This is the kind of off-the-wall performance for which festivals are the perfect ambience.

It is a safe place for experimentation, wild ideas and with a sympathetic audience.

It was a roaming performance of seven musical/percussion/vocal works through several rooms of The Pound.

The audience mostly sat on cushions on the floor.

Frankly without programme notes most of it was incomprehensible - but not uninteresting.

In one piece for violin and percussion, in which the violin was more percussive than, well, violin, the sound aids included table tennis balls, feathers, eggshells and parcel tape. It was apparently to do with something emerging from shell to life and was described as a sound-and-object-drama.

Percussionist Damien Harron spoke and drummed – on an African djembe drum or something very like it – an exciting work by Georges Aperghis to with a race spectacle. It was a mixture of vocal sounds, some words, and rhythm.

Mr Harron was also the composer of the final, and most understandable and funny work, Control Freak, which saw the group’s main vocalist Anna Myatt, seek total control over all the other group members.