Love Motion's Disco Picnic Takeover: Nile Rodgers & CHIC

You don’t just walk into the Crystal Palace Bowl, you descend into it. It’s a proper natural amphitheatre, a huge grassy basin that slopes down towards a stage sitting on a lake. It’s a weirdly perfect setting for a festival, overlooked by the giant, sci-fi-looking Crystal Palace transmitting station. You can’t help but feel the history of the place. There’s literally a blue plaque on the stage where Bob Marley played his last ever London show. You feel that weight, that legacy.

This was the second year for Love Motion, the disco and soul all-dayer, and it felt like they had something to prove. Last year’s event, headlined by the incredible but chaotic Grace Jones, was hit by a last-minute cancellation from co-headliner Róisín Murphy, which left a bit of a hole in the day. Booking Nile Rodgers & CHIC this year felt like a deliberate statement. They swapped the thrilling unpredictability of Grace Jones for the guaranteed, pure-joy perfection of pop’s most reliable band. It was a smart move, a way of saying, ‘We're here to stay, and we're going to give you a flawless day of music.’

What struck me immediately was the vibe. This was probably the smallest festival I’ve ever been to, and it made all the difference. As possibly one of the youngest people there, it was a completely different world from my usual festival choices. The crowd was a lovely mix of ages, everyone chilling out on blankets, respecting each other’s space, and just soaking up the sun. It felt less like a frantic festival and more like a massive, communal picnic set to a Studio 54 rhythm, though without the legendary hedonism, of course. You could really feel you were part of a community.

Love Motion Festival 2025 (Photo Credit: George Heming)

Love Motion Festival 2025 (Photo Credit: George Heming)

A festival day is all about the build-up, and Love Motion got it spot on. The early hours were a masterclass in warming up a crowd. The Don't F**k with Disco crew kicked things off, setting the tone with their ‘leave your phone in your pocket and dance’ ethos.

Then came Kirollus, a DJ who is a proper student of the game. He was digging deep into his vinyl collection, pulling out rare British electro-funk from the early '80s. It was a history lesson you could dance to, and for the music nerds in the crowd, it was a sign that the organisers knew their stuff.

Kirollus (Photo Credit: Benedict Priddy)

But the moment the day truly ignited was when the House Gospel Choir hit the stage. A massive group of singers, at least 20 strong, they took classic house and garage anthems and turned them into something spiritual. When they dropped their version of ‘Show Me Love’, the entire park became a single, unified congregation. It was pure, infectious joy, the kind that makes the hairs on your arms stand up. They bridged the gap perfectly, getting everyone ready for the legends to come.

As the afternoon sun started to dip, the festival rolled out a formidable trio of dance music royalty. First up was Cerrone, the French disco pioneer. His live show was a blast of retro-futurist energy, all synth epics and that relentless 4/4 kick drum he helped make famous. The big talking point was the surprise appearance from Christine and the Queens, a genuinely cool moment that connected the original French touch with the new school.

Cerrone (Photo Credit: Benedict Priddy)

The final piece of the puzzle was New York house legend Louie Vega. His set was the perfect link, stitching the European disco of the afternoon to the soulful house sound he helped create. The energy in the park immediately tightened up. His set was less about looking back and more about pushing forward, a sermon from the decks that got everyone perfectly primed for the main event.

By the time Nile Rodgers & CHIC took the stage, the anticipation was electric. Calling it a headline set feels like an understatement. This was a victory lap, a joyous celebration of a man who has written the soundtrack to the last five decades.

The setlist was just ridiculous. It was a non-stop barrage of songs that everyone, from the teenagers to their grandparents, knew by heart. You had the foundational CHIC anthems like ‘Le Freak’ and ‘Good Times’, and then you had the massive hits he created for everyone else. David Bowie's ‘Let's Dance’, Diana Ross's ‘I'm Coming Out’, Sister Sledge's ‘We Are Family’, Madonna's ‘Like a Virgin’, and the Daft Punk collaborations ‘Get Lucky’ and ‘Lose Yourself to Dance’. It was just one iconic hook after another, all tied together by that unmistakable, funky scratch of Rodgers' ‘Hitmaker’ guitar.

The band itself is a machine. The rhythm section is impossibly tight, and the vocalists, Kimberly Davis and Audrey Martells, are absolute powerhouses. Here's the thing about a CHIC show, though. It's flawless. Almost too flawless. This is a show they've been touring for years, and it's rehearsed down to the second. You trade the raw thrill of the unexpected for the comforting guarantee of perfection.

But honestly, who cares? The entire crowd was lost in a state of pure joy. Thousands of people, arms in the air, singing every single word. Rodgers himself grins through the whole thing, a man who knows he's created the ultimate party. His stories between songs, casually name-dropping Bowie and Madonna, just add to the magic.

Nile Rodgers (Photo Credit: Benedict Priddy)

As the last echoes of ‘Good Times’ faded into the South London night, it was clear that Love Motion 2025 had achieved something special. In a festival scene that can often feel sprawling and impersonal, this was the opposite. The smaller scale created a genuine sense of community, a relaxed ‘disco picnic’ where everyone, regardless of age, was united by a love for the music. The day was a masterclass in intelligent curation, a seamless journey that built perfectly towards its euphoric conclusion. Love Motion has firmly found its identity, proving that you don't need overwhelming scale to create a momentous event. It was more than just a festival; it was a reminder of the simple, unifying power of a great groove, and it has cemented its place as one of London's most genuinely joyful days out.