She dedicated the punchy, clipped verses of Push Me Down to the men in the music industry who are allies until they aren’t. It’s a right hook at misogyny, and you’d better believe the grit in her voice. Inside Out, set to a bluesy bassline, was moodier and more meandering.

Clark was backed by a tight, cohesive four-piece band – all gussied up in Nashville-style white suits and red tees – as well as a sax soloist who popped on stage for a brassy interlude in the as-yet unreleased Forget About London.

She slowed the beat down through covers such as Taylor Swift’s The Man – a nice counterpoint to the aforementioned Push Me Down – and The 1975’s bright, catchy It’s Not Living (If It’s Not With You).

Though her backing band was stellar, when Clark went solo she commanded the stage with a matchless acuity. On slower, sparkling songs such as High Tide, inspired by a poem written by her mother, she gave herself time to linger on sustained notes. In the EP’s gently hopeful eponymous ballad, The Making of Me, she took to the keyboard herself.

Imogen Clark may not have tailored her record to this era but her vibrant, bracing songs – kind of like a dip in a cold September sea – might just be one of the things to carry us through it.