Should anyone still be attending Yann Tiersen shows solely on the back of the Amelie soundtrack that broke his name outside France, the absence of an accordion from the instrument-strewn stage will be a disappointment. For such (possibly fictional) demi-fans, the disappointment surely doesn’t last beyond the opening pair of Dust Lane tracks: Till The End soars on its breathily-sung refrain and gently-epic expanse, while Palestine sees Tiersen and band tense into layers of vocoder and motorik drums. Together, the six bodies on stage possess a formidable collective talent: the biggest cheers accompany Tiersen’s bow-shredding violin technique, but the surrounding multi-instrumentalists are none too shabby. In The Gutter alone, their multitasking is impressive: acoustic guitar swapped for electric, ukulele for glockenspiel, synths for cymbals, brass for bass. A dilute audience robs the evening of a little magic, but with highlights like Esther’s melodica-infused dream-dirge, Tiersen’s got plenty to go around.