Grace Potter rocks just as hard solo as with The Nocturnals, as she proved at the Century Center on Wednesday — and really, no one should be surprised.

True, her 2015 solo debut “Midnite” is pure pop, a compendium of sounds from disco to electronic-tinged R&B. And the conceit is already a bit confusing, considering her main project goes by Grace Potter and the Nocturnals.

Potter blurred the lines even more Wednesday, filling at least half the set with Nocturnals favorites. This no doubt helped up the rock quotient considerably, but a full set of nothing but “Midnite” songs would have scratched that itch, too. Live, Potter and her seven-piece solo band push the songs toward power pop in the classic Cars/Cheap Trick/Knack model — huge guitars, punishing snare hits and tightly coiled, attack-and-release formations that left you wanting more.

Thankfully, the packed house got two hours of this stuff. Potter and company immediately set the mood with the first two songs: “Hot to the Touch,” from “Midnite,” and “Never Go Back” from the last Nocturnals record “The Lion, the Beast, the Beat.” Both songs hit hard, though the juxtaposition between Potter’s two worlds wasn’t immediately apparent — yet.

Potter hit “Midnite” hard early in the set, showing off a range of sounds — the chunky riffs of “Look What We’ve Become,” the hyper-catchy acoustic strumming of “Empty Heart” and the slow build of “Nobody’s Born With a Broken Heart,” which wouldn’t sound out of place on any Nocturnals record. By this point it had also become apparent that, while her bandmates were no slouches, none could hold a candle instrumentally to Potter, or the Nocturnals, for that matter.

But no matter, really. By the time set centerpiece “Loneliest Soul” rolled around, the band was firing on all cylinders and ready for the epic jam Potter led it through. The highlight, of course, was Potter — besides an impressive vocal performance, she ripped into the best solo of the night thus far on organ, channeling Ray Manzarek at times.

Further highlights included “Falling or Flying,” a touching ballad Potter tackled solo, and “Nothing But the Water,” a sleazy, greasy blues-rock stomper tackled by Potter and one of her two drummers. The main set closed out with “The Lion, the Beast, the Beat,” sounding nearly as ferocious as the original Nocturnals version.

Potter returned for a three-song encore that put her right up to curfew — and she probably would have kept going if it wasn’t for that. This further highlights what a massively strange place the Century Center parking lot is to hold a rock ’n’ roll show. But when the acts are as good as Potter, who cares where the shows are being held? All that to say, keep ’em coming.