The Brisbane humidity was punctuated by a light, unpredictable drizzle last night, yet the atmosphere at South Bank remained undeterred. As part of the On the Banks concert series, the evening promised a rare intersection of contemporary performance art and legacy-defining music. For the attendees—and those of us positioned in the photographers’ pit—it was a study in how visual identity and sonic precision can transcend the traditional concert format.
The Opening Act: Afrofuturism Defined
The evening’s progression was notably well-paced, building a steady momentum before the first act took the stage at 6:45 pm. The Illustrious Blacks arrived to immediate acclaim, their presence marked by intricate, Afro-infused futuristic attire. The duo’s wardrobe was more than mere costume; it was a deliberate nod to queer culture and their own personal origins, setting a high bar for the visual narrative of the night.
Musically, the set was a disciplined fusion of electronic funk and disco. Their performance was visceral and edgy, yet displayed the polish of a seasoned touring act. Before concluding their set, the duo paid a professional tribute to the headliner, effectively transitioning the crowd’s energy towards the impending arrival of a legend.
The Reveal: A Masterclass in Stagecraft
The transition between acts was handled with a calculated sense of mystery. A black curtain was drawn across the stage, shielding the crew’s final adjustments and providing a stealthy entry for the band. From the vantage of the pit, one could discern the arrival of the musicians, including the distinctive silhouette of Miss Jones seated upon a central throne.
When the curtain was finally retracted, the effect was instantaneous. Dressed in a signature black suit and a fanned, crescent-shaped headpiece fanning to shoulder width, Grace Jones presented an image consistent with the avant-garde, high-fashion trademark she has cultivated for over five decades.
The Performance: Legacy in Motion
At 77, Jones remains a formidable technician. Her setlist drew heavily from her influential catalogue of New Wave, Reggae, and Funk, with hits such as My Jamaican Guy, Love is a Drug, and Pull Up to the Bumper delivered with unwavering vocal control.
Rather than relying solely on the spectacle of her music, Jones maintained a constant dialogue with the audience. Her stage presence—characterised by a cheeky and engaging personality—remained palpable even during off-stage costume changes. These transitions were seamless, ensuring the momentum of the show never faltered.
A Definitive Cultural Moment
The performance was punctuated by the hallmarks of a Jones production: extravagant costume changes, high-energy interactions—including her venture offstage to engage directly with the audience—and the iconic hula-hoop sequence during Slave to the Rhythm.
The evening was a testament to the power of a well-earned legacy, supported by the technical excellence of the event organisers. The staging, sound engineering, and overall atmosphere at South Bank provided a premium framework for what was, by all accounts, a flawless cultural event. For Brisbane, it was a sophisticated reminder of the enduring impact of the avant-garde.
