February 15, Earth Theatre: the Icelandic-Chinese artist's warm, woozy songs reveal a brilliant songwriter who deserves to be recognised on a mainstream level

Laufey epitomises a charming new era in contemporary pop, as classically-trained musicians – including Wasia Project and Ena Mori – are finding an audience online thanks to their forward-facing take on traditional jazz. The 25-year-old multi-instrumentalist has had a banner year: earlier this month, she scooped a Grammy for her masterful second LP ‘Bewitched’, following a recent NME cover and a sold-out world tour. Her teenage listeners see themselves in her heartfelt songs; Laufey’s music embodies the chaotic life changes that young lovers cycle through, using surging rhythms to evoke both romantic enlightenment and despair.

This simpatico with her following can be felt at the first of three sold-out nights at Hackney’s Earth Theatre. In the coming months, Laufey will return to London for further shows at the Roundhouse and Royal Albert Hall, meaning this evening feels like an underplay. The contrast between the screams that greet the Icelandic-Chinese artist’s arrival on stage, and what comes next, is telling. Spread across wooden, seatless tiers – with many fans sitting cross-legged as though at a school assembly – they respond to Laufey’s songs not with breathless cheering, but polite clapping and nods of approval. Jellycat plushies are raised above heads after a dreamy ‘Valentine’; there is nary a phone in sight.

A powerful exchange of emotional understanding continues to play out between artist and audience. Lit in soft-focus blue tones, Laufey waltzes between the double bass, piano and guitar, with support from a taut and characterful string quartet. In a pair of red Mary Jane shoes, she pirouettes from one side of the stage to the other during ‘Dreamer’, acting out the lyrics with her hands (“No boy’s gonna be so smart as to / Try and pierce my porcelain heart”). The crowd, meanwhile, act as a quiet but ever-present backing choir, their voices barely rising above a whisper.

The cozy daydream vibe of ‘Promise’ is matched by a backdrop of twinkling lights – the sole element of production drama this evening. Given the way Laufey delivers her songs via a permanent Hollywood smile, it’s easy to forget how sad some of them are. Each one contains granular detail, from a newspaper-reading crush left behind on the Tube (‘Beautiful Stranger’) to tears on a steering wheel (‘California and Me’). She begins the former by telling a story about one of her first-ever visits to the capital, before seamlessly (and cheesily) segueing into its opening chords – a graduate of the Taylor Swift school of Song Introductions, clearly.

Credit: Getty/Lorne Thomson

Briefly joined by her identical twin sister Junia on the violin, Laufey’s bossa nova-flecked hit ‘From The Start’ proves a shimmying highlight, but it is during ‘Letter To My 13 Year Old Self’ that she hits a vocal and emotional peak. She outstretches her arms as she sings; the room falls so silent that you can hear a bartender printing receipts in the back corner of the auditorium. “One day you’ll be up on stage / Little girls will scream your name,” she repeats, her deep, crystalline voice ringing out unencumbered.

Laufey played:

‘Fragile’
‘Valentine’
‘Second Best’
‘Dreamer’
‘Falling Behind’
‘Beautiful Stranger’
‘Promise’
‘Like The Movies’
‘Nocturne (Interlude)’
‘Let You Break My Heart Again’
‘California and Me’
‘Bewitched’
‘Haunted’
‘Best Friend’
‘Lovesick’
‘From The Start’
‘Letter To My 13 Year Old Self’

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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