All Points East 2025: Raye, FKA Twigs, Tyla, JADE & Cat Burns

My day started with Cat Burns on the main stage with her soulful, Ed Sheeran-inspired pop cuts before I wandered over to the intimate Ordinary Stage for 54 Ultra, one of the few male-fronted acts of the day. The American band slid into a smooth, retro groove, winning over their small but eager crowd with a gorgeous Sade cover before closing on ‘Upside Down.’

Back on the main stage JADE, off the back of a huge string of singles this year, showed why she must be taken seriously as a solo pop star. It was great to see the crowd’s admiration and support during the set; tracks like ‘IT Girl’ and the art-pop smash ‘Angel of my Dreams’ showcased her love-hate relationship with stardom and her struggles under the SyCo label (I love those thinly veiled digs at Simon Cowel peppered in the lyrics).

After a quick bite (shoutout to the Indonesian food stall), it was time for Tyla. By now, the festival had properly filled out; it’s rare to feel the squeeze at All Points East, but this was the first sold-out edition I’ve been to. Watching from afar near the less-interested chatters in the crowd, her set felt uneven. Highs like the Wizkid surprise for ‘DYNAMITE’ and the crowd-moving ‘Water’ were let down by overly long dance breaks and the odd decision to devote so much time to t-shirt cannons.

As the sun dipped, FKA Twigs took to the West Stage, filling in for Doechii (who Alameda had awkwardly shouted out earlier in the day). Any sense of “last-minute replacement” vanished instantly. Twigs delivered one of the most hypnotic performances I’ve seen at any festival: operatic-level vocals, razor-sharp choreography and a Berlin club-inspired set that completely absorbed the crowd. The fact that it was pulled together at such short notice only cements her as one of best live acts I’ve ever seen.

Then it was time for the night’s star: RAYE. Taking to the main stage under a dark London sky, she was backed by a full orchestra and choir, giving her headline slot a lounge-club intimacy. Her skills as a jazz vocalist were on full display with a powerful cover of ‘This is a man’s world’ and generous time between songs spent explaining her process and stories added to the aforementioned jazz lounge feel. I felt it occasionally broke the flow of the set, but her awkwardness and charm ended up making her feel even more likeable; these moments only made the set feel more personal.

It doesn’t stay intimate for too long however. A “nightclub section” flipped the energy levels immediately: ‘Black Mascara’ lit the spark, ‘Prada’ turned the dial up, and the show-stopping ‘Escapism’ provided the perfect crescendo to close the evening.

And with the dust finally settling (I couldn’t help myself) on the only sold-out day of All Points East this year, it’s clear that not only is a female-led festival lineup viable, it can be hugely successful and so much fun.