Souad Massi started her career as a cool, gently exquisite singer of sad songs - an Algerian exile based in France who acted like some latter-day north African answer to Françoise Hardy, but with a remarkable ability for writing charmingly mournful ballads of lost love and longing for home, in both Arabic and French. Then she acquired an impressive band, led by Jean-François Kellner, who deserves the status of a guitar hero, and began to bring more energy, passion and Algerian influences into the mix. As a result, she became an international star, selling some 300,000 albums worldwide.

Now, she has decided to change direction once again, moving back to an acoustic, low-key approach, but still keeping Kellner as the focus of her new trio. The new live album, Acoustic - The Best of Souad Massi, may not live up to its billing (it is too laid-back), but this Jazz Cafe show was a rare chance to see Massi in an intimate, unplugged setting.

She came on like a 60s folk heroine, perched on a stool with her long black hair and acoustic guitar, backed by oud or Arabic-sounding banjo and hand-drums, and Kellner on second acoustic guitar. The opening batch of songs included the sad Hayati and Matebkiche, performed by her full trio, followed by an exquisite solo treatment of Raoul. All that was lacking was pace and variety, but this was eventually put right with a gutsy workout on Amessa and a foot-stomping Ech Edani, driven on by furious guitar work but followed by a switch back to her mellow, mournful style with Tant Pis pour Moi. It was an impressive and classy show, even though she was for the most part just reworking the old favourites. Now, surely, it is time for her to move on and try something new.