Her sound has verve and mellowness; her intelligent and impulsive playing can make one easily forget that this instrument, even in the Musette variant, has it's limits. In Lydie's play those limits seem far away. No matter how personal and emotional her sound may seem, she is still able to wander through the music of the world, taking on a phrase here and a motif there - it will still be unmistakable, typically Auvray. It is perfectly possible to hear her pieces as part of a musical map of the world - but she still has style, exquisite style indeed. And even if one thinks of this style at first as belonging to the performer, as the composer of her sometimes longing and melancholic, sometimes extrovert and cheerful, but always powerfully emotional music she has had a clearly defined manner from the beginning of her career and since then has simply become better and better. Surrounded by excellent musicians, unique personalities like herself, she can come out of herself - or go into herself - with breathtaking energy. In her concerts there are moments of greatest intimacy and tenderness and others full of exhilarating joy in life and movement. Of course we come to hear everything that an accordion can possibly do, not only the nuances in colour and atmosphere but also the stages the instrument has passed through in the course of it's history. There are tints of Cajun, Musette, Tango and Anglo-Saxon folk music, there is the rhythm of the Caribbean, Africa and Latin America, the dreamy, sleepwalking, enchanted element of a film-elegy and the solid motor movement of pop, rock and the blues. But in everything we hear there is that 'Auvraity', the very distinct personal sense created by this band with this front woman.