A woman looks at flowers in Albert Square in Manchester, northwest England on May 24, 2017, placed in tribute to the victims of the May 22 terror attack at the Manchester Arena.

BEN STANSALL/AFP via Getty Images
A public probe into the terror attack at a 2017 Ariana Grande concert says security failures contributed to the deaths of 22 people.

LONDON — Security teams missed multiple chances to prevent a suicide bomb attack outside an Ariana Grande concert at Manchester Arena in 2017, a public inquiry has found.

The terror attack on May 22, 2017, caused 22 people to die and more than 800 to be injured, many of them children. It happened at the end of a sold-out Ariana Grande show at Manchester Arena (also now known as AO Arena) when bomber Salman Abedi detonated a home-made explosive device in the venue foyer as fans were exiting the building.

A 200-page report into the attack, published on Thursday (June 17), found that “there were a number of missed opportunities to alter the course of what happened that night” and "more should have been done" by police and security to prevent the bombing.

In particular, the report notes that police should have identified Manchester-born Abedi, who was of Libyan descent, as a potential threat on the night of the attack. Had that occurred, it is likely that Abdedi would still have detonated his device, “but the loss of life and injury is highly likely to have been less,” says John Saunders, who chaired the inquiry.

The report is the first of three that will be produced by the public inquiry, which began last September. It found that arena operators SMG, security company Showsec and the British Transport Police, who were responsible for policing the area where the bomb went off, were "principally responsible” for missed opportunities to prevent or minimize the “devastating impact of the attack.”

They included failing to detect “hostile reconnaissance” carried out by Abdedi on at least three separate occasions prior to May 22, as well as being more alert to the risk of a terrorist attack on the night of the concert.

Saunders says the most striking missed opportunity was the failure of a teenage security guard to take effective steps after a member of the public raised concerns to him about Abedi.

The inquiry found that another security guard, also a teenager, tried to use his radio to alert the security control room after concerns were raised about Abedi, but could not get through.

The report criticizes SMG’s “inadequate” CCTV system, which enabled to Abedi to hide for an hour in a blind spot, and the failure of Showsec staff to conduct an “adequate security patrol” in the 30 minutes leading to the attack.

“It is implicit in the findings that I have made that both SMG and Showsec failed to take steps to improve security at the Arena that they should have taken,” says Saunders.

Of the four British Transport Police officers on duty at the arena on May 22, none were in the foyer at the time of the attack. Two took a two-hour meal break, driving five miles away from the arena to pick up a kebab.

On the night of the bombing, the national terror threat level in the U.K. was severe, meaning an attack was highly likely.

The report makes a number of recommendations to improve security at concert venues, including the introduction of new "protect duty" law, which would place a legal obligation on venue operators to make sure they are prepared for the risk of terror attacks. The British government has initiated a consultation on the proposals.

SMG says since the attack it has improved security procedures at the Manchester Arena by extending the security perimeter around the venue and installing walk-through metal detectors and a new CCTV and access control system.

“However, out of respect for those who tragically lost their lives on the 22nd May 2017, and those whose lives changed forever," SMG says in a statement, "we can never be satisfied that we have done enough.”

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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