McKennitt traverses the globe

There were moments during Loreena McKennitt’s performance Thursday at the Gibson Amphitheatre -- hastily shifted from the Greek Theatre because of the Griffith Park fire -- that had the distinct feeling of a travelogue accompanied by exotic-sounding music.

The Canadian singer’s fascination with the global spread of Celtic culture has taken her to virtually every part of the world. And much of her between-songs comments -- sometimes in considerable detail -- described her experiences in Turkey, China, Japan and on the Trans-Siberian express.

Nothing wrong with that, of course, especially given McKennitt’s engaging manner, warm voice and amiable interaction with a crowd obviously filled with dedicated fans seemingly eager to be part of what McKennitt refers to as her “community.” One only wished that the music had been similarly engaging.

McKennitt certainly had plenty of resources available. Her nine-piece ensemble, its versatility amplified by several multi-instrumentalists, produced a kaleidoscopic array of sounds. The three percussionists could go from forest-like ticks and scrapes to thunderous rock grooves, often enhanced by electronic swoops and swirls. Oud, Celtic bouzouki, hurdy gurdy, tablas and a Greek lute added traditionally atmospheric qualities. Soloists -- cellist Caroline Lavelle, guitarist Brian Hughes and violinist Hugh Marsh -- provided improvisational counterpoint to McKennitt’s vocal wanderings.

But the focus, appropriately, was on McKennitt, who accompanied herself, in various songs, alternating from harp to piano to an electric keyboard instrument.

McKennitt favors lyrics that, like the titles of her songs -- “Beneath a Phrygian Sky,” “Caravanserai” -- are long on historical-novel atmosphere. To her credit, she delivered them in convincing fashion, especially in the few numbers in which most of the louder background sounds were dimmed in favor of her subtle interaction with Lavelle, Marsh and Hughes.

But the sameness of her musical choices -- the tendency for one song to sound similar to another -- eventually began to supersede the beguiling qualities of her voice and the lush textures of the ensemble.