It was a mostly quiet yet lovely evening Thursday for the local debut performance of pianist, electronic musician and composer Hania Rani. And that may have been exactly what Rani wanted. Gone was the sometimes rowdy standing-room-only energy of the main ballroom in Thalia Hall. Instead, the room was set up with a spacious seating arrangement of folding chairs, allowing everyone in the sold-out crowd great sight lines and time to rest as Rani swept through a precise collection of her tracks. It made for a warm, inviting setting, not unlike experiencing a traditional classical music performance, but without any of the potential airs.

This arrangement allowed Rani to focus on performing her music. And in turn, the audience was focused as well.

Distractions are abundant when it comes to today’s live music experience. But Rani’s unique stage setup and her fluid movement through each track created an absorbing show.

Rani performed away from the crowd for most of her set. She kicked off the evening with album opener “Oltre Terra,” a relatively short, but evocative instrumental song from her 2023 release “Ghosts.” Unlike the album track’s brief length, Rani fleshed out the length and scope of the song during her live performance. This would come to set the tone for the evening, with songs such as “24.03″ and “Dancing with Ghosts” (both of which appear on “Ghosts”) embodying new, expansive tones. Rani didn’t just perform. She took listeners on a musical journey.

Rani is a master builder of instrumentation, so witnessing just how she builds her songs from scratch is a joy for dedicated fans. On stage, she swiveled between multiple pianos, keyboards and synths strategically placed throughout a compact setup to build the multiple layers that make each of her songs. Her arms were outstretched building synth elements with one hand while playing piano on the other. At times, it appeared as if she could barely reach between one instrument and another. Yet Rani never failed, creating a dazzling, intensely physical sight.

Rani’s voice was as haunting and crisp live as it is on her albums. The few songs with a “danceable” beat, like “Hello” and “Thin Line” from “Ghosts” inspired a lively two-step from Rani as she continued constructing the tracks. Some audience members in the back of the room, who were standing by the bar, gently swayed along. It made for a streamlined performance between songs that was as immersive as it was awe-inspiring.

Most of Rani’s electronic-heavy arrangements were constructed with her back to the room, while the two traditional pianos she switched between during quieter musical moments faced opposite sides of the stage. Her long hair typically covered her face, creating another barrier between herself and the audience.

It’s no wonder then that Rani played for more than 30 minutes before finally — and quickly — acknowledging her accompanying band member (who moved between an upright bass and what appeared to be instrument pedals) and the crowd. But no one seemed to be complaining. It was during this moment and a few others that one or two stray audience members couldn’t help but give Rani a shoutout of adoration.

The most surprising time during the evening, however, was when Rani fully retreated to her own world, playing tracks from her 2023 classical record “On Giacometti.” With just a piano, Rani homed in on her classic origins, reminding new audiences who may have been less familiar with her earlier work of the breadth of her musical output. Unsurprisingly, the audience loved it, and by the end of the evening, Rani was embraced with a standing ovation. Her meditative music has found a home here in Chicago.

Britt Julious is a freelance critic.