Cross the Tracks shines through
The vibrant jazz and funk festival harnessed the soul of South London yet again.
Photo: Garry Jones (@garryjonesphotography)
Attending Cross the Tracks is always a fun affair – the one-day festival has a community feel that taps into its roots in soul music. The crowd and vibe is more family-oriented than its Brockwell Park sister festivals Wide Awake and Field Day. But that certainly doesn’t mean it lacks any of the passion, or indeed, heart to make it a lively and dynamic day!
I met up with friends once inside, and we started by seeing Nia Smith, a Brixton local and emerging R&B star with a classic and classy sound. It was a big turnout for a fairly early set – she obviously has a decent following. Her passionate voice and deep melodies carried through the D-Railed tent.
After some quintessential festival logistics — finding more friends and getting drinks — we took in rising rap/alt-R&B star RUBBI’s set, which was super-slick and head-bop worthy. Her bandmate’s live saxophone elevated her set and made it a smash. The tracks Jealousy and Jammin particularly got the crowd moving and shuffling.
Next up was genre-defying artist Skinshape. I was pleasantly surprised by the dreaminess of their sound, with the hypnotic echoes of his guitar giving the music a distinct psychedelic air. I thought the instrumentals shone best when paired with reggae singer Hollie Cook for a rendition of her song Milk & Honey.
The next couple of acts had a jazz fusion element connecting them: pioneering funk group Cymande were cool, bringing a mature rhythmic sound to their set. Moses Yoofee Trio on the Morley’s Presents stage were impressive in their technical abilities on the bass, drums and keys, and their fluid, jazzy sound, which kept a good, often improvised, pace. A friend who wasn’t familiar with them remarked to me, “They deserve a bigger stage!” – couldn’t agree more!
Jordan Rakei came on as the day was fully in its stride, people were in the zone as he sang under the sun’s rays, nailing his biggest hits like Borderline. His blend of soul and electronica was a perfect fit for the festival. Eclectic producer Dargz and his band had a few sound issues but were great performers, blending hip-hop beats with jazzy sounds and platforming a few cool guest singers to create an immersive experience.
Ezra Collective really stole the show for the day: always fire, always energy, they replicated the modern sound of London. Audience interaction is a big part of their shows – they explained that the diversity of Londoners should be a model for others against racism and prejudice, to the cheers of the cross-cultural crowd. It was a positive message, especially poignant given the festival may not have gone ahead due to legal battles over permits. Their infectious set was a welcome reminder as to why the EZ are as big as they are.
We had time after for a quick skank to the legendary Gilles Peterson, who was bringing heavy disco and dancey energy to the Locomotion tent. The crowd were going mad for it. It was also fantastic that he was performing next to a digital sign which read: “Why do racists fear jazz?”
The day went quickly: with many laughs, dancing and chit-chat amongst friends, my favourite. When it was already time for the headliners, we split our attention between jazzy band Free Nationals, who rocked out with confidence and soul, and Michael Kiwanuka, the soul singer-songwriter with the voice.
It felt bittersweet to end Cross the Tracks – always a lively occasion – with the more sombre and slower-paced melodies of Michael. But his talent is undeniable, and the power of his voice before a chorus of singers and an orchestral band, all wearing white, carried awe through the revellers. My most distinct memory of the whole set is joining it by literally running with my partner from a different stage after hearing Cold Little Heart begin, both of us belting it out alongside him. Beautiful.
Cross the Tracks came through yet again – we left with hearty smiles, slightly weary feet and echoes of tooting trumpets, erratic saxophones or funky guitars in our minds. Until next year!
