Spectacular style at Henley Festival – and a bit of chaos courtesy of Jamie Cullum
Image above courtesy of Garry Jones
By Fiona Sanderson
There are few festivals in the world where black-tie elegance, operatic arias, jazz improvisation and stilt-walking entertainers blend into one dazzling riverside celebration – but then again, Henley Festival has never been interested in the ordinary. With its strict black-tie dress code, champagne flutes in abundance, and art installations lining the Thames, the Festival has long been a standout on the UK’s cultural calendar – a dazzling blend of music, comedy, gastronomy and surreal spectacle. But even with its reputation for eccentric glamour, few could have predicted the explosive energy that closed out the 2025 edition. While many might expect the final evening to wind down gently, Henley refuses to go quietly – especially not when its iconic Floating Stage was hosting the magnetic Jamie Cullum.
The evening kicked off as golden light fell over the Thames, with festival-goers braving the heat of the Paradiso tent to witness a riotously funny performance from Alistair McGowan. His uncanny impressions of British icons — Joanna Lumley, Colin Firth, even a scientifically inclined Romeo by way of Professor Brian Cox — had the crowd in stitches.
As guests strolled the riverbank – passing stilt walkers, wandering jesters, and even a life-sized animatronic tortoise – the setting sun gave way to a cooling breeze, and the party atmosphere intensified. Then came the magic.
First to take the Floating Stage was Matteo Bocelli, the classically trained singer-songwriter and son of the legendary Andrea Bocelli. With effortless charisma and a voice to match, he transported the audience across genres and languages. His rendition of Quando, Quando, Quando oozed charm, while his take on Ed Sheeran’s Perfect demonstrated his versatility and global sensibility. Moving between English and Italian, and from microphone to grand piano, Bocelli gave a performance that was both refined and refreshingly heartfelt – even stepping offstage to dance in the aisles, much to the delight of the crowd.
But if Bocelli offered romantic reverie, Jamie Cullum was the rocket fuel who brought controlled chaos. Known for his genre-defying blend of jazz, pop and funk, Cullum transformed Henley’s Floating Stage in a whirlwind of rhythm, mischief and musical brilliance. “I’ve got the best musicians in the world on stage with me,” he declared, grinning, as his band leapt into action. He opened with a raucous rendition of These Are The Days, written by his brother Ben (who watched proudly from the audience), and didn’t let the energy dip for a second. Renowned for his boundless stage presence, Cullum leapt onto his piano, roamed the crowd mid-song, and even serenaded boaters moored along the river.
In a moment that had Festival security sweating, he encouraged fans to flood the aisles, cheekily suggesting, “If you all come at once, they can’t stop you!” By the time he launched into Manchild, he was back up on the grandstand, high-fiving guests and singing without missing a beat.
For long-time fans, this was Cullum at his finest. Though best known for jazz standards and chart-friendly hits, his true genius lies in his live performances – which are part concert, part theatre. It’s no wonder he’s played venues as renowned as the Royal Albert Hall, yet somehow seemed right at home causing (polite) mayhem at Britain’s most elegant festival.
When the crowd refused to let him go, he obliged with an off-the-cuff encore – improvising a song about Henley being “the poshest festival I’ve ever seen” and joking that he was surprised they “even let me in the room.”
Eventually, the fireworks took over, lighting up the Thames with a final burst of glitter and thunder. But the night didn’t end there. As fairground rides whirred into the early hours, revellers swayed to the upbeat rhythms of The Big Bike Orchestra in the Paradiso tent, unwilling to let go of a night that felt like something from a dream.
As the lights dimmed and the last cork popped, one question lingered in the smoky summer air: how on earth will they top this in 2026?!
