The opening track to Slowthai’s third album ‘UGLY’ is one of the most visceral introductions you’ll hear this year. Amidst various explicit sex acts (including a golden shower) and bolshy electronic beats, the Northampton artist lists everything that’s pumping through his system: “More coke / More weed / More E’s / More trips”. A quickening beat and deep breaths might suggest a hell of a party, but by the song’s end, he’s deep in the hole: “One drinks never enough / Excuse me while I self-destruct”.

‘UGLY’, then, is a warts-and-all reckoning, his most exhilarating project to date from front to back. Following the public fall-out from the NME Awards in 2020, and right-wing criticism of his exuberant stage presence and stunts (which included him holding an effigy of Boris Johnson’s severed head at the Mercury Prize in 2019), Tyron Frampton’s “cartoonish” public persona came at the detriment of his brutal honesty and self-expression: “You’re stereotyped as the nutter who gets in his boxers”, he says in accompanying notes to the record, saying that his intentions have been misinterpreted.

2021’s ‘TYRON’ was similarly soul-baring, a double album split between pulsating hip-hop and subdued ballads. Frampton tackled his issues head-on, namely on ‘CANCELLED’, where he and Skepta asked: “How you gonna cancel me? / Twenty awards on the mantelpiece / Pyramid Stage at Glastonbury”. But there’s always more to the story, and on ‘UGLY’ it feels like you get every gory detail. Lockdowns, therapy and elements of sobriety have allowed Frampton to reflect on every facet of his personality with maturity, keen to show that there’s more to him than what the cynics see.

And no wonder he’s gone back to basics to do that. Inspired by his love of rock bands as a teen, he’s formed something of his own crew to realise a long-held desire for camaraderie: Kwes Darko, Dan Carey, Jockstrap’s Taylor Skye, ShygirlFontaines D.C. and more all appear on the album. It proves a return to the Slowthai many fell in love with on his early collaborations with Mura Masa on ‘Doorman’ and ‘Deal Wiv It’; bolshy, intense, loveable and messy.

Lead single ‘Selfish’ best demonstrates Frampton’s new mindset and focus, as he speaks of his recent fatherhood (“I’m thankful for the life that I lead / I kiss my son before I put him to sleep”) and reminding us that success isn’t all it cracks up to be (“I still see it in my friends, the jealousy / They wanna be me / The grass ain’t always green on the other side”). He apes Jamie T on ‘Sooner’, where he reminisces about “riding shotgun in a 306” without a “pot to piss in” – but he’s as content and carefree as he’ll ever be, before the prying eyes try and pin him down.

If there was danger of straying into cheeky-chappy indie clichés, title track ‘UGLY’ tempers that. Recorded with Fontaines D.C., the doomy, claustrophobic rock elevates an inspired vocal performance from Frampton – his best ever. “The world is ugly”, he barks throughout, but amidst the chaos, the startling clarity in the track’s final verse leaves a lasting impression:“The moment the world stands still / You are not in control”. Slowthai has always had an epic song like this in him, but it’s only at this present moment that he can realise it.

The accompanying music video for ‘Feel Good’, a two-minute bouncer featuring Shygirl on backing vocals, is a perfect distillation of the album’s magnificently executed mission. In the clip, they capture fans’ reactions to the new song, unaware that the man himself is creeping into frame, and into their messy bedrooms, studios and lives. In lesser hands, it’s baiting for viral reactions, but here, the fan’s visceral responses – pure, unscripted, joyous – capture ‘UGLY’s juvenile spirit. Forget the noise, and the cameras, just feel and embrace it; life is futile without that commitment to every emotion, as Slowthai can attest to.

Kanye West, the artist and producer now going by Ye, stepped back onto a Los Angeles stage focused purely on the music during night one of his two show run at SoFi Stadium in Inglewood, California on Wednesday, April 1. The return arrives after years filled with controversy, public scrutiny, personal struggles involving mental health, and his January apology published in The Wall Street Journal addressing his antisemitic comments. Showing unusual restraint, the outspoken performer chose not to address any of the criticism during what marked his first major U.S. performance in years.

Public backlash did little to slow the momentum of the event as thousands of supporters filled the venue floor and stands. Many arrived dressed in Kanye merchandise, avoiding controversial imagery, along with lucha style shirts fresh from the merch counters. A look at ticket prices shows Ye continues to command major revenue from his catalog despite his offstage controversies. According to Ticketmaster, general admission tickets for the April 3 show were listed at $537.80. Resale listings for upper tier seats, which offered clearer views of his half sphere inspired stage design, were also priced in the hundreds. Fans who could not attend in person were able to watch through a livestream that appeared on his Instagram just hours before the performance began.

Across a two hour performance, Ye delivered a wide ranging set filled with classic favorites, repeated tracks, and selections from his recently released twelfth album Bully. Wearing a black face covering, he walked alone across the curved stage structure designed to resemble Earth and at moments gave the impression of a solitary figure on his own world.

The crowd reflected different generations of listeners as younger fans sang along to newer tracks such as “FATHER” and the André Troutman collaboration “ALL THE LOVE.” Energy spiked when a mosh pit formed during “Blood on the Leaves.” Older millennial fans found their nostalgia during a sequence of songs spanning Kanye’s early and mid career from 2004 through 2016, from The College Dropout through The Life of Pablo. Songs like “Can’t Tell Me Nothing” and “N—-s in Paris” echoed through SoFi Stadium with the same intensity as when Graduation or the Jay Z collaboration Watch the Throne first arrived. “Say You Will” and “Heartless” from 2008’s 808s & Heartbreak brought back familiar feelings tied to heartbreak and the era when Auto Tune shaped the sound of pop and hip hop. The closing stretch featuring “All Falls Down,” “Jesus Walks,” “Through the Wire,” “Good Life,” “All of the Lights,” and the emotional finale “Runaway” sparked a sense of longing for earlier days both for fans and for the Chicago native himself.

Aside from the nostalgic song choices, technical problems occasionally interrupted Ye’s creative plans. Early performances of “KING” and “THIS A MUST,” which he later repeated, were affected by microphone and audio complications. He also stopped “Good Life” three separate times because he was unhappy with what he called the “corny” lighting setup. “Is this like an SNL skit or something?” he asked the production team. “Stop doing the vibrating Vegas lights, bro. We went over this in rehearsal.” The first SoFi Stadium show almost felt like a preparation run for the April 3 performance, which also happens to land on Good Friday. The timing also recalls the G.O.O.D. Friday song releases that led into his landmark 2010 album My Beautiful Dark Twisted Fantasy.

Despite frustrations with the production, Ye did not perform alone. Longtime collaborator Don Toliver joined him onstage for performances of “Moon” and his own track “E85.” Ye’s daughter North also appeared, bringing bright energy and her blue hair to performances of “Talking” and “PIERCING ON MY HAND.” She wore one of her father’s concert shirts during the appearance, all while it was still a school night.

As the concert continued, Ye handled the technical setbacks as they happened without turning the situation into a rant. For longtime fans, separating his unpredictable public behavior from his extensive catalog of influential songs remains complicated, especially for those who still feel connected to his earlier creative periods. At the same time, his former close collaborator Jaÿ Z is preparing for his own stadium appearances this summer, which adds another layer of reflection about what their partnership once represented. Ye may be staying quiet publicly for now, yet questions remain about whether a full redemption era could still be ahead.

Ye 2026 Set List

1. KING
2. THIS A MUST
3. FATHER
4. ALL THE LOVE
5. Father Stretch My Hands, Pt. 1
6. Can’t Tell Me Nothing
7. N—-s in Paris
8. Mercy
9. Praise God
10. Black Skinhead
11. On Sight
12. Blood on the Leaves
13. Carnival
14. Power
15. Bound 2
16. Say You Will
17. Heartless
18. Moon (with Don Toliver)
19. E85 (Don Toliver)
20. KING
22. THIS A MUST
22. FATHER
23. ALL THE LOVE
24. Talking (North West)
25. Piercing On My Hand (North West)
26. Everybody
27. All Falls Down
28. Jesus Walks
29. Through the Wire
30. Good Life
31. All of the Lights
32. Runaway

This article was originally published on VIBE.

CONTINUE READING