Live Review: Big Bouncy Beats for Bris Bambinas | Basement Jaxx at Riverstage
Basement Jaxx. Photo credit: Kelsey Doyle (@kjdoyle)
It’s a balmy night, the mid-strength tinnie’s in hand, and a faint smell of weed wafts through the air. Praying for no rain, no mozzies, and no dreaded portaloo encounters – where else but Riverstage.
It’s been over 15 years since Basement Jaxx’s last full live tour in Aus, and this past Sunday, they kicked off their 2026 Australian stint in none other than Brisvegas.
Making our way through the subtropical jungle that is the Botanic Gardens, we bounded up the hill into Riverstage. Hotly anticipating the band’s return to Australian shores, we speculated what the sloped stage design and mission-control style cut-out - the hole - may have in store for us.
From watching the unhinged anthropomorphic monkeys of Where’s Your Head At on Rage, to blasting Good Luck on cassette tape (undoubtedly ripped off Triple J, shh…), I grew up with Basement Jaxx. Their old CDs remain on high rotation in my car (I’m basically reaching flow state to Jump ’N Shout on the morning commute, while Flylife lets me pretend I’m once again living my best life as a 5-year-old, zooming around in Ridge Racer Type 4).
It was an energetic start to the set as they kicked off with some major percussion, giving their 2004 hit Good Luck the big bass treatment, contrasted with sparkling, flowy ethereal outfits, reminiscent of fairy godmothers and fluffy clouds.
Raindrops slowed the pace as costuming was taken to an almost Cirque du Soleil level when a performer dressed as a giant blooming flower floated on stage, unfurling delicate shimmering petals.
The costumes and dancers were a real highlight of the show. Incredible vocals hit the mark every time as contemporary dancers-come-gymnasts gracefully manoeuvred (and expertly hurled) themselvesacross the stage. Shiny, silver, futuristic ensembles met with angelic and flouncy fun. With more costume changes than a Golden Globes host would endure, it was certainly a feast for the eyes.
Jaxx upped the ante with a techno mashup of George Frideric Handel’s classical Baroque piece, Zadok the Priest. The entire event was paired with eclectic visuals; think aliens, fish, disembodied lips, monkeys. Iconic Godmother of Goth, Siouxsie Sioux, who originally featured on the track Cish Cash, was also honoured on the big screen during the band’s performance of the song.
The energy amongst fans was electric as the evening descended into Tomorrowland-esque raver madness. Keeping in this theme, the crowd was treated to a cover of Rosalía’s dramatic single Berghain, which then transitioned into bouncy electronica to set the mood before the big finale.
As the iconic sample of Gary Numan’s M.E. rung out, there was a nod to the band’s original 2001 music video as dancers in gorilla suits charged the stage for signature international hit, Where’s Your Head At.
After a very brief disappearance, the band reemerged for an encore, starting with energetic feel-good Take Me Back to Your House. The vibrant spirit of flamenco was present for Mermaid of Salinas, with the set culminating in their most recent release; Latin-inspired house track, Bambina.
After rhythmically jumping themselves to bliss, the crowd shuffled out of a muggy Riverstage to Queen’s Bohemian Rhapsody which played out at the close of the event; a night punctuated by an impromptu singalong that truly encapsulated the evening’s ecstatic aura.
Photo gallery by Kelsey Doyle (@kjdoyle)
