Floating Points @ The Ritz, 12 February

Beneath the truly gorgeous spirographic neon display looming over the packed-out Ritz, a slow exposition of eastern-influenced electric piano and warm, mellifluous synths builds toward the two-note opening bass motif of the Silhouettes trilogy. McCoy Tyner-style piano-harmonic extensions and skittering drum patterns lift the sense of anticipation with the subtlest of drops – it’s clear that this ensemble has been expertly recruited by Sam Shepherd, aka Floating Points, to aid in his transition from erudite DJ and producer of banging 12”s, to the band leader, composer and musical polymath of rabid curiosity, subtlety and skill that he has been hinting at becoming for some time.

The serenity of the opening modal jazz section continues as the band moves through styles reflective of Shepherd’s extensive musical passions – from the kind of proggy interlude that will sound to many like something from a Steely Dan record, to the nods to minimal techno in Shepherd’s drum machine tinkering, building layers of polyrhythms.

As the tempo drops for a cinematic, trip-hop-esque movement, suspicion arises that however tasteful and masterful the performance may be, this feels like a formal exercise in elegance – the desire for hooks, a greater sense of abandon or even just volume only begins to be sated towards the final moments – the assembled masses rarely like losing themselves in the music. Although this may be the last missing piece in an otherwise immaculately completed puzzle, there is no doubt that Shepherd knows how to blow roofs off; but in forging his own path, he mustn’t forget the simpler pleasures.