Fotoverslag | Brussels Jazz Festival 2026 – 16 Januari – Flagey

Riahi, Blake, Jukič & Sumbry @ Flagey (Brussel, BE)

Friday night began with a mixture of feelings — excitement, a touch of stress, and happiness. Walking through those doors again brought an instantly familiar sensation, one that settles deep inside and reminds me why this festival always feels personal. This festival was where I first photographed concerts as press, and missing last year’s edition only deepened that sense of return. Ever since, heading toward the studios carries a quiet emotional charge.

Kanda where the first ones to play and set the tone of the evening. Their album, released in November, already hinted at a band thinking beyond format, but live it truly unfolds. Synaptic Umami opened the set with tasteful energy, followed by the heavy swing of King Konh. Akucia’s flute cut sharp lines through the space, Louise held everything together on bass, especially moving on Satellite of Love, while Stéphane’s compositions clearly played to the strengths of each band member. Akashadbara (The Door to Akasha) stood out as an amazing tune, though it felt a little rushed, one to return to on CD. They closed with Kung Fu Kanda, and an unnamed encore (temporarily called Kanda Number 8), that left things deliberately open.

Riahi, Blake, Jukič & Sumbry followed with a set rooted in deep musical dialogue, a quartet built around distinct voices that found cohesion in mutual listening. Pianist Wajdi Riahi led with compositions shaped by tone and personality, while Seamus Blake’s saxophone brought directness and emotional phrasing, Robert Jukič’s double bass played raw and fearless, and Kweku Sumbry’s drums and African percussion added colour, freedom and rhythmic depth. Cultural Appropriation and Monsters Are Everywhere took on different shades through their interplay, Dreams Come True offered a softer, reflective moment, and Adele, dedicated to a fellow musician who writes music in a similar way related to that song, embraced repetition as intention rather than limitation, all carried by this quartet’s open, trust-fueled communication.

Down in the lobby, Jazzbois ended the night reminding everyone that jazz doesn’t need a stage to hit hard. Keyboard, drums and bass guitar locked into a tight groove, turning a passing space into a listening and dancing one.

Stepping back into the night, I was reminded why this festival always feels special: raw music, close rooms, and that feeling of being exactly where you’re supposed to be.

Kanda

Riahi, Blake, Jukič & Sumbry

Jazzbois

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Vrijdag 16 januari 2026, Flagey (Brussel, BE) | Foto's & tekst: Cristina Vergara