‘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
Walking on stage to the intro of the hopeful ‘Invisible Lion’, James Emmanuel’s vocals are immediately striking: baritone yet dulcet, his tones are something you relax into, with such clear diction that it feels like he’s preaching. “I’ve been dreaming of this moment for three years”, Emmanuel states, visibly overjoyed before jumping into the hopeful yet downtrodden funk of ‘Good Man.’
Emmanuel’s stark belief in himself is vivid, even before the Charles Bradley optimism of ‘Time’ showcases his baritone, served perfectly by his band’s soft instrumentation. While bordering on overbearing optimism at times, Emmanuel’s humour shines through as he introduces ‘Brothers And Sisters’ as a way of coping with his daughter eventually dating men, instead of “working out ways I’d kneecap him.”
A set intent on proving the odds he’s beat, ‘Lonesome Man’ exists at the intersection of blues and gospel, with Emmanuel’s voice soaring over just piano for lyrics of an ex who left him when a record deal fell through. Ending on the positive punches of smitten ‘So Good To Me’ and northern soul floorfiller ‘Bridge Over The Tears I’ve Cried’, much of Emmanuel’s set seems ripped straight from Barry White if he spent more time praying than seducing.
The baritone delivery, with faith-based lyrics, threatens to be more of a church service than a festival, yet Emmanuel’s unwavering self-belief elevates his setlist into something that leaves you ready to fight for your dreams.
(Keir Shields)
CARRTOONS
SOUTH DOWNS STAGE 14:45 – 15:45
The next act on our list was the New York multi-instrumentalist Ben Carr, better known as CARRTOONS. One of the most sought-after producers, the unique bass lines and highly identifiable sound of CARRTOONS led to four NPR Tiny Desk appearances and co-signs from DJ Jazzy Jeff and Pete Rock. Collaborations with pivotal names across genres—from Usher to Freddie Gibbs, Roy Ayers, Nate Smith, Kiefer, George Clinton, Jadakiss, and beyond—all while never sacrificing the retro-inspired sound that has driven his career to where it stands today.
Cartoons’ latest project, Space Cadet, stands as a collaborative triumph, featuring Pale Jay, Rae Khalil, Wiki, Erick the Architect, Phonte, and many more. This latest effort has earned high praise from musicians, critics, and fans alike, and will be followed by international tour dates in 2026. Having been party to an interview and photo shoot with Carr earlier that day we decided then and there that they would be a must see.
Within a few minutes of taking our place in the tent it was quite clear that most people on site had made the same decision. In keeping with most of the Sunday programming Cartoons played a fairly laid-back set. Featuring spectacular musicianship with the solid rhythm section you would expect from Carr backing creative keyboards over funky basslines and vocals and raps that thoroughly complimented the sublime set up.
(Jess Kemp)
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
With an old school jazz set-up and sheet music in front of her horn section, Samara Joy seeks to launch us back to the 1950s – complete with a big band introduction for her arrival on stage. “Before I start, is it Glynde or Glind?” Joy asks a divided crowd.
Opening with ‘Beware My Heart’, Joy brings a gospel vocal range to Bossa nova rhythm, while still showcasing the acrobatics required for old-school jazz. In a bold move, she tackles the legendary bebop of ‘Upper Manhattan Medical Group’ – adding her lovelorn lyrics to an old standard while still honouring the necessity of improvised solos from the band. Throughout, her band is truly remarkable – respecting the bones of classics, with Jason Charles on trumpet and drummer Evan Sherman interpreting legends in their own way.
“Mind if we take you back to Brazil?” Joy asks with the grace of a 60s lounge act, before ‘Flor De Lis’ sways into the tent with the twirl of bilingual Bossa nova. “We want to organise things in our own way”, she explains, “we want to play everything as fast as possible.” This unrestrained approach perks up a flagging crowd, with Joy and her band seeming to take a punk ethos to jazz, both in their DIY reinterpretations and desire to play fast and loud. With audience permission, Joy finally slows down, with breezy adoration in ‘Little Things Mean So Much’ and Duke Ellington ballad ‘I Got It Bad (And That Ain’t Good)’, finally getting Joy to sit down for an extended intro of elongated trombone and bluesy piano before unleashing her voice.
With an audience utterly spellbound, Joy concludes with her take on a Bossa nova standard in ‘No More Blues’, with horns interlocking with Sherman’s marauding pulse – every band member gets a solo, with Joy happy to share the spotlight. With huge cheers as her band plays her offstage, Samara Joy’s set is filled to the brim with interpretations of jazz classics that feel entirely new in a typically traditionalist genre.
(Keir Shields)
SISTER SLEDGE
NORTH DOWNS STAGE 17:30 – 18:30
I reviewed Sister Sledge when they played Brighton Pride last year, but I was intrigued to see how the different line up would be from Kathy Sledge’s offering.
Billed as ‘Sister Sledge’ featuring ‘Sledgendary’. Founding member Debbie Sledge was joined by Camille Sledge, Tanya Ti-et, Thaddeus Sledge and David Sledge. Each new family member had the opportunity to impress on covers of The Jacksons and Aretha Franklin, as well as banging out the greatest hits from the back catalogue.
Bolstered by renewed vigour from the next generation the dance floor classics including, ‘He’s The Greatest Dancer’, ‘Good Times’ and ‘We Are Family’, here given additional meaning from the refreshed line-up. The songs continue to have the power to get everyone up on their feet and singing, powering up the crowds at the mainstage for a highly anticipated closing line-up on the mainstage. The group exemplified the festival’s emphasis on connection leaving the mainstage crowd on a high, these were indeed good times.
(Jess Kemp)
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
The night ended with a lively set from ‘De La Soul’, who brought a full band with them. I saw them once in the late 80’s/early 90’s, and had forgotten how entertaining they were. It wasn’t everyone’s idea of a headliner, and they had to cut their set short because of the curfew, but I enjoyed them.
De La Soul are a big part of hip-hop history, and it was great to see them play the hits, along with some deeper cuts. Even after the sad passing of Trugoy The Dove, rappers Posdnuos and Maseo still know how to command a crowd. I think ‘The Roots’ proved how well a hip-hop band can go down at this festival, and when De La Soul broke into ‘Me, Myself & I’, they tore the roof off (if there was one). The band is just as relevant as ever, and with the new album, ‘Cabin In The Woods’, they still have the tunes.
Overall, a fun day out and the vibe was a pleasant one. We just need more toilets, cheaper ale and a better choice of bands for the main stage, maybe. I do think at least two of the acts on the secondary stage should have been on the main one.
(Sonny Tyler)
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.
