Love Supreme Jazz Festival Review: A Celebration of Jazz's Legacy and Future

Glynde Place, East Sussex

Returning to the rolling South Downs once again, Love Supreme continues to occupy a unique place in the UK's jazz-focused festival calendar: honouring its past and cultivating the future.

While its roots remain firmly planted in jazz, the festival has increasingly embraced soul, funk, hip-hop and electronic music without losing sight of its core identity. Across three sun-soaked days, the atmosphere felt as warm as ever; equal parts family gathering, musical pilgrimage and celebration of the genre's ever-expanding possibilities.

Perhaps Love Supreme's greatest strength lies in its commitment to nurturing the next generation. Away from the headline acts, the New Generation Jazz stage proved one of the weekend's richest discoveries, spotlighting emerging artists pushing the genre in exciting new directions. Equally rewarding was the intimate Blue in Green stage, tucked away in a secluded corner of the site, offering a blissful soundtrack of carefully curated DJ sets throughout each day. The Bands & Voices stage also became a festival highlight, giving younger ensembles room to flourish while hosting lively dance workshops - particularly its infectious samba sessions - which consistently drew enthusiastic crowds of all ages.

Friday offered an immediate reminder of the festival's remarkable breadth. Kokoroko's rich Afro-jazz grooves eased audiences into the weekend before drummer Moses Boyd and his band once again demonstrated his fusing of modern jazz within the realms of rock, soul and funk. Durand Bernarr delivered one of the day's standout performances, showcasing an enticing vocal range that effortlessly shifted between silky falsetto and explosive soul.

As evening approached, Ezra Collective transformed the main stage into a collectivised celebration. Overflowing with gratitude throughout their set, the Mercury Prize winners fed off an audience eager to dance, delivering an uplifting performance that perfectly captured the communal spirit that defines Love Supreme.

Elsewhere, DJ Pee .Wee (better known as Anderson .Paak behind the decks) offered something entirely different. His late-night set was less a carefully-constructed DJ performance than an instinctive avalanche of bangers spanning decades and genres. Transitions were largely abandoned in favour of pure feeling; records collided unexpectedly, tempos shifted without warning, resulting in unadulterated chaos - equal parts exhausting and exhilarating.

Saturday balanced nostalgia with exciting new discoveries. Franc Moody continued the party atmosphere before Knats quietly emerged as one of the weekend's biggest revelations. Blending free jazz, spoken word and groove-led improvisation, the "Geordie Jazz" outfit displayed remarkable confidence and originality that suggests bigger stages await.

Jalen Ngonda followed with a performance covering a breadth of classic soul. Transported directly from the 1970s, Ngonda channelled the effortless elegance of Marvin Gaye, Al Green and Curtis Mayfield without slipping too heavily into imitation.

The festival's celebration of musical heritage reached its emotional peak with The Temptations and The Four Tops. While only founding member Otis Williams remains, the group's catalogue remains virtually unmatched, and hearing these songs performed live by one of soul's defining figures proved immeasurably moving. The performance became an enormous singalong, serving as both tribute and celebration of a remarkable legacy.

Loyle Carner closed the main stage with his typically heartfelt sincerity, balancing introspective lyricism with moments of warmth and humour - extending an impromptu shoutout to Yotam Ottolenghi that left many in the crowd momentarily bewildered. Colleen 'Cosmo' Murphy then carried audiences late into the evening with an entrancing DJ set.

Sunday provided a fitting finale. Olympia Vitalis demonstrated impressive charisma before Sister Sledge unleashed an uninterrupted run of disco classics that transformed the festival into one collective dancefloor.

Free Nationals delivered their trademark blend of laid-back funk and immaculate musicianship before De La Soul brought the weekend to a triumphant conclusion. Performing with a full live band for a UK-exclusive appearance, the hip-hop pioneers reminded us why their catalogue continues to resonate across generations. Their set effortlessly balanced joyous celebration with genuine emotion, mixing classic tracks with wonderfully awkward dad jokes and repeated attempts to recruit younger audience members into crowd participation.

Love Supreme continues to succeed because it refuses to treat jazz, and its broader realms, as something static. Instead, it presents the genre as a constantly evolving conversation, placing legendary performers alongside artists only beginning to find their voices. Whilst the audience skews disproportionately white for a festival celebrating and cultivating a historically black musical genre, the programming itself pertinently champions diverse voices and commits an unwavering support for younger musicians and emerging talent.

That commitment feels increasingly important. In an era where opportunities for experimental and improvised music can often feel limited, Love Supreme remains an integral part of the UK's wider jazz scene - simultaneously honouring jazz's rich history while helping shape its future.

Love Supreme Jazz Festival will next take place on 2-4 July 2027 - for more info and the latest updates please visit here.

Photos are courtesy of Emily Marcovecchio, Chloe Hashemi, and Nirah Sanghani whose work can be found at their respective links.