SAULT @ All Points East 2025

SAULT @ All Points East 2025 (Abigail Shii)

All Points East kicked off beautifully on 15th August with Gotts Street Park on the West Stage for the best of summer. The Leeds trio have 4.1M followers on Spotify with tunes from their 3 albums appearing on my playlists for years, and as the longest member of my personal lineup list for the day it seemed fitting to start there. Joined by a 4th, the humble lads stepped on stage and addressed the tiny but growing crowd before starting their first sets of instrumentals. I hate the term “vibing” considering it a lazy descriptor but it works for what Gotts Street Park were doing.

There’s nothing like neo-soul, jazz and RnB on a sunny day. After 3 tracks we were treated to their vocalist guests for 2 tracks each. The hip-hop collective are fantastic jazz musicians as noted by reviews and the amount of jazz stank face given as they play, but they really soar for their female vocal guests. Olive Smith came on for Tell Me Why, the top song on the group’s Spotify, before Pip Millet sang crowd pleaser Got To Be Good and then after another instrumental, Celeste ended the set. These singers are excellent, and after Celeste’s belters closed the set I jokingly told our photographer “this is it, no matter what happens I’m happy now”. If they had vinyl, clinching a Gotts Street Park vinyl at the merch stand would have been perfect.

Celeste with Gotts Street Park @ All Points East 2025

Celeste with Gotts Street Park @ All Points East 2025 (Abigail Shii)

Our next stop was Mariah The Scientist. It was a much younger and energetic crowd here and if not for the iPhones in everyone’s hand you could have mistaken the year for 2000 with the fantastic crowd outfits. Although I hadn’t heard of Mariah the arena had, it was loud – she boasted the highest Spotify listeners of today’s lineup at 7.1M and 3M followers on Instagram alone. She brought excellent music and fashion and I particularly appreciated the pink sparkly microphone the Atlanta-born singer used. The link between acts on the opening day appeared to be strong female singers. The lineup was rooted in soul, RnB and some strong female vocals. Here I faced the first clash from the festival gods – to enjoy Mariah, I had to sacrifice a live performance of Dy-Na-Mi-Tee over at the X Stage. Long live Ms Dynamite. Acts I also missed were CARI, Jordss, 00ab and Nia Wyn.

2nd stage acts included Yves Jarvis, Safii Koii and Sasha Keable. Not able to make Yves Jarvis from my lineup list, I did make it to Sasha Keable. The London singer is recognisable for her collaboration with Disclosure on track Voices and is pure fire and bravery on the stage, with waist long red hair and the best jacket I’ve ever seen. She sounded beyond London when addressing the crowd – even making Adele sound somewhat well spoken. She and Adele would possibly make an excellent duet actually. Her top track NIGHT OFF has 18 million listens on Spotify and gets music fans doing that pigeon head bob when they listen.

With notable mentions to our remaining acts for the day: Demae, Fliss, Nao, Kirk Franklin, Joe Kay and Sabyna, I HAVE to talk about the main act situation today. Notably different from other festivals, headliners Cleo Sol, SAULT and Chronixx (all frequent collaborators/contributors) were all set to play “from 5pm” on their own stage in a 5 hour long conjoined performance. Following SAULT’s Drumsheds performance two years ago, nobody knew quite what to expect. That show was extravagant and included an immersive experience as well as music, and whilst I couldn’t go I remember extensively reading reviews on Instagram and being hit with two major takeaways. First, fans were upset by the price point that would’ve covered such production (in this economy, tickets in the £100 region plus transport in for non-Londoners on a week notice had many upset) and the second was that the show was unbelievable and the “best thing” people had “ever seen”. I have been a long time fan of SAULT. The UK Collective is thought to be helmed by Adele and Lil Simz producer Inflo and draws 3.6M monthly Spotify listeners, with Simz a former SAULT collaborator. Artists working in and with the group are kept hidden. Prior to their live shows, their secrecy was part of the magic in the same way the shroud around Banksy makes him talked about. From stunts such as releasing 5 of their 12 albums without notice and as zip files (suggesting a statement that music is for the people and not the profit more than because people download things these days) to having very little presence on social media, you never really know what SAULT is going to do next. The festival was abuzz with gossip. “I’ve heard Cleo is bringing someone out!” “Is it Lil Simz?” “NO, didn’t you hear? They’ve had a falling out”. The gossip creates this creative tension that means SAULT’s live performances are set up with extra anticipation. It’s genius.

Production and creative direction for the East Stage was like nothing seen before. Before reaching the main stage, there was a 30ft pyramid with steps and lights, suggesting performers would be there. The pyramid connected to the stage via a 6ft high runway and the stage itself looked like Tatooine, if Tatooine had pyramids (visible here in the background amongst sand dunes on the 50ft wide display wrapping the wings and behind the stage (bigger than what you’ve seen before, if you frequent All Points East). Guitars and drums, orchestral instruments and a full size harp sat atop the various rock formations positioned around the stage, and the only movement between 5pm (the time they’d be supposedly starting) and 5:50pm was the clouds in the digital display, a rotating sign that read “EXILE” and “LOYALTY” and constant members of crew coming out to test things. Crowds were restless given the 28 degree pure sun and I rarely say anything negative about these things given the amount of work that goes into shows like this as late starts are nobody’s choice, but fans noted that it was poor form to have the start time of the set brought back an hour only to be delayed an hour and have missed other acts in that time to be stood for an hour doing nothing. It is not anyone’s fault however that it was hot and dirty, aptly described “the dust bowl” by an X user.

SAULT @ All Points East 2025

SAULT @ All Points East 2025 (Abigail Shii)

Smoke emerged from the Tatooine house tunnel at 6pm, and the orchestra and live choir began just after 6 clad in sand coloured cloaks and futuristic headwear. Robed figures emerged in succession to cross the runway to the pyramid – theatrical and musical as expected. Air, SAULT’s orchestral album, ranks lowest amongst fans, but the genre fitted perfectly here. Emerging from the pyramid, ragged characters appeared and began fighting the beautifully dressed acolyte characters in choreography to the orchestral soundtrack. It was like a choreographed runway show, akin to the creativity behind Kanye’s Beautiful Faded Fantasy film, or Kid Cudi’s Entergalactic movie. Perhaps self-indulgent but unmistakably artistic. Characters emerged in what’s becoming SAULT’s character trademark look, a motorbike overall and helmet. Think The Stig meets Daft Punk in a Mad Max setting. Theatrics continued with an acted dialogue from the top of the pyramid, to mixed reactions from the crowd. Festival goers didn’t all appreciate the creative visions however – most were restless for music. SAULT song titles and lyrics featured in the 15 minutes of scripted dialogue, but anticipation was running thin – if you come to SAULT shows in future, be prepared for an all around creative experience, not just live music.

SAULT @ All Points East 2025

SAULT @ All Points East 2025 (Abigail Shii)

Music was delivered first by nine acapella singers in yellow robes and red trousers singing a cover of Ladysmith Black Mambazo’s The Moon is Walking. The first SAULT song featured a bassist and singer appearing at the top of the pyramid in large sunglasses as the bassline for Glory started. Big screens did an excellent job of projecting the dancing and musicians despite a split stage. Cleo Sol was the one addressing the crowd, apologising for being late. “Stay hydrated, have a good time.” SAULT hits followed in quick succession for the next hour; Free, Let Me Go, I Just Wanna Dance all accompanied with backup dancers clad in burned linen outfits. The show hit hard in its first hour having covered all the very best and biggest, well known SAULT hits. This was an interesting move for a band – if you open with all your hits, how will you keep a crowd’s attention and what will you do for an encore?

Talking about all the songs and all the costumes would take up most of this website – it was a 5 hour set. During Pray For Me, seven female dancers came out in a continuous dress (“they’re all wearing one outfit” exclaimed our photographer.) The aesthetic is Wasteland meets Ritual, Dune meets London, Sci Fi meets Ancient Religion. The sunglasses game is strong, partly for concealment costume purposes but also because the sun setting directly opposite the stage made it hard to look back at the pyramid. The bassist atop the pyramid for the duration of the set wore his SAULT overall. Backup dancers in distressed three-piece black suits featured for a few songs and strutted up and down the runway like fashion models. Cleo Sol, who is mostly SAULT’s singer, wore a gold jacket ensemble, then a hooded mesh dress in what I would describe as gold griege, like a desert queen. Her mic is gold, and only AFTER the show did I learn Cleo is short for Cleopatra – how fitting that our female vocal shows today would end with a queen.

Between sets, actors returned with some hard hitting truths about black history, fitting given SAULTs discography heavily features racial issues. We could not hear the play entirely given the crowd using this time to discuss the performance and visit the bar and the food trucks, but the crowd ignoring the serious messages in favour of entertainment only is not a bad metaphor for society as a whole. I felt the actors portrayed the feeling of frustration and exhaustion well and I could see engagement from others around me, but other fans were disappointed. “There’s not even any other music on right now we can go and see. I know they’re trying to be like, niche and that, but everyone was on a vibe when they was playing” a fan behind me said. Later, costumed activists took to the stage from Hackney charities for young people, elder support, theatre programmes, and community space. It was divisive again. Nobody disputes those things are important, but I don’t feel like the crowd received it – this show was supposed to bridge the gap between sets to create something fluid, but the crowd was too rigid to accept fluidity.

SAULT’s set ended as a female singer at the top of the pyramid delivering what sounds like northern African/Middle-Eastern song, beautiful with the sun setting behind her, which was then mirrored in the pyramid structure’s lighting. Chronixx’s set was beautiful and the red/orange tones of lighting could not have been more perfect, contrasting with the musicians clad in Canadian Tuxedos. It can be difficult to name a reggae artist that isn’t Bob or his descendants, but Chronixx (real name Jamar McNaughton) is credited with returning the genre to modern music. Regularly addressing the crowd via the females, he called them Lionesses. “Lioness celebration. All the lionesses make some noise please”. He also stated All Points East being a celebration of family, of unity, and resilience. His guest, fellow Jamaican Kelissa came out for a duet on her song Way You Make Me Feel. Energy was high for Skankin Sweet and a mini crowd surge for Eternal Light. He sang Love On The Mountain aptly from atop the pyramid. After addressing the crowd and asking us to make noise for SAULT, Cleo, reggae music and love, the last thing Chronixx did before his stage exit is thank his backing singers/band.

The most unexpected moment of the event goes to the addition of Yasiin Bey (Mos Def) for six songs just before Cleo Sol. Opening with a Madlib cover, the songs were unpredictable and his patchwork plaid robe not completely fitting with the aesthetic of the other performances. Although I liked his performance, I laughed at a tweet on the way home saying “I love Mos Def but he is doing nonsense at All Points East”. With a blue stage sky and purple lights, the final set began with bongo drums, a shaker and a drum kit.

Cleo Sol @ All Points East 2025

Cleo Sol @ All Points East 2025 (Abigail Shii)

Energy was brought back into the crowd and the orchestra returned. When Cleo Sol returned to the stage she was in a beautiful floor length gold gown and her hair curly and flowing to her waist, completely different to her braided hair earlier in the show. Her music is mellower than SAULT, more chill, slower songs and more about love than social issues, but she performed as more reggae duet with Chronixx.

As I left the pyramid, I leave you this advice: for All Points East, do not wear your white trainers and bring hand wipes. For a SAULT performance, bring your apprehension and expect a theatrical experience.

Live review of All Points East 2025 featuring SAULT, Cleo Sol & Chronixx @ Victoria Park London on 15th August 2025 by Jemma Sharpe. Photos by Abigail Shii.

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Lake Street Dive @ The Roundhouse

Lake Street Dive @ The Roundhouse (Abigail Shii)

Opening the night at London’s Roundhouse venue was fellow Bostonian Alisa Amador, whose honeyed vocals and intimate storytelling immediately drew the audience in. Her stripped-back set, complete with a brief guided meditation, set the perfect tone for what was to come.

From the moment Lake Street Dive took to the stage of the former Victorian train engine shed, the energy in the room was electric. Seamlessly weaving through fan favourites and deep cuts, they showcased their impeccable musicianship, with Bridget Kearney’s grooving basslines and Mike Calabrese’s dynamic drumming providing a solid backbone for Rachael Price’s powerhouse vocals. Standouts like encore tune Good Kisser, from 2018’s Free Up Yourself LP, and Hypotheticals from 7th record Obviously had the crowd dancing, while their signature harmonies shone on slower moments like their acoustic cover of The Jacksons’ seminal hit I Want You Back.

Leaning heavily on eighth studio record Good Together, Lake Street Drive played:

Good Together
Far Gone
Better Not Tell You
Hypotheticals
Seats at the Bar
Get Around
Better Than
Baby, Don’t Leave Me Alone With My Thoughts
Making Do
Party on the Roof

I Want You Back (The Jacksons cover)
Side Pony
Help Is On the Way
Rabid Animal
You’re Still the One (Shania Twain cover)
Twenty-Five
Walking Uphill
Seventeen
Dance With a Stranger
You Go Down Smooth

Good Kisser

The five-piece continue touring through Europe this month before taking Good Together to Australia in March, before returning to the US for a string of dates throughout the summer.

Live review of Lake Street Drive at The Roundhouse, London by Abigail Shii on 31st January 2025.

“Weekend Energy On A Tuesday Night”: Vampire Weekend’s Return To The O2 Academy Brixton

Vampire Weekend @ Brixton Academy

Vampire Weekend @ Brixton Academy (Abigail Shii)

Liverpool legends China Crisis opened the night, with a captivating set; their polished synthpop sound and melodic hooks transported the audience back to the heyday of 80s new wave, providing a graceful contrast to the set ahead.

As the lights dimmed and the crowd roared, Vampire Weekend kicked things off with the instantly recognisable Oxford Comma and proceeded to breeze through fan favourites such as Campus, Diane Young, and Cape Cod Kwassa Kwassa. Frontman Ezra Koenig stood confidently against the deceptively simple backdrop featuring the band’s logo, flanked by bassist Chris Baio and drummer Chris Tomson.

The opening track from their fifth studio album Only God Was Above Us, Ice Cream Piano, began with the Chrises disappearing to leave Koenig playing solo until a dramatic curtain drop promptly cleared by workers in high-vis jackets and hard hats revealed an elaborate stage setup with more instruments and more musicians (and the Chrises).

The setlist itself was a journey through Vampire Weekend’s evolution, from the likes of the anthemic A-Punk and sparkling White Sky to 2019’s Harmony Hall and This Life, with a healthy dose of newer tracks such as Classical, Connect, and Gen-X Cops. The set closed with Hope, as one by one, each band member put down their instruments and left the stage.

But it was the encore that truly pushed the night into unforgettable territory. “We used to take Vampire Weekend requests, but that got too easy,” Koenig quipped, inviting the audience to suggest anything but their own tracks. True to his word, a delightful string of attempted covers followed, including Dire Straits’ Sultans Of Swing, Bonnie Tyler classic “powder keg” Total Eclipse Of The Heart, and Rod Stewart’s Da Ya Think I’m Sexy?, as well as Ritchie Valens’ La Bamba.

Fourteen years and a staggering fourteen covers later, Vampire Weekend’s spectacular return to the Brixton Academy ended with Worship You and the poignant Ya Hey. Winter’s cold may be too much to handle, but with their seamless blend of intellectual lyricism and infectious melodies, the band proved they could weather any musical storm.

Live review of Vampire Weekend at the O2 Academy Brixton, London by Abigail Shii on 10th December 2024.

Maestro Moby Returns To Lift Me Up At The O2

Keane @ The O2

Keane @ The O2 (Abigail Shii)

Opening duties fell to Wigan indie rock outfit The Lathums, who set the stage ablaze with their distinctive blend of jangly guitars, infectious melodies, and heartfelt lyricism. Showcasing a versatility and maturity far beyond their age, they firmly established themselves as a band to watch, leaving the audience eager for more and setting the perfect tone for the unforgettable night that lay ahead.

As the lights dimmed and the opening chords of Can’t Stop Now filled the arena, the excitement reached a fever pitch. Keane, led by charismatic frontman Tom Chaplin, wasted no time in whisking the audience away on a journey through their illustrious career with a clever blend of crowd-pleasing anthems and deeper cuts. Fan favourites like Bend & Break, Everybody’s Changing, and This Is The Last Time were expertly punctuated with newer tracks Perfect Symmetry and Nothing In My Way, showcasing their artistic evolution while still retaining their signature sound.

“Channel your inner Freddie”, invited Chaplin, who effortlessly commanded the thousands-strong crowd to sing along to You Are Young, having evoked a competitive spirit after hailing the Cardiff fans as the best singers on their tour so far. His flawless vocal performance sat beautifully atop the sweeping arrangement of Tim Rice-Oxley’s evocative piano melodies, the driving basslines of Jesse Quin, and Richard Hughes’ rock-solid drumming.

Here was a band that had reflected on the past two decades of their lives and realised how far they had come. It was as though they couldn’t believe it themselves. “On that day, our lives changed very dramatically”, Tom mused, acknowledging the transformative impact of their music. “And amazingly enough, 20 years later, here we are and it still seems to mean as much now as it did back then, maybe more!” Amidst playful banter, he gently urged the crowd to embrace the nostalgia, evoking memories of lighter-lit venues and contrasting them with the sea of smartphones that now illuminated the arena for She Has No Time.

Of course, no Keane concert would be complete without a rendition of their timelessly iconic breakout hit, Somewhere Only We Know. “This is our last song”, he teased of the upcoming encore with air quotes. Reminiscing of the whirlwind that was the last 20 years, his voice tinged with emotion, he extended his appreciation to the loyal fans who had journeyed alongside the band from the beginning, as well as those who had joined along the way.

The night drew to a close with the hometown-inspired Sovereign Light Café, which elicited thunderous cheers with the explosion of confetti, and finally, Bedshaped. This 20th-anniversary celebration wasn’t merely a trip down memory lane; it was a powerful reaffirmation of Keane’s enduring legacy, their music forever etched as the soundtrack to a generation’s hopes and fears. On a day like today, it’s no wonder that they remain one of Britain’s most cherished bands.

Live review of Keane at The O2 Arena, London by Abigail Shii on 10th May 2024.

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