London’s Brockwell Park bloomed with sound and soul on Sunday 25th May as one of London’s most coveted festivals, Cross The Tracks, returned for its sixth edition, serving up a vibrant tapestry of jazz, funk, soul and hip-hop. Arriving like a well-timed groove—cool, confident and deeply considered—this year’s festival once again struck an impressive balance between sophistication and accessibility. The atmosphere, as ever, was vibrant yet grounded. With a crowd that skewed discerning rather than disruptive, and programming that privileged depth over spectacle, Cross The Tracks proved that large-scale events can still feel intentional, intimate and culturally vital.
From the outside, this year’s festival was set with clarity: this was to be a day rooted in quality not quantity. The nine-stage layout allowed for an organic flow through the space, each space designed with care and sonic integrity. Whether soaking up sun-drenched grooves on the main stage or unearthing new sounds in shaded corners, festivalgoers were treated to an immersive audio journey.
The music programming showcased Cross The Tracks at its very best. Headliners Ezra Collective delivered what was arguably the defining performance of the festival. Hot on the heels of their Mercury Prize-winning album, Where I’m Meant To Be, the London five-piece—consisting of drummer Femi Koleoso, bassist TJ Koleoso, trumpeter Ifeme Chetama, saxophonist James Mollison and keyboardist Joe Armon-Jones—delivered one of the most exhilarating and enjoyable live sets these shores have to offer. Flitting between afrobeat and gospel-tinged soul to latin percussion and UK jazz, EZ—donning personalised adidas football tops—lit up the park thanks to old songs and new, including classics such as “No One’s Watching Me” and “Body Language”, both of which were sure to be ringing in the ears of punters long after the festival. What stood out was the group’s connection to each other, to the music and to the audience. It wasn’t just a performance, it was communion. It was a reminder as to why they’ve become global ambassadors for UK jazz and to the lasting power of live, collaborative, human music.
Later in the evening, fellow headliner Michael Kiwanuka anchored the day with a masterclass in modern soul—his set both expansive and deeply personal. In a day filled with fast-paced jazz, funk and experimental, Kiwanuka’s set offered something slower, richer and introspective. From the stirring chords of opener “You Ain’t The Problem”, to tracks such as “Cold Little Heart” and “Final Days”, Kiwanuka became more than a musical interlude, instead a grounding moment.
Other key highlights from the main stage arrived earlier in the day, with a prime opening set from LULU., whose most popular track (arguably), “Yesterdays”, beautifully echoed through the main stage soundsystem, demanding the attention of those lucky enough to catch the set. A certain one to watch in the coming years. JGrrey also demonstrated her innate ability in delivering some of the most forward thinking R&B this country has to offer, seamlessly navigating between her eclectic catalog and, again, setting the tone for what was to be a glorious day.
Tucked away towards the southern side of the festival site was D-Railed, hosted by South London platform, The Blues Project. Intentionally intimate with its hood to keep sound contained, D-Railed served up some of the weekend’s most exciting, future-facing performances. Rapid-rising local talent Nia Smith, donning a sleek full ARTE fit, demonstrated why she’s one of the most sought-after singer-songwriters coming through right now with her rich, emotive vocals, delivering a slew of classics such as “Personal” and “Give Up The Fear”, as well as more recent and unreleased cuts. Towards the end of her set, Nia let the crowd know she had in fact walked to the festival from her home in Brixton—a nice touch to re-emphasise Cross The Track’s reputation for championing the very best local talent. Shortly after followed RUBII, another hugely exciting British prospect. Hailing from Birmingham, the songstress has swiftly emerged as a distinct voice in the alternative R&B scene thanks to her intimate vocals, smooth harmonies and relaxed, yet engaging delivery. Tracks such as “Delicate” and “Reflections” proved to be highlights, as well as a surprise cover version of Iyaz’s classic hit “Replay”, much to the crowd’s delight.
Special mention must go to Bashy, aka Ashley Thomas, who delivered his first live performance in over 16 years. Renowned for his advocacy on social issues, particularly concerning race and representation, the Londoner oozed stage presence throughout his set at The Terminal—one would never have guessed this was his first live set after such a hiatus. Flitting between some old music and his recently acclaimed album Being Poor Is Expensive—woozy bass kicks, and backing vocals cut through the ether layered with Bashy’s trademark, poignant lyricism, whilst constantly engaging with the crowd and serving up interludes to keep up the tempo. Bashy is a national treasure, and remains a significant figure in British culture and continues to use his platform in an extremely positive way.
With more intimate sets over at The Caboose” from the likes of Tia Gordon and BexBlu, as well key performances from the likes of Jaz Karis and Fabiana Palladino in the Locomotion tent, this year’s punters were simply spoiled for choice. In its 2025 iteration, Cross The Tracks demonstrated a rare clarity of vision. It’s a festival that understands the value of cultural continuity and platforming excellence. With a genre-spanning line-up, considered production and unwavering commitment to community, it continues to offer an alternative to the mainstream festival experience—personal and purposeful.
Head to the Cross The Tracks website for more information.