. Which one do you want?"

Pausing for a beat , she plunged resignedly into the former. Some things, her smile seemed to say, never change.