For over three decades, The Brand New Heavies have been at the forefront of the acid jazz movement, blending jazz, funk, and soul into an irresistible sound that has stood the test of time. From the underground warehouse parties of London in the late ’80s to sharing stages with music legends like Stevie Wonder and collaborating with hip-hop royalty, their journey is a testament to the power of creative alchemy and musical evolution. As they celebrate the 30th anniversary of their iconic album Brother Sister with a tour and special orchestral performance at the Royal Albert Hall, we sit down with the band to reflect on their roots, their musical legacy, and what keeps them grooving after all these years.
Looking back at your roots in the acid jazz scene, what inspired you to fuse jazz, funk, and soul into the unique sound that became The Brand New Heavies? How did those early warehouse parties and underground shows shape your musical identity?
The warehouse parties gave us the opportunity to play and jam live to real crowds—like-minded music lovers and dancers in a unique, makeshift environment, often in disused office buildings or warehouses. In 1987, it was all about the hunger for great music in a pre-MP3, pre-digital streaming universe.
We were exhilarated by the slightly illegal atmosphere, where anything could happen on any given weekend. It was about being part of the in-crowd, as the scene was spread through word of mouth and printed flyers handed out at West End nightclubs, dance music record shops, and raves. Not a single social media platform is in sight!
‘Brother Sister’ is often considered one of your most iconic albums, with songs like “Dream On Dreamer” and “Midnight at the Oasis” still widely celebrated. What was the creative energy like in the studio during that time? How did N’Dea Davenport’s voice and presence influence the album’s direction?
I remember a lot of laughter and jokes while we were writing and recording Brother Sister. We had just gotten a great response from our first LP and had signed with London Records, so we were living the dream between LA and London. N’Dea gave us that extra edge we needed to conquer the U.S. market. She was a dancer and even knew Madonna—Madonna invited her to sing backup on the Blond Ambition tour, which N’Dea turned down to work with us. That kind of swagger and stardust definitely rubbed off on us three lads from Ealing.
Acid jazz is often seen as a fusion of the old and the new—melding retro sounds with modern vibes. As innovators of the genre, how did you navigate staying true to your roots while pushing boundaries with more contemporary production?
From day one, we really focused on songwriting more than anything else. I felt the production was less important; if it’s a great song with good hooks and a solid groove, you’re 90% there. Sure, we wanted that slick disco sound from early Chic records, but we also aimed for something clubby, with that weighty hip-hop drum energy.
The 30th-anniversary edition of Brother Sister includes previously unreleased demos and remixes. As you listened to those deep cuts and remixes for the first time in years, did anything surprise you or take you back to that era?
I was surprised by how many remixes I hadn’t heard before—tons were probably binned. The label clearly took us seriously and wanted the best for us. Listening to the multitracks, you can even hear snippets of us giggling, which takes me right back to that time.
The music industry has undergone a massive transformation over the past few decades, from vinyl to streaming and social media. How do you feel about the way music is consumed now versus when you started?
Every song is out there, waiting to be heard online, which is a good thing. I love Spotify, and if you can escape your own algorithm, you’ll discover music you’d never expect to hear or like. That’s an exciting development in history.
As artists active since the late ’80s, what have been the most significant changes in how musicians interact with their audiences? Do you feel the personal connection with fans has evolved with technology, or has it become more distant?
Smartphones should be banned from shows so we can all collectively enjoy the moment, I say!
You’ve worked with hip-hop royalty like Q-Tip, Main Source, and Grand Puba on Heavy Rhyme Experience Vol. 1, creating one of the first live hip-hop records. How did those collaborations come about, and what was the most challenging or rewarding part of merging live jazz-funk with rap?
Delicious Vinyl made that LP happen—they pulled the strings and wrangled the rappers, while we made the beats in London before moving to New York for two months to finish it. We had many fun studio sessions in New York. Meeting Ice Cube was awesome, though he didn’t end up on the record due to budget and timing. Still, I’ll never forget how tall his bodyguard was—over six foot eight!
Heavy Rhyme Experience Vol. 2 is in the works and should be out by 2025-6, so stay tuned.
The UK tour celebrating Brother Sister’s anniversary and your performance with the London Concert Orchestra at the Royal Albert Hall in 2025 promise to be epic. How do you plan to bring the energy and essence of this iconic album to life in a modern concert setting?
We’ll do what we do best—performing and having fun with our incredibly loyal fans. The songs will play themselves. After all, they’ve had plenty of practice!
Looking back, you’ve shared stages with legends like Stevie Wonder and Q-Tip and even had Prince visiting your dressing room. Can you share some of the most fun or surreal moments from your career? What memories still make you smile?
Some of the best stories might be a little too litigious to tell! But just being in New York or LA in our early 20s, after seeing those places on Sesame Street or Starsky & Hutch, was surreal. I remember lunching in the Village with Nile Rodgers and Sheila E, and meeting Stevie Wonder at the Ray Charles 40-year TV special. He sang the line “Never Stop Never Give It Up” to us, which was incredible.
The music business can be tough, with many highs and lows. What were some of the biggest challenges you faced as a band, both creatively and personally? How did you overcome them?
The hardest part is often the party the night before the last show! It’s a first-world problem, but after so many shows, it feels like a huge challenge. We’ve also dealt with lineup changes. When our original vocalist left, we just started writing new material and working with Siedah Garrett, and it worked out great. Sometimes, it’s about serendipity.
The Brand New Heavies’ music has always had a push-and-pull dynamic—uplifting and bright at times, yet tinged with heartbreak and introspection. How do you maintain that balance in your songwriting, and has your approach evolved over the years?
Life just comes out in the songs. That shared human experience might be why we’re still grooving along. We’ve received letters saying that You Are the Universe stopped someone from committing suicide, which is incredibly moving. We still have the same approach to making music—sometimes writing solo, sometimes jamming together. There’s always something new.
