A cosmic journey with Magma at the Koninklijk Circus (Brussels) – Photo Gallery and review – 05.03.2025

On March 5, 2025, the long-awaited Magma tour kicked off at the Koninklijk Circus in Brussels, marking the start of a series of performances in iconic French venues such as Le Forum in Vauréal, the Palais de la Musique et des Congrès in Strasbourg, and Le Grand Rex in Paris.

Just days before the concert, it was announced that both Stella Vander and Hervé Aknin would be unable to attend due to health issues. However, Magma had devised alternative arrangements to ensure the audience would still experience something unique, even without these key figures.

I personally estimate the audience at around 800. The upper balconies of the Koninklijk Circus remained unused, giving the venue a more intimate atmosphere despite its size. The hall itself is an impressive space with encircling tribunes that embrace the audience.

The nine musicians were symmetrically positioned around the drums, with a guitar, keyboards  and two vocalists on each side. This setup inevitably drew the audience’s focus toward the center: the drums and Christian Vander himself. His drumming and vocal abilities manifested in a nearly mystical way during the concert. His playing was raw, intense and relentlessly precise, with complex rhythms that put the audience in a “trance”. The drums felt not just like the heart of the music but like an ancient force driving everything forward. As a vocalist, he achieved the same effect—his voice shifted from whispering incantations to raw, emotional cries that cut through to the core.

The bass of Jimmy Top, together with the drums, formed the backbone of the night, delivering pulsating, almost menacing grooves that amplified Magma’s hypnotic power. Rudy Blas added sharp, ethereal guitar tones, enhancing the performance’s mysticism. Keyboardists Thierry Eliez and Simon Goubert created layered harmonies, with Eliez also taking on some vocal duties while Goubert fully showcased his jazz and improvisational skills.

The four vocalists—Isabelle Feuillebois, Caroline Indjein, Sylvie Fisichella, and Lora Yma—seamlessly compensated for Stella Vander’s absence with their rich harmonies. For me, Caroline Indjein was the standout voice, delivering Stella’s parts with impressive strength.

The evening began with Félicité Thösz, a masterpiece from Magma’s more recent period. The repetitive vocal lines and building tensions made it a ritualistic experience. Next came Auroville, a cover of Michel Graillier, in which Simon Goubert added a jazzy, warm touch with digital Fender Rhodes sounds. This meditative interlude beautifully illustrated the jazz influences so characteristic of Magma. The epic K.A (Köhntarkösz Anteria) was delivered with overwhelming power. As one of Magma’s most beloved compositions, it was a trance-inducing journey that, through dynamic build-up and the fusion of voices and instruments, led to a mystical climax. The audience rewarded the band with a long, well-deserved ovation.The encore featured The Night We Died, a rare and melancholic choice that perfectly matched the evening’s spiritual atmosphere, followed by Ehn Deiss, a piece from Vander’s side project Offering, which closed the night in a dreamy, vocal-driven manner.

Magma’s live performances are not just concerts; they are musical initiations. The band creates a universe where hypnotic rhythms, enchanting vocals  and furious instrumental outbursts merge into an all-encompassing experience. It’s music you don’t just listen to—you undergo it.

Magma’s live shows are uncompromising, overwhelming and immersive. As many have discovered before: you either embrace it  or you are repelled by it—but remaining indifferent is not an option.

Special thanks to Ela Williamson for helping with this review.