Anyone who associates Butlins with the 'Hi-De-Hi' phrase and the traditional Redcoats might change their opinion after experiencing the music weekends that the holiday company has recognised as a major attraction for music fans.

Instead of the Butlins resorts being empty during the off-season, the company now hosts events at their three centres, such as the Soul Power Weekender at Skegness, that appeal to fans of various music genres.

The title itself is misleading; this wasn’t the soul of Motown or Stax Records but more the neo-soul of the early nineties, where a fusion of funk, jazz, and R&B came together to create the acidjazz movement.

Most live acts took place in the Reds arena, but it was difficult to discern any Redcoat influence. Instead, the genre's best appealed to both the connoisseur and the casual fan.

Central Line might best be remembered for their hit Walking Into Sunshine; the lineup of the band now only features a few of the original members. However, the addition of the Beggar and Company Horns brought a new dimension to the act.

London, Milan and Skegness are not usually mentioned in the same breath – that is, unless you happen to be the top jazz funk and soul band Incognito. Fresh from engagements at the legendary Ronnie Scott's Jazz Club in London and the Blue Note Club in Milan, which is the jazz equivalent of the city's opera house, La Scala Theatre, the collective known as Incognito, led by Jean-Paul Maunick, had plenty to celebrate in Skegness.

After a few early sound issues, which appeared to affect most acts at the start of their set, the band was in full effect— the musicians who make up Incognito might be interchangeable, though throughout their set they remained the consummate live act. The decision to include three tracks off their newly released album could have been a risk, though when they included a cover of the Roy Ayers standard, Running Away, played tonight in a faster and funkier groove than the original version, the decision was wise.

On Saturday Sheffield-based soul singer Steve Edwards had the unfortunate task of taking to the stage when most fans were having their evening meal. With Edwards serving up his own soul food via Northern Black and World Hold On—the former about the coal mines in South Yorkshire, the latter a massive worldwide dance hit from French DJ Bob Sinclair, which Edwards sang the lead vocal on—his catalogue of songs might have been from different ends of the lyrical spectrum, but in reality, his performance was one of genuine talent, enthusiasm, and pure class.

The unmistakable voice of Omar led one of the largest audiences of the weekend through the breadth of his career; Feeling You was the perfect number to remind everyone what an underappreciated talent the London singer is. There’s Nothing Like This might be thirty-seven years old now but remains timeless.

Leela James and her band brought an R&B influence to the weekend, armed with an MC whose tendency to ask the audience to “put your hands in the air, like you just don’t care” became too monotonous; however, James’ set was saved with her strong, soulful vocals, which made Good Time and Right on Time compensate for any earlier misgivings.

The Brand New Heavies had the distinction of having their Saturday night headline slot being introduced by Eddie Piller, the founder of Acid Jazz Records, which signed the band to the influential label.

With vocalist Angela Ricci, the Heavies and a set of tracks that have become the hallmarks of the genre, the band were always going to be on a winning streak – and indeed they were, as Never Stop and Stay This Way demonstrated.

Brit Funk Association are another collective who are not only superb musicians but also fans of the funk and rare groove movement whose sense of commitment to the genre is impressive; their opening performance on Sunday night was delivered with class and years of experience.

Nubiyan Soul, a Leeds-based band, introduced a fresh perspective to the proceedings, balancing a soulful groove with elements of Afrobeat. When they decide which path to take, their eclectic influences will determine who their audience is.

Nubiyan Twist

James Taylor

The James Taylor Quartet had the honour of closing the weekend. Taylor, along with his Hammond organ, led the audience through his acid jazz period and his strong sixties jazz-infused instrumental influences, though Love the Life was a reminder of his pop music credentials. Watching him and the band on stage was akin to witnessing the masters of the genre at the peak of their powers, closing what had been a weekend of talent, pure class, and a line-up that would have graced many a fine and legendary jazz and soul festival, from Montreux to Juan-les-Pins. The feat here is that all these events remarkably and successfully happened at a former holiday camp in Skegness, which is a credit to everyone involved.