EFG London Jazz Festival 2025

The EFG London Jazz Festival’s 10 day celebration of the musical avant garde is unrivalled the world over. Delivering well over 300 live shows, it is a rare opportunity to find yourself lost within this city. Shining a light on both emerging and established musicians the UK and the world over, there is no better week for live music in the capital within the calendar year. The sense of exploration and discovery this event allows you to achieve within such a well trodden musical city is truly remarkable and testament to the organisers promise to bring London to life. 

One of the earliest offerings of the week was found within the Purcell Room at The Southbank Centre; this modernist monolith is a venue steeped in history and a worthy place to start our week of musical exploration. Here, Marysia Osu, along with her harp, presented a delightful composition of music, visual arts and movement. Her collective of friends were beautifully interwoven and in sync with one another as her highly melodic soundscapes guided the entire experience. On screen complementary live painted visuals played out from backstage, demonstrating further the heartwarming connections clearly felt between the artists. Every song was delivered with a smile, a clear joy projecting from the stage. Rory Green followed, carving a curious composition between folk and jazz. His melancholic rhythms filled the room with a warming and heartfelt sombreness. The honesty in his work is visible for all in attendance, a palpable platform on which to embrace the remainder of our Saturdays. Both artists are recent alumni of the Take Five Collective, and with Marysia off the back of her enchanting debut album ‘harp, beats & dream’ last year, she is undoubtedly the up and coming harpist to pay attention to in the coming years. 

Down at Islington’s Union Chapel, a spellbinding venue in itself set inside a 19th century Gothic revivalist church, charismatic photographer George Nelson was hosting the second season finale of Moments Notice. His personal project to bring together five of the “leading lights in the art of spontaneous composition” has now twice climaxed at London Jazz and their shared ideals of diversity, collaboration and championing the contemporary are a perfect fit. To begin, a daring pair of Linda May Han Oh (double bass) and Cassie Kinoshi (alto sax) take on the challenge of realising Nelson’s ambition of a percussion filled piece, less the percussion. This was an intriguing warm up in which Linda May’s performance was emphatic, and one which would sit better within the landscape of the entire evening once all five musicians were brought together on stage. The trio of Joy Guidry (bassoon), Natcyet Wakili (drums) and special guest Saul Williams (vocals) were to follow. An enchanting performance by both Guidry and Wakili was the perfect backdrop to the awakening vocals of Williams. Upon bringing together the entire quintet for the final performance it was clear this evening had been curated in the latter’s image and ideals. The audience hung on every syllable sounded in his sensational voice, the vision for the evening clearly being realised at its climax in a breathtaking display. 

Sliding across the city to Imperial Wharf led you to the charming setting of the 606 Club. The very definition of old school, this underground speakeasy should be on the list of every Jazz minded individual. After buzzing for entry in an innocuous alcove you are greeted by the warmest hospitality, which is in delightful contrast to the colder redevelopments 606 now finds itself surrounded by. We’re here for Kaidi Akinnibi & Hal Howe, who begin with a soothing and soulful opening piece, well suited to this comforting setting. The middle portion of the performance accompanies ‘All My Blues’, a short film produced by Reuben Yamak, a sombre tale of life’s many expectations. This allows the music to move between both slower jaunts and more upbeat ensembles, mirroring the reflective nature of the story. Closing with some more improvised skits, it’s a bold performance on the sax from Akinnibi, who leads with a measured authority throughout.

Friday evening saw Tom Skinner take to the stage on the Southbank. Hinako Omori’s drone-synth minimalism fittingly opened the evening within the brutalist icon, the Queen Elizabeth Hall. Playing tracks from his 2025 album ‘Kaleidoscopic Visions’, Skinner led on drums alongside a six-piece supporting cast - Kareem Dayes (cello), Caius Williams (double-bass), Adrian Utley (guitar), Chelsea Carmichael (flute and tenor sax), Robert Stillman (soprano sax), and Yaffra (vocals, keys, and percussion) - who improvised within and over the established structure of the written work. Skinner’s performance ended with ‘The Journey’, apt for an artist who himself progressed through Serious’ Take Five talent development programme to return as an established drummer of skill and repute headlining an evening of the festival in his own name.

This year marks the 20th anniversary of the aforementioned Take Five, which now boasts over 150 alumni. The shared ideologies of nurturing and community resonate with the London Jazz Festival itself. The event is structured to encourage engagement, with free pop-up shows, teams of friendly volunteers at each venue, and events such as the Jazz Social where like-minded individuals can bond over music. Nowhere was this more apparent than at the Barbican Centre on Saturday where two performances from Chicago post rock godfathers Tortoise were interspersed with free events on the concourse and another iconic venue abuzz with music fans conversing. On stage, the five-piece seemed unhurried and self-assured as they relentlessly switched instruments during a 90-minute performance. Three members had played drums before the end of the second song, but this was anything but frenetic as the audience sunk back into plush seats as a unique mixture of jazz, electronica, and occasional dub washed over them in repeated waves all driven on by krautrock percussion. This was gig-going akin to self-care as a full house departed feeling refreshed and revitalised, a feeling the festival seems to specialise in providing.

Our final show had the feel of a headline act, as if the week’s events had mirrored that of a traditional festival day, everything building to this moment. Awaiting the imperious Nubya Garcia, the audience at HERE @ Outernet were treated to the perfect warm up act in Jamz Supernova. The esteemed selector provided nearly an hour of smiling salsa beats and superbly set the evening’s theme of Jazz club meets nightclub. There was certainly intrigue for how Nubya would perform in such a venue which has largely played host to electronic artists since opening. A self confessed LJF patron, the distinctive punchy and moody tones of her sax soon filled the room, and Garcia was undoubtedly looking to bring the noise. Supported by enchanting celestial visuals and a three piece band who were complimentary in every sense, all deservedly afforded solos throughout, however there was a starring role for the well travelled drummer Sam Jones. Carrying the tempo of the whole show with a polished elegance, one wonders if he could soon step up and curate his own shows. Aware that not only the evening but the festival as a whole was drawing to a close, Garcia seemed determined to give every last breath to her crowd. As the final Trinidadian infused notes rang out there was an undoubted appetite for more, but for performer and audience alike that will have to wait until 2026.

Signing off for its 32nd year, it is perhaps an understatement to proclaim the festival to be in its rudest health. Jazz as a movement has never had such a wide audience nor the plethora of exciting names to tap into. Facts that give London Jazz an incredible platform to build upon, however this alone does not make a festival. The firm dedication to the various ethos set out by the organisers is what ties it all together, and allows this sprawling event to feel entirely cohesive. Maximising this event will take you to some of London’s most iconic venues, conversely it will also reveal some of the city’s biggest hidden gems. LJF’s warm hosting, however, will somehow allow every one of these to retain the feel of your friendly local Jazz club, providing welcoming and affordable access to a genre which once suffered from an outwardly stuffy persona.