August 15 at Victoria Park saw Sault’s elusive collective captivate east London for five hours, blending dramatic interludes with guest turns from Sol, Chronixx and Yasiin Bey.

It’s unusual for Sault, the elusive group headed by Little Simz’s past collaborator InFlo, to take the stage. So when All Points East revealed that they would be leading the opening day of this year’s festival (August 15), the excitement spread immediately. Even though they hinted at a global tour in 2023, their only live appearances to date were at London’s Drumsheds, where they delivered a sold-out extravaganza. This night, then, promised an experience no one wanted to miss.

The line-up throughout the day was stacked with strong names like Kirk Franklin, Sasha Keable, Nao, Ms Dynamite, and others. Sadly, every one of these sets was squeezed into a messy three-hour stretch, creating painful overlaps all across the park. After 6 pm, only Main Stage East stayed active, leaving festival-goers with a single option: to watch the headline run of Sault, Cleo Sol, and Chronixx. The latter two, both tied to the mysterious group, each had their slots as well as time performing with the collective.

Nothing quite sets us up for Sault’s epic five-hour showing, which proves both overwhelming and tangled. Dancers and a choir appeared cloaked in burnt ochre robes, resembling travelers from a fictional desert world, surrounded by sand, dunes, and golden-lined rocks. The production had serious funding – a full orchestra with piano, strings, harp, and guitars filled the soundscape, and in the middle of the crowd sat a dusty pyramid that most people ignored. Whispers carried through the audience about the spectacle’s grandeur, with one nearby voice remarking, “Doesn’t InFlo still owe Little Simz £1million?”

The pyramid stage design during Sault's All Points East 2025 set. Photo credit: Jennifer McCord

The pyramid stage design during Sault’s All Points East 2025 set. Photo credit: Jennifer McCord

Whatever meaning this grand production was meant to communicate was hard to grasp. The leading figures, who looked like InFlo and Sol, seemed to be chasing something, yet it was never clear exactly what. Perhaps it was freedom, since the lead vocalist echoed the refrain of ‘Free’, with additional nods to self-discovery and healing, but the storyline stayed muddy and difficult to follow.

Energy picked up once Sol and Chronixx emerged early in the performance, both in beige suits and reflective shades, slipping into the first act. Alongside the cloaked ensemble, they played through a range of Sault songs that stretched across all twelve albums. Fans were treated to hidden treasures like the mesmerizing ‘S.O.T.H.’ and emotional ‘Pray For Me’, alongside more recognizable tracks such as ‘I Just Want to Dance’ and ‘Why Why Why Why Why’. For many in the crowd, though, the event played more like a quirky encounter than the immersive artistic showcase Sault seemed to be aiming for.

It took nearly two hours for the night to loosen up, and that turning point came courtesy of Chronixx. His uplifting reggae and radiant spirit shifted the whole space, people skanked along to ‘Smile’ and swayed to ‘Likes’, and suddenly the atmosphere felt celebratory again. Once he exited, Yasiin Bey (fka Mos Def) appeared out of nowhere in a strange yet brilliant surprise. Over chirping bird sounds and glitchy electronic noise, he reshaped ‘Umi Says’, spinning across the stage in a checkered drape, embodying the song’s spirit of liberation with almost comic exaggeration. 

Chronixx performing at All Points East on Friday, August 15. Photo credit: The pyramid stage design during Sault's All Points East 2025 set. Photo credit: Jennifer McCord

Chronixx performing at All Points East on Friday, August 15. Photo credit: The pyramid stage design during Sault’s All Points East 2025 set. Photo credit: Jennifer McCord

After four relentless hours of spectacle, Cleo Sol finally claimed the spotlight for her whole performance. The shift was instant, her gentle voice floated across Victoria Park, drawing hips to sway and couples to curl into each other, the entire air easing at once. She shone in glittering silver cocktail wear, moving gracefully with the poise of someone fully aware of how badly we needed this release. ‘Rose In The Dark’ carried an almost ironic weight as she sang “Hold on a little longer / It’ll be alright”, mirroring exactly what the crowd had been doing throughout the marathon. Closing with ‘Know That You Are Loved’, she stood atop the glowing pyramid while voices from the crowd echoed every lyric back to her, delivering the emotional peak of the evening.

She tried to squeeze in ‘Why Don’t You’ as an encore, but curfew struck, the lights snapped on, and the moment ended abruptly. The intention was clear, to unveil the breadth of Sault’s world through an unconventional showcase, yet the finale, like the beginning, left more questions than answers. For a group as rare on stage as Sault, a little less mystery and a little more music might have made their All Points East appearance truly measure up to the highs of Drumsheds.

Sault played: 

‘Glory’
‘Free’
‘Let Me Go’
‘Over’
‘I Just Wanna Dance’
‘Warrior’
‘Faith’
‘Up All Night’
‘Son Shine’
‘Masterpiece’
‘Why Why Why Why Why’
‘Stop Dem’
‘Black Is’
‘Pray For Me’
‘S.O.T.H.’
‘T.H.’
‘W.A.I.’
‘Wildfires’
‘This Generation’

Chronixx played:

‘Big Bad Sound’
‘Here Comes Trouble’
‘Exile’
‘Survivor’
‘Market’
‘Captureland’
‘They Don’t Know’
‘Don’t Be Afraid’
‘Family First’
‘Spanish Town Rockin”
‘Skankin Sweet’
‘Majesty’
‘Sweet Argument’
‘Way You Make Me Feel’
‘Resilient’
‘Eternal Light’
‘Tenement Yard’
‘Saviour’
‘Love Is On A Mountain’
‘Smile Jamaica’

Cleo Sol singing with an orchestra at All Points East 2025. Photo credit: Bethan Miller-Carey (@Bethanmillerco)
Cleo Sol singing with an orchestra at All Points East 2025. Photo credit: Bethan Miller-Carey (@Bethanmillerco)

Cleo Sol played:

‘Love Yourself’
‘Rose In The Dark’
‘When I’m In Your Arms’
‘There Will Be No Crying’
‘Things Will Get Better’
‘Reason’
‘Don’t Let Me Fall + Outro’
‘Promises’
‘Sunshine’
‘Don’t Let It Go To Your Head’
‘Blue’ (Unreleased)
‘Know That You Are Loved’
‘Why Don’t You’

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.

CONTINUE READING