MUSIC PREMIERES
Eight Heaton Parks and 10 Wembley Stadiums – those are the shows rumoured for Oasis’ mega reunion tour next year. The combined capacity is more than the population of some countries, and yet it still doesn’t seem enough to meet the demand. Catfish And The Bottlemen, meanwhile – who co-headline Reading 2024 tonight ahead of the Liam Gallagher show said to break the news we thought we’d never hear – have more modest yet still wildly ambitious shows on their horizon.
When the Welsh indie stars recently announced plans for their first stadium gigs at Cardiff Principality and the Spurs ground, many took online to express doubt that they had the following and momentum to pull it off and fill ’em up. The last time Catfish topped the bill here was on a run of 2021 shows many believed to be their last. Twitter and tabloids spoke of their demise as the Welsh rock machine seemed to power down before a few years of silence. With no new music and no rise in profile, is a stadium run really the wisest move?
Well, as Jim Morrison said in Wayne’s World 2, “If you book it, they will come”. Do you believe in manifesting the big stuff? Catfish sure bloody do. Their opening song carries that spirit: “One of our longshots paid off”.
The band didn’t split the other year, but now frontman Van McCann and bassist Benji Blakeway are the only remaining full-time members after others fell away due to “entirely dysfunctional” relationships. What we’re left with here is a lean, mean, rock machine. Indie disco staple ‘Kathleen’ feels like it might lift the rammed front sections of Reading off the ground before sound issues force a halt. Even then, McCann, in his element, tries to gee up the crowd in full house party mode before a brief interlude. He bursts back on straight into the line “You’re simpaticooooo”, as if nothing had happened. Nothing is gonna get in their way tonight.
Inflatable crocodiles are dispersed for ‘Soundcheck’ as McCann flails and wails like Cobain, before ‘Pacifier’ gets the masses up on one another’s shoulders for the first of many times this evening. Here, as on ‘Taste’, there’s a snarling indie sensibility met with chest-beating arena bravado – as if The Cribs shed their punk edge, beefed up on riffs and adopted the The Killers‘s knack to rattle the eyeballs of the fans at the back. It’s indie sleaze turned up to 11.
They see where they’re headed. There’s a cheeky, brief nod to their stadium-dwelling countrymen Stereophonics with a snippet of ‘The Bartender And The Thief’, while the spotlight and theatrics of ‘2all’ show they’ve got the moves for the big spaces. The widescreen psych wig-out and breakdown of ‘Outside’ even has a smack of Pink Floyd to it. They’re playing with a damn sight more compulsion than last time, and they certainly know what an enormodome band should look, sound and feel like. The crowd before us lap it up. Will they multiply to fill those spaces? Maybe the long shot will pay off.
‘Longshot’
‘Kathleen’
‘Soundcheck’
‘Pacifier’
‘Twice’
‘Fallout’ (with snippet of Stereophonics’ ‘Bartender and the Thief’)
‘2all’
‘Homesick’
‘Rango’
‘Outside’
‘Fluctuate’
‘7’
‘Cocoon’
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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.
