February 17, Alexandra Palace: six months since controversial comments alienated some of her fans, the disco maven lets the music – and silly costumes – do the talking

In a top hat, framed in black and white, Róisín Murphy stares down the lens. Facing away from the audience, she peers into a camera on a mount; the resulting image is beamed via an imposing screen at the back of the stage. With the 10,000-strong Alexandra Palace crowd behind her, she scarcely blinks as an insistent house beat burbles away.

She slips off her jacket, runs both hands down her neck, her five-piece band churning confidently through the lithe funk of ‘Can’t Replicate’. When the beat quickens, she flexes her muscles and poses like a prize fighter with arms aloft. “I need you,” the 50-year-old croons steadily, shadowboxing on the spot, never breaking eye contact, “so you don’t you keep it… I love you.”

It’s a message, perhaps, for the fans who’ve stayed with her on the rocky road to this undeniably impressive show, her biggest yet and a milestone in any artist’s career. Murphy takes a few songs to warm up, but when she does, the rewards are bountiful, as she complements her experimental dance-pop with an array of outlandish costume changes. Once she’s paired the knockabout ‘Ramalama (Bang Bang)’ with an oversized feathered headdress and the stoic ‘Something More’ with a funereal black veil, you’re well-reminded she’s been donning daft gear since Harry Styles was in his school uniform.

Six months have passed since the release of the former Moloko singer’s thrillingly weird, Balearic-flavoured sixth solo album ‘Hit Parade’. Murphy had long been a critical darling, but this record, which ebbs with a potent, insular magic, appeared destined to bring her to a whole new stratosphere of acclaim. Just over a week before it came out, though, she went viral for all the wrong reasons. 

It emerged that, on her private Facebook page, the queer icon had described the use of puberty blockers in young trans people as “fucked, absolutely desolate, big pharma laughing all the way to the bank”. The screengrabbed comments duly blew up on Twitter, appalling vast swathes of her audience. Her label, Ninja Tune, reportedly ceased to market the album, an apology was issued, gigs were pulled and Róisín Murphy was quite literally cancelled.

The furore marked one of the stranger and more unexpected chapters in the culture wars. In fact, it seemed the only thing anyone could agree on was that ‘Hit Parade’ is an extraordinary album – one that became her biggest commercial success so far, reaching Number Five in the UK. And then this enormous show sold out back in December.

If the ensuing crowd is best described as “40-something and intense-looking” (there must be at least 5,000 pairs of thick-rimmed spectacles on display here), the music itself is, for the most part, transcendently light-hearted. Murphy dances cartoonishly to the crunching disco of ‘Incapable’, stopping just short of jazz hands, and grips the mic stand when she head-bangs to her ‘00s anthem ‘Overpowered’.

She says little, beyond repeated expressions of gratitude to the audience, but spends the encore doing press-ups in a floor-length sequinned gown; an image that seems to speak volumes about her determination to keep this show on the road. On tonight’s evidence, you wouldn’t bet against her.

Róisín Murphy played:

‘Pure Pleasure Seeker’
‘Dear Miami’
‘Simulation’
‘Overpowered’
‘CooCool’
‘The Universe’
‘You Knew’
‘The Time is Now’
‘Incapable’
‘Something More / Let Me Know’
‘Sing It Back / Murphy’s Law’
‘Can’t Replicate’
‘Ramalama (Bang Bang)’
‘Forever More’

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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