Come to Brazil was a joy to see and hear, and had me smiling ear to ear from start to finish.

Having never been to The Ellington Jazz Club, and only peripherally experienced jazz—let alone 1960s Brazilian bossa nova—this show was a bit of a wildcard for me going in, but I was impressed at every step.

My friend and I managed to nab front-row centre seats at the venue, and we couldn’t have asked for a better viewing experience. Being able to see the subtleties of the musicians at work, down to the fingering on a guitar or sax solo, or the shared expressions between band members, contributed to appreciating the chemistry of the performers. They enabled each other to craft dense layers of controlled chaos, unveiling a throughline of groove and playfulness.

The specifics of the homages and history present were a bit lost on me, but they invigorated me to learn more and appreciate a whole new world of music. As someone who was loving every moment (complete with head-bobbing and embracing crescendos with deep breaths and impressed exhales), I can only imagine that someone more familiar with jazz and this subculture would find even more details to appreciate.

The atmosphere of The Ellington lends itself well to the show, as it feels secluded and carved out of a wall—an easy blank slate to be transported by the music. As much as entering the club felt like stepping into a new place, leaving after the performance was like finishing the last bite of a five-star meal. The magic of the performance demanded to be digested, and its immediate absence felt like a slam back to reality—from Perth to Brazil and back to Perth in 60 minutes!

A must-see for anyone with even a remote interest in jazz.