Sault’s much-anticipated All Points East performance marked their first-ever UK festival appearance, and it was nothing short of an elaborate production. However, the event’s grand theatrics polarized the audience, leaving some in awe and others restless due to its complexity.
Sault’s Entrance: A Rocky Start
The collective’s set was initially marred by external challenges. A last-minute schedule change moved their performance to 5 PM, clashing with other stages and creating a logistical nightmare for fans. Attendees patiently waited for an entire hour, as the show didn’t commence until 6 PM. This delay seemed to test the patience of an already hesitant crowd.
Sault, billed as ‘Providence’ alongside collaborators Cleo Sol and Chronixx, kept the audience guessing, as lack of clarity around set times and stage options created frustration. To add to the confusion, a towering pyramid dominated the performance area. While visually stunning, it obstructed views for many attendees, underlining the challenges of balancing spectacle and accessibility in a festival setting.
A Visual and Musical Blend
Once the performance began, it was clear that Sault aimed to create a multidimensional experience. Featuring a blend of biblical and futuristic aesthetics, the show paired classical and contemporary musical elements in a way that only Sault can deliver. The African choir’s powerful opening set the tone, leading into signature tracks like Glory and Free. These moments showcased the collective’s ability to merge storytelling with their genre-defying sound.
Highlights included live collaborations, such as Chronixx’s dynamic performance on Warrior and Yasiin Bey’s seamless guest verse on Stop Dem. In particular, tracks like Son Shine and Wildfires perfectly captured London’s summer vibe, resonating deeply with the audience. Yet, the visuals often outshone the music, with dancers taking center stage and the colossal pyramid sometimes overshadowing the performers themselves.
When Art Meets Alienation
The performance was interspersed with theatrical skits that felt overly abstract for a festival setting. While these interludes aimed to convey deeper narratives, the general consensus among attendees was confusion. Songs like Pray for Me and SOTH bordered on pretentiousness, and the themes proved too inaccessible for many in the crowd.
Even standout moments couldn’t entirely overcome the alienation felt during some parts of the show. Chronixx’s captivating reggae set and Yasiin Bey’s impromptu 30-minute freestyle added bursts of excitement but couldn’t fully shake off the sense of awkwardness introduced by the drama pieces.
Cleo Sol’s Spellbinding Finale
By the time Cleo Sol, known offstage as Cleopatra Nikolic, ascended the pyramid at 10 PM, much of the crowd had already dissipated. Draped in an ethereal aura, her pristine vocals provided a short-lived reprieve from the night’s polarizing theatrics. She graciously thanked the remaining audience members for their patience, delivering a pharaonic, transcendent final act that reminded everyone of the immense talent at the heart of Sault.
Ultimately, the performance was as divisive as it was ambitious. While some appreciated the boundary-pushing artistry, others found the theatrics distracting and the themes too opaque for a festival atmosphere. Sault’s All Points East debut will undoubtedly be remembered—but opinions on it will continue to diverge.
