BST Hyde Park, July 5: The singer effortlessly reinforces her command over modern pop with the first of two sold-out nights at the London festival

There’s a moment in the middle of Sabrina Carpenter’s headline set at BST Hyde Park tonight (July 5) where, during a cheeky rendition of The Weather Girls’ iconic ‘It’s Raining Men’, the ominous clouds that have been looming over the park all day strain a little, and droplets of rain start to pepper the crowd. It’s the kind of divine timing you couldn’t write, but that’s the story of Carpenter’s career – everything seems to happen exactly when it’s supposed to.

It’s easy to forget the rapid ascent that Carpenter has achieved. Still, it was only two years ago that the pocket-sized singer stood on that same stage as a support act for K-pop girl group BLACKPINK, and now she’s carrying it herself for two sold-out nights to crowds of 65,000 each, and no one has ever looked more comfortable.

Opening the show, she bursts onto the stage in a bedazzled red bodysuit singing ‘Busy Woman’, which feels fitting for the point of her career she’s at right now. When Carpenter put out ‘Short n’ Sweet’ last year, many people found it surprising that it was her sixth studio album. She’d made minor waves with singles like ‘Nonsense’ and ‘Feather’, which both get a moment to shine in the setlist, but it was the release of the immediately omnipresent ‘Espresso’ that launched her into a kind of superstardom that is usually afforded to pop ingenues, not artists who’ve been plugging away for years.

With ‘Short n’ Sweet’, she perfected a corner of the pop girl landscape that’s all her own. It’s part Dolly Parton, part Betty Boop and part horned-up pocket rocket. It’s a cocktail that could curdle if not mixed correctly, but on stage, each facet of her performance personality feels perfectly honed. The show has the lens of a ’70s sex comedy, which is realised through its vintage-inspired mid-century apartment homage set and winking infomercial ads for her biggest songs. It’s also the kind of double-entendre-laced vibe that allows her to sing some of the horniest songs imaginable while the crowd around you is equal parts young-adult women feeling themselves and children fawning over her doll-like pop fantasy world.

Sabrina Carpenter
Sabrina Carpenter live at BST Hyde Park. Credit: Press

Of course, that contradiction sometimes misses the mark. The announcement of her upcoming album, ‘Man’s Best Friend’, due out on August 29, whipped up a storm of controversy thanks to its cover, which sees Carpenter on her knees at the feet of a man while he pulls her hair. Discourse questioned whether her horny schtick had officially run out of road, but ‘Manchild’, the recently-released first single from the upcoming record, elicitsed one of the biggest responses of the night. Fans know every word and throw their arms in the air as they scream along with lyrics that lament the state of modern dating, proving that internet drama has no real sticking power in a field of powder-blue babydoll dresses.

From there, Carpenter cycles through a tight setlist that’s as much a showcase of her back catalogue as it is the kind of genre gymnastics she can do. She performs songs like ‘Coincidence’ and ‘Sharpest Tool’ from ‘Short n’ Sweet’ semi-acoustically, giving space to her trilling country-tinged vocals and quippy songwriting, while performances of ‘Because I Liked A Boy’ and ‘Couldn’t Make It Any Harder’ provide moments of belting catharsis.

But all of that feels like edging before the big release, which no doubt Carpenter could write an expertly cheeky lyric about. A ‘Parental Advisory’ warning emblazons the screen before ‘Bed Chem’, which Carpenter sings to a top-down camera as she lies on a bed. It’s the moment in her tour where she’s joined by a male dancer and some Austin Powers-esque shadow work with a screen that shows them enacting a sex position. This time, she invites two male dancers who kiss each other before they all fall into bed together. As the lights dim, a chorus of “Happy Pride!” breaks out in the crowd.

Then comes ‘Juno’, the big crescendo, where Carpenter does her usual bit of ‘arresting’ a hot person in the crowd. On tour, this slot is usually given to her celebrity friends and admirers, but this time, she chooses a fan who’s been warming the barricade all day. It’s a nice reminder that, though celebrity cameos make for good TikTok viral moments, there’s something much more genuinely heartwarming about seeing someone get noticed by their favourite artist.

Sabrina Carpenter
Sabrina Carpenter live at BST Hyde Park. Credit: Press

Talking of viral stunts, Carpenter has been making waves on tour for picking new sex positions to act out as part of ‘Juno’ each night to the lyric “Have you ever tried this one?”, including a much-discussed Eiffel Tower in Paris. This time, she forgoes the bit to let off two t-shirt guns into the crowd, which is the same move she did at her most recent headline slot at Primavera Sound in Barcelona. Still, she’s far from censoring herself, as she corrals the crowd to sing “I’m so fucking horny” along with the lyrics at the top of their lungs, which may be one of the more joyful things you can experience in a field.

Finally comes ‘Espresso’, the moment even the slightly concerned dads in the crowd who are mentally figuring out how to explain the concept of bed chem to their 10-year-old daughters on the way home can’t help but bop along to. Fireworks shoot out of the stage as Carpenter sings the biggest song of her career, which is only a year old, but somehow feels like the only song ever made. It’s catapulted the singer from an artist orbiting the pop girl league tables to one of its reigning champs, but her command of this space is a testament to the years of graft it took to get there. All she needed was time.

Sabrina Carpenter played:

‘Busy Woman’
‘Taste’
‘Good Graces’
‘Slim Pickins’
‘Manchild’
‘Coincidence’
‘Sharpest Tool’
‘Because I Liked A Boy’
‘It’s Raining Men’
‘Nonsense’
‘Couldn’t Make It Any Harder’
‘Feather’
‘Bed Chem’
‘Juno’
‘Please Please Please’
‘Don’t Smile’
‘Espresso’

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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