Arriving at The O2 for the first night of Radiohead’s London residency, we walk in under Stanley Donwood artwork lining the walkway and the lines of the band’s bleak modern chant “Fitter Happier” printed on a huge banner hanging from the ceiling of the former Millennium Dome. The moment instantly brings back memories of walking into Oasis’ Live “25” tour earlier this summer. This is the other major rock return of the year and the atmosphere carries a different kind of excitement, yet the intensity feels just as real. Instead of bucket hats and throwing drinks into warm air, we have cold weather and a slow shuffle through the night to gather in the dark. Toniiiiiight, I’m a pig in a cage on antibiotics.

It almost feels unreal that nine full years have passed since Radiohead’s last album, the rich and sorrowful “A Moon Shaped Pool”, and that they have not toured since 2017. In between, we have seen several side-projects, including Ed O’Brien’s overlooked but inspired solo run as EOB and the way Thom Yorke and Jonny Greenwood nearly recreated Radiohead’s spirit under a different name through the sharp jazz-rock of The Smile, as well as a wave of controversy.

After performing in Tel Aviv in 2017, questions grew louder about the band’s connection to Israel as the horrors of the genocide in Gaza intensified. Attention landed on Greenwood’s collaboration with Dudu Tassa, an Israeli musician who has played for the IDF, and on Yorke’s later comments responding to criticism. The guitarist had joined anti-government protests in Israel, where his wife is from, and the band recently made their views clear again by speaking out against Netanyahu’s regime, insisting that music should be something that unites people from every culture. That idea guides the show tonight, where there is no sign of protest or boycott.

The audience surrounds the stage, which sits in the center to create a more personal and absorbing feeling than most massive arena shows ever manage. A flickering vocoder opens the room and builds tension before the band walk out and jump straight into old-school territory with the raw guitar gloom of “The Bends” opener “Planet Telex”. It is one of many choices designed to thrill the crowd from a group not always associated with this kind of approach, and the packed venue screams back “everything is broken. why can’t you forget?” as a shared release against everything falling apart in the world around us.

With a “busking approach” guiding the tour, the band rehearsed more than 70 songs and have performed around 43 so far, so this is not the predictable hit conveyor belt of Oasis’ shows. It feels refreshing to never know what is coming next. The setlist leans heavily on the treasures from “OK Computer” and “In Rainbows” and gives equal space to the once-dismissed but now appreciated “Hail To The Thief”. It creates a kind of Radiohead-style hit parade, without “Creep” of course, and includes the occasional glammed-up oddity to let the show breathe.

There is the roaring political fear of “2+2=5”, the huge and aching sweep of “Lucky”, the pulsing electronic rush of “15 Step” and the joyful sing-along of “No Surprises” anchoring the early part of the performance. This section also includes “Sit Down. Stand Up.” with a new soft happy hardcore ending, “Bloom” from the fragile “The King Of Limbs” that now carries a brighter neon energy, and “The Gloaming” flowing into “Kid A”, giving the night a moment to sink before everything intensifies again.

There is not a single chance for a toilet break from that moment onward. From the gentle pain of “Videotape”, to the wild three-part surge of “Weird Fishes/Arpeggi” into “Idioteque” and “Everything In Its Right Place”, to the guitar-driven “In Rainbows” songs and the massive first-act finale of “There There”, every moment lands exactly how a Radiohead fan would hope. The visuals also look spectacular.

Then we reach the reward of a seven-song encore that reads like fantasy on paper, complete with the newly viral “Let Down”, a playful return to “a song we wrote on a freezing cold farm in 1994” with the indie powerhouse “Just”, and the huge final blow of “Karma Police”. This show becomes the cinematic and artistic contrast to Oasis’ carefree chaos, capturing that feeling of “standing on the edge” and letting everything wash over you. The entire night carries a fierce energy and a well-judged sense of scale, offered with warmth and intention, and Yorke leans fully into his rockstar presence as the band rotate around the stage to engage each part of the arena. For a group that once cringed at the idea of “arena rock”, no one performs it better. A new album and another night like this would be welcome as soon as possible.

Radiohead played:

‘Planet Telex’
‘2 + 2 = 5’
‘Sit Down. Stand Up.’
‘Lucky’
‘Bloom’
‘15 Step’
‘The Gloaming’
‘Kid A’
‘No Surprises’
‘Videotape’
‘Weird Fishes/Arpeggi’
‘Idioteque’
‘Everything In Its Right Place’
‘The National Anthem’
‘Daydreaming’
‘Jigsaw Falling Into Place’
‘Bodysnatchers’
‘There There’
‘Fake Plastic Trees’
‘Let Down’
‘Paranoid Android’
‘You and Whose Army?’
‘A Wolf at the Door’
‘Just’
‘Karma Police’

 

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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