Billy Ocean - One World Tour
The room was already buzzing long before the main event — almost full for the support — when a single white circle of light found Jason Ayres. Denim jacket, shirt and jeans, those glorious worn-in boots; just an acoustic, a stomp box and a mic. He opened with an original that felt like a long, contented exhale, then smiled and said he’d heard a tune on the radio and wanted to put his own spin on it. Bang Bang — the Cher classic — arrived stripped to its bones, pulse first, melody second, heart all the way through. “This next one’s about the life of a touring musician,” he said, tapping the stomp, and The Highway unspooled like white lines under a windscreen. Mid-set he flicked on a strand of tiny lights wrapped around the guitar’s body; a small, perfect stage picture. He talked about the universe being beautiful, about not listening until things went wrong enough to make you change direction, and then played a brand-new one, Wild River, due out in a couple of weeks — the sound of letting go and trusting the current. “I’ve been touring with Billy for two weeks and this is my last night,” he said, asking Sydney to make some noise and make him feel like a rockstar “just for once in my life.” Coming Back to You waved us off and Darling Harbour absolutely obliged.
Then class walked out in a white suit with a black pocket square, black shirt and tie, long grey dreads and a grin that read, good evening, we’re going to have some fun. “Thank you, Sydney,” Billy Ocean beamed. “G’day Billy — welcome back, I love you!” someone shouted. “I love you more,” came the reply. “Are you having a good day? We’re here to make it better. Are you ready to rock?” One World swung the door open and Love Really Hurts Without You turned the first sing-back into a full-body chorus. Even the slightest hip flick — a leg stroke, a cheeky feint — sent delighted ripples through the rows. Nights (Feel Like Getting Down) and Stay the Night kept the bounce alive, Red Light Spells Danger hit with fresh polish, and then: “I left the UK on Monday and landed Wednesday — long way… now it’s your turn: get into my car,” and the theatre lit up for Get Outta My Dreams, Get Into My Car. David Baptiste stepped to the lip with his sax and peeled off a gleaming solo that had people on their feet.
The band looked sharp — blue suit trousers, waistcoats, light blue shirts and soft caps — and sounded like one voice. Perry Melius kept the pocket deep and unhurried; Orefo Orakwue’s bass made the floor move under your shoes; Jonathon Beckford layered velvet pads and glassy top lines; Stanley “Uncle Stan” Andrew threaded bright, lyrical phrases while Sonia Konaté locked the rhythm with unshowy authority. Behind Billy, the harmonies from Cherie Charles, Samantha and Donna Gardier were satin-smooth but steel-strong — the kind that don’t just lift a chorus, they steer it. The stage picture stayed clean: cool blue wash across the band, a crisp white spot tracking the man of the hour.
Romance bloomed on The Colour of Love, with Billy and Baptiste trading sweet lines — voice answering sax — before the room shifted to red, gold and green for No Woman, No Cry, a thoughtful nod that landed warmly. Then the modern chapter: Mystery, off One World, carried a Latin sway as Baptiste swapped to flute, Uncle Stan poured tasteful heat over the changes, and the whole thing felt freshly minted — not the sort of move most singers in their eighth decade attempt, which is exactly why it landed so hard. “Good evening, ladies,” Billy teased. “Suddenly is forty this year.” “We were there!” someone yelled. He smiled. “Forty years ago I was young and sexy. Forty years later… I’m still sexy.” He sang it like a promise and the room melted. Then came the wink and the gear change: “There’s only one thing left to say — I want to be your Loverboy,” and the groove tightened like a fist.
By now the faithful had pressed up to the barrier under the stage manager’s patient gaze; Billy made many slow laps, palms and fingers meeting dozens of times. Daylight kept the One World spark bright — upbeat, airy, more flute — and the band introductions drew big cheers, especially for Billy’s daughter Cherie. Finally, the postcard everyone wanted: “Let me take you somewhere the skies are blue and the rum is the best in the world — you wanna come?” The first synth stab of Caribbean Queen was the starter’s pistol. Everyone stood. Choruses volleyed between stage and seats; more high fives down front; a neat bow; and then the band played us into a standing ovation that tried very hard to conjure an encore. Not tonight — just a beautiful full stop.
Out around Darling Harbour, the afterglow was loud and happy: “I came for the hits and left with a masterclass.” “How is he still that smooth? Even his smile’s in time.” “That wasn’t a throwback — that was a celebration.”
Full Gallery https://musicfestivalsaustralia.com/event-photos/billy-ocean-one-world-tour
Thank you to Billy Ocean, Lennard Promotions, Mellen Events, Menard PR and the ICC Theatre Sydney for having us along.
Review and Photos by Andy Kershaw for Music Kingdom Australia
