Jazz Cafe Festival 2024

Few day festivals, let alone one in its inaugural year, will play out to greater success than what Jazz Cafe served up for music lovers in Burgess Park. In what felt like a fitting farewell to the summer season, the Camden institution pulled on 40+ years worth of experience and expertise in hosting the avant-garde, and presented a truly worthy addition to the London calendar.

Entry to the festival landed you directly at the main stage, ParkWay, which pleasantly had trees dotted in amongst the crowd. This gave it a unique feel when compared to the often barren fields presented at similar events. Here, Baby Rose presented a perfect start to the day. First of many American acts to appear, this powerful neo-soul singer set the bar high as her soothing vocals carried across the site, which was rapidly filling up. 

Much like the establishment itself, Jazz Cafe Festival was stacked with eclectic variety, and this was not a day to be caught standing still. Heading over to Four Corners, a delightful 360 degree stage situated in a mini bowl, and you found Habibi Funkspinning Arabic inspired records to that effect. Berlin based Jannis Stürtz has an extensive discography of reissues to pull from, and with these sounds really having their moment across the wider scene, this felt like the perfect set at the perfect time. 

Following this, another reminder of the esteem in which the hosting establishment is held was presented on Parkway. It was here the highly renowned Buena Vista All Stars began to cast their spell. A classy and authentic performance, fronted by heir to the Social Club throne Ibrahim Ferrer Jr, transported Burgess Park to Cuba for a brief but glorious period. With the entire set serenaded with Salsa, it was impossible to look away from the ensemble containing many original members. 

With the crowd warmed up, everyone was ready for Omar Souleyman. A truly understated yet encapsulating performer. This incredibly charming Syrian strolls around the stage and films the crowd with the warming familiarity of someone’s Dad who simply cannot wait to show the family what he did today. His modern take on traditional Dabke, a Levantine folk dance, was met with rapturous reception. A true party starter and any line up is richer for his presence.

Attempting to see the Alchemist however did not go to plan. The critically acclaimed and highly influential Californian producer had absolutely packed out The Plant Room. One slight drawback of curating the stages largely by genre and with wall to wall music meant swathes of the crowd were camping out. With such impressive diversity on show across all four stages and limited time, this wasn’t something worth worrying over. That being said, it looked and sounded incredible in there. A highly attentive crowd appeared to be lapping up his beats inside what was another charming, if perhaps too small, stage. 

Alan Daniel Mamans’ loss was Soichi Teradas’ gain, as the seasoned Japanese electronic music composer amassed a sizeable crowd at Four Corners. Perhaps the most joyful set of the day, taking place under a soothing sunset as the evening drew in. Soichi playfully interacted with the crowd and provided choreography for the adoring audience, a rarity in a world where many electronic artists take themselves all too seriously. His delightfully unique videogame-esque sound filled the early evening with smiles and provided perfect transition to the headline slots. 

No introduction was needed for the man who followed, although the doting Soichi seemed determined to do exactly that. Gilles Peterson began his three hour set with the same youthful energy and evident love for music which he has displayed for the entirety of his near 40 year career. Now a veteran of the game, the former pirate radio host rarely misses. A multi-generational crowd perfectly moulded in his image danced on as he bounced effortlessly between genres. Forever a pioneer of underground music, Gilles is perhaps the closest living embodiment of the Jazz Cafe itself, and the UK scene is stronger for having them.

Now able to get into The Plant Room, anticipation was bubbling as former Odd-Future star Earl Sweatshirt took to the stage. Opening with the unmistakable ‘Riot!’ really stoked the crowd, which was totally captivated from the first bar. Sweatshirt then barely drew breath, in an astonishingly lyrically clean performance, as he rattled through hit after hit from his entire back catalogue. Joined on stage by his compatriot The Alchemist there was a palpable respect between entertainer and crowd. Something truly evident throughout the entire event. Closing with a more recent release,  ‘Real HipHop’, Earl bought out MIKE and Niontay, performing until their mics were cut and forced off to thunderous applause. Perhaps at the peak of his powers.

Quite the change of lanes then for the headliner proper. However not one which would remotely phase the revered classical and electronic composer Nils Frahm. A man who has played esteemed concert halls the world over, he curated a stylish and sophisticated end to proceedings. Known for producing individual compositions specific to his audience and surroundings, it was an enthralling and thought provoking watch. Hard enough to count the number of instruments the German had on stage, let alone imagine playing them all together, he is a true master of his art and was a worthy choice to see everyone safely into the night.

An impeccably curated day came to a close, and a highly attentive audience without the usual London chatter headed home into festival hibernation for another winter. There cannot be many who were not highly satisfied with the day they had just been a part of. This was not another copy-paste, commercially charged attempt at filling a London park with generic sounds, it was a serious event with attendees serious about music. Genuine attempts had been made to create interesting spaces with notably excellent sound quality to share these joys. A brief mention for the fourth stage Trippin The Dome which, only observed from a far, appeared to be another great place to dance and another interesting structure. Strangely something about this being on a Sunday just felt right; harbouring a relaxed and friendly atmosphere in which you could appreciate the musical treats being served. Sensibly scaled, queues moved quickly throughout the day and crowds felt lively and full but never overwhelming. Jazz Cafe sensibly drew upon decades of industry knowhow and everyone who entrusted them was duly rewarded. 

Amongst this glowing review there needs to be a word for the extortionate bar prices. Apologies were genuinely provided by the bar staff, acknowledging the beers and hard seltzer cans could be picked up at local supermarkets for a fraction of the price. With prices near enough equating to a pint in Jazz Cafe proper, £6.50 for 330ml cans stung when you had no other options. No doubt a wider conversation for events as a whole, but at least make it draught and at least make it a pint. 

Overall however this was a tremendous first run out for the Jazz Cafe, and long may it continue.