With a night of soul and funk on the cards, I clambered into the Hopetoun to a stripped-back set from Peregrine frontman Brett Winterford. He served up that acoustic pop-rock vibe the Sydney band has become known for. It’s nothing exciting, but it’s the sort of music that lulls you in. Overall, though, it’s unimaginative and just generally not my sort of thing.

The night then took a turn down a a more soulful street. Dimity Claire and the Bleeding Hearts stepped on stage with a full compliment of brass, Rhodes piano and sweet-as-sugar frontgirl Miss Dimity Claire. They played a brand of big-band soul, but instead of diva delivery, Dimity swayed to a quainter groove, with jazzy vocals adorable and piercing at the same time. At times she flitted lightly amidst a sea of brass, all the while shadowed by husky groans.

Dimity was hell-bent on spellbinding every single male in the house when she climbed behind her piano and went solo. Her voice, unmasked by the timbre of her four brass-wielding buddies, was allowed the chance to shine. It was sugary and enchanting, basking in the spindly sounds of her Rhodes. She blushed as the crowds’ rapture engulfed her – like she didn’t expect such a reaction.

I felt sorry for those who had taken the penultimate set as a chance for a cigarette or a beer – but hey, their loss. The room suddenly groaned as the frozen-handed nicotine fiends made their reappearance before a stage that was occupied by three very dapper looking gents, each with matching tie and waistcoat. *

The Ray Mann Three* opened with a fifteen-minute jam of Feels So Good. Ray Wassef’s vocals were smooth and flirtatious, his rhythmic guitar augmented by bass player Byron Luiters’ quivering groove, as drummer Grant Gerathy tapped lightly at the frame of his snare.

The crowd around the room was yahooing to the funky sounds, feeding off the obvious energy and delight the three groovemakers took from playing to a jam-packed room. Drummer Grant was swaying his head side-to-side, constantly changing up time signatures with bass player Byron.

The gig was the launch of the latest single Hook Me Up from their debut self titled LP. I’ve been listening to this song for a while now and it really was killer live. They’ve got a groove that takes in jazz, funk, soul and hip hop all at once. The band certainly possesses a charismatic live presence, ranging from the slow soulful lament of Morena to the shout-along-inducing Opa Opa.

Go on, get yourself out to a Ray Mann Three gig: you’re sure to benefit from a dose of funky soul.