The well-heeled streets of Chelsea may not be the most obvious place to find a creative sound explosion.
But a carnival of sound raged within a building on an unremarkable road on an icy February evening, thanks to a visit by Huddersfield’s visionary four piece Maia.
The one white building in the area with a large multi-coloured dragon painted down its side was their home for the night, the prestigious Chelsea Arts Club.
It was one of dozens of new year tour dates for the band, which has so far given audiences from across the country the chance to have first hearing of their anticipated third album, Wild Waters.
It was a mélange of artists, musicians and other creative darlings that greeted Maia onto the stage, who have eschewed their paisley uniforms for a new eye-grabbing look, that boasted everything from African prints to velour shirts.
Anyone who has seen Maia before will know they do not travel light.
But being both warm up band and headline act for the night allowed them to cover the floor in an array of instruments that had been vacuumed packed into their van to bring the complex **** sounds of the record to life.
It was the sound of acoustic-heavy melodies that filled the room first.
Full of mandolins and guitars with trumpet laced on top , it was a hark back to their earlier psychedelic post-folk period.
An animated, noisy crowd making the most of the cheap drinks on offer at first, a few songs in and they became schtum.
Perhaps it was down to Dear Io, the band’s stripped down musings on space and the tiny moon of Jupiter, whose sung chorus with the simple plucking of guitar strings somehow struck a heart string over the besieged piece of rock.
But the band could not resist breaking into the up-tempo beats that would epitomise their second set.
Ganges, a whirling piece with rock crescendos, got drinks spilling and the floor moving before the break.
No cares dancing began straight away in Maia’s second set, an exploration of their up-coming album, due for release at the end of May.
More beats, synths and pop entwined with a hard to second guess fusion of global sounds, that gave a nod to Jazz, latin, tribal drums and dark electronic drones.
They all had their place in creating the bouncing, catchy tracks such as Jessica, Long Live the Heathen and Serpent Song, which are still my earworms days on.
Responsible for wildly entertaining crowd dancing, surely this is the year for the consistently boundary-pushing, gifted quartet.