February 1, Roundhouse: On the eve of the release of their debut album, the London five-piece ring in the next chapter while proving they’re more than just a buzzword

To say The Last Dinner Party’s live reputation precedes them would be a sinful understatement. Tales of the Brixton-formed quintet’s onstage theatrics have become so renowned among London gig-goers over the past couple years that they’ve sold out their “intimate” show at Camden’s Roundhouse tonight – on the eve of their debut album’s release – with so few singles you can count them on one hand.

For a band who built their name on the live circuit and opening for the likes of The Rolling Stones – so successfully that they’ve spent their breakthrough year batting away “industry plant” allegations – the air of pre-show anticipation is one of excitement and intrigue. When the group floats out from the shadowy wings, mediaeval gowns and stompy boots cast silhouettes against a white chiffon backdrop, their staging immediately resembling a renaissance-era painting. The reverence to the ceremony is stark, as the crowd remarkably refrains from documenting the tender opening moments of ‘Beautiful Boy’ through their phones.

LONDON, ENGLAND – FEBRUARY 01: Abigail Morris of The Last Dinner Party performs at The Roundhouse on February 01, 2024 in London, England. (Photo by Jim Dyson/Getty Images)

But the band’s stillness doesn’t last long. They slip into recent single ‘Caesar On A TV Screen’ and frontwoman Abigail Morris is strutting, crawling and flinging herself into every drumbeat and wild keychange. Already the band have asserted that their baroque-pop lore isn’t just for show, as each corner of the stage holds a fervent display of musical excellence.

“I literally can’t tell you how fucking excited we are to be here,” says Morris, whose bashful stage personality is charmingly at odds with her thespian showmanship. Early previews of the new album follow, from the spiky diction of ‘The Feminine Urge’ to the ceremonial Albanian-language call ‘Gjuha’. But it’s ‘Portrait Of A Dead Girl’ that storms the ‘Prelude to Ecstasy’ portion of the set, as Morris’ voice veers from booming to hysterical, her squeals rising up to the dome’s iron rafters.

With much of the crowd being unfamiliar with the new material – which has only existed on stages and in YouTube footage thus far – energy levels rise and fall somewhat awkwardly throughout the neat one-hour set. But it means that raucous singles like ‘Sinner’ set the room alight. And their return for the encore – for which they bring out a mini orchestra – only heightens the anticipation for a grand finale. “And you can hold me, like he held her,” Morris proclaims, “And I will fuck you like nothing matters.” Fans throw roses onto the stage as Morris giggles and twirls amongst the nihilistic fervour of their runaway debut single ‘Nothing Matters’.

Pockets of friends turn away from the stage and face inwards as if preaching to one another. Tonight feels like a glimpse into the next era of The Last Dinner Party, for which they’ll be hitting stages with a whole album out in the world. Give it one more week, and crowds will be reciting every word right back at them.

LONDON, ENGLAND – FEBRUARY 01: Aurora Nishevci, Emily Roberts, Abigail Morris, Lizzie Mayland and Georgia Davies of The Last Dinner Party performs at The Roundhouse on February 01, 2024 in London, England. (Photo by Samir Hussein/WireImage)

‘Beautiful Boy’
‘Caesar On A TV Screen’
‘The Feminine Urge’
‘Burn Alive’
‘On Your Side’
‘Gjuha’
‘Sinner’
‘Portrait Of A Dead Girl’
‘My Lady Of Mercy’
‘Mirror’
‘Prelude To Ecstasy’
‘Godzilla’
‘Nothing Matters’

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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