Dreamscapes, the dynamic sextet led by guitarist Julien Durand, brought their distinct post-fusion, nu-jazz sound to PizzaExpress Jazz Club as part of the HeadsUp series at this year’s London Jazz Festival.
With Durand at the helm, joined by vocalist Lucy-Anne Daniels, saxophonist George Garford, pianist and keyboardist Cenk Esen, bassist John Jones, and drummer Jack Robson, the band delivered a performance brimming with imagination, technical brilliance, and emotional resonance.
Durand’s influences, shaped by his studies at the Royal Birmingham Conservatoire and an immersive stint in Brazil with luminaries such as Daniel Santiago, Toninho Horta and Guinga, are deeply embedded in Dreamscapes’ music. These threads—jazz traditions, Brazilian composition, and experimental improvisation—wove together in their set, creating a sound that was as diverse as it was cohesive.
Their performance felt like a journey through dreams, exploring textures and moods with ease. Ambient soundscapes emerged like shifting clouds, only to give way to fiery ensemble delirium driven by Robson’s inventive drumming. Garford’s saxophone added both melodic power and textural depth, while Esen’s keyboard work oscillated between atmospheric subtlety and explosive energy.
One of the set’s standout moments was Lucy-Anne Daniels’ interpretation of Black is the Colour, a traditional folk song reimagined through Dreamscapes’ lens. Her introduction to the piece channeled folklike Nordic elements, blending cinematic scope with an intimate intensity. It was reminiscent of the passion and vastness seen in film, conjuring images of expansive landscapes and deeply felt emotion. As the band joined, Daniels seamlessly moved between leading the melody and blending into the ensemble. Her voice, tender yet powerful, was supported by subtle interplay from the group, creating a poignant highlight in the set.
Each musician had their moment to shine. Durand’s guitar was a constant guide, from intricate lines showing off his dexterity to bold, textural statements that anchored the group’s more experimental moments. Garford’s saxophone solos delivered over the group’s propulsive rhythm, while Esen’s intricate interplay with Robson during the freeform sections brought a sense of controlled chaos that was utterly compelling. Jones’ bass playing added depth and a steady undercurrent that tied the ensemble’s adventurous sound together.
The final piece of the set ended on a beautifully understated note, as the band stepped back to allow Esen a solo piano moment. It was a delicate, music-box-like passage, winding down the set with a sense of fragile wonder and leaving the audience confident in the quintet’s ability to balance intensity with restraint.
Dreamscapes’ current momentum, with an EP already released and their debut full-length album being recorded in two weeks, speaks to their growing prominence on the UK jazz scene. Their performance reaffirmed the importance of a series like HeadsUp, curated by Kasia Konstance, which continues to champion the next wave of jazz innovation.
