Montreux Jazz Festival 2024, review: Sting, RAYE and Dionne Warwick shine across hedonistic fortnight

The word “modest” is clearly not in the Montreux Jazz Festival dictionary. Since its inception in 1967, the Swiss gala has more than earnt its reputation as a mecca for some of the world’s most revered artists. It’s a hedonistic playground for pianists, singers and saxophonists alike, where legends of soul, jazz and blues mingle with rock stars and rappers.

A marvel, then, to find that Montreux’s organisers have outdone themselves with yet another extraordinary programme. In the first week alone, this beautiful town falls under the spell of PJ Harvey’s dark, witchy rock and French electronic duo Justice’s effervescent beats. Dionne Warwick charms through storytelling prowess in her festival debut; Jessie Ware dazzles with a gloriously camp set of disco flair and pop pizzazz.

By the festival’s second week, you might expect some kind of lull, but the party just keeps going. Summer thunderstorms lift post-Massive Attack in time for Lenny Kravitz’s headline spot on Wednesday. The perpetually leather-clad singer seems reluctant to leave the newly erected Lake Stage, thrusting his way through “American Woman”, “Believe” and the recent, funkified “TK421”.

Sting’s wiry form (you could slice gruyere on his cheekbones) cuts a striking figure on stage the following day, after some country-rock rabble-rousing courtesy of Georgia sister act Larkin Poe. The Police frontman wields his bass like a weapon as he plays a crowd-thrilling set of past hits, from “Every Little Thing She Does is Magic” to “Message in a Bottle”.

Lucky locals dance from the balconies overlooking the Lake Stage while a fleet of boats drop anchor as their passengers enjoy the show in style. At 72, the pop maestro still serves his signature cocktail of rock, jazz and reggae with slick confidence. Yet even he looks particularly chuffed as he rouses one of the biggest singalongs of the festival. Janelle Monae doesn’t fare so well. Her better-known songs – the sultry “Pink” and the bold “Django Jane” – go down a treat, but there’s an unfortunately mute response when she holds out her mic for fans to chant the chorus of “Electric Lady”.

Festivals can be stressful experiences for artists – short soundchecks, strict stage times – but Montreux embraces that sense of “anything could happen”. As Britain’s brightest new star RAYE skips out, she admits her intention to “drag this out for as long as possible”. What follows is a spine-tingling demonstration of her remarkable voice – the talent that the 26-year-old’s former label failed to acknowledge, to their considerable detriment.

RAYE is impossible to dislike. She scats, whoops and hollers on a cover of James Brown’s “It’s a Man’s World”, then brings her audience to tears with “Ice Cream Man”, her devastating surivor’s anthem about sexual abuse in the music industry. Her band are equally superb, keeping up with her riffs and ad-libs.

Later, she rocks up to the festival’s famous jam sessions at The Memphis, changing out of her white silk dress into an oversized green jumper and shorts. Her cover of George Gershwin’s jazz standard “Summertime” speaks to the festival’s history, as does a spell-binding turn on “Feeling Good”, complete with noodling sax solo. As ever, Montreux hits all the right notes.