LIVE REVIEWS
2023 has been a transformative year for Jessie Ware. The London singer’s fifth album, April’s ‘That! Feels Good!’ saw an already successful singer soar into an exclusive realm: “mother” status.
Ware has experienced a boost in the size of her distinctly, vocally queer fanbase, who embrace her for the powerful femininity she exudes; her songs position her as a high priestess of self-love and carnal pleasure, framed by gorgeous melismas that cascade like party poppers. She has aligned herself directly with the LGBTQ+ community, showing her allyship in subtle ways (attending London marches in support of trans people) and the not-so-subtle (dishing out slyly funny critique as a guest judge on season two of RuPaul’s Drag Race UK).
There’s a sincere understanding from Ware that speaking directly to this portion of her audience can create loyal, lifelong fans; in return, they have helped her step into her power. At the first of two sold-out hometown gigs at Alexandra Palace, 10,000 people go nuts at whatever she does on stage – particularly when she brandishes a whip as a mic stand throughout a scintillating ‘What’s Your Pleasure?’. The sheer force of the crowd’s devotion is palpable: they whoop and snap their fingers in awe of the Vegas-level glitz. All of this takes on extra significance when Ware announces that, over a decade into career, she is performing her biggest headline show to date.
These moments are no doubt intended to make us feel as if we’re part of a journey. Ware maintains a permanent grin all night. ‘Lightning’, a skippable track from ‘That! Feels Good!’, becomes an unexpected highlight as two supersized mirrorballs refract against each other, leaving the venue bathed in freckles of white light. ‘Beautiful People’ – complete with leather boots and calls for audience participation via easy-to-follow choreography – is delivered with an eyebrow raised knowingly at the ludicrousness of it all.
However over the top things may get, Ware keeps the attention on the music. She includes early hits (‘Say You Love Me’, ‘Selfish Love’) and revels in an extended mix of ‘Spotlight’, a sparkling career highlight. Before launching into the latter, she offers a conclusion filled with promise and ambition: “I’m five albums in, and I feel like I’ve got so much more to do.” It’s clear that this show represents a time of reckoning not just for Ware herself, but for anyone who views her as a ray of light in an increasingly gloomy world.
‘That! Feels Good!’
‘Shake The Bottle’
‘Ooh La La’
‘Pearls’
‘Selfish Love’
‘Begin Again’
‘Lightning’
‘Hello Love’
‘Remember Where You Are’
‘Say You Love Me’
‘Hot N Heavy’
‘Freak Me Now’
‘Overtime / Adore You’
‘Mirage (Don’t Stop)’
‘What’s Your Pleasure?’
‘Spotlight’
‘Save A Kiss’
‘Beautiful People’
‘Believe’ (Cher cover)
‘Free Yourself’
LIVE REVIEWS
The closing hours of Reading 2026 have finally arrived. Florence + The Machine brought the rain during ‘Dog Days Are Over’ at The Grid, opening the heavens and leaving the festival site completely soaked. The weary fans who have stayed behind are wet, exhausted and clearly feeling the effects of the weekend. What they need now is one final enormous celebration to make the wait worthwhile.
The Gallery tent comes alive as the speakers blast ‘Favourite’ by Friday’s headliners and fellow countrymen Fontaines D.C., receiving the kind of reaction usually reserved for ‘Mr Brightside’ at a drunken wedding reception. Moments later, Kneecap display their familiar statement accusing Israel of carrying out genocide against the people of Palestine and Lebanon, with support from the UK government. It captures the Belfast rap trio perfectly, combining serious political messages with an unapologetic party atmosphere.
“We use our platform to talk about what we believe is right,” Mo Chara explains during the performance, before recognising those who “aren’t so fucking lucky” and whose voices have been suppressed. He soon encourages the audience to roar “fuck Netanyahu” and “free free Palestine”. Later, he starts a powerful chant of “Aaaaaa-ndy Buuurn-ham’s a waaaaaaan-ker” to the melody of ‘Seven Nation Army’, targeting our new Prime Minister over his claim that “a united Ireland is off the table”. Laughing, he asks: “The BBC won’t broadcast that, or will they?” As it turned out, they did not.
Away from the headlines and the controversy, there is no denying the connection Kneecap have built with their audience. Politics may shape the conversation, but the crowd also came to enjoy themselves, ready for a rave after the rally. The performance begins carefully with the heavy rumble of ‘Smugglers & Scholars’, before exploding during the Grian Chatten collaboration ‘Better Way To Live’ and the threatening energy of ‘Sick In The Head’. “Are ya ready for a mad one?” Mo Chara shouts. The response is already obvious.
The atmosphere becomes increasingly chaotic as the hip hop rhythm of ‘Cold At The Top’ and the hypnotic trance sounds of ‘An Ra’ send the entire tent into motion. The trio jokingly thank the UK for everything it has given Ireland, listing UKIP, fish and chips, a mental health crisis, Jimmy Saville, HP Sauce and Bloody Sunday. However, the show reaches another level once the second half begins. The explosive ‘Sayonara’ brings the ‘beef’ to ‘IBEEFA’, while ‘Get Your Brits Out’ and ‘Guilty Conscience’ give the crowd every reason to obey Móglaí Bap’s demand to “oooopen up the piiiiiit”.
Anyone watching closely may have questioned why the cameras continued to focus on Móglaí Bap and Mo Chara. The pair eventually reveal that they have spent recent weeks performing alongside a “provisional” DJ Próvai. Wearing the familiar tricolour balaclava, the temporary replacement handles his role as the crowd agitator with confidence while their bandmate enjoys some paternity leave. “Some things are more important than music, and that’s family,” they explain. How sweet. Móglaí Bap quickly destroys the tender moment by adding: “As you might know, the Brits took all our potatoes from Ireland; they took all our cocaine,” before declaring, “but we still have all our caaandy.” The group then charge directly into one of the biggest tracks ever written about extremely powerful ketamine.
‘Liar’s Tale’ sparks another huge reaction with its response to Keir Starmer, “genocide armer”, while the group warn that “you’re not getting away with doing nothing”. It is a politically charged message hidden inside an irresistible anthem from musicians who have experienced the “belly of the beast” through the legal system. Their latest album, ‘Fenian’, has helped Kneecap fully embrace the celebration that has always been part of their identity. Their live production now feels capable of filling arenas, blending the intimacy of a late night lock in with the rhythmic force and visual scale of The Chemical Brothers, the reckless electronic punk spirit of The Prodigy, and the fearless political honesty of Public Enemy. The spectacular visuals complete the experience.
Kneecap fans at Reading 2026. Credit: Andy Ford for NME
Kneecap fans at Reading 2026. Credit: Andy Ford for NME
Closing with the powerful combination of ‘Fenian’, ‘H.O.O.D.’ and the enormous ‘The Recap’, Kneecap bring our final celebration at Reading to a thrilling conclusion while also finishing their last festival appearance of the summer. “It’s been a pleasure to spend it with you mad c**ts,” Mo Chara says before leaving the stage. The feeling is mutual.
Return to NME here for the newest reports, reviews, photographs, conversations and further coverage from Reading & Leeds 2026.
