Sydney’s Enmore Theatre was more than a mere venue on Valentine’s night—it became a pulsating heart of funk, its rhythmic beat resonating through a crowd ready to be swept into a groove-filled odyssey. As The Brand New Heavies took the stage, the packed house was drenched in waves of acid jazz, soul, and sheer musical mastery. Marking thirty years since the release of Brother Sister, the Heavies delivered a performance that was both a love letter to their legacy and a testament to their undiminished vitality, proving that true groove, like fine wine and deep friendships, only gets better with time.
From the moment guitarist Simon Bartholomew and bassist Andrew Levy strutted onto the stage—oozing the effortless swagger of musicians who know their power—the crowd knew they were in for something special. Have a Good Time set the tone for the night, not just as a song but as a commandment, an invitation into the sonic sanctuary the Heavies have curated for decades. Then came lead vocalist Angela Ricci, stepping into the spotlight like a force of nature, her voice immediately locking into the band’s groove as if she had been born into it.
The audience, a mix of longtime devotees and new disciples of funk, responded in kind, their voices merging in a chorus that echoed back thirty years of shared musical history.
Rather than adhering to Brother Sister’s tracklist, the band crafted a setlist that felt alive, shifting with the crowd’s energy.
The title track arrived early, its seductive bassline wrapping around the audience like a warm embrace, while the two-piece brass section cut through the mix like golden beams illuminating a smoke-filled jazz club.
Then came Dream On Dreamer, a track that remains as uplifting as ever, its timeless melody inspiring a mass singalong that felt almost spiritual—like a congregation caught up in the ecstasy of the groove.
Ricci, with her dynamic, soulful delivery, paid homage to the legacy of original vocalist N’Dea Davenport while making each song her own. She brought a sultry, hypnotic charm to Midnight at the Oasis, her voice gliding over the melody like a breeze through a moonlit desert.
Meanwhile, the instrumental tracks showcased the band’s deep-rooted musicianship—Ten Ton Take was a masterclass in rhythm and flow, blending 70s funk with acid jazz sensibilities. Bartholomew’s guitar work was playful yet precise, like a painter adding bold strokes to a living canvas, while Levy’s basslines simmered underneath, the secret ingredient holding the whole concoction together.
As the night progressed, the band’s signature spontaneity became part of the thrill. There were moments of loose, almost telepathic improvisation—sections where even the musicians seemed to surprise themselves, as if discovering new corners of their own songs in real time. This unpredictability only added to the magic, turning the performance into a conversation rather than a recital, a living, breathing exchange between band and audience.
One of the night’s highlights came when Bartholomew stepped forward for his vocal turn, his effortless charm sending waves of appreciation through the crowd. The Heavies have always thrived on a mix of precision and looseness, and tonight was no exception—each note, each riff, each groove felt organic, evolving in the moment like a jazz-funk alchemy experiment gone right.
As the encore approached, You Are the Universe provided the perfect climax—a cosmic anthem of empowerment and unity that transformed the theatre into a pulsing, euphoric mass of movement. It was a reminder of why The Brand New Heavies endure: their music isn’t just something you hear—it’s something you feel, something that pulls you into its orbit and refuses to let go.
With their Australian anniversary tour in full swing, one question remains—could new material be on the way? If tonight’s performance was any indication, The Brand New Heavies aren’t just revisiting the past. They’re still writing their future, one groove at a time.
Until then, we dance.
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Words by AW.