West London soul artist Olympia Vitalis is one of the new names to catch at this year’s Love Supreme Jazz Festival, which returns to Glynde Place in East Sussex from 3–5 July 2026. The festival, widely regarded as Europe’s largest outdoor summer jazz festival, brings together jazz, soul, funk, R&B and beyond, with Olympia joining a line-up that also includes Ezra Collective, Loyle Carner and De La Soul.
Known for gospel-inflected vocals and songs that move between personal reflection and socially charged storytelling, Vitalis has been steadily building attention as one of the UK’s compelling new soul voices. Recent single “Money Tree” was described by The Line of Best Fit as pairing downtempo electronic textures with gospel warmth, while her summer schedule includes Love Supreme alongside other festival appearances.
Ahead of her Love Supreme appearance, we spoke to Olympia about joining a festival she has long wanted to play, the importance of support for emerging artists, the influence of gospel choirs, and why a standing ovation might just mark a turning point.
You’re playing Love Supreme, a festival known for bringing together jazz legends and new voices. What does it mean to be part of this line-up?
I’ve wanted to be on this line-up for years. This is my bag! So I’m incredibly chuffed to be included and I can’t wait.
What does being part of the Emerging Artist Programme mean to you personally and professionally?
It’s really important to me. A lot of the time, emerging artists struggle for support, so having a system in place to give us a leg up never goes amiss.
How valuable is it to perform in front of an audience that includes dedicated jazz fans alongside people discovering new music?
They’re the best fans — the most attentive. I’ve always had complete silence when playing to jazz crowds, and it’s a sign of such respect for the music and the performance. I love it.
Festivals are a very different environment from intimate gigs. How does your approach to performing change?
Some of the arrangements have been made directly with a festival audience in mind. We’ve extended certain catchier parts so the crowd can hold onto the hooks, and I really want to show off the musicianship of my band. There are solos and certain arrangement decisions included so the crowd can really feel that.
You spent years singing in gospel choirs. What lessons from that experience still shape the way you perform today?
Gospel demands a lot from a vocalist, so I’ve learned how to use my voice in ways that people find exciting to listen to. I probably wouldn’t have been able to do what I can with my voice without it.
I also used to be big into riffing because of gospel, but I’ve toned it down a lot.
You’ve said you don’t write many love songs. What draws you towards exploring social and personal themes instead?
I’m not too sure. I just write as the feelings come. I’m getting better at the love songs, but the things that fire me up tend to be more socially leaning.
What’s a conversation or experience recently that found its way into your songwriting?
Ahhh, I pretty much use my sessions as diary entries. If I speak, I am in trouble…
Five years from now, what would make you look back on this performance and think, “That was a turning point”?
A big, long standing ovation, lol. I had that a couple of months ago and I couldn’t believe my eyes and ears.
For more show announcements and news visit her instagram page @olympiavitalis
For all the Love Supreme day splits and info visit www.lovesupremefestival.com
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