Radio broadcaster, DJ and label honcho, Gilles Peterson is the man behind boundary pushing projects such as Acid Jazz, Talkin’ Loud and Brownswood Recordings, where he released the influential nu-jazz compilation ‘We Out Here’ in 2018, from which the festival takes its name. Reflecting Peterson’s 6Music show mantra, ‘joining the musical dots’, the festival’s lineup sought to showcase the link between the many facets of UK music culture. With other festivals such as Houghton and Field Maneuvers sadly being forced to cancel through lack of insurance and uncertainty around Covid-19, Giles Peterson was able to secure support to ensure We Out Here went ahead.
The weekend began with a live set from Shackleton at Lush Life, an open air stage equipped with a powerful sound system. Shanti Celeste was next in The Forest, curated by Ransom Note, where she dropped uplifting techno and house cuts from 9 to 11 under the canopy. To finish the first night, Batu supplied an eclectic mix of Timedance rhythms, footwork and a finishing spate of speed garage.
On the old site of Secret Garden Party, the arena had ample entertainment to keep you busy throughout the weekend: a listening bar, Near Mint Record Store, a cinema and a talks tent. Films such as David Hayes’ ‘Please Take Off Your Hoodies’ and Sisters With Transistors were shown, whilst Joe Muggs talked to Zed Bias about sound systems.
The main stage opened on the Friday, where we caught Yasmin Lacey singing her laidback neo-soul. At the bandstand, broken beat pioneer IG Culture played a set of afrofuturistic jazz with his band, Likwid Continual Space Motion. The highly anticipated surprise guest turned out to be US superstar Thundercat, followed by a masterful percussive performance from Yussef Dayes.
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At the Lemon Lounge, a more intimate tent, O-dessa and Selassie Tbc played afrobeat and UK Funky. Next, bass culture mainstay Joy Orbison was on at Rhythm Corner, the largest dance stage. Beginning with tracks from his newly released compilation and ending with a drill edit of his old favorite, ‘Hyph Mngo’. Although scheduled to play a b2b with Anz, Call Super then took the helm alone, playing one of the most memorable sets of the weekend – the highlight being an ode to the late Paul Johnson and his seminal Chicago house track, ‘Get Get Down’.
On the drizzly Saturday, Alfa Mist performed an instrumental set and fellow nu-jazz Londoner, Nubya Garcia played her dubby, melodic sax. At lush life, Sherelle’s characteristically unabating footwork jungle was followed by Metalheadz legend DJ Storm opening with the timeless 90s classic, Pulp Fiction. The always dependable Fabio and Grooverider closed with a few hours of signature dark, atmospheric drums.
Mercury nominated Moses Boyd performed tunes from his hit album ‘Dark Matter’, on Sunday afternoon. Factory records’ veterans A Certain Ratio played their signature funky- post-punk to a jubilant crowd. Black Country New Road’s festival debut consisted of a very long soundcheck preceding a very short set, resulting in there being just enough time to catch some lovers rock from Dennis Bovell.
The festival was rounded off by a bass-infused three hour set from Bristol’s Addison Groove and DJ Die, with Cambridge’s own Inja MC’ing. As always, queues could be shorter, the weather better and the pints cheaper. But much like the first iteration of the festival, the second was a resounding success.
The lineup successfully displayed the fusion of jazz and club culture that continues to thrive, despite the pandemic. Petersen’s ability to give space to the most exciting aspects of the UK’s music scene through booking a diverse array of artists, from 160 bpm jungle footwork to ambient jazz and everything in between, should encourage other programmers to be equally as open minded.
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Words: Charlie Bird
