Check out all of the photos from the show right here on FL.

The crowd had arrived early. Messily but fluidly pouring like a shallow stream turning it’s back on Newton, up the stairs through the doors and into the vast emptiness of the Convention Centre, via the bar of course. The crowd was a pretty even spread of young and old, male and female even grungy and preppy. I know there’s loads of mum’s out there that love I’m Yours but that won’t be heard for a couple of hours yet!

Introducing herself in a baby-like coo, Lisa Mitchell took the stage and started to play. The venue seemed imposing and the nerves showed. Although often eyeballing the guitar she stood awkwardly behind, her uniquely beautiful voice was visibly effortless. Lisa’s stage presence confirms her age; exuding a shyness that definitely works in her favour. Men and women alike got caught in Mitchell’s headlights until the feel-good familiarity of Neapolitan Dreams snapped them back. Girls embraced and swayed, boys bent like awkward flowers in a breeze and everyone la-da’d the chorus. Thanks to a thumping kick drum and plenty of recent national radio airplay Stevie was the crowd favourite. It’s clear and justified what the early arriving punter’s motives were; Lisa’s cute-as-a-button look and sweet as innocence sound were in plentiful supply.

After a short break, the lights go out and the crowd erupts. Mr Mraz himself saunters on stage followed by a glowing beam and makes himself comfy at another man’s keyboard. He then introduces his – œgood friend’ and in fact, step-brother, Eric Hutchinson. He mashes a few keys to the delight of the growing mass, and casually leaves again. Hutchinson takes the pre-warmed seat and begins to tinker. Instantly energising the room, Food Chain slams some mo-town sugar into the air. During Oh the crowd is invited to sing, and sing they do. Chameleon-like changes between the love child of Stevie Wonder and Jamie Cullum while at the keys, and a missing member of an early Rolling Stones line up when on the guitar. All Over Now and Ok, It’s Alright With Me continue to visibly impress with thanks to the skilful support of Joe Whitfield on bass and Jimmy Coleman on drums. Closing a very solid set was the predictable and current, commercial radio staple, Rock And Roll. With a thousand or so eating from his hand, Eric Hutchinson says some very heart-felt thank yous and leaves the stage. JM was going to have to do more than play his CD to win this one.

Taking the stage looking like Timberlake on vacation, Jason Mraz instantly melts hearts. Alone and angelic under the rain of pure white lamp snow, and armed only with a classical acoustic, Ray Of Sunshine gets things started; beautiful, almost a Capella and drenched in soul. As the last perfect note drifts into obscurity the mass turn from smitten to bitten like a released spring. With little more than a thankyou, the thick, sludgy funk of Only Human drips from stage and pours under foot. Make It Mine takes the tempo up and gives a welcome excuse to stomp and splash about, before Bella Luna slows the universe down again. This lover’s lounge, jazz tune brings the moon and stars to arms reach. Mraz’s Milky Way soft vocals fold and sway. Punctuated with Carlos Sosa ’s trombone solo, you float along in the current on the journey he narrates. Beautiful Mess keeps the tone before Live High sees that same current pick up pace and surge around planetary boulders while knowingly grooving a wink to Mraz’s – œsuper band – the Get Along Gang’. As though he’s the crush-worthy teacher on this intergalactic field trip Mraz asks for a little classroom participation during Good Job.

Cheesy dance moves are adopted by even the most staunch audience member, and by the first chorus not one bum is seated or a single hand pocketed. While still on their feet the crowd are teleported back to earth with the refreshing feeling of sand between toes and the familiar sound of that single note slide intro to a – œhappy little hippy song’, I’m Yours. Sensing that the crowd was high of spirits and not shy of a sing-along, the commercial radio favourite was expertly kneaded until it rose as a campfire chorus of Bob Marley’s Three Little Birds. With a bow, a couple of prayer-like thank yous and a step full-of-skip, he was gone. Jamming out some uber funky jazz the band built to a stunning climax before a gracious exit. House lights on but nobody was budging. Like the nice guys they’d convinced Brisbane they are, they’re soon back and ripping into a scat-laden acoustic number and a deliciously jazzy version of Butterfly while Toco Rivera provided the sugar on top backings. Honestly dumbfounded by the response, and truly humble in their brilliance Jason and Co. stand side by side, bow slow and low and soak up the adoration like the theatrical superstars they really are.