The mighty Royal Albert Hall saw Gregory Porter take up a five-night residency in towering fashion with his unmistakable baritone filling the room with warmth and gravitas, with a captivating blend of soul and jazz. Jo Harrop backing him over the 14 nights of his UK tour offered contrast and intimacy—proof that subtlety can be just as powerful as scale. That balance between grandeur and nuance became a recurring theme.
Consistency came in the form of Curtis Stigers, a stalwart of Ronnie’s, like so many international artists he took up a residency for a week in the spring, returning in the Autumn. Each appearance reaffirmed his mastery of narrative songwriting and conversational phrasing, reminding us how lived-in songs gain new meaning when delivered with honesty and humour.
Debuting his newly released album (Songs from the Kitchen Vol 1) Stigers gave the songs life with stories of their creation at a time when artists were unsure they would ever be able to enjoy the appreciation of a live audience again, as Covid gripped the world.
His music lives at the crossroads of jazz, soul, blues and sophisticated pop, shaped by storytelling, warmth, and an unmistakable voice and on Songs from the Kitchen Vol 1, Stigers takes on a new direction, blurring the lines between jazz and country.
Lady Blackbird took to the hallowed hall that is
the London Palladium with her trademark smoky contralto voice that can whisper, menace, or roar with conviction and whose performance blurred the line between
concert and communion—raw, fearless and unforgettable. her sound blends jazz,
soul, blues, gospel, and orchestral pop and is carried by a voice that is raw,
commanding, and emotionally fearless.
There’s a slow-burn intensity to her performances, and songs unfold deliberately, with space and restraint, allowing mood and meaning to breathe. She will return to London in May to play four sold-out gigs in the main room at Ronnie’s, and this is sure to be a highlight of 2026.
Emerging and established voices sat side by side. Mica Miller impressed with poise and clarity and a soul-filled groove that reaffirmed her as one of the UK’s finest upcoming artists.
Her music sits in a beautifully balanced space between jazz, soul-funk and pop — intimate, emotionally direct, and quietly powerful. Her sound is built around clarity and connection rather than showmanship.
There’s a conversational quality to her writing and delivery: songs feel lived-in, reflective, and human, as if you’re being let into a private thought rather than performed at.
The Tom Smith Big Band, debuting his album A Year
in the Life, brought swagger and swing in unapologetically bold fashion—proof
that big band music still knows how to lift a room. Featuring some of London’s
most highly regarded musicians, including Paul Booth (tenor sax), Alex Garnett
(tenor sax), Jamie McCredie (guitar) and Luke Tomlinson (drums), their music is
modern big-band jazz with a narrative sweep and a contemporary edge — rooted in
tradition but written very much for now. At its core, the writing blends the
architecture of classic big-band arranging with the harmonic language and
rhythmic looseness of modern UK jazz. You hear strong, clearly shaped melodies,
but they’re framed by textures and grooves that feel current rather than
nostalgic.
Harrop was among the stars playing a remarkable charity gig in support of women songwriters under the title ‘She Writes The Songs’ featuring Shaznay Lewis, Sarah Jane Morris, Sarah Gillespie, Rumer, Jo Harrop, Kizzy Crawford and Aria. It felt like a snapshot of contemporary vocal brilliance—diverse, expressive and deeply human.
Pianists and bandleaders shaped some of the most
musically satisfying nights. James Pearson and Niki Iles delivered elegance and
invention in equal measure, playing Bill Evans in the Yamaha Piano Room in
Wardour Street, while Joe Thompson, longstanding musical director and house
pianist at The Ivy Club, West Street lead a quartet including Artie Zaitz
(guitar), Neville Malcolm (double bass) and vocalist Jo Harrop for the
inaugural—and now, one suspects, annual—EFG Jazz Festival at The Ivy Club.
Two time Grammy award-winning Nicole Zuraitis whose voice is luminous, agile, and emotionally fearless — a rare blend of jazz sophistication and singer-songwriter.
At first listen, what stands out is the clarity of
tone: bright without being brittle, warm without ever sounding heavy. She has a
wide range and effortless control, moving seamlessly from conversational
intimacy to soaring, full-bodied lines. There’s a natural elasticity to her
phrasing — she bends time gently, leaning into or behind the beat with
instinctive musicality and she delighted the audience at Scott’s with a
flawless performance and again at an after show party at The Ivy Club where
joined by Aria and Harrop they underpinned all that is jazz with an impromptu
performance that resonated long after the last nights had faded.
Stacey Kent who for three decades has been intimately associated with Ronnie Scott’s — not just as a frequent performer but as a presence who seems to belong to the very atmosphere of the club returned to Frith Street for another sold-out residency of eleven shows, Kent’s performance was both a homecoming and a graceful reflection on a career steeped in lyrical storytelling and understated sophistication. her performance of La Valse des Lilas in English translation felt freshly poignant, her voice delicate but sure, tracing each line with a seasoned musician’s confidence. When she shifted to French with La Javanaise — joined by Jim Tomlinson on flute — she transported the audience into a romantic, Parisian soundscape, showcasing her rare ability to inhabit multiple languages with natural expressive flair.
Jana Varga played on what was arguably the hottest day of the year and escaping to the cool confines of Pizza Express Live in Holborn proved to be not just a welcome retreat but an inspired choice, Varga played host to a night of exceptional musicianship, warmth, and storytelling debuting her album Chicory.
Luciano Souza performed at World Heart Beat Embassy Gardens in Nine Elms as part of their season of jazz and global music events. The programme was built around Cometa, a collaborative project between Grammy-winning vocalist Luciana Souza and Brazil’s acclaimed jazz ensemble Trio Corrente. The evening included sambas by Jobim, Caymmi, Djavan, Paulinho da Viola and others, plus original compositions and arrangements by the group — blending Brazilian swing with jazz improvisation.
The result was a deeply personal celebration of Stephen Sondheim’s craft and reminded us that interpretation—how a song is lived inside—matters as much as repertoire.
Elsewhere, personality and playfulness shone
through. Welsh trumpeter and raconteur, Andy Davies, with his Jazz Jam, moved
down to the main room at Ronnie's whilst a new performing space took shape on
the first floor.
Due to open on the 6th February, this is likely to
become the place to be seen and heard in 2026.
Ray Gelato delivered irresistible swing and showmanship, which included a week-long residency of sold-out shows in the lead up to Christmas.
Pianist and musical director Paul Edis anchored the
evening with arrangements that felt as intelligent as they were festive. His
take on Santa Claus Is Coming to Town nodded to the lyrical, introspective
style of Bill Evans, reframing a ubiquitous 'carol'
with harmonic wit and
understated poise.
This set the tone for a concert that looked beyond kitsch towards musical character at the heart of the performance was vocalist Jo Harrop, whose warm, assured presence brought emotional depth to both standards and more unusual choices. Her rendition of River by Joni Mitchell was a standout moment — simple in arrangement but quietly devastating in delivery, carrying an emotional weight amplified by her connection to the song’s lineage.
In summary: 2025 wasn’t about chasing hype or ticking boxes. It was about returning to rooms where the lights dim, the first note hangs in the air, and for a few hours, the outside world loosens its grip.
A year of voices, stories and moments that linger long after the final chord. Glenn Wright
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