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On the evening of Oct. 27, thousands of fans filed into TD Garden for the last North American show of Laufey’s “A Matter of Time Tour.” They were met with rich, red curtains on a stage, its runway directed toward a large clock in the center, highlighting the key theme of Laufey’s tour and new album.

Soon, in a truly electric opening, Suki Waterhouse and her band gripped the audience’s attention. Waterhouse entered the stage exuding the confidence and suave of a soft-rock star. Throughout high-energy performances, her stage presence and chemistry with her band was undeniable. Waterhouse’s performance was gimmickless and raw, as she showcased her vocal versatility with her vast repertoire — featuring top hits like “Good Looking Boy.”

Preluding Laufey’s entrance, her band — a mini orchestra — flourished as the large red curtains fell, revealing an extravagant and feminine staircase, resembling steps to a castle. Behind the set, a screen introduced the tour utilizing a font that evoked early 20th century film as the credits rolled; these first moments established a vintage, whimsical, and slightly spooky theme to her concert.

As the screen presented “Act I,” Laufey walked out from an arch resembling a fairytale princess, accompanied by four dancers. She opened with “Clockwork,” the first song from her tour’s namesake album, “A Matter of Time.” Her soft choreography mirrored that of her dancers without distracting from her vocals. For some songs in the first set, she switched between playing her acoustic and electric guitar, establishing her quality and range as a live performer by mixing vocals, dance, and instrumentalism within only the first 15 minutes of her show.

Following the set was a masterfully played interlude by Laufey’s string quartet that kept the audience engaged and successfully distracted from the set changes in the middle of the arena.

For Act II, Laufey emerged in a shorter version of her first outfit and with a smaller band of musicians to invite the audience into her “Jazz Club,” explaining she wanted to emanate the more intimate setting that defined this part of her musical training. Her live jazz vocals shone, once again displaying the versatility of her voice. Laufey’s skillful and intricate scatting in a jazzier version of her hit song, “Valentine” outdid her original recording.

Laufey also took time to speak to the audience, often expressing her gratitude for their attendance and their support across her career. These moments created a unique sense of intimacy and connection between the audience and the artist. As she explained the meanings behind her songs and vision for specific experiences in the tour, she developed opportunities for relatability between herself and the young audience.

Throughout the show, the singer acknowledged her special connection to Boston, where she studied at Berklee College of Music. She described herself as a mix between an orchestra kid, a theater kid, and a Berklee kid — all influences that were clear throughout her show. Even details like the falling “chandelier” in her final number, emulating “The Phantom of the Opera,” showed how much personal influence she had on the creative vision for the show.

During the concert, projected visuals on the screen behind the stage and Molly Long’s choreography reflected the themes across Laufey’s music. These were additive in scenes like the “Cuckoo Ballet Interlude” where vintage dance footage and tour dancers en pointe accompanied Laufey as she played her cello for the crowd. However, at times — particularly during her song “Carousel” — busy projections and choreography felt out of place and distracting.

For “Act III,” Laufey switched into a gold and black sparkly number — preluded by a humorous skit with her twin sister and creative director, Junia Lin Jonsdottir. Act III began with a spunky and fierce energy with “Mr. Eclectic.” Then, she transitioned into more emotional songs, initially keeping the upbeat tempo with “Castle in Hollywood,” but slowing down for songs like “Snow White.” This became particularly emotional when she described her unique and difficult experience growing up as half-Chinese in Iceland.

During “Promise,” Laufey stopped singing and played her piano to the audience’s voice, visibly moved by how well they knew the lyrics. Her stripped down rendition allowed space for them to feel the words and sing along, enhancing the heartbreaking themes of the song.

In “Act IV,” Laufey’s twin sister Junia once again made an appearance, playing her violin along to “From the Start.” The sisters’ loving dynamic deepened the sentimental and soft themes of the concert. Not to mention, it was a treat to witness both women’s musical talents.

Laufey ended Act IV with a spooky and vocally impressive rendition of the final song on her new album “Sabotage,” before returning for two surprise songs. After “Slow Down,” she sent audiences off with “Letter to My 13 Year Old Self” as a thank you and encouragement for her fans to “be brave.”

With its intimate and emotional finish, Laufey’s “A Matter of Time Tour” showcased the breadth and depth of her vocal and instrumental talents, ultimately exhibiting detail and care in every visual and song. Laufey’s show never wavered from the whimsical world it aimed to transport audiences to, all while taking them through an emotional rollercoaster on its final night.

—Staff writer Dzifa A. Ackuayi can be reached at dzifa.ackuayi@thecrimson.com.