The rapid expansion of London’s festival scene faced some resistance recently when local residents near Brockwell Park not only organized but also legally challenged the legitimacy of several events. This action highlighted the challenges they encounter and brought the issue of park custodianship into focus. With some apprehension, Clash sets out from Herne Hill station, amid a crowd of people heading towards the South London venue.
As the station's stairs became congested with festival-goers, it's evident why local residents might grow weary of the increased foot traffic. Herne Hill's charming market is bustling, yet music enthusiasts appear to be skipping it. Upon approaching the gates, marked by a large perimeter fence, one begins to feel that attending a festival is less of a right and more of a privilege bestowed by those who regularly inhabit the area.
Nonetheless, Cross The Tracks likely isn’t the primary target for those opposing festivals in Brockwell Park. For one, it boasts a genuine communal atmosphere – relaxed to the point of tranquility, accommodating both youthful party-goers and parents with strollers. Transitioning from soul to jazz to club culture, attendees can explore anti-colonial literature, engage with Music Declares Emergency’s eco initiatives, or enjoy delicious offerings from independent vendors. This isn’t an exclusive event demanding a hefty ticket price – this is Cross The Tracks.
Upon arrival at the Terminal stage, Clash catches LA soul group Thee Sinseers. Part of a wave of slow, deeply emotional bands from the U.S., we've unfortunately missed all their prior shows in London. However, they impress on this occasion, seamlessly blending brilliant influences – from beat ballads to Chicano rhythms – into an innovative take on their sound. Their immense musical talent shines through, creating a captivating experience. A standout moment early in the day.
As we explore the well-organized site, we pass by the Funk Junction, expertly curated by Touching Bass duo Alex Rita and Errol, and enjoy some UK funky at Red Bull Selector. Moving towards Fabiana Palladino, her alignment with the Paul Institute is evident in her self-titled debut album's artistry. The beautiful soul music she presents feels both forward-looking and oddly timeless; however, her stage presence doesn’t fully capture the strength of her recordings, exhibiting a shyness that prevents a deeper connection with the audience.
Catching the tail end of Nia Smith’s packed set – we find ourselves just outside the tent – it becomes obvious that her talent is gaining attention. A local from Brixton, Nia has surely spent many summer days in the park. On the main stage, Lynda Dawn brings energy from start to finish – the sun is out, the field is filling up nicely, and her captivating R&B sound retains appealing elements of Brit-soul. It’s the day's first delightful surprise.
Hackney’s EartH collaborates with the ever-relevant Instagram presence Somewhere Soul to curate the Terminal stage, and they have excelled. Skinshape, noted for their viral streaming success, delivers a fantastic set of dub-influenced afro-psych grooves, creating a fittingly laid-back ambiance for a hot summer day. Meanwhile, on the main stage, Cymande spreads joy across generations at Cross The Tracks; the influential collective, which emerged from Brixton in the early 1970s, delivers a potent mix of afrobeat, reggae, funk, and soul that feels incredibly relevant. Their recent album ‘Renascence’ sparkles, yet it’s the classic tracks that resonate most – ‘Brothers On The Slide’ offers rebellious funk, while closing with ‘Bra’ brings sheer joy to the enthusiastic crowd.
We take some time to enjoy captivating beats at the Funk Junction, with the Touching Bass curation proving unmatched, before heading back to the main stage to experience Jordan Rakei’s compelling performance. Clash was fortunate to witness the New Zealander-in-London’s enchanting show at the Royal Albert Hall last year, and he doesn’t disappoint here – a remarkable artist with a captivating portfolio filled with heartfelt emotion, his performance excites from start to finish.
Bashy, the influential West London rapper, showcases one of last year’s most important UK rap albums with the eloquent ‘Being Poor Is Expensive,’ which presents a cinematic portrayal of working-class Black British life. His set at Cross The Tracks seems to mark his first appearance at a London festival in 16 years, and he clearly enjoys every moment – delivering a crowd-pleasing selection of the songs that inspired him while transitioning from a carnival-like performance to powerful spoken word. At one point, Black Lives Matter appears on the screen, prompting reflection on the progress made since George Floyd's death. With articulate voices advocating for Black consciousness in UK rap, it's heartening to see artists like Bashy in the trenches.
Clash joins the multitude heading to the main stage for Ezra Collective – the crowd surges back up the hill, the viewing areas are packed, and the sun shines brightly. We
Recently, the rapid expansion of the London festival calendar faced some opposition from local residents near Brockwell Park, who not only
