Newport Jazz 2026
Newport Jazz Festival has hosted jazz royalty for 72 years, but this year’s edition had some major changes. Drummer Nate Smith took over as artistic director, stepping into a role held by Christian McBride and, before him, festival founder George Wein. It was Smith’s first year steering the ship, and instead of playing it safe, he leaned into a genre sprawling lineup that had purists arguing about what is “jazz.” In actuality this argument is nothing new and is part of the fun of attending Newport.
One act defined the weekend’s cultural clash, Angine de Poitrine, the masked Quebec duo making their first ever U.S. appearance. Picture two musicians in polka-dot jumpsuits with foam hot-dog-shaped noses, one looping guitar and bass on a double-neck rigged with extra microtonal frets, the other pounding out lopsided time signatures on drums. The result landed somewhere between rock, prog, and surf music. Best described as jazz for people who think jazz should sound like it’s from outer space. Crowds either found it hypnotic or exhausting, and that split is exactly why the band has become a lightning rod. The costumes, the theatrics, and the sheer weirdness of the sound made Angine impossible to ignore, for better or worse.
Right along the “did you see that” list was Flea. The Red Hot Chili Peppers bassist, in pink hair, playing trumpet as much as bass, fronted his own project called the Honora Band. He came out in a red plastic kimono before eventually stripping down to his bare, tattooed chest, dancing, ranting, and swinging freely between bass lines and trumpet passages. His band was no joke, with saxophonist/keys Josh Johnson, guitarist Jeff Parker, bassist Anna Butterss, and drummer Deantoni Parks, all serious names from the modern jazz and experimental scene, giving Flea’s songs real depth.
This year’s bill was stacked with guitarists, and it made for some great contrasts. Gary Clark Jr. brought his trademark blues-rock swagger and plenty of grit. Halfway through his set, the Texan admitted it was too hot to be so formal, shedding his jacket to reveal a white tank top underneath. He stayed that way through the blistering conclusion of his set, a reminder that Newport still makes room for guys who just want to plug in, turn it up, and wail. On a quieter note, guitarist John Scofield reunited with bassist Dave Holland, two Miles Davis alumni, trading tunes in a stripped down, duo set of old friends.
Cory Wong seemed to be everywhere. He showed up with his longtime band Vulfpeck for a typically airtight set of clean, funky fusion, then came back with his own group, this time joined by saxophonist Joshua Redman for extra firepower. Elsewhere, Charlie Hunter paired up with guitarist Ella Feingold for an intimate, groove heavy duo set. The pair played selections from their release Different Strokes for Different Folks, showcasing their inventive and distinct approaches to guitar playing.
Then there was Marcus King, who showed a whole new side of himself fronting Atomic Habitz alongside drummer Chris Dave and bassist MonoNeon. King made his name as a Southern rock guitar slinger, but here he leaned hard into jazz phrasing and soul/funk pocket playing, trading the heavy riffs for something more exploratory. It was one of my favorite sets of the weekend and a striking departure from what fans have come to expect from King, a guy known for big rock solos.
A couple acts that were unknown to me before the festival include Seattle’s The Dip. The band brought their horn driven, vintage soul sound to the Fort, with Tom Eddy’s, full throated vocals riding over tight grooves, punchy brass, and a rhythm section that kept the band locked into a danceable pocket.
Their blend of soul, R&B, and funk felt both classic and fresh, turning the set into one of the weekend’s favorite performances. Brooklyn based Mei Semones offered something completely different, a modern, bossa-nova, jazz, indie rock, J pop tinged sound. The sounds of Brasil, Coltrane, string arrangements, and bilingual lyrics drew in listeners to an intimate and unhurried performance.
For all the new blood, Newport didn’t forget its elders. Herbie Hancock closed the festival riding funk grooves and working an oversized keytar with rock star flair well into his eighties. Charles Lloyd led his Sky Quartet through spacious, spiritual tenor playing. And The Bad Plus played what’s being billed as a farewell run, giving longtime fans one more chance to hear the band’s take on the jazz tradition.
One of the weekend’s most memorable performances came from Kamasi Washington and Chief Adjuah, who reinterpreted and combined the music of John Coltrane, Miles Davis and Sonny Rollins while putting their own contemporary stamp on it. The set honored the jazz tradition without becoming a history lesson. It was the kind of performance that captured what Newport does best, celebrating where the music came from while pushing it somewhere new.
There was so much music packed into the weekend that it is impossible to review everything. Lake Street Dive brought their soulful mix of pop, jazz and R&B, while Thunderpussy delivered a shot of straight-ahead rock ’n’ roll energy. Arlo Parks showed a newer, more expansive sound and Little Simz brought a powerful hip hop set backed by a band that gave her music a distinctly jazz- nflected edge.
Ultimately, the 2026 Newport Jazz Festival proved that jazz doesn’t sound like one thing. From legends to artists pushing into hiphop, soul, rock and electronic music, the weekend offered something for just about every listener. You had a festival built for both jazz purists and people who just want a great weekend of music by the water.
Keep up with Newport Jazz Fest here: https://newportjazz.org
Enjoy some of our previous coverage here: Show Review: Newport Jazz Festival 2025: Where Genres and Generations Intertwine