ATP shows generally triumph over most for their fine collection of beards, but it seems Jonathan Wilson's crowd are equally strong in bald eagles. I count hairless heads from the balcony as a roadie wanders on stage to light carefully placed incense sticks; it's the first indication of what kind of show the North Carolinian has planned. With just two records to draw from, and a stage time of two hours, you wonder exactly how far his band can expand his already cosmic space rocking catalogue. Being a big fan of jam bands, this is welcome news, I'm just sad I didn't pack a cheeky reefer for the journey across London.

I imagine most of the assembled audience, just like Wilson, are in love with the romanticism of 70s Laurel Canyon. He certainly seems a man on a mission to orchestrate a revival having produced records for LA locals Father John Misty and Dawes from his studio in rock's most famous valley. Collaborations with the likes of Jackson Browne and David Crosby have given him a badge of authenticity but he has nothing to prove with Fanfare being surely one of the most lush and accomplished releases of the year.

An organ drone plays over the PA for a good twenty minutes prior to stage time - it gets a little trippy but I guess that's all part of the plan. The band walk on promptly at 8.45 looking like extra's from Dazed & Confused, lighting more incense en route to their instruments. Time to strap on a seatbelt as the words 'face' and 'melt' are likely to combine in sentences pretty soon.

Opening with the current record's title track, we are eased in; its grand, almost Phil Collins a-like drums are inches away from ridiculous. Wilson in knee length black cardigan, beard and long tied back hair looks like a country rock Wizard and has all the guitar skills to match. Second guitarist Omar barely gets a look in on solos; it's very clear whose steering this ship. On 'Desert Raven' they complement each other perfectly with harmonised lines taking a trip off piste from the well loved album version. Current single 'Love to Love' punches out the speakers with a drunken swagger, and at three minutes it's the closest we'll get to a pop song tonight.

A faithfully worked cover of 60s Psych rockers Sopwith Camel's 'Fazon' is a real highlight (only missing the sax parts). The sway of 'Dear Friend' is another stand out; in the baroque setting of Islington Assembly Hall you almost feel like you're in The Band's Last Waltz. The "keep on ridin" refrain of 'Moses Pain' sticks in the head long after the show and makes you long to be driving along the west coast highway. The crowd applaud every solo and there's loads of them to devour. Definitely not for the passing fan.

As the band light more incense and the jams get longer, the audience disappears down a rabbit hole; older members relive their youth while others get a taste of what it might of been like back in the good old days. Borrowing from Floyd, CSN and Neil Young, it's like a brief history re-imagined and I guess that's what people "dig" about him. I know that's why I'm here. Jonathan Wilson returns to UK shores in June.