September 5, Alexandra Palace: The super-producer’s hugely ambitious mini residency underlines his ability to forge a connection and offer balm for the soul

It’s perfect that Alexandra Palace, the 10,000-capacity venue that sees Fred Again.. play a four-night mini residency this week, offers one of the most humbling views of London – skyscrapers, intersections, houses and all. All those people, all those lives.

The 30-year-old super-producer’s music, a mix of ambient house and techno through which he weaves voice notes of friends and strangers alike, magically turning their words into anthemic lyrics about community and connection, clearly captured some kind of zeitgeist in the pandemic. Having graduated from producing for the likes of Ed Sheeran and Rita Ora, he’s created something close to his own musical language via his ‘Actual Life’ series of three albums and an EP, the latter of which was released two months into Covid. It’s easy to see why: this is deeply emotional dance music that found its audience at a time when we couldn’t see our loved ones and dancing was out of the question.

So tonight marks a milestone. With precisely 35,246 tickets shifted for the four shows, all of which sold out instantly, it’s as much a belated celebration of being on the other side of that dreadful period as it is of Fred Gibson’s rise. The atmosphere outside Ally Pally seems more like that of a festival than of a Tuesday night gig. Groups of friends wrap their arms around one another for photos in front of that killer view; a snapshot in time.

Fred again..
Fred Again.. live at Alexandra Palace. Credit: Sam Neill.

What follows is an audiovisual experience that combines more homey looking videos with a stunning light show – at one point, the ceiling is illuminated by dangling red bulbs that throb against the darkened venue – and music that shifts between massive and muted.

It turns out those keyrings are intended to cover your iPhone torch. When everyone fires them up it should create, in Fred’s words, “a sea of blue”. Yet that’s not the piece de resistance: this occurs when he disappears among the crowd to reappear at the other end of the venue, where he continues the performance from a podium over which hangs a screen that bathes him in light. It looks like something from Kanye’s ‘The Life of Pablo’ era. The whole thing is often astonishing, though the keyring trick doesn’t quite come off and hushed piano interludes rob the show of its momentum.

Fred again..
Fred again.. live at Alexandra Palace. Credit: Sam Neill.

Outside, afterwards, looking down across the city, 27-year-old fan Charlotte summons the intimate spirit of the night: “At one point, I closed my eyes and thought I was the only person there for a bit.” 23-year-old Prav, meanwhile, hails the “interactive” elements of the performance that saw Fred move out amongst the crowd – the physical manifestation of the producer’s relationship with his audience. Together they capture the unique way in which Gibson’s music has resonated with people as both a vehicle for connection and a balm for the soul.

Another fan tells NME that Fred’s music is “so personal” and that she heard the first ‘Actual Life’ album after she’d to London from Dublin. “I didn’t know anyone in London,” she says, “and his voice notes… it was like I had a mate over here.”

She then shares a deeply personal story about losing her father during this period and explains that tonight marks her third anniversary in the city. Fred, she says, “got me though a lot of shit”. Before we part, she locks eyes and implores: “If you know him, please tell him thanks so much for helping me get to this place.”

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.

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