We sat down for a quick chat with Hannah Hutton, Jazz programmer at Kings Place.
1. Kings Place has become one of London’s leading homes for contemporary jazz. How have you seen the venue’s relationship with jazz evolve in recent years?
Kings Place has long been a home for contemporary jazz, and even in the short time since I joined last summer, it’s been inspiring to see that relationship deepen. Having a dedicated Jazz Programmer shows real commitment to the scene, building on nearly twenty years of adventurous programming ahead of the venue’s 20th anniversary in 2028. Audiences have embraced new artists while continuing to support those who’ve shaped Kings Place’s story. Empirical’s recent album launch was a highlight, especially learning they were the first jazz group to play in Hall One in 2008.
This year’s festival welcomes back the London Vocal Project with their new Edition Records album Vital Spark ft. Dave Holland, alongside artists at different career stages, Serious’s Take Five showcases. With KPJO, our Young Artist Platform and Kings Place Belong, we’re strengthening long‑term support for artists on and off stage.
2. As Jazz Programmer, what are you looking for when you’re building a season?
As programmers, we’re always looking for balance – whether that be local and international artists, established names alongside emerging voices, and a blend of big, ambitious projects with smaller, more intimate ones. But it’s also about building a season that feels connected to the wider jazz community and the direction we’re trying to grow in: giving younger musicians real chances to perform, bringing in new work, welcoming international guests, and making sure the programme feels accessible, thoughtful and reflective of the art form and the people at the heart of it. If the season reflects the energy of the scene, supports artists properly, and gives audiences room to discover something new, then we’re doing what we set out to do!
3.What excites you most about the Autumn/Winter jazz programme?
It is fantastic to strengthen our partnership with Serious and the EFG London Jazz Festival and offer a full programme featuring artists such as Ambrose Akinmusire, Olivia Cuttill Quintet & un.procedure, DREAMSCAPES, Fergus McCreadie, Kaidi Akinnibi x Mackwood and Shri: RED DOORS. The season also features the return of award-winning pianist Bill Laurence, as part of the London Piano Festival and Artist-in-Residence Renell Shaw’s world premiere of ‘Remember Us Tomorrow’, the third and final chapter of his acclaimed work ‘The Windrush Suite’.
Having Hall One and Hall Two at our disposal, as well as our Young Artist Platform (YAP), allows us to shape each performance to the show itself – from intimate, acoustic sets in‑the‑round in Hall Two, to large‑scale big band projects in Hall One, as well as close‑up YAP shows in the foyer.
How do you balance celebrating jazz’s traditions while making space for new voices and new ideas?
For me, tradition and innovation aren’t opposites. Jazz has always evolved because people understood what came before and then stretched it somewhere new. So the balance is really about giving space to both: artists who carry the history, and artists who are experimenting, blending genres, or bringing fresh perspectives. KPJO is hopefully a good example of how these things can sit together, sometimes even in the same programme.
What do you think young musicians need most as they’re beginning their careers today?
Young musicians today need a proper support system around them. Community is a huge part of it: having people around you who understand the scene, who can share advice, and who can offer guidance. Mentorship matters, especially from musicians who’ve already navigated the early stages and can help younger artists find their feet. But this needs to be paired with practical offerings of funding, fairly paid opportunities, and spaces where they can rehearse, record, meet people and actually build momentum. That’s the kind of environment we are trying to grow at Kings Place, somewhere young artists can develop, connect and feel like they have a real pathway into the industry.
6.What do you hope audiences take away from Kings Place’s jazz programme beyond enjoying a great concert?
Beyond the music, I want audiences to feel the sense of community that’s forming here, to feel connected, welcomed and excited to return. The idea that by showing up, they’re actively supporting artists, helping new work come to life, and contributing to a space where jazz can grow in a real, sustainable way. Kings Place is trying to build a home for jazz that lasts, and audiences are a huge part of that. Audiences are not just buying a ticket, they are supporting artists, new work and access to music across London.