Singer-songwriter Feist delivered a stunning performance Thursday night at the Moore Theatre, offering a thoughtful, engaging, and nuanced concert that was as beautiful to watch as it was to hear.

Feist and her six-person band took command of the Moore’s stage at 9 p.m. and held their posts for nearly two hours, spanning the width of Feist’s career with the setlist. Though tracks from September’s release Metals featured prominently, Feist & co. also produced many of the expected choices from 2007’s The Reminder (with the notable exception of “1234″) and even reached back to 2004’s Let It Die.

The stage was set dramatically, the musicians lit in bright, vivid lights while abstract backgrounds swirled behind. Initially, these projections were black and white, mysterious patterns that could have been butterfly wings, or maybe zebra skin. The stark and dramatic contrast between the monochrome screen and the color-drenched band reflected nicely the craggy, elemental intensity of the percussion-heavy Metals. Later in the set the backgrounds switched to abstracted projections of the concert itself, band members rendered kaleidoscopic and swirling, layering the performance upon the performance and drawing your eye ever in.

The beauty of the show lay as much in the details as in the overall scene. Female vocal trio Mountain Man acted not just as backup singers but as visual flourish, using minimal but dramatic dance moves to add well-timed emphases. At times they donned long, rough cloaks, on one side pale and adorned with subtly shimmering bells, on the other dark and pelt-like. Covered in musical skins, they howled in arpeggios like harmonized wolves.

But the star of it all, of course, was the lady herself. Feist was a force to behold, stomping and shaking, tossing those famous bangs, carrying her voice to all corners of its register, but retaining the same command of her skills as she did of the enraptured audience. She was also quietly, wickedly funny, taking harmonic singing polls on methods of transportation and calling to the balcony, “Is anyone up there? Throw someone over so we know.”

Bookending the show was Feist’s longtime collaborator and good friend Chilly Gonzales. Gonzales, who apparently once held the world record for the longest piano performance, offered a shorter exhibition of his skills as the opening act. His combination of piano recital, rap performance, and comedy show was strange and unexpected, but also quite well executed and undeniably appealing. He appeared again behind the keys for the second encore, when Feist climbed atop the piano for torchy renditions of “The Limit To Your Love” and Peggy Lee cover “Where Can I Go Without You.”

As the standing crowd roared its approval, Feist hopped carefully off the piano and gave a little wave. Then she took to the side of her best friend and, with Gonzales’ arm affectionately around her, the most powerful presence of the evening disappeared with a private whisper into the night.