Because journalists can be rather lazy, a lot of what’s been written about Holly Golightly is embarrassingly diminutive. In an attempt to lend weight to the idea that garage rock is enjoying some sort of comeback, Golightly is usually portrayed as some kind of boppin’ girl-group throwback, or, even more catchily, as the Godmother of Garage in England.

Like most things in life, it’s more complex than that.

Golightly started making music in the early 1990s as a member of Thee Headcoatees, an all-girl project that evolved from English musician Billy Childish’s band Thee Headcoats. Early on, she was making her own music.

“Around 1993 I started recording on my own,” Golightly told The Badger Herald.

Her last 11 solo albums have been recorded at London’s ToeRag Studios, which is perhaps best known as the studio with whose analog equipment the White Stripes recorded their latest album, Elephant.

It happens that Golightly appeared on “It’s True That We Love One Another,” Elephant‘s last track, with Meg and Jack White.

“It’s the best studio for what I do,” she explained.

Hearing Holly Golightly play live is probably the best way to understand what she does. In a live performance, it becomes perfectly clear that her vocals evoke the style of blues singers. When asked which musicians she admires, Golightly replied, “Bessie Smith.”

“I don’t really listen to contemporary music,” she said. “There’s not the same strength or substance. I like the idea that people are driven to write songs and play music because they have to.”

Holly Golightly is currently on tour to support her new album, Truly She Is None Other, with the Detroit-originated band KO and the Knockouts. A Sept. 22 stop at The Annex, featuring special guests The Cummies, was excellent from start to finish.

In person, Golightly bears no resemblance to the persona that the media has projected upon her. Her songs are written on the stand-up bass, a fact that surely should have come to light before now.

As a singer, she enjoys vocal harmonies. Her future collaborations include backing vocals for other musicians.

“I like recording. I like writing songs. My biggest ambition for what I do is that I continue to do it with my friends,” Golightly said. “I don’t actually get such a big kick out of this. [I’d rather] be recognized as someone who’s a nice person to play with and gives a bit of herself to it.”

All three acts featured danceable melodies and great guitar playing. The Cummies were excellent, despite whatever misgivings their name might evoke. Their song “Little Sister” was delightfully sleazy, and “Blood Raw” also had a wonderful rhythm. Their debut album would be fitting in the disc-changer as background for a consciously raunchy hook-up.

Ko Shih, the Knockouts’ lead singer, is quite the bass-slinging woman. The band’s rhythms are driving, but that doesn’t mean that the guitar and drumming suffer. On the contrary, guitarist Mark Craven plays beautifully without being self-adoring.

Holly Golightly and the backing band continued performing rather late. She described Bruce Brand, one of Thee Headcoats, as “the best drummer in the world.”

The crowd had an obvious preference for fast numbers, although regardless of the tempo, the songs meditated on love gone terribly wrong.

Holly Golightly performed both originals and covers, including the blues classic “Black Night.” Her performance talent undoubtedly deserves an audience. The best advice? Go to one of Golightly’s shows and dance to the guitar solos.