Well, we were promised a “concept album” performance…and that’s exactly what we got; along with lighting effects (spectacular in the Chapel’s interior) and screen-show depicting the storyline (pretty, but impossible to make sense of without prior knowledge). The Chapel was packed and felt intimate. The acoustics and resonance of the hall was such that we were immersed in sound, seemingly coming from all directions.

With Spacebound Apes, the Neil Cowley Trio have deviated from their standard clean trio sound, employing electronic effects liberally, not only to keyboards but also colouring Evan Jenkin’s drums and used to great effect on Rex Horan’s bowed bass.

In fact “trio” is a bit of a misnomer here, as there was a mysterious fourth person on stage behind the bass and drums. Intended to be guitarist Leo Abrahams, this half-hidden person was introduced as producer Dom Monks, working the electronic effects with fair aplomb.

The first set rendered Spacebound Apes in its entirety and sequence with minimal banter between (you can read Rob Mallows' review of the album here. Eleven pieces in total, varying from the sound-scaping electronica of opening Weightless, to thoughtful, unadorned piano solo of Grace.  Somewhat less rhythmic than those familiar with the band might expect, but occasionally the ‘old-style’ shone through, as in The City and the Stars. Weird and unexpected to see double-bass player Rex Horan occasionally lay down his strings to play synth!

After the most minimalistic of breaks, the band was back as a trio to play a number of old favourites such as His Nibs, getting most of us back onto familiar territory.

For me, the highlight of this second set was the encore She Eats Flies, with a beautiful extended double-bass solo from Rex Horan.

I am left musing whether this movement deeper into electronica is an evolutionary step for the band or merely a passing novelty adopted for this album (I still mourn for the string section from The Face of Mount Molehill).

The performance was excellent but I think the truly un-named fifth member of the trio was the Union Chapel itself, whose phenomenal acoustics raised the performance to the sublime.