A lasting memory of discovering Basement Jaxx at the Adelaide Big Day Out Boiler Room in 2000 was seared in my mind in the week ahead of the dance legends returning to Australia.
Their music became a soundtrack of my world at that time, and I had hoped they'd bring the colour and spectacle that made it such a formative moment. They didn't disappoint last night (3 March).
Support act, Close Counters did a great job of setting the tone early, with a set of disco and funk-infused grooves. The excellent Annalisa Fernandez joined the duo on vocal duties, with their remix of Marvin Gaye's 'I Want You' and single 'Something In My Drink' highlights of their show.
Fifteen minutes felt like forever as a projected gorilla watched the crowd bristle in anticipation for the headline act. From the moment the lights dimmed, and the first lines of 'Good Luck' rang out, followed quickly by 'Bingo Bango' and 'Jump nd'Shout', it was pure dance-floor joy.
Every single minute shared in that room was pure elation and had the crowd moving as a single organism. Phenomenal singers brought the soul, with soaring vocals, gritty rhymes and operatic arias.
Drums and percussion pummelled out killer beats, guitar and trumpet added texture, and the captivating basslines took us on a journey ranging from underground hardcore, Afrobeat, glorious opera and everything in between.
It was spectacular, with imagery and costuming changing throughout. The band in celestial silver and dancers joining throughout as flowers, jesters in straitjackets, and catsuits moved gracefully and flipped acrobatically. Visuals on screen from the psychedelic to sublime enhanced each song.
Basement Jaxx at The Riverstage (Brisbane) on 1 March, 2026 - image © Kalem Horn
They played all the classics and new tracks too, which held up perfectly within the non-stop set. The gentle elation of 'Raindrops', unstoppable groove of 'Red Alert', guitar-driven 'Rendez-Vu' and superb cover of 'Berghain' (Rosalia, Bjork & Yves Tumor) are just a handful of highlights in a set that just kept on giving, and building.
That's until the eruption of 'Where's Your Head At' simply tore the place apart, complete with dancing gorillas, the crowd screaming the chorus, and not a still body in the room.
A brief interlude before returning to the stage with gratitude to play 'Take Me Back To Your House', before closing with 'Bambina' that left the crowd buzzing with joy.
Hours later, I'm writing my thoughts, the electricity hasn't left my body, and the smile hasn't left my face. Hopefully I don't need to wait another 20 years to do it all again.
