MUSIC PREMIERES
“Oh shit I’m nervous,” sheepishly smiles Fred Again.., looking out at the vast crowd of young and beautiful ravers gathered for his Reading 2024 Saturday headline slot, a lairy bunch that came to party. “I wanna say I know how you’re feeling because when I was 16, this was my first festival.”
He’s done the rite of passage of getting your exam results and jumping on a train with your tent and a bag of cans, heading into your first full weekend of proper hedonism – repeated annually until many folk hit that time or age when the zeitgeisty line-up doesn’t connect in the same way. The names that filled those headline slots were often wielding guitars, and there was a time when anything resembling pop might get bottled from the stage. At the same time, the history of Reading & Leeds is also the history of dance, and there’s always been a place to rave here. Now, a nervous dance nerd and his decks are in the spot where Nirvana once stood, and he knows what it means.
Emerging from the crowd by surprise on a B-stage to play to the audience in the round, it’s clear from the off this ain’t gonna be your standard Reading headline set. With a sun-kissed blissed-out sound and superclub light and laser show, we’re transported from a chilly Berkshire field to what could be a moment from Tomorrowland or a late-night Primavera sesh.
‘Turn On the Lights again..’ washes over Little John’s Farm with a euphoric balm, ‘Adore U’ unites with its retro housey bounce, and things get a bit hectic for the rock-spirited ‘Places To Be’. We could do with some more intense drops, and given his collaborations with the likes of Anderson .Paak, Charli XCX, Berwyn, Skillex, Stormzy, AJ Tracey, Lil Yachty, The Blessed Madonna, one might have hoped for a guest turn or two? Maybe a few more B-stage reappearing theatrics and some high drama? Saying that, he and his right-hand man Tony Friend (dance maestro formerly of Modestep) can’t physically or emotionally give any more as they go to war with decks, synths and keys.
“About nine months ago, I was going through a whole bunch of shit,” offers Fred, sharing how he heard the “most beautiful” lyric that lifted him out of darkness, inviting the audience into a sing-song of “I’ll let you take a piece of me, I hope you get the peace you need”. The lad’s got a beautiful voice, to be fair, and the crowd sing the fuck out of it in response. There’s an emotional weight to Fred’s brand of dance that really carries, especially on the post-lockdown catharsis of ‘’Marea (we’ve lost dancing)’.
Staring out at the hordes on one another’s shoulders as the fireworks light up the sky, gleaming in his Fontaines D.C. shirt (a band who laid claim to a future headline slot earlier today), he’s every bit the young fanboy he was at his first festival; a mirror to the sea of Reading revellers before him. He knows what they want, and he gives it to them. Fred Again.. redefines what an R&L headliner can be.
‘Turn On the Lights again..’
‘Mainstage’
‘Danielle (smile on my face)’
‘adore u’
‘places to be’
‘Chanel’ / ‘A New Error’ / ‘Sabrina (i am a party)’ / ‘leavemealone’
‘peace u need’
‘BerwynGesaffNeighbours’
‘Jungle’
‘Rumble’ (Skrillex cover)
‘France Freestyle’ / ‘Rumble (Baby Keem cover)’
‘Angie (i’ve been lost’) / ‘Clara (the night is dark)’
‘Marea (we’ve lost dancing)’
‘Billie (loving arms)’
‘Carlos (make it thru)’ / ‘adore u’ / ‘Kahan (last year)’ / ‘stayinit’ / ‘Hannah (the sun)’
‘Delilah (pull me out of this)’
‘peace u need (Reprise)’
Follow all of the action as it happens on the NME Reading & Leeds liveblog here.
Check back here for the latest news, reviews, photos, interview and more from Reading 2024.
MUSIC PREMIERES
“I’m looking for an answer in between the lines/ Lying to yourself if you think we’re fine,” Sabrina Carpenter sings while seated gracefully on a toilet.
It is the opening night of her “Short n’ Sweet” tour at what she proudly described as “five fucking sold-out shows at Madison Square Garden.” The toilet appears within the bathroom section of her expansive stage design, which resembles a cross between a 1970s television set and a Barbie-inspired dream house from the same decade.
More importantly, Carpenter performs a heartfelt ballad, one of her signature songs blending humor and honesty in her storytelling about relationships. The track, “Sharpest Tool,” reflects on being in love with someone lacking awareness, serving as a thematic successor to her recent hit “Please Please Please.”
The toilet itself is an elegant prop with a heart-shaped lid, while the “bathroom” area is surrounded by sheer screens that display close-up video projections of her performance. Few major female pop artists today would likely deliver a serious song in such a setting. It highlights Carpenter’s willingness to approach familiar ideas with originality and confidence.
With her classic American glamour, Carpenter maintains a striking image while writing songs that address relationships and intimacy with unfiltered honesty. Those themes are presented within polished, radio-ready pop production that still holds musical depth. The pre-show playlist included ABBA’s 1979 track “If It Wasn’t for the Nights” and Diana Ross’ 1980 hit “I’m Coming Out,” acknowledging both her stylistic influences and her strong LGBTQ following.
Her audience consists largely of young girls who may not yet relate directly to the personal experiences behind her lyrics but view her as a relatable, older-sister figure. Many of their parents, especially mothers accompanying them, also appeared to be fans. One of the night’s more unexpected moments came when Carpenter led thousands of middle-school-aged fans in singing the explicit lyric “I’m so fucking horny!” during “Juno.”
The show, mostly following the same structure as her previous tour, featured the full production scale of a modern arena concert. The visual theme of vintage television carried through as Carpenter performed across multiple areas of the set, including a balcony, staircase, walk-in closet, and in front of a vanity and fireplace, supported by 11 dancers and a live four-piece band.
She changed outfits four times throughout the concert, each one sparkling and styled to highlight her signature stage presence. The setlist focused mainly on her latest albums, “Short n’ Sweet” and “Man’s Best Friend,” while including several tracks from her 2022 record “Emails I Can’t Send,” which marked her transition into a mature artistic phase. The show opened with “Taste,” included highlights such as “Manchild,” “Feather,” and “Bed Chem,” and concluded with “Espresso” during a colorful confetti finale.
Between songs, the screens played comedic 1970s-inspired mock commercials, including a parody tool advertisement using the line “The Sharpest Tool, trusted by carpenters everywhere.” The presentation also featured a fabricated “Technical Difficulties” interruption and an excerpt from a Leonard Cohen interview in which he compared writing poetry to “shining the shoes of one’s soul.” The concept was imaginative and visually engaging, though much of the nostalgia predates her audience’s generation. Still, it reflected Carpenter’s ability to merge vintage aesthetics with contemporary performance.
The most memorable parts of the concert came from her natural connection with the crowd. Familiar interactive moments filled the show, including audience singalongs, call-and-response sections, and a “surprise song” feature in which Carpenter spun a bottle to select a number, leading to a live debut of “Go-Go Juice” from her new album. She also spoke candidly with the audience, remarking that she had “been one of you” during her years living in New York, before adding, “Actually, I’ve tried to be one of you.”
Her awareness of the audience’s enthusiasm was evident throughout. She acknowledged fans directly, often gesturing toward specific sections and offering warm appreciation. Near the end, she took time to praise their creativity, saying, “I want to take a second to commend all of the amazing outfits I see.” She expressed gratitude for the crowd’s effort and enthusiasm, recognizing the fans who mirrored her signature style with platform heels, glitter, and lipstick marks on their shoulders.
From artists such as Cher, Donna Summer, and Deborah Harry to Madonna, Beyoncé, and others, many women in pop music have explored the boundaries of expression and sexuality in their art. Sabrina Carpenter continues that tradition with confidence, balancing playfulness and self-awareness while maintaining authenticity and respect for her audience.
