We Out Here (Day 2): A Day of Legends and Breathtaking Highlights in the Dorset Sunshine

For the second year running, V13’s Alfie and Del Pike had the pleasure of attending We Out Here festival; a four-day musical getaway in the beautiful grounds of Wimborne St Giles, Dorset. The festival is curated entirely by Gilles Peterson, founder of the Brownswood label, specialising in jazz, hip-hop, soul and everything in between. This year celebrates the fifth year of this incredible event.

Our first port of call on day two is Matthew Halsall, who has been around for longer than it feels and has nine albums under his belt. All dreamy volumes that focus on his sublime trumpet excursions are wrapped in his lush production. His most recent album, last year’s An Ever Changing View, has opened his music to a wider audience and is showcased at WOH this afternoon.

In true jazz tradition, each band member is given a chance to shine, and the theme of the album – nature, seeps through into every passage. Halsall never steals the show and steps back to bathe in the sound of his collaborators throughout the set.

Whilst he spends most of the time working through the album, he takes time out to cover The Cinematic Orchestra’s “Ode to the Big Sea” from 1999. This is a perfect early afternoon set on a glorious sunshine day.

Corrine Bailey Rae’s influence on young black female performers cannot be underestimated. From her roots in Leeds to world fame, collaborating with the great and good whilst scooping awards across the globe, it appears that she has not come up for air since stepping into the spotlight in 2006.

Today, she is highlighting tracks from last year’s Black Rainbows album. Songs like “Put it Down,” a track about dancing away your woes, tick all of the expected boxes of sweet and soulful, as does most of the set. “He Will Follow You with his Eyes,” with its recurring chant of “Plum Red Lipstick,” becomes a dramatic mantra that takes her style to a new level. Perhaps most surprising is the hard rock “New York Transit Queen,” a CBGBs style moment that owes as much to The Go Gos or early Blondie as Bailey Rae’s expected jazz influences.

Whilst the set is enjoyable and fits perfectly into the hazy mood of the afternoon, there is a feeling that some of this work feels a little dated next to the likes of Aja Monet and Moor Mother who are both appearing at WOH this year. Bailey Rae is still making powerful statements about the experience of black women which are undoubtedly valid, but those who have followed in her footsteps are sounding slightly more relevant and direct right now.

Corrine Bailey Rae © Photography by Jake Davis | Khroma Collective (www.instagram.com/khromacollective)

Brian Jackson is becoming a staple in the WOH lineup, and the 71-year-old shows no sign of stopping. This is the third time we have had the luxury of seeing this legend live, yet, unfortunately, this time, his 50-year-old prophecy seemed increasingly relevant. Jackson retells an interaction he had with a young man in which he was asked about the content in his and Gil’s songs and how accurate they are to modern life. Tracks like “We Almost Lost Detroit,” “Save the Children,” or “The Revolution Will Not Be Televised,” to name a few couldn’t be more pertinent today.

Sadly, Jackson is only receiving his followers after the passing of Gil Scott-Heron, yet he seems pretty happy to keep the legacy alive and continue spreading the word of Gil.

Despite having such an extensive legendary catalogue to work with, Brian only performed 5 or 6 tracks throughout his 1 hour 20 minute set time. In between songs, the band continue to play while Brian recites tales of his career. This dynamic feels super intimate and works incredibly well.

Although we could stand and listen to Brian all day, we took a short walk over to Lush Life to see the future of jazz. Venna is an artist who has managed to dial into a youthful jazz audience without sacrificing any key fundamentals of the genre. Venna’s appeal to a younger audience comes from his collaborations with MIKE, Navy Blue, Knucks and Liv.e, both of the latter performed at WOH 23’ actually. Not to mention his large contribution to the Black Classical Music album by Yussef Dayes, which was nominated for the BRIT awards.

Since the release of Equinox last year, I’ve seen Venna perform 3 times, so there was no doubt in my mind that he would disappoint. The music is incredibly dreamy yet tight and perfectly syncopated, which is ironic, but that’s jazz.

Louie Vega is a band leader in the true tradition of Duke Ellington, high praise indeed. Introducing his musicians with equally high praise and leading them into the greatest celebrations of jazz, with elements of soul, funk and hip hop. This is an old-fashioned revue. Using his own life growing up in the Bronx, experiencing the birth of hip hop and instigating many collaborations, this must be a rich set. It does not disappoint.

With an expansive ensemble of musicians, Vega picks out each member and gives them a spotlight in which to shine. Notably, Josh Milan on the keys. Working through versions of “Brand New Day,” “Children of the World,” and (The stolen!) “Thinking About Your Body,” these vibes bring the field alight.

Louie Vega by Sahil Kotwani

Cindy Mizelle equally stuns with her sultry “Sugar bring your sweet stuff home to me,” and a beautiful take on Nina Simone’s “I put a spell on you.”

Excursions into house music remind us of Vega’s time as a renowned house DJ, as this turns into a truly eclectic set. The mood heightens further with the introduction of some very special guests. First up is Detroit’s artist/producer legend Moodyman to perform “7 Mile.”

Perhaps the highlight of the night, however, is the appearance of Brian Jackson. He joins Moodyman on stage for a version of “We Almost Lost Detroit,” made famous by Jackson and Gil Scott Heron.

In Brian Jackson’s own set earlier today, he curiously ignored “Lady Day and John Coltrane.” He has saved it for the full band treatment here. Breath-taking does not cover it.

Soul legend Dee Dee Bridgewater arrives to finish the set with a fantastic version of Michael Jackson’s “I Can’t Help It.” A strange but perfect choice for an exhilarating set.

For more information on next year’s We Out Here Festival, visit the official website.

We Out Here Festival 2024 Poster