The setting is idyllic. The beach at The Whaler Inn is arrayed with scores of tables, white covered and romantically lit.

Behind them the tall palm topped beach palapas interpose themselves like sentinels, between the tables while the waves whisper a rhythmic wash.

The curving balcony, pink, with its bottom lit panels of white Bermuda roof, overlooks the scene from the east, and facing this, across the sand, is another covered area where food, drink, and shelter can be had. It is set for the romance that the poster announcing the evening promises; Romance and Reggae.

The Warwick Gombeys get the evening scene off to a spirited start, before the main attraction , the famed Manhattans enter the scene to greet and be greeted by an expectant crowd.

Apparently apprehension about possible interruption by rain is the reason for this switch, since Jahstice, the local reggae band had been expected to open for The Manhattans.

No matter. Now the romance does come before the reggae.

Backed by the tight well rehearsed outfit, The East Coast Connection, The Manhattans, no strangers to Bermuda come on stage to do what they have come to do.

Their smooth vocals and idiosyncratic choreography has the fifty-something audience moving and crooning along.

"Where the young people at?" A questioner at my table.

"You're right. They should see this."

The Manhattans, who started across the river, in New Jersey in the 60's, have been in business for over forty years. The audience tonight have been listening to them all their life, it seemed. And they Manhattans know it. Their style is laid back, friendly, familial even.

Everyone, performers and audience, seems perfectly at home. Folks have not come to hear anything new. They get what the young people now call old school, a sobriquet the older generation accepts with pride.

For the first part of their set what they serve up are medleys, musical bytes, appetisers, propping the emotional memory of the audience. Then comes the string of hits from the 70's and 80's.

'Pretend we in the Clay House ', the lead singer says, then goes in 'Smile'.The audience sing along. "Kiss And Say Goodbye".The crowd roars recognition.

The choreography, mothballed from 30 years ago brings smiles to older faces now. The musical style is the same straight forward gospel into doo-wop from Sam Cooke and even before; bass, baritone, first and second tenor with falsetto capabilities. The good stuff.

"I Miss You", "Come on Home, baby", and from 'a little list', "Feels So good to be Loved So Bad", " There's No Good in Goodbye", "It Hurts" follow to applause, the audience singing along. Gerald Alston, 'the best beggar' in Soul Music is on now, begging that girl:

"When you say goodbye, walk away with the key, But turn out the stars when you leave."

Then as we get, "There's no house without a home" the audience sings along: "That's how I know?"

"Don't take your love from me". The women are pitted against the men show biz style contest.

There are many wonderful voices in the crowd near me. I hear Earla Dean's melodious soprano loud and clear.

The men don't stand a chance really. But it's all in good fun. When something on stage particularly delights some one they spring to their feet, arms in the air to show their appreciation.

And then "Hold On, Change is Coming, Hold on Everything's gonna be alright!"

(I have a flashback to court Street a night in November 1998, single mothers ,arms locked the breath of the street, and ten , eleven rows deep, singing this very song),

The set begins its long wind up.

Alston sings an Otis Redding classic in tribute to the late Luther Vandross. A Change Is Gonna Come. Everyone is singing along.

"My Shining Star", Let's Just Kiss And Say Goodbye"," I'm Gonna Miss You."

On this last they begin one of their several fake exits, hamming it up with the best beggar, Alston who is reluctant to leave before everybody, not just the fictional girl, knows he's gonna miss us.

Then they really are gone leaving a thoroughly satisfied crowd behind.

Apart from a few sprinkles, which bring out the umbrellas, they weather holds good.

Jahstice comes on to close out the night with some reggae, including the obligatory Marley. The die-hards stay on, couples dancing in front of the stand, while the tables gradually thin out, and a great evening gradually comes to a close.

The sound is excellent, and the lighting interesting.

Transportation by shuttle to and from the ample parking areas works well. And the 10th Anniversary Bermuda Music Festival is truly underway.