For a folk artist, this was a quite extraordinary way to start a performance. On stage at the ICA came a skinny young man in his early 20s, clutching an electric guitar and dressed in the standard rock musician's outfit of leather jacket, jeans and red sneakers. On the table in front of him was a laptop computer, and behind him a drummer, double-bass player and video screen. His first song was that well-worn family favourite, Early One Morning, a choice so corny that no one in their right mind would ever attempt it in a folk club.

But it had never sounded anything like this before. Helped by a computerised barrage of effects and backing tracks, Jim Moray transformed the singalong ballad into a thunderous work-out, while the screen behind showed a cartoon featuring a cat, dog and sheep on fiddles. More favourites, from Sweet England through to The Seeds of Love, were given much the same treatment, the latter illustrated by images of jet fighters.

It was an exhilarating start, but then the performance began to lose its impact, partly because the shock value had worn off, and partly because Moray was becoming a victim of some of his messier backing effects. But he now changed tack, switching first to solo electric guitar (with no added effects) for Gypsies, and then to the keyboards for a thoughtful treatment of the Richard Thompson song Pavanne. He may be fascinated by techno, guitar-rock and video experiments, but he is very much a part of the continuing English folk revival, as he proved both with his carefully selected songs and choice of the young multi-instrumental acoustic band Dr Faustus to open the show.

Most important of all, Moray is also a fine singer, with a no-nonsense narrative style that shook the old songs into life as much as did his unexpected settings. Not all his ideas worked, but Moray is an impressive and wildly original new performer.