When I accepted an invitation to see Fidelio Hot Club perform at St James's Church on 30 January, I had no idea what to expect. 

As Friday Night Dinner's Mr Morris would say, I'm a "bloody punk rocker." Fidelio's signature gypsy jazz sound has never been my type of music, and likely never will be. 

Nonetheless, I went in with an open mind – and came out feeling pleasantly surprised at what I heard. 

For the quartet, aided by BMW jazz artist 2025 winner Elias Prinz, more than justified their reputation as rising stars of the UK jazz scene. 

What particularly impressed me about the group was their versatility. From Django Reinhardt's vaguely Hispanic-sounding Troublant Boléro, to Duke Ellington and Juan Tizol's peppy hit Caravan, there was enough variety here to appeal to everyone. 

Walter Donaldson and George A Whiting's My Blue Heaven was a particular highlight, with Reonel Rafolls delivering a strong vocal display – helped, of course, by St James's fine acoustics.  

Rafolls excelled again in Minor Swing, his violin combining well with Tony Yapp on double bass and Cornelius Corkery on guitar to do justice to one of Reinhardt's most famous tracks. 

And then, of course, we have Csárdás, a traditional Hungarian dance melody composed in the 1920s by Vittorio Monti. Like Bray Wyatt's WWE character it struggles to decide what it wants to be, swinging from sorrowful to maniacally fast-paced in a matter of minutes. Yet somehow, the band made it work. 

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Biréli Lagrène's Made in France, though, was the evening's magnum opus. Between Yapp's driving bassline, outstanding guitar performances from Corkery, Prinz and Sol Grimshaw, and another superb violin display from Rafolls, everything came together here in a display of perfect harmony. 

For all my positivity, however, l have a couple of critiques.  

David Bowie's Life on Mars featured fine finger work from the guitarists, but felt as if it lacked something. Rafolls decided to sit this one out, and had he participated – either with violin or voice – he may have given Ziggy Stardust's smash hit the oomph it needed.  

More instrumental variation would've also been welcome. As impressive as Grimshaw, Prinz and Corkery were three guitars is too many for a five-piece, and the addition of a piano, harmonica, or even an accordion would've livened things up considerably.  

But despite these quibbles, it is easy to see why Fidelio's stock is rising. 

I don't expect them to play anything by Rise Against or Sum 41 anytime soon, but even so, I will be watching their progress with intrigue.