Introduction
Barry Manilow has long been revered as the undisputed master of the emotionally charged pop ballad. For decades, his name has been synonymous with the kind of soaring, cinematic melodies that pull unapologetically at the heartstrings—songs like “Mandy,” “Even Now,” and “Weekend in New England” that have become the permanent soundtrack to our collective heartaches and tenderest memories. Yet, to see him only through the lens of melancholy is to miss the spectacular, show-stopping vitality that defines his true essence as an entertainer. Barry Manilow is, above all else, a creature of the stage, a maestro of joy who understands the precise alchemy required to transform a room full of strangers into a synchronized wave of celebration.
In late 1987, Manilow channeled this electric showmanship into a bold, stylized concept album titled Swing Street. It was a fascinating sonic experiment that sought to build a bridge across generations, fusing the slick, hyper-produced synthesizer textures of the late 1980s with the brassy, unfiltered swagger of 1940s big band swing. Standing proudly as the explosive opening statement of this musical journey is “Big Fun.” Co-written and arranged alongside brilliant collaborators like Eddie Arkin and Jerry Hey, and featuring the impeccably sharp vocal harmonies of the group Full Swing, the track is a masterclass in musical escapism.
From its very first notes, “Big Fun” introduces itself not merely as a song, but as a vivid, neon-lit atmosphere. The lyrics capture that universal, timeless ritual that belongs to the working class across every decade: the liberation of the weekend. Manilow paints a cinematic picture of a city waking up to the night, singing of a world where the workday is dead and gone, where the girls are putting their makeup on, and the entire neighborhood is concentrating on looking good. It is an anthem dedicated entirely to the beautiful anticipation of stepping out into the evening with a special someone, leaving behind the weight of the Monday-to-Friday grind.
What makes “Big Fun” so captivating to look back on today is how perfectly it bottles the specific optimism of its era. The production features thunderous dance beats that spill into the big streets, punctuated by razor-sharp horn sections that mimic the frantic, exciting energy of city traffic and crowded dance floors. When Manilow sings about stampeding the dance floor and flying non-stop until dropping, you can almost feel the residual heat of a packed venue from 1987. This song was not designed for passive listening; it was built to move bodies, to raise spirits, and to remind us that no matter how grueling the week has been, joy is always waiting on the other side of the sunset.
The song found its ultimate expression in the Emmy Award-winning 1988 CBS television special, Manilow’s Big Fun on Swing Street. Watching Barry perform this track live—such as his legendary, high-octane performance at the Houston Rodeo in 1988—reveals an artist completely in his element, radiating an infectious warmth and energy that swept through tens of thousands of fans. Decades later, “Big Fun” remains a glorious, nostalgic time capsule. It invites us to step into a world of polished leather shoes, glowing marquees, and unadulterated musical theater, proving that Barry Manilow’s gift for melody is just as potent when he is making us dance as when he is making us cry.