Few could have guessed that Canadian songsmith Dallas Green would wind up showcasing his amiable folk-laden fares to an audience as sizable as the crowd packed into London’s mammoth Royal Albert Hall. Perhaps least of all of Green himself, who punctuates his set with harks back to his seventeen year-old self, playing the same songs to his mother. Having journeyed from incensed rock-riffery in post-hardcore group Alexisonfire to solo success, the singer looks perplexed when addressing his plentiful admirers in attendance tonight: “I always hoped someone would listen to my music, but never thought all of you would,” he exclaims mid-set.

But Green, who functions under the see-what-he-did-there pseudonym City and Colour, every bit deserves the attention. His songs are wistful essays on hope, hunger, life and love, eked through age-old folk troubadouring and dalliances with melodic pop, its crossover appeal measurable by the teenage girls, tidily-attired older figures and tattooed refugees of the hardcore music scene rubbing shoulders in the stands.

Green appears on stage like a love-child of the latter two: suited and booted, but with inked imprints on his neck visible still. Lavishing the audience with a set bustling with old favourites and cuts from his new album due to drop in June, the atmosphere is palpable and Green makes his talents known. Rousing renditions of ‘Sleeping Sickness’ and ‘Waiting’ are robbed a little of their winning dynamic re-imagined here with crunching guitar and pounded snare hits, but few seem to care: opener ‘Forgive Me’ and ‘Body In A Box,’ a fiercely accomplished piece of elegiac song-writing, are apparently enough of a fragility fix for the crowd, who welcome the brazen clatter of distorted blues inflections with delighted whoops. It is encouraging to note that the new songs were able to raise the biggest cheers of the evening. Recent single ‘Fragile Bird’ appears early on and swaggers seductively across pulsing guitar stabs. The introspective ‘Oh Sister’ also bodes well for the forthcoming record, commanding a reverential hush as the songwriter trawls through the murky mires of a familial crisis.

It’s not quite all plain-sailing as technical gremlins catch up with Green and his band in the encore. Also, plying this London crowd with a curious cover of Adele's ‘Hometown Glory’ feels like a bit of a cynical ploy. A late take on soulful dubstep prodigy James Blake is more successful, the melodic climb of ‘A Wilhelm Scream’ woven seamlessly into the dying refrains of City and Colour number ‘Coming Home,’ but it draws puzzled looks from large portions of the audience, to whom Blake’s leftfield wanderings do not quite compute.

Green has vowed to return to these shores in the autumn for a lengthier visit. Howling in appreciation, his adoring onlookers’ message is clear: Dallas, you might want to get used to all this attention.