Words: Jim F / Photos: Jim F / Huw Williams
Last Friday night at Leeds Project House was a celebration of boundary-pushing jazz, led by two of the genre’s most visionary voices: Kamasi Washington and hometown hero Emma-Jean Thackray. The venue was packed to the rafters, buzzing with anticipation, and both artists delivered spellbinding performances that transcended the usual gig format — this was an immersive experience, a sonic journey rooted in soul, spirit, and serious musicianship.
Opening the night was Thackray, returning to her Leeds roots with swagger and style, proudly donning a Leeds United shirt. Performing a solo set with backing tracks, she breezed through selections from her forthcoming album Um Yang, effortlessly blending her trumpet and guitar skills with warm, jazz-inflected vocals and a grounded but exploratory energy. Her control of the medium was clear — shifting from groove-heavy beats to intimate melodic moments — and the crowd was with her all the way, captivated by her genre-blending soul-jazz stylings.
But it was Kamasi Washington and his powerhouse touring band who delivered a truly transcendent set. Featuring Kamasi on tenor saxophone, his father Rickey Washington (flute, soprano sax), Ryan Porter (trombone), Brandon Coleman (keys), Tony Austin (drums), DJ Battlecat (turntables/percussion), Joshua Crumbly (electric bass), and vocalist Patrice Quinn, the ensemble was a cosmic unit — each musician a master in their own right.
The set pulled heavily from Kamasi’s most recent album, Fearless Movement, with highlights like “Lesanu,” “Asha the First,” “Lines in the Sand,” “KO,” “Get Lit,” “Vi Lua Vi Sol,” “Together,” and “Prologue.” The band took their time with each piece, allowing space for extended solos and dynamic interplay. Coleman was a standout on keys, weaving harmonic magic and deep funk grooves. Tony Austin’s drumming was nothing short of virtuosic — shifting from thunderous propulsion to subtle, sensitive textures with ease. Bassist Crumbly held the centre solidly throughout, anchoring the sprawling compositions.
Rickey Washington’s flute and soprano saxophone work was sublime — a reminder of where Kamasi’s spiritual depth and technical brilliance may have first taken root. And Kamasi himself? Unstoppable. His solos were soaring, searching, and profound — moving from explosive crescendos to tender, almost meditative passages, all with that unmistakable blend of virtuosity and vision.
Patrice Quinn brought both serenity and fire with her voice, giving the more meditative tracks a glowing heart. DJ Battlecat’s textural work added a modern pulse to the expansive sound, bridging the cosmic and the contemporary.
By the end of the night, the entire venue felt elevated — a sold-out crowd completely immersed in sound, soul, and collective energy. Leeds Project House became a sanctuary for something deeply powerful: not just a concert, but a statement of intent from two artists pushing jazz — and their audiences — into beautiful, boundless new territory.
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