Of all the current venues in the UK, the opulent Trading Boundaries tucked away among the leafy lanes of East Sussex on the south coast makes it one of the most extraordinary experiences for any music lover. Concert goers can either wine and dine- or simply enjoy the music in a performance area resembling a southern Asian pavilion. It's also a shopping emporium, a wedding venue and a hotel, while upstairs, legendary Yes artist Roger Dean has a permanent gallery where prog fans can view prints of his iconic album covers and other paintings - or buy one if they are feeling extravagant. Bands love playing in this unique, intimate environment so French act Lazuli did not need to be asked twice when they were invited to return here during their recent short tour of England and Wales.

Lazuli on stage (►more photos)

With no support this evening, Lazuli plunge straight in with the bouncy, ever catchy Le Lierre from the very underrated Nos Âmes Saoules (2016, see review) that sees Domi Leonetti unleashing his elastic vocal chords on the first of many occasions. Last year's Onze features prominently, its opening song Sillonner Des océans De Vinyles starting with the crackle of vinyl and moves gracefully into an almost waltz-like rhythm. Behind the band are some cartoon-like visuals created by Domi, that show the band in psychedelic clothes on a boat and in space. Changing tempo, the band takes on a rockier edge, transporting the audience to Le Fantastique Envol De Dieter Böhm (2020, see review), beginning with Dieter Böhm then the hauntingly beautiful, lyrical Les Chansons Sont Des Bouteilles à La Mer.

A searing solo during L'Homme Volant provides one of many opportunities for guitarist Arnaud Beyney to highlight his fluid, soulful almost effortless style that brings a fresh, expressive dimension to their overall sound. Qui d'Autre Que l'Autre has hard-hitting visuals to hammer home its message about discrimination then, in his halting English, Domi introduces a particularly personal song, Triste Carnaval from Onze. It's the story of a young boy turning up in fancy dress for carnival day at school - but it's on the wrong day, and it happened to him! The beautiful innocence of the accompanying visuals and Domi's heartfelt vocals elevate its narrative.

Three new songs demonstrate that the band's capacity for intense, multi-layered songs remains undiminished. Quel Dommage (What A Pity) appears to be a lament about the state of the earth, the visuals focussing on endless deserts and seas. The stark images of melting ice figures in Etre Et Ne Plus être (To Be and No Longer To Be) are matched by the swirling, hypnotic ferocity of Claude Leonetti's blistering Léode lines. Finally comes the lighter more positive airiness of Chaque Jour Que Soleil Fait, that begins with a Romain Thorel French horn solo. Two more songs from Onze, Mille Rêves Hors De Leur Cage and Parlons Du Temps again highlight the way their music transcends any physical or cultural barriers. Coming next is perhaps their signature song Le Miroir Aux Alouettes, another song railing against the absurdities of life.

Dominique Leonetti (►more photos)

It features one of the great musical transitions when drummer and percussionist Vincent Barnavol swaps marimba for darbuka and Thorel moves from keyboards to drums to create huge pounding tribal rhythms, while Domi goes walkabout in the audience.

The official final song is another crowd pleaser Les Courants Ascendants, that starts as a ballad and builds into an anthemic roar.

As the final notes drift away, Thorel and Barnavol remain onstage for their customary duet, which, again shows the width and depth of the Lazuli musical palette, the duo riffing off each other to create a smorgasbord of jazzy, funky, classical and rock improvisations.
In complete contrast, with just a single candle burning behind them on the screen, Domi delivers Le Grand Vide (The Great Void) with just Thorel on keyboards and Barnavol on marimba providing a delicate accompaniment to his extraordinary vocals.
Among the many showstopping moments comes the incredible visual backdrop to Le Pleureur Sous La Pluie, a cinematic montage of legendary rain sequences from films such as Blade Runner. It connects so well with the drama of the song leading up to its climactic dénouement with Léode and guitar blazing away.

For the traditional roof raising encore, 9 Hands Around The Marimba, the band is in characteristic playful mood, the featured song being Supertramp's classic Dreamer.

A standing ovation results, and the band look elated with the rapturous reception. For all their brilliance, dynamism and originality as displayed this evening, Lazuli are yet to find a bigger audience in the UK. It's a pity, but let's hope it's not a deterrent to them returning again to these shores.

Text Alison Reijman, pictures by Martin Reijman