“Hello, my name’s Nao,” our bubbly host says. If you’re wondering how to pronounce that then thank the bloke in the crowd who has been itching all night for his cue to shout an Outhere Brothers lyric at this young neo-soul, alt-R&B, jazz and electronica singer. “Boom boom boom, now let me hear you say …” You get the idea.

Nao has featured prominently in the turn-of-the-year music industry tipping season, having appeared on the BBC Sound of 2016 longlist following a Mobo awards best newcomer nomination in the summer. It’s not hard to see why, with streaming plays for a handful of her tunes already reaching into the millions.

Nao has guested on a Disclosure track, but it’s hard to imagine her doing a Sam Smith – a song such as In the Morning, a down-tempo number with a moaning atonal instrumental break, plainly has niche appeal relative to Smith’s primetime soul-pop. But with a jazz-schooled voice that flutters effortlessly in the high ranges and a twisting, twirling, finger-snapping stage presence, an iceberg would struggle not to warm to her.

The frosty-cool veneer of her artwork and videos melts in Nao’s presence. She’s been mentioned in the same breath as FKA twigs for abstract tracks such as spacey R&B bass wobble Apple Cherry, but Kelis might be a more appropriate reference point. We Don’t Give A and Inhale Exhale are steeped in 80s electro party funk (significantly, Nao favours the visceral punch of a guitar-bass-drums backing band over electronic button-prodders). Zillionaire is a marshmallow-y soft and sweet song about how she wishes she could spoil her best pal. A zingy cover of Mura Masa’s Firefly is dedicated to her mum.

Her best and most unique song, Bad Blood – sensual verses meet a practically head-banging chorus – has people reaching for their cameraphones. Mainstream queen or toast of the underground – Nao could go either way. More excitingly still, she could do both.

• At the Warehouse Project, curated by Jungle, Manchester, 18 December. More UK tour dates in April – details here.