‘VARIOUS ARTISTS’ – ‘LOVE SUPREME’, GLYNDE PLACE, GLYNDE 3.7.26
Europe’s biggest outdoor jazz festival, ‘Love Supreme’, returned to the beautiful Sussex countryside setting of Glynde Place in the heart of South Downs from 3rd to 5th July. The annual three-day festival highlights the best of Jazz, Funk, Soul and Blues from both sides of the Atlantic and beyond.
This year’s edition was led by Mercury Prize winners Ezra Collective on Friday, Loyle Carner, who was making his Love Supreme debut, on Saturday, and legendary alternative hip-hop group De La Soul closed the festival on Sunday with their only full-band UK performance of 2026.
Across the weekend the line-up also featured The Temptations & The Four Tops, Sister Sledge, Gabrielle, Lemar, Free Nationals, Samara Joy, Esperanza Spalding, Courtney Pine, Jalen Ngonda, Kokoroko, Moses Boyd, Bill Frisell & Greg Tardy, Joe Lovano & Antonio Faraò, Olive Jones, The War & Treaty, Young Gun Silver Fox, Loose Ends, Annie & The Caldwells, Kofi Stone, Knats, The Bad Plus and aron! alongside a wide range of artists spanning jazz, soul, funk and R&B.
Each day there were six stages on the go, namely North Downs, South Downs, Supreme Standards, Bands & Voices, Blue In Green, and New Generation Jazz.
In addition to the music, Love Supreme also offered a wide range of festival experiences including wellness and yoga sessions, a dedicated Kids Area with interactive activities, two Supremium VIP areas, an on-site Ottolenghi restaurant, and the Jazz Lounge, which hosted artist interviews, talks and screenings. There was literally something for everyone, and it’s no wonder the punters’ ages run right across the spectrum.
The Love Supreme Jazz Festival is an annual event and next year’s dates are already set: 2nd to 4th July 2027. Super Early Bird Tickets are on sale and are up to 25% less than final prices – Find out more HERE.
As there was so much going on, we have split our reviews into three parts – one per day. This article takes care of matters on Friday 3rd July. Part 2 on the acts that performed on Saturday 4th July can be found HERE and Part 3 on the acts that performed on Sunday 5th July can be found HERE.
So without further ado let’s get down to business….
Friday 3rd July:
AMANDA
SUPREME STANDARDS STAGE 15:30 – 16:00
With the Supreme Standards tent taped off, the familiar notes of Roberta Flack’s ‘Killing Me Softly With His Song’ linger in the air. Amanda’s vocals during soundcheck alone are enough to signal what’s to come. Honouring Ezra Collective’s commitment to the future, Amanda is a member of London’s Jubilee Youth Club, best known for her cameo vocals on ‘God Gave Me Feet For Dancing’ at Glastonbury.
While the tent doesn’t pack out, a lively crowd with signs saying “Go Mandy Go!” show support for their friend in a daunting first set of the day – a challenge Amanda never seems fazed by.
In a bold move, she even opens with two unreleased originals, driven by hi-hats and Swindle-type keys. With no music currently available, Amanda showcases her voice by running through the classics – including a full outing of the soundchecked ‘Killing Me Softly With His Song’, with impeccable rhythm from her backing band and some mellifluous vocal runs. With a cover of Jill Scott’s ‘Golden’ getting the dance started, ‘Crazy Love’ is a full-blown detonator with its off-kilter garage rhythm.
“Just before we end, I have one more original,” Amanda states, “I made this with the lovely Femi of Ezra Collective” before a gospel-type untitled track with lyrics of “You are good; You are kind; I have never seen your kind” earns sing-alongs from a devoted front row of the tent. With an impressively assured stage presence despite the daunting opening set, Amanda’s set feels like everything Ezra Collective stands for: a testament to youth when given a platform to succeed. Amanda is firmly on her way.
(Keir Shields)
LULU
NORTH DOWNS STAGE 16:45 – 17:30
Opening the main Stage is Lulu, arriving at a still-growing crowd in a makeshift Argentina football shirt dress. The lightly percussive afrobeats of ‘Free Yourself – Interlude’ serve as a vessel for LULU’s smooth vocals. “Hi everybody! You look beautiful,” she beams, “We’ve got Afro for the soul, and Soul for the feeling”, with her set gently flowing between the two without jolting.
While the crowd can occasionally be too stationary, LULU does her utmost to get people’s hips swaying. An early highlight is ‘Let Go’, with a jazzy fingerstyle guitar meeting a syncopated pulse that gets a few two-steps, while a cover of Olivia Dean’s ‘A Couple Minutes’, with the downstroked four-bar guitar loop bringing out the influence of Bill Withers, pays tribute to the now stratospheric former headliner.
“I supported Olivia Dean a few years ago,” LULU explains, “I had to honour her.” Evidently nervous on such an early slot, she admits, “I feel like an imposter…there is another Lulu, people have actually bought tickets to my shows thinking it’s her”; someone shouts back in encouragement, “But she’s shit!” With her closing duo, LULU leans into lovers-rock and clave percussion for a cover of ‘Is This Love’, followed by the afro-soul swing of ‘Save Me’, which finally garners a singalong for a LULU original. One of the first sets on the main stage is not easy, yet LULU embraces a crowd with a blend of AfroSoul and positive affirmations, despite being far more self-conscious than she should be.
(Keir Shields)
ANNIE AND THE CALDWELLS
SOUTH DOWNS STAGE 17:30 – 18:30
Hailing from Mississippi, Annie And The Caldwells are a real family affair. Annie sits regally robed in black at the centre of the stage, while three female singers who are her daughters Deborah and Anjessica and her goddaughter, Toni Rivers. They are a formidable presence in pinstriped trousers, waistcoats with some sharp choreography.
Annie gives a powerful vocal performance and her backing singers have remarkable harmonies; all clearly demonstrating a fantastic range. The bass player is her son, Willie Jnr, and her youngest son, Abel Aquirius on drums Annie’s husband, Willie Joe Caldwell, Snr on guitar.
The sound is a combination of funk, Motown, soul and gospel that gets the audience clapping and grooving with standout tracks being ‘I Made It’ and Ray Charles’ ‘I Believe To My Soul’. Annie And The Caldwells prove their music, gospel roots fused with different influences, sound amazing live and especially on the dancefloor.
(Rinee Sinharay)
KOKOROKO
NORTH DOWNS STAGE 18:00 – 19:00
The sun is shining in everyone’s faces as they squint to see Kokoroko arrive, nearly 10 minutes late, to a packed North Downs audience. Opening with the talking-drum-laced ‘Love And Death’, there is immediate dancing, even directly segueing the trombone and trumpet lines into the next track ‘Never Lost’ – marrying them with Khruangbin-type groove and gospel vocals.
The Friday feeling is present, as the crowd shakes off the shackles of the usual 9-5 in favour of blinding sun, pints and sharp instrumentals to start the swaying. With a largely instrumental set, Kokoroko and the crowd mirror each other’s energy. ‘Call Out My Name’ is full of Afrobeats swing and twinkling chimes; the entire field is two-stepping with such precise timing that no one bumps into each other.
Despite a number of stand-ins for their band, Kokoroko appear to be in a flow state – even seemingly paying homage to the slap bass of Prince’s ‘I Wanna Be Your Lover’ in an extended interlude. By the time the sun starts to set and the notes of sleek, funk-bounce ‘Da Du Dah’ float out, a blissful set has hypnotised everyone into obeying bandleader Sheila Maurice Grey’s every command.
Closing with the Fela Kuti-indebted ‘Bounce’, the muted horn melody and syncopated snare-and-hi-hat groove are utterly restless, intent on one last two-step. With an audience obeying every request to “get low and whine your waist”, Kokoroko’s slot feels like one of those rare occasions that timing, weather and audience have aligned perfectly.
(Keir Shields)
GUVNA B
SUPREME STANDARDS STAGE 19:00 – 19:45
Bounding on stage in double denim, Guvna B’s immediate energy is met with cheers. Opening with ‘Knocking’, Guvna’s backing band is remarkably tight, with his drummer holding down a snare-based rhythm. The following track, ‘What Now’, is stutteringly rhythmic, with unabashed confidence holding down his Kano-type flow. With a freestyle meeting the nostalgic ‘Lovely Day’ instrumental, Guvna states, “Not gonna lie, I can’t believe how many people are here.”
With a groovy ‘Amplify’ earning the two-step taught to us – save for Guvna’s singling out of “that guy in the green shirt throwing everyone off” – the Supreme Standards tent is shuffling and smiling. With covers of George Benson’s ‘Lady Love Me (One More Time)’ and Curtis Mayfield’s ‘(Don’t Worry) If There’s A Hell Below We’re All Going to Go’, Guvna’s respect for those that came before is evident in his joyous, at times confessional rap.
With a foray into true vulnerability over the gospel harmonies of ‘Shameless’, the mood is slightly dampened to allow Guvna B to share his story. With a speech about his love for Femi Koleoso of Ezra Collective, closer ‘These Are The Days’ ends his set on an infectiously jazzy note, with the entire tent bouncing as Guvna seems visibly humbled by his reception and the fact he’s made it here.
(Keir Shields)
DURAND BERNARR
NORTH DOWNS STAGE 19:45 – 20:45
Durand has the complete package, his looks, his sense of style, sense of humour and an insane vocal range. His Grammy acceptance speech is worth watching just for a sense of who this man is; humble, brash, vibrant with an air of vulnerability; clearly comfortable in his own skin.
His lyrics reflect this and are completely relatable, with a funky guitar and catchy choruses, the set included ‘Effort’, ‘GPS’ and the socially conscious ‘Sugar Family’. He rocked some serious dance moves. The crowd swayed and sang along.
He told everyone in the crowd to turn to someone else and say “I’m proud of you” and “If no-one has said that to you today, Durand is proud of you”. A lovely touch. Durand is super talented, a great performer ,as well as irresistibly likeable.
(Rinee Sinharay)
EZRA COLLECTIVE
NORTH DOWNS STAGE 21:30 – 22:45
The opening night of Love Supreme ended with the Ezra Collective’s ‘Temple Of Joy’, where the atmosphere was of celebratory energy; It felt like a carnival. The evening was fittingly brought to a close with fireworks.
They first debuted at Love Supreme ten years ago which marked the start of their impressive career gaining further recognition as Mercury prize and Brit Award Winners. The opening day of Love Supreme was curated by the Ezra Collective bringing together a diverse and vibrant mix of voices, styles in modern jazz .
The Collective is a mix of hip-hop, jazz, reggae, and Afrobeat. Best known for tracks such as ‘God Gave Me Feet For Dancing’ and the ‘Victory Dance ‘. The collective did not disappoint. The heady mix of strong bass and drums as well as the frenetic energy of the trumpet and sax, had everyone dancing.
They debuted a new song, ‘All I Need’ which was sung by Leona Lewis. She brought an elegance to the proceedings with good vocals, but the mood became subdued by the change of pace and style.
Overall, Ezra Collective gave an exuberant performance which brought the house down. Jazz for those they don’t realise they are actually listening to it!
(Rinee Sinharay)
DJ PEE .WEE (AKA ANDERSON .PAAK)
SOUTH DOWNS STAGE 23:00 – 01:00
Rushing from one stage to the next when the headlining act is Ezra Collective would be unheard of, yet the pull of DJ Pee .Wee (a.k.a. Anderson .Paak) is undeniable. With an early faux pas of greeting the crowd with “Hello London” and the consistent “fuhhh” sound effect, DJ Pee .Wee cycles through the decades, starting with “Where are my 70s babies” for ‘Dancing Queen’, all the way up to the 00s tribute ‘Teach Me How To Dougie.’
With a slightly cheesy feel to it, .Paak maintains the joyous atmosphere – teasing the unexpected with “I wanna play a song that was number 1…” leading to a vocal performance of ‘Leave The Door Open.’
Throughout a set of bona fide floorfillers, .Paak flows from vocals on his own tracks to huge hits, with an early highlight: his ‘Am I Wrong’ segued perfectly into Daft Punk’s ‘Get Lucky.’ Moving from ‘Young Hearts Run Free’ to ‘Jump On It’, a crowd that’s already spent over an hour dancing with Ezra Collective erupts. While flirting with the overbearing tackiness of a primary school disco, Pee .Wee’s earnest enthusiasm is utterly infectious – while largely playing it safe, it’s exactly what a half-pissed festival needs at 1 am; it is comfort food on the dancefloor. In spite of this, Pee .Wee takes time to shout out the dearly departed Mac Miller, dropping ‘Dang’, and getting everyone to pay tribute.
Getting Love Supreme to accept the hangover of the next day is no easy feat, yet Pee .Wee smiles through a set that lesser hands would fumble. However, a stint DJing in stadiums opening up for Bruno Mars has a steep learning curve – you don’t need deep cuts when .Paak and his bobbed wig are plenty.
(Keir Shields)
