MUSIC PREMIERES
There’s a cultlike atmosphere inside The Garage, the 800-capacity north London sweatbox, that’s driven entirely by a band who didn’t seem to exist before the start of 2025. “I queued an hour for a shirt!” one young, excited fan of President tells NME – though, wearing the same shirt and bow tie combination as the group’s nameless vocalist, he’s already dressed the part.
This frenzy started in February when Download Festival subtly added an unknown act named President to its 2025 line-up. Much like masked sensations Sleep Token (who share the same management), the anonymous band communicate through cryptic social media messaging; President call their gigs ‘rallies’, like Sleep Token’s ‘rituals’. When their debut single ‘In The Name Of The Father’ arrived in May, the start of the presidential ‘campaign’ was met with a wave of press coverage and playlist placements.
Fierce debate around their sudden rise still engulfs the heavy music community. Naysayers sneer “industry plant”, that they’re aping Ghost and Sleep Token with gimmicky masks, fuelled by a marketing budget that emerging artists don’t have access to. Others argue that a supergroup of established musicians have the right to utilise their springboard of prior success to their advantage if they wish. Indeed, Revolver recently revealed President’s vocalist has been in the industry “for quite some time”, though his “identity and affiliations have never been officially revealed – and he intends to keep it that way”.
Sweat is already dripping from our singer’s disturbing mask as he arrives at the glowing red lectern onstage. He’s soon overpowered by the audience – a running theme across the night – who are awestruck and roaring from minute one. The unreleased ‘Dionysus’, assuredly cut from the same pop-metal cloth as opening track ‘Fearless’, packs some punch when it reaches its breakdown.
Dressed in black boiler suits and balaclavas, the other three members remain stoic and robotic as their frontman paces left and right during the Bicep-esque ‘Rage’. Incredibly, the crowd scream its lyrics louder than when they launch into a slick, surprise cover of Deftones’ ‘Change (In The House Of Flies)’. Though they’ve been shoehorned into the rock and metal world, President clearly hold allure for a diverse range of music fans.
The vocalist’s gravel and grit shine through in the restless ‘Destroy Me’, the night’s comfortable highlight, before he’s drowned out again during fan favourite ‘In The Name Of The Father’. A pre-recorded instruction to “remain alert, stay united and above all, stay loud” is the closest we get to verbal communication with President – although the frontman does blow us a kiss as he departs the stage.
After just six songs (there’s no outing for ‘Conclave’ from forthcoming debut EP ‘King Of Terrors’) and 30 minutes, some of the euphoria does fall off a cliff. By announcing more headline dates only for 2026, President have perhaps bought themselves the time they need to flesh out their live show with more material. This assertive debut performance, nevertheless, has secured them our vote.
‘Fearless’
‘Dionysus’
‘Rage’
‘Change (In The House Of Flies)’ (Deftones cover)
‘Destroy Me’
‘In The Name Of The Father’
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.
