John Zorn, Herbie Hancock, Dr John and Robert Palmer are just some of the musicians who have availed themselves of the services of Brazilian percussionist Cyro Baptista. His solo project Beat the Donkey is an act that defies easy categorisation, taking in elements of musique concrete, absurdist street theatre, Latin flavoured acid-rock and much more besides.

In Leeds, the large ensemble managed to cram an unfeasible amount of percussion instruments on to the Wardrobe's cosy stage. Not all were of the traditional variety; in fact, the show opened with Baptista beating out a series of dazzling paradiddles on a bucket and a tin can.

Later, he played a lashed-together sculpture of plastic gutter-piping, while one of his colourfully attired band mates took on a framework of 10 tiny drums, each with a miniature beater worked by a central control leaver. Throw in cowbells, shakers, tambourines, the odd berimbau, a megaphone and a kit drum that sounded like it was being played by the late John Bonham, and you get some idea of the scale of the racket.

The percussive barrages were predominantly Brazilian in flavour, although there was more than a nod to flamenco. Baptista also had a series of electronic pads that he used to clatter out some tangled drum'n'bass rhythms, in between blasts of comedy harmonica and trance-like vocal chanting. When a thundering electric guitar and madcap melodion entered the fray, the noise became positively war-like.

What Baptista's show lacks in musical depth, it more than makes up for in humour and presentation. A tambourine duet between two band members turned into a mimed tennis match (with the instruments as rackets). And whenever things threatened to turn boring, a pink-haired oriental girl sprang onto the stage for a bit of flamenco dancing or samurai sword-twirling. A riot of a show, touched with genuine percussive genius.