Cleo Sol performing at All Points East on Friday, August 15. Photo credit: ISHA SHAH
I pulled up to Victoria Park on a warm and sunny Friday afternoon, armed with a refillable water bottle to keep me hydrated in the summer heat. All Points East isn’t just another festival; since launching in 2018, it’s become an East London institution, where hip-hop, soul, jazz, and experimental music meet community vibes. The festival spans ten days of music and art, with a free mid-week programme and heavyweight musical line-ups from the UK and overseas on the weekends.
Today’s performers were top notch, amongst them Kirk Franklin, who performed a high-energy set fusing gospel and hip-hop sounds; and Sasha Keable, dubbed ‘Trap Adele’ by some of her fans, who graced the stage with her husky vocals over modern soul and (Latin) jazz rhythms. They were joined by the likes of NAO, Ms. Dynamite, Gotts Street Park, Joe Kay, Jordss and others, each adding their own distinctive flavour.
However, this year, the buzz was all about SAULT, the elusive UK collective led by visionary producer Inflo, featuring Cleo Sol, Chronixx, and ‘surprise guests’. Their set, titled Provenance, promised festival goers more than just music – it was presented as a five-hour immersive and “fluid” experience, rarely seen at a festival of this kind.
Who is SAULT? If you know, you know. If you don’t – get to know. SAULT is a genre-defying collective that has released twelve critically acclaimed albums since 2019. Their sound blends neo-soul, gospel, funk, reggae, classical, and experimental beats. Silence is part of their identity: no interviews, no music videos, little promo – and just one previous live show in 2023. Inflo, who has worked with Adele and Little Simz, is the architect of the collective, and Cleo Sol, his wife, is the voice that carries their spiritual message. A few years ago, they dropped five albums in one day, for free on WeTransfer. The energy they bring is unpredictable and always rooted in love and healing. It’s no surprise therefore that my expectations for their performance on the East Stage were high.
The stage set-up was wild. It looked like a cinematographic mash-up of Dune and Black Is King, blending ancient and afro-futuristic elements. A massive pyramid stood in the middle of the crowd, connected to the main stage by a raised runway. The stage backdrop looked like an Egyptian desert scene, with massive digital screens showing sunlit skies and sand dunes, and temple-like structures at the front.
The show opened with actors and dancers in white and earth-toned robes and motorbike helmets performing choreographed scenes and dialogues for about half an hour. This was followed by a South African choir singing clean and beautiful harmonies, and an orchestra playing melodies from one of SAULT’s albums.
The musical performances themselves were mesmerising. When Cleo finally stepped out, she made us vibe with her voice and charisma. She performed several SAULT hits, including “Free”, “I Just Wanna Dance”, “Pray For Me”, “Glory”, and my favourite summer tune, “Wildfires”. She came back at 10pm for her final set – performing her own songs including “Know That You Are Loved” as well as a beautiful duet with Chronixx. She looked absolutely stunning in her different stage outfits, each of them matching the sound of the moment.
After Cleo’s first set and another (heavy) theatrical interlude, Chronixx came onto the stage. He delivered a positive and joyful performance, with songs like “Smile Jamaica”, “Survivor” and “Love On The Mountain” that had the crowd grooving to reggae and dub beats.
One of the most unexpected and beautiful moments I witnessed was a classical vocalist, likely from India, performing a beautiful traditional chant atop the pyramid. Her voice was calming and mystical. I could see the impact on the crowd around me – people were visibly moved.
SAULT’s surprise guest was Yasiin Bey (formerly Mos Def), dressed like a hip-hop prophet in a robe. His short performance blended freestyle poetry and rap, and his lyrics invoked many of the themes of Provenance, with nods to resistance, love and black power. It gave me feelings of nostalgia but also felt a bit haphazard. Some people around me left to get food and drinks – they probably expected more of a classic Mos Def set.
Love and liberation were central themes throughout the performance, and you could see just how much effort went into the production. That said, at times, the show felt more like a theatre play or musical than a festival concert. The format would have worked beautifully in a venue like Drumsheds or even the Royal Festival Hall, but was less appropriate for a festival setting, where people just wanted to hear and dance to tunes. The storyline was also a bit difficult to follow as the dialogue was often drowned out by crowd chatter, especially towards the back, where I stood.
The delays and overall duration of the performance also didn’t help. The set was supposed to start at 5pm but didn’t kick off until an hour later. With no shade, no music and no other stages to go to, some folks were getting a bit restless. The five-hour marathon was also not for the faint-hearted – or those with lower back problems.
That said, for SAULT’s core fan group, this was an absolute treat. SAULT’s commitment to profiling local drama and dance groups also deserves props. They apparently even provided space at the end for the groups to talk about their work. I say ‘apparently’ as I had left by that time, trying to beat the post-show rush.
Was it worth it? To me, absolutely, but only if you came with an open mind, ready to experience something different – and with comfortable footwear. Provenance wasn’t just a gig, but a 360-degree creative immersive experience and a celebration of Black Excellence.
And what I love about Cleo Sol and SAULT is that they always remind us that music is not just about entertainment, but about artivism, honouring our ancestry and celebrating our spirituality.
Lily