(Review by Keir Shields, Jess Kemp & Sonny Tyler)
‘VARIOUS ARTISTS’ – ‘LOVE SUPREME’, GLYNDE PLACE, GLYNDE 5.7.26
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.
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 Sunday 5th July. Part 1 on the acts that performed on Friday 3rd July can be found HERE. Part 2 on the acts that performed on Saturday 4th July can be found HERE.
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. There was also a wide range of artists spanning jazz, soul, funk and R&B across the three days.
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. There were also a number of non-music activities catering for all ages. So without further ado let’s get down to business….
Sunday 5th July:
JUDITH OWEN
SOUTH DOWNS STAGE 11:30 – 12:15
Again we chose to start our day with a lucky-dip, and we were justly rewarded with good old fashioned lounge singer style Jazz from Judith Owen and her band. We walked in to find the Welsh singer-songwriter, pianist, and performer covering Robert Palmer’s ‘Addicted To Love’ with a rich baritone added by another member of her band.
Towards the end of the song Owen suggested that “Brighton is the New Orleans of Britain.” I forgave her slight geographical error, could be forgiven given that she let slip that she needed an espresso later in the set. Finishing the song to rapturous applause from the audience the singer exclaimed “This is fantastic I’m gonna wear you out for the rest of the day, but you don’t mind, do you?” Having managed to get the audience to sing along with the chorus of the ‘80’s hit with little to no prompting.
There was a slight pause to ascertain which instrument was causing feedback on the stage. When it turned out to be the singer’s prized piano an audience member suggested it should be burned to which Owen quite rightly took exception. Owen began a meandering intro to the next song as being one-hundred years old: “You know the American song book, it’s such an extraordinary thing, and this song is one of those great ones where I always say… because right now in America, every morning you wake up and think, ‘What’s happened in Clown School Today? And, before you know it you find out, and you just go ‘Holy God almighty…?’ and you think it can’t get any worse and when it does…” continuing, “It’s so lovely, we’re all so happy to be here, in my home (England) because it just feels fractionally less crazy. But, ultimately when you’re in a down place, when you’re feeling bad, I think about it when I am flying and I’m and it goes through the clouds and on the other side is that blue sky there’s the sunshine, that’s how I quote, ‘get through it,’ and of course without Music, what would any of us do. So, this song is for all of us.” The song was the perennial classic ‘Blue Skies,’ which I am sure everyone including us was surprised had racked up one hundred years. The performance again drew rapturous applause from the audience.
Next up, Owen chose to cover a Dusty Springfield classic saying “…I’m gonna try and make it slightly more sexual than Dusty did.” to the amusement of the crowd “… I’ll definitely make it sweatier, I can guarantee that. Nobody can be sexier than Dusty.” Before counting the band into their cover of ‘In The Cool Of The Evening.’ The pace slowed, and raunchier than Springfield’s original TV appearances, Owen’s version was a lesson in making something your own, while remaining true to the original.
Applause abated, Owen took stock of her setlist before explaining, “I think we’re gonna go past that one. Cause it seems that I got the whole times wrong. I thought we were playing for an hour and we’re not…” to which her pianist ripped up the set music for the next song. Drawing laughter from the audience “Yeah, just rip it up mate. Do you know what turns out we’re not playing for an hour, but is that OK? NO! But here we go… I think we have time for two more songs, are you with me?” When the crowd erupted into positive applause Owen took the opportunity to offer her thanks to Jazz FM, the fabulous Nigel Williams, to everybody who invited her and her “gorgeous men” to come to Love Supreme and play the show, before saying “I’m gonna finish on an up,” and letting the band and crew know that she would be swapping to the piano.
“This is a song about showing yourself for absolutely authentically who you are because somebody else will go ‘Oh my God, I’m like that too. And it is all about being real and not pretending in life. I think, I think I was too much a pleaser. Let’s not do it ladies and gentlemen and everybody else. Let’s wear a stupid hat, bright colours and suits. Suit yourself this one’s called ‘Inside Out,’ Thank you, you’ve been amazing. If you scream at the end of this song, I will do another one”.
Although we would have screamed for more, we didn’t get the opportunity as Owen and her band were cut short in order to keep to schedule.
(Jess Kemp)
OLYMPIA VITALIS
SUPREME STANDARDS STAGE 12:15 – 13:00
With one of the most anticipated sets of the weekend, it seems Olympia Vitalis has been unfairly placed at the mid-day slot at Supreme Standards on a Sunday. However, for those intent on coming down early, Vitalis provides the perfect energy boost.
Opening with the deep bass tones and hollow percussion of ‘Money Tree’, Vitalis’ voice sits somewhere between Joy Crookes’ smokiness and Raye’s theatrics, priming her perfectly for pop stardom. “Hello everyone!” Olympia announces, “I didn’t think anyone would show up”, cutting a genuinely humble presence. With ‘Daze’ introduced as “going back to someone you really shouldn’t,” it leans more toward jazz vocals while retaining neo-soul and a vibrant, snare and hi-hat-driven rhythm.
Between tracks, Vitalis provides introductions – with the Afro-laden yet melancholic ‘Younger’ and the vibrant ‘Painted Smiles’, both introduced as “about how shit the music industry is.” With tracks firmly lending themselves to the soul revival currently dominating the charts, Vitalis’ voice and assuredness are striking, allowing her personality to shine through, with a smiling-through-the-pain mentality evident on some of her darker cuts – including the heartbreaking ‘Baby Blues.’
“You’ve been a beautiful crowd”, Olympia beams, “I’m gonna go have a drink now!” With most of the new EP ‘Lady Luck’ shared and a refreshingly open stage presence, Olympia Vitalis’ set feels like a future “I Was There” moment – give it five years, and she may just be back to headline.
(Keir Shields)
JAMES EMMANUEL
SUPREME STANDARDS STAGE 13:30 – 14:15
Yet again at Supreme Standards we were introduced to a performer we were formerly unaware of. Emmanuel found his true musical home in Edinburgh following an early start marked in turmoil in Nigeria. His first time performing at Love Supreme, Emmanuel took the opportunity to discuss the trajectory of his career to date in between songs. “I used to watch this (Love Supreme) on the social media dreaming of this moment. This next song I’m gonna play to you kinda reminds me of the journey I’ve been on. I started busking on the streets of Edinburgh.” He went on to say that the next song was inspired by unsolicited advice on the best route to success, to which he would answer that he still had time. The song in question, ‘Time,’ also found on the ‘Good Man’ EP.
Inspired by recently becoming a new father the track ‘Brothers & Sisters,’ was written while pondering what he would say to the first boyfriend of a daughter who he did not like. It discussed the sometimes problematic relationships which can transpire, addressing Cis males asking them to ponder what people would think of their actions towards a partner when the two were alone. While laudable in many ways, I did wonder at some of the lyrics’ perspectives or attempts at resolution. However, the delivery of the song went down extremely well with the audience.
The performance continued to be peppered with anecdotes of his gratitude for the embrace he received in Edinburgh which supported him and allowed him to eventually find fame. The next song was written about the time when he was working and singing in a bar when the occasional patron would say, “Don’t give up your day job.” The song it inspired was ‘Good Man,’ the title track from the 2026 EP.
Next up was a ballad. Emmanual told the audience, “This was my first ever single, it’s called ‘Lonesome Man.’ I had a girl leave because a record contract I had at the time fell through. So, I wrote this little song about how I felt, and that was kinda the start of my journey here.” While beautifully sung, the ballad felt over long and a little self-indulgent to me. Luckily, the next track was more upbeat. He invited us to accompany him to the bedroom. With tongue firmly in cheek, he then added “for one minute only.” He introduced the track as, ‘So Good To Me I Can’t Get Enough Of Your Love.’
Getting towards the end of his set he asked the audience, “Think ya got, you think you got the stomach for one more?” to which the audience answered in positive agreement. “I’m gonna play you something from my latest EP, it’s called, ‘Bridge Over The Tears That I’ve Cried,’ and we’re gonna have a little dance. But in case you don’t know my name’s James Emmanuel, and I am gonna be somewhere around there when I finish.,” as he pointed in the general direction of the Rough Trade tent. “… the first person to find me will get a free signed vinyl. And if you sing the next one hard, we might make it two.” We decided at this point to take our leave and head over to the South Downs tent to catch the next act on our list.
As we walked away with Emmanuel’s rich baritone playing out in the background I found myself strangely reminded me of Sir Tom Jones voice. It was the occasional scream he had uttered during tracks, or it could be put down to his time running a karaoke night.
(Jess Kemp)
CARRTOONS
SOUTH DOWNS STAGE 14:45 – 15:45
As bassist Carrtoons – A.K.A Ben Carr – and his band soundcheck, a group of teenagers have a kickabout. With two young girls eventually joining in, the boys do their utmost to include them. “Mum, I’m playing football”, one of them beams – the spirit of inclusion, and the beauty of this festival.
“Hey Love Supreme,” Carr announces, “It was a long flight from New York.” With the lo-fi instrumental of ‘Sparkle’ kicking off the set with a pop rather than a bang, it becomes apparent that the laundry list of collaborators on Carrtoons tracks won’t be appearing. Enter longtime friend Haile Supreme, who takes the reins on vocals for every feature in the set. Supreme glides through the loving simplicity of ‘Be There For You’ as the audience sways, some even lying down further back in the South Downs stage.
With a tranquil tempo for a late-afternoon set, there’s a feeling that Carr, Haile, and Kiefer on keys are doing whatever they want, with the audience guinea pigs for their new and subdued material. While the relaxed tempo and heat in the tent come close to soundtracking an afternoon nap, the falsetto vocals from Supreme on the twinkling hip-hop groove of ‘Be There For You’ perk up a flagging audience. With a syncopated groove and Thundercat-style slap bass, ‘Taurus’ brings the energy into head-bouncing territory.
Mercifully, they provide the classics with their final two cuts – the smooth falsetto of ‘Spaceships’ and closer ‘Groceries’ capturing the summery ‘Modern Motown’ feel. While slightly too low-energy for a set so early in the day, Carr and the band do their utmost to get a tent cheering, even if it feels more like a comedown than the come-up the afternoon set needs.
(Keir Shields)
THE WAR AND TREATY
NORTH DOWNS STAGE 15:45 – 16:45
I’d never seen the front of the main stage so sparse, but that soon changed when ‘The War & Treaty’ walked on to the stage. This was old school soul at its finest, and both singers hit some impossible notes. The singers are a real life couple from Memphis, and their life story will soon be immortalised in an upcoming documentary film. They currently have a new album out to accompany it, called ‘The Story Of Michael & Tanya’, and it’s a rare example of gospel-tinged soul meeting the musical world of country & western….and it really works!
There was a distinct buzz in the crowd and people seemed to love them. It’s easy to see why, as Michael and Tanya’s performance onstage is so endearing, as you find yourself rooting for the loving couple. Some of the songs (including one about infidelity) are fictional, but you still find yourself believing in it. Their vocals are amazing, and the audience regularly cheered them, as they performed some impressive vocal gymnastics. The sunny weather added to the joy too, and what a performance this was. The War & Treaty have been nominated for two Grammy awards, and I’m not surprised, as they are such a class act.
(Sonny Tyler)
SAMARA JOY
SOUTH DOWNS STAGE 16:30 – 17:30
My festival partner advised we had to make sure we saw Samara Joy, so we made a beeline back to the South Downs tent. It was clear from the start that her formidable talent had attracted musicians who were equally talented and polished to collaborate with her. She really should have been on the main stage, but the main stage at Love Supreme tends to be for the mainstay of chart favourites rather than exemplary jazz superstars. The tent was packed to the rafters, and we were spoiled by our closeness to such a world-class act. When the band began with a flawless introduction and Joy emerged to thunderous applause and cheers, you could sense the audience’s anticipation.
Joy herself seemed surprised by the reaction from the crowd before she had even sung a note, saying, “Oh my gosh, thank you so much. How y’all feelin’?” to yet more enthusiastic cheers. “Thank you, thank you so much. It’s such a pleasure to be here for the first time at Love Supreme.” Waiting briefly for the continued applause to subside before saying, “We only have an hour together, so I wanna get to the music. We’re gonna start with an old song, yeah, one from Miss Betty Carter about being careful, very, very careful when falling in love. The whole song is a warning, and it starts off with the first word…” .
From the first note of ‘Beware My Heart’, held and extended to heights only formerly matched by the great Ella Fitzgerald, she had the audience, including us, enraptured. I was unprepared for the effortless phenomenal control and soaring vocals, which ascended the tent, the hairs quite literally rising on the back of my neck. From here on in, I was vibrating with awe and joy, as was the rest of the audience. There was also a professionalism far in advance of the collective’s years. Joy listened appreciatively as each of her musicians played between the verses, clearly enjoying their individual talent and cohesion. The mutual appreciation all the performers showed for each other further added to the audience’s excitement in witnessing such an exceptional performance.
Joy had composed her own lyrics to the second song in the set, Billy Strayhorn’s ‘U.M.M.G.’, which partially blew my mind. Here and throughout the set, Joy continued to inspire comparison to the legends she admires in my mind, such as Ella and Vaughan. After the slow start, allowing Joy’s vocals to yet again shine, the band burst into big band territory like a trebuchet of sound. The whole set was pure unadulterated joy and will remain one of my standout gigs for a long time to come.
(Jess Kemp)
SISTER SLEDGE
NORTH DOWNS STAGE 17:30 – 18:30
Things properly ramped up when ‘Sister Sledge’ hit the stage. There was only one original singer (Kathy Sledge), so I was expecting a bit of a cabaret act, but how wrong was I? They had a full band with them, with their funk dialed up to the maximum. The band were on fire (not literally) and they got the crowd moving in the summer sun.
Those funky disco songs never get old and it was perfect summer afternoon music. Most people around me were indeed ‘Lost In Music’, as they danced the day away on their own imaginary piece of discotheque dance floor.
There were also a lot of young people in the audience too, proving that this music transcends generations. They were the first band of the day to put a proper grin on my face, and as soon as they played the opening bars of ‘Thinking Of You’, they had the crowd eating out of their palms. The singers were great performers and all the hits were aired, including a great rendition of ‘He’s The Greatest Dancer.’ They gifted us a perfect flash of disco heaven, bringing with them, a welcome piece of Studio 54 to Glynde today.
(Sonny Tyler)
MAZE
SOUTH DOWNS STAGE 18:15 – 19:15
Maze were the main attraction for me today, and going by the attendance in the tent, they were other people’s highlight too. They play funky Philly Soul and were a particular favourite of my late dad’s. Their original singer, Frankie Beverly, died a few years back, so I was a bit dubious about his replacement. My doubts soon vanished though, as the new singer, Chris Walker, was absolutely spot on. He nailed Frankie’s voice and charm, and ‘Golden Time Of Day’ planted a tear in my eye (I wasn’t the only one).
The band were dressed in their trademark white attire, and the tent was close to bursting point. This was a band that sold out eight consecutive nights at Hammersmith Odeon (Eventim Apollo, for the younger readers) in the early 80’s, and there was clearly still a lot of affection for them today.
They played all the hits, including ‘Happy Feelings’, but of course, ended their set with ‘Joy & Pain’. The crowd were belting out its infectious chorus, and it was evident that there was a lot of love in the room/marquee. It was a truly special performance, and I’m sure my dad would have loved it.
(Sonny Tyler)
FREE NATIONALS
NORTH DOWNS STAGE 19:15 – 20:15
“You all know Anderson Paak, right?” José Ríos asks midway, “I heard he was here on Friday? I love that brother with all my heart.” Free Nationals made their name as Anderson Paak’s touring band, yet on a sunset North Downs stage, they land to a thin crowd – clashing with Gabrielle’s South Downs slot.
From the opening, this doesn’t seem to faze them, audience or not, the group seem to love performing, and now have even more to prove. With an extended introduction, the horny anthem ‘Beauty And Essex’ is aired, featuring a snare, kick, and cymbal rhythm, with vocals shared across the band and guest singer BAELY. “We wrote this song with the late, great Mac Miller,” announces the smooth ‘Time.’ With singer Emilia taking Kali Uchis’ role, Miller’s verse comes out of the speakers in the second tribute of the weekend to the late rapper. Remaining on stage for ‘Shibuya’, Emilia lends her velvety vocals to shimmering keys and warm guitar stabs before a Herbie Hancock-esque solo at the track’s climax.
With only one album of material to fit an hour-long set and a refusal to stay in Paak’s shadow by covering his music, the Free Nationals jam between songs to vamp for time. “We are standing on a lot of shoulders of a lot of people here”, bassist Kelsey González admits, “This next one is a big deal in jazz communities”, announcing the obligatory cover. This time, Herbie Hancock gets his flowers with ‘Trust Me’: a faithful cover that emphasises just how ahead of its time the track is, from the robotic vocal effect to syncopated basslines and a disco ostinato on keys.
In another moment honouring their influences, they launch into a pensive cover of Labi Siffre’s ‘My Song’ before punching the track up with breakbeat rhythm and synth, once the crowd has sung the chorus. “If you’ve got something to smoke, now might be the time,” Gonzalez announces as BAELY and Emilia return to the stage to the dub of ‘Eternal Light.’ As the sun shines and the crowd bops to a slower jam, The Free Nationals seem like masters at honouring their legends, while pushing their own brand of hip-hop-infused R&B. With a set of improvisations, their own music, and covers, the crowd demands an encore for the first time this weekend. While this does not happen, the Free Nationals seem to have escaped Paak’s shadow and become a fully-fledged festival force.
(Keir Shields)
DE LA SOUL
NORTH DOWNS STAGE 21:00 – 22:15
With the weekend’s closing set, the pressure is enormous to send everyone back into normality with enough joyous energy, without riling things up to the point of excess. Enter legends De La Soul – arriving on the North Downs stage, packed with teens and those old enough to have seen them with the dearly missed Trugoy Dove.
Abruptly landing on stage amid a setup of decks and a live band, Posdnuos and DJ Maseo make their mission statement immediately clear: get the crowd hyped up. From their opening bars, hands are in the air, bouncing to their sample-heavy backpack rap, with Posdnuos chanting “everyone say De La”; the call-and-response is met by the crowd less than one song in. “You heard of Wu Tang?” Posdnuos asks, “They’re from Staten Island. We’re from Long Island,” giving the crowd a geography lesson. With over 30 years of back catalogue to draw from, there’s a slight risk of burning through the hits, with even the Otis Redding-sampling ‘Eye Know’ arriving earlier than expected and erupting an already lively field with its bright guitar line and iconic opening verse.
The audience is won, barely half an hour in; by this point, Posdnuos and DJ Maseo’s decades of crowd control are evident, with the setlist clearly cultivated to maximise their connection with everyone. The looping jazz bounce of ‘Stakes Is High’ gets arms back in the air, honouring J Dilla while also stating “that song is from an album that’s 30 years old now. It’s a grown ass man.”
Keeping the nostalgia going, ‘Pass The Plugs’ honours funk tradition, with the horn section of the live band far more prevalent live, while ‘I Am I Be’ entrusts Daru Jones to anchor the track with hand percussion while soft jazzy keys envelop Posdnuos and Maseo’s verses. With the band leaving the stage for a moment, Maseo unleashes the stuttering of ‘Grind Date’ in the roughest-around-the-edges moment yet. Following this hiatus, the G-Funk bounce of ‘Me, Myself & I’ gets every generation dancing, and the looming end of a festival weekend feeling further away.
“Are you guys tired?” Maseo asks, to a resounding “noooo” from the audience. Intent on another dance, interlocking horns bounce on the Def-Jam-via-disco tune of ‘A Rolling Skating Jam named Saturdays’ before descending into a free-form jazz conclusion. “Are you guys feeling good?” teases the unexpected: Maseo’s laugh, as the iconic bassline of ‘Feel Good Inc’ rolls in. With Posdnuos and Maseo delivering their verses and trusting the crowd to take Damon Albarn’s part, there’s now a sense that anything can happen.
Introducing their final track, ‘Ring Ring Ring (Ha Hey),’ with a story about sampling an answering machine’s saxophone, Posdnuos extends the track with band introductions, interpolating ‘The Next Episode,’ while their drummer chooses ‘Drop It Like It’s Hot’ before one last chorus. Unselfishly, De La Soul choose to honour the history of hip-hop culture, prioritising their crowd over a full run-through of their back catalogue. While a number of tracks are frustratingly omitted, De La Soul’s sample-heavy approach translates seamlessly live, serves its crowd and captures the weekend’s theme: honouring the shoulders you stand on to be a musician.
(Keir Shields)
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.
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Author: Nick Linazasoro
Music Editor
