Ashish Vyas deserves his own action figure.

Like the lovechild of Paul Simonon, Antonio Banderas and the Parliament Funkadelic pimp, Thievery Corporation's bass player lurched his way through a mixed set, creeping about as if in a permanent state of tango. Women wept as he shadowed the spotlight of the lead vocalists, practising a melodic black magic behind his long mane - and we haven't even mentioned playing ability yet.

His presence was challenged only by the two reggae party starters. Equipped with safari hats, these two injected the set with a shot of skank right when it seemed like the pace would lay low. After sending their love to Sly Stone, "Vampire" prompted enough hustle to satisfy Fela's Africa 70, and the Monday night crowd obliged in patches.

Yet the duo's sprightliness only underscored the discomfort of the two female vocalists who, for the most part, seemed uneasy on stage. "Lebanese Blonde" and "Sweet Tides" were received well, but should have paralysed. After all, this was the Enmore, not Roskilde. Given that Thievery Corporation per se' consists of two producers (Rob Garza and Eric Hilton), the live group relies on fluidity. But the chemistry, or lack thereof, between these vocalists and the rest of the group transformed what should have been magical, into a scene you might witness at the semi-final of Idol, albeit a version steeped in dub, reggae, afrobeat and Middle Eastern sounds.

The music of Thievery Corporation can often be found lingering in an elevator, or a shopping centre bathroom. Or in between pre-recorded telco messages letting you know just how important your call is. And if these are the benchmarks on which the performance is to be judged, then full marks should be awarded for soothing and calming the crowd.

Often branded 'trip-hop', Thievery treads much safer waters than the likes of Massive Attack, and while they borrow heavily from various world music sectors, it is all packaged in a relatively accessible lounge format. Therein lies the problem with the live incarnation. With the exception of Ashish Vyas and the dynamic dub duo, this entire performance could have been transported to the corner of Opera Bar with minimal fuss. What is an asset on record proves to be a challenge in the live space.

At the end of the show, despite traversing the globe in song, it never felt as if we were actually taken anywhere. For those punters resigned to only a passive breath of the clouds that wafted throughout the theatre, this was a good, but easily forgettable performance.

It really depends on how much time you spend in elevators.