There’s a sense of comradery in Phoenix Central Park before Benjamin Skepper even begins his performance. A small venue that holds a ticket ballot to allow entry, you feel aligned with most people in the space in the shared search for the new and slightly off-kilter.

When Skepper takes the stage, dressed in a hat and a punky-yet-refined all-black ensemble, this is evident from the first sound. With his laptop, he triggers a soundscape to start – chiming bells underpinned by swirling electronic noise. He sits at a Fazioli piano and, over the top, begins to play the first of five piano miniatures.

Benjamin Skepper. Photo © Janarbek Amankulov

From the start, it’s clear that Skepper is a highly polished performer. The musical material for his piano miniatures are very simple, tonal – often based around triads adorned with clear, sweet melodies.

Though at points too uncomplicated, Skepper handled these works with the clarity and delicacy that they needed. He holds a great sense of strength as a performer through delicately-shaped phrases and a powerful sense of restraint. In them, you could hear...