Easing us into the evening in sugary sweet electro-soul glory is Tentendo. His set list and style is a clear reflection of his production work as one of the main brains behind the powerhouse that we're all here for, Billy Davis & The Good Lords. Warm synths and half-time, bass-heavy jams blanket the room with track after track of slow-burning electro R&B goodness. Brief but beautiful little features from Jordan Dennis, Blasko, and KHIA - rapper and vocalists, respectively, for Billy Davis & The Good Lords are a tasty teaser for what awaits us. 

Opening with a remix of Khalid's Location, Swell sets the mood for what's to be close to an hour of deliciously grimy beats perfectly paired with chord progressions to pull on the heart strings. Besides a single red light to illuminate the stage, the room is in darkness, making the dancefloor look like one big grey mass, bopping in blissful unison. Layered, staggered synths, heavier trap beats and melodic samples colour the course of the set, with the standout being I'm Sorry. Punters are in their element, eyes closed and swaying, waving dripping beer glasses in slow-mo for this dreamy piece before Swell brings it back into some upbeat tracks for couples on the floor to get low to; gyrating dance moves included. 

The disco ball switches off abruptly and we're in complete darkness. Punters are perched on the staircase, kneeling on chairs, hanging as far off the balcony as possible and weaselling their way toward the stage while screaming to high heaven in anticipation. Kicking off with a tight bass line that lingers through every fibre of our body and a tear-inducing, note perfect flute solo, the individual talent in Billy Davis & The Good Lords is dead obvious. Starting straight with introductions, we're treated with a gorgeous guitar solo, and serenaded into a soulful daze by lead vocalists, KHIA and Blasko in Pressure. Next up, Jordan Dennis delivers a super tight verse or two with total ease, and it's all pulled together with a trumpet solo so good, we wish it went on forever.

Every space and second is covered in a lusciously thick layer of melodic and syncopated rapture. A mate of the band flies off stage and crowdsurfs for a few hilariously intense seconds, as they launch into Goldfish, complete with cute little projections of illuminated goldfish swimming around the room. The stage fades to a smoky pink haze for the bridge and the velvety jam escalates into a half-time outro of harmonies and a drum break providing pure and utter satisfaction.

If there was ever a voice likened to honey, let it be DeAndre Brackensick's, who's called up to serenade souls with a dreamlike falsetto and vocal runs sure to cause the heart to skip many a beat. There's visible shock on people's faces, and it's totally warranted. Next up, they get straight into Wave, which is a funk fest featuring a scorching sax solo, sending the room into a soulful climax. 

The man of the hour; Davis', aka William Rimington's, performances on the keys are heavenly. He effortlessly saturates every second with the tastiest chords, peaking and falling at just the right moments, seamlessly transitioning from key and tempo change without breaking a sweat. His flawless solo in Ball & Chain is a highlight of the set. 

The energy radiates from the stage to every corner of the room in the most heart-warming, positive way possible. The only bad vibes here tonight would be from punters who'd be kicking themselves for not practising the piano properly back in primary school when their parents enrolled them in weekly lessons. Surely there'll be a fair few digging that old 61-key '90s Casio keyboard out from under their bed tomorrow morning to try and remember how to play Ode To Joy, riddled with deep regret from memories of just listening to the demo song on repeat instead of perfecting their C Major scale.