LIVE REVIEWS
In recent years, Megan Thee Stallion’s name has often been linked with controversy. Whether that’s from her horrific shooting, legal wars with her old label, or allegedly using bots to boost streaming numbers, the Houston Hottie can’t catch a break in the public eye. But, now newly independent, she’s self-funded the ‘Hot Girl Summer Tour’ – her first-ever headline world tour and a major milestone for the artist. As it comes to a close at The O2 in London tonight (July 17), nothing can overshadow the entertaining free-for-all that is about to ensue.
The 29-year-old announces her presence with a thunderous boom, triggering a massive roar from her adoring fans. Red-hot embers flicker up the screen, soon morphing into a colossal blaze as Thee Stallion rises from the ground on a stage lift. With her hand on her hip and head to the sky, she exudes confidence while kicking things off with the powerfully brazen ‘HISS’.
After a fierce start, Megan reminds the crowd they “came here to have a motherfucking time” and, as the Hot Girl Coach, she wants London to show her “what they got”. So, to test if the city’s energy is as legendary as often told, she brings out her dancers and plays a slew of her cult classics such as ‘Freak Nasty’ and ‘Thot Shit’, the audience’s wild enthusiasm shooting through the roof. Many twirl their hips to Thee Stallion’s signature tunes, while others try to mimic the intricate choreography done by Meg and her backup, proving that, years on, these songs still have the same enthralling effect.
Throughout the night, there are numerous outfit changes and intermissions. After the first, MTS rises from the ground again, this time in an iridescent snake egg to perform the self-assured ‘Plan B’. The second time she leaves the stage, she recreates her own Instagram livestream as the camera crew randomly puts a spotlight on her fans before emerging once again in a bronze outfit.
The highlight of the night was the live debut of her viral song ‘Mamushi’. Megan teases the crowd – saying she “has something cute for the last ‘Hot Girl Summer’ arena tour show” – before inviting Yuki Chiba to perform their chart-climber together. The duo recreate the popular TikTok dance, sliding their hands down their arms every time the chorus hits.
The original Hot Girl’s biggest London show to date closes with her Billboard Number One ‘Savage (Remix)’, giving her all for the last dance number of her entire tour. While the outro rings through the arena and confetti flies everywhere, Megan stands on stage in glee, telling the audience she “can’t believe” she’s successfully finished her first big feat as an independent artist. The night – which is an exuberant celebration of fun, twerking and self-confidence – ends with her trademark statement that never gets old: “Real hot girl shit!”
Megan Thee Stallion played:
‘HISS’
‘Ungrateful’
‘Thot Shit’
‘Freak Nasty’
‘Megan’s Piano’
‘Gift & a Curse’
‘Hot Girl’
‘Kitty Kat’
‘Cobra’
‘Plan B’
‘Cognac Queen’
‘Big Ole Freak’
‘Girls in the Hood’
‘BOA’
‘Sex Talk’
‘Realer’
‘What’s New’
‘Captain Hook’
‘Wanna Be’
‘WAP’
‘Mamushi’ (With Yuki Chiba)
‘Cash Shit’
‘Where Them Girls At’
‘Savage (Remix)’
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.
