Cutting through the noise of London’s saturated festival scene isn’t an easy task, but Jazz Café’s inaugural edition does just that, with bold and eclectic programming reflecting the beloved Camden venue’s rich cultural history as one of London’s most eminent musical cornerstones.
Through the gates and into Bermondsey’s Burgess Park, newcomer Jordss (founder of the Girls Can’t DJ collective) kicks off the day at Jazz the site’s most intimate venue, the Dome. Pulling from the worlds of dancehall, house and R&B; Jordss takes the crowd on a tour of genres. She’s effortless and fluent in her delivery, but not so serious as the resist throwing in Usher’s ‘Yeah’ into the mix.
Over to the opposite end of the park as Giles Peterson begins his mammoth 3hr set at the Four Corners stage. The crowd surround him in an amphitheatre-like set up, as Peterson commences his tenure with Sergio Mendes‘ rendition of Buffalo Springfield‘s counterculture classic ‘For What It’s Worth‘, fanning himself with the record sleeve.
Hugely anticipated London native ELIZA is next up on Jazz café’s main stage, The Parkway. Undulating rhythmic riffs draw in the crowd for her opening track, ‘Dripping‘ from 2022 album A Sky Without Stars. She’s captivating and assured moving between her distinct silky vocal and moments of choreography with her two back up singers.
This isn’t the first time today we’ve seen choreographed dance on the main stage, with Buena Vista All Stars closing their fiery Latin performance with two sets of salsa partners weaving in and out of the 10-piece band to an unexpected cover of Coldplay’s ‘Clocks’.
The biggest oversight in what was otherwise a slickly-coordinated day came courtesy of Earl Sweatshirt’s placement in the Plant Room Stage. The LA-born rapper pulls in one of the largest crowds of the day, with revellers spilling far beyond the parameters of the tent in a set that included a hat-trick of collaborations with The Alchemist.
Back over to Four Corners as Giles Peterson’s marathon set comes to a close. “This is for Frankie Beverly who passed away this week,” he says as the soul singer’s vocal drifts into mix with the lyrics. “You learn to live with the joys and pains of life”. So in tune with the energy of his audience, Peterson crafts the 3 hour set with ease; testament to his many years at the centre of London’s music scene.
The crowd slowly flows back to The Parkway, greeted by the kaleidoscopic soundscapes of headline act, Nils Frahm. Surrounded by a concoction of pianos and a glass harmonica among a vast electronic set up, there’s a quiet magnetism to the solo performer as he manipulates his ever-evolving sound in real-time.
Frahm plays with dynamics, tessellating an acoustic chamber sound reminiscent of the pulsating textures of Steve Reich. Staccato virtuosic motives weave into rich harmonic waves of sound as Frahm dances between his instruments. It’s a daring choice for Jazz Café’s conclusion, but one that pays off. In all of London’s diverse festival scene, it’s a unique approach to programming, and Jazz Café’s newest venture perfectly captures the venue’s lineage of acclaimed innovation.
Imagery: Jake Davis
