Friday, March 6, 2026, the Sala Sinopoli of the Auditorium Parco della Musica Ennio Morricone in Rome hosted a historic event: the return of Magma to Italy in “full band” formation after 46 years. The concert, which began at 9:15 pm, lasted about two and a half hours. Leading the ensemble, with incredible energy despite his 78 years, was Christian Vander, who was able to faithfully reproduce the Kobaïan harmonic complexities thanks to a well-stocked vocal section.
I have spoken at length about the great Magma on the occasion of the reviews of their masterpieces and in the profile dedicated to them entitled "The Magmas and the Kobaïan Saga".
The only Italian date of the 2026 tour attracted fans from all over Italy, with many also coming from France, to celebrate a legend and his musical vision.
Christian Vander, the “Kobaïa” himself, is the founder of the band in 1969, the inventor of the Zeuhl genre and the Kobaïan language. A drummer influenced by John Coltrane, he is the beating heart and visionary mind of the group. Age is just a biographical detail, a number that fades in the face of his incredible performance. On drums, his precision is astonishing. His touch is dynamic and powerful when needed, and his Gretsch seems to be an extension of himself, with no secrets. The four front cymbals, arranged like flying saucers, offer glimpses of the Maestro at work, becoming an integral part of the melody. The two cymbals behind him are reserved for moments of greater impact, always played simultaneously with synchronous strikes that lead him to hit without looking back, with hypnotic gestures. His touch is a mix of jazz and rock, a rhythm made of subtle, sudden, and refined strokes. His skill in syncopation and in maintaining a sustained rhythm is exquisite.
In terms of voice, Vander is an actor of Greek theater lent to music. When he sings, he stands up and the darkness around him frames him. His theatricality has enormous interpretative capacity; watching him is like attending a lesson, learning to make it a model. There is tragedy, comedy, and satyric drama. Singing in Kobaïan, with its expressiveness, becomes understandable. His face transforms and the emphasis intensifies or softens as his hands move in the air, slapping the cymbals at times in moments of impetuosity, or rising with his index finger pointing upward like a priest and prophet narrating a secret truth.
When he switches from singing to the drums, while his left hand still holds the microphone, he uses two drumsticks in his right and immediately starts playing, then naturally returns to playing with both hands. While playing, he interacts with the musicians. He looks at them, nods, smiles. He plays with his body, his face, his soul. A leader who has dedicated his life to shaping his musical vision, he addresses his musicians kindly, as well as anyone around him and even the audience watching him with admiration. His face is a reflection of intensity and passion. When he strikes the toms or cymbals forcefully, his eyes widen and he bares his teeth. On the other hand, when his touch is light, his eyebrows arch and his eyes narrow. As the music intensifies and his hypnotic, driving zeuhl takes over, he lets out soft cries of encouragement. He doesn't just play; he mimics the sound of the drums. He doesn't just sing; he acts and lives the song, inevitably infecting anyone who listens to and watches him. Seeing him play was a unique experience for me, and I consider myself lucky. A master, whose face is marked by age but who possesses an energy I don't find in musicians much younger than him. In his hands, in his arms, and in his face reside over fifty years of music history.
On stage with him is Charles Lucas (Bass), offering a massive, distorted, and technically flawless bass sound that is the backbone of the driving force behind the new live shows. A couple of technical issues did not faze him in the slightest. During a moment of silence, his bass temporarily went mute, but the staff promptly intervened to resolve the problem.
I think he had a cramp in his hand, it lasted just a moment, I hope, because then he started playing great again after a kind look from Cristian, his partner in the rhythm section. A true virtuoso.
Rudy Blas, guitarist who joined in 2019, blends progressive rock and jazz with a modern style. His guitar adds sharp colors and intense solos that fit perfectly into the band's wall of sound. He rips notes with impressive speed and technique, letting himself be carried away by the energy of his fast and frantic runs.
Thierry Eliez, keyboardist and singer, is an exceptional musician, also known on the international jazz scene. In Magma, he handles orchestral scores on the keyboards and contributes with a powerful and versatile voice. His vocal contribution and the soundscapes he creates with the keyboards are fundamental to the band's sound.
Simon Goubert, a longtime collaborator of Vander for over 40 years, is one of the greatest French jazz drummers. In Magma, however, he puts his genius at the service of the electric piano and synthesizers. His long solo was a display of passionate and creative virtuosity, helping to create an exhilarating atmosphere.
Stella Vander, the band's historic voice and pillar, did not sing during the concert, but her presence was still celestial and iconic. Since 1973 she has coordinated the vocal ensemble and manages Seventh Records, the band's historic label.
Hervé Aknin, the leading solo singer of recent years, has a powerful voice, almost baritonal at times, with a remarkable range that allows him to masterfully interpret the most epic and dramatic parts of the repertoire. His stage presence and his contribution to the world built by Magma is magnificent.
Then there is what is called a choir, but in reality it is a group of solo voices in perfect harmony. Sylvie Fisichella gave us a splendid heated dialogue in Kobaian with Vader. Even if incomprehensible, it gave the feeling of an important dispute between them, with heated and determined tones from both sides.
Isabelle Feuillebois, at Stella's side for decades (she joined in the '90s), has a dark and deep voice, essential for the intertwined vocal harmonies typical of Vander's compositions.
Laura Guarrato (Lora Yma) gave an extraordinary vocal performance, captivating me with her high and impetuous vocalizations, accents, and impossible notes. The psychedelic moments and Floydian atmospheres added a further level of depth to her performance.
Caroline Indjein gave the ecstatic fans' audience splendid solo parts.
Together, all the voices guaranteed the polyphonic density necessary to perform the masterpieces of this band.
The concert setlist was simply fantastic. Under a huge Magma logo, towering over a stage lit by dark lights, the concert began with the splendid “Mekanïk destruktïw kommandöh”, which kept all of us glued to our seats in amazement. Christian Vander's solo part during “Nebëhr Gudahtt” was beautiful.
Next is “Hhaï”, a very particular composition because, unlike almost all of Magma's repertoire, it is a piece that never originally appeared on any studio album. Its first official appearance is on the 1975 “Magma Live” album, followed by a rearranged version included in the album. Fantastic!
The concert continues with “Félicité Thösz”, the suite from the album of the same name, a composition of about 28 minutes. And then two Encores!
The first Encore is the splendid “Ehn deiss” (Offering cover), which does not originally come from a Magma album, but from Christian Vander's parallel project called Offering. The track is included in “Offering I - II” (released in 1986). Magma's live version maintains the acoustic, jazzy, and ceremonial sounds, different from the band's typical Zeuhl rock.
The second Encore is “The Night We Died”, which comes from the studio album “Merci” (released in 1984). One of the band's shortest, most melodic, and “accessible” compositions, characterized by a melancholic and evocative atmosphere, far from the usual Zeuhl rides. The title is one of the rare cases in which Magma uses English, and the sound moves towards more soul and jazz-funk tones.
Vader's genius and Magma's live music are experiences that excite and move at the same time. Unforgettable.
