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Ever since Oasis’ heyday every two-bit guitar group has to talk like they’re going to take over the world. Viva Brother began their first ever gig by saying “If anybody here doesn't want to see the future of music, leave now” and now they’re a punch line, and not even a very good one at that. It leaves a band doomed from the start, cos the reason that Oasis sounded so exciting was that believed every word of what they were saying to the very core, and could back up every outlandish statement they made at that. Save for a very select few, nobody believes anyone else saying they’re going to be legendary for a second. Most of the time bands are formed not out of a desire to change music history or headline Wembley fourteen nights in a row, but out of an honest desire to play and create music.
This was exactly why Basement Jaxx formed and they went on to do everything that Viva Brother said they were destined to do. And thank the music Gods for that. The duo are made up of Simon Ratcliffe and Felix Buxton, who first struck up a friendship at a river boat party over the Thames, and Basement Jaxx was originally the name of their club night. Their original ambition was simple, to put on great parties and release great records, which they did on their Atlantic Jaxx label. However, by 1997 Ratcliffe and Buxton were making their own music and releasing it either on their first E.P’s or their label compilations. Even at this early stage of their career they were doing something revolutionary, releasing music that was as inspired by international music like soul, samba, reggae and house as it was by British institutions like punk and rave. Armand Van Helden summed it up best when he said they took house music and “f***ed it up the ass”.
In 1999 their music got the attention of XL Records, who at that point had given the world The Prodigy and were already as achingly cool as they’d ever be. Their debut album “Remedy” followed and was an instant success with both critics and the public. To wit, the second single from that album “Rendez-Vu” remaining their highest charting single in the U.K, hitting number four in August that year. The single also topped the Hot Dance Music/Club Play chart in the States, as did their debut single “Red Alert”. High on their debut records success the band toured everywhere that would have them, before hunkering back down to Brixton to work on their follow up.
True to form, part of their work on that follow up was putting on another club night, which they called Rooty. If that sounds familiar, it’s because it became the title of their second album, which was released in 2001. It was another critical and commercial smash, giving the world the deathless hit "Where's Your Head At" in the process. Ever since then they’ve held on to their title of the “other” elder statesmen of British dance music alongside The aforementioned Prodigy with aplomb. They’ve headlined Glastonbury, sold out arenas and collaborated with the likes of Dizzee Rascal and Siouxsie Sioux. They’re a shoo in for the status of national treasures, and it all stemmed from wanting to put on a good party and make some good music. Mission accomplished, I think.
Live reviews
London dance duo Basement Jaxx, from Brixton, have been bringing the party for years now, since the late ‘90s. Their live shows continue to be eccentric, carnival-esque extravaganzas, featuring live musicians, dancers, crazy visuals and a revolving door or guest vocals. They are one of the bands who helped take dance music to the greatest of heights, laying down the foundations for live electronic music shows, which have been replicated year after year by young upstarts.
I’ve seen them so many times at festivals, from Exit Festival in Serbia to London based festivals, and they never disappoint. It would be hard to, with a catalogue of stomping singles such as ‘Red Alert’, ‘Where's Your Head At?’, ‘Romeo’ and ‘Good Luck’, all of which they regularly perform. Often, like at Exit, when they perform ‘Where's Your Head At?’, they bring out a bunch of dancers in monkey costumes, referencing their weird and wonderful video from it – showing that their tongues are firmly in their cheeks. The best time I saw them was up-close and personal in the relatively intimate settings of KOKO in London. Their sound was perfect and the energy they brought to the stage rivalled that of any other ‘90s dance act. This is how live dance music should be done: with heavy doses of pop, soul, rock and a taste for the theatrical.
cliverozario
Having seen Basement Jaxx four times in the early 00's, I have to say that this collaboration with the TMO, was a bit of a let down.
Simon really didn't seem to be interested, and they walked off stage without giving the Melbourne crowd an encore - despite some of the orchestra getting back into their seats to perform one.
Most of us there were 40+ ex-ravers and Jaxx fans than curious artsy orchestra people.
While the orchestra and variety of singers did a great job, there was definitely something missing here....a banging version of 'Where's Your Head At' or medley banged out as a finale. Having accapella and slow versions of Romeo and Where's Your Head At? were impossible to get out your seat to dance. We jumped out as often as we could all night.
Having a per-pubescent ballet dancer on stage was a miss. It was a distraction and had most people questioning 'where's their head at?'
Believe me, you can still use classical musicians to bang out some fun hits. We have seen Above & Beyond, Hardwell, Armin van Buuren and Paul van Dyk all collaborate with orchestras and delver.
Sadly Basement Jaxx didn't deliver on this occasion.
Beanbagdan
Basement Jaxx is the electro/dance brain child of Simon Ratcliffe and Felix Buxton. The UK duo has enjoyed a celebrated and commercial career with a number of their singles becoming hits in their homeland as well as having the prestigious opportunity to headline the Pyramid stage at Glastonbury Festival. The reason Basement Jaxx has attained such relevance though is due to the huge production values of their live show.
The whole performance has been carefully designed and moves between the huge dance floor fillers such as 'Red Alert' and 'Rendez-Vous' into the more progressional electro in such succinct manner it keeps the crowds jumping and dancing all evening. There are robots involved, carnival dancers and stage invasions aplenty to add to the hedonistic experience of the show and the whole entity can become quite overwhelming at times as you start to lose exactly what it is you should be focusing on. There are few acts who turn a live show into a fully fledged production, Basement Jaxx are a great modern day example of the importance of show.
sean-ward
In no way shape or form was this BASEMENT JAXX let alone Basement Jaxx vs the Sydney Orchestra. The description was completely misleading and at the extravagant cost of the tickets - needless to say I was thoroughly disappointed and angry and left half way through.
Basement Jaxx vs The Sydney Orchestra... laughable
jaimiehayton
Juce and Ella Eyre were great support acts to get the crowd in the mood for the Basement Jaxx - who did not disappoint. Creating a wonderful carnival atmosphere, Basement Jaxx and the troupe sang, danced and entertained - whipping the audience into a frenzy! Fantastic gig!
shehnaz-hansraj
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