This was a work of avant-garde art moving in time, one we could experience and enjoy that proved, without a shadow of a doubt, that Kanye West is the creative genius he’s always claimed to be. We accepted Kanye as a musician but also as a genius. Kanye mentioned he was proud of his wife for her efforts for prison reform and you could feel the audience scoff but they were wrong to. The elephant in the stadium went unaddressed, there was no crazed political or spiritual rant. The set ended on a still note, we were all satisfied without an encore, as if what we got was so rare it would be wrong to ask for more. Then to close out the show, Kanye closed with what he called his favorite of his own songs, “Ghost Town”. Following this, Kid Cudi launched into his own number, “Pursuit of Happiness (Nightmare)”. Once they finished performing all seven songs on the album, Kanye performed two of his own, “Welcome to Heartbreak” and “Paranoid”. We all bounced, sang, and raised our fists and phones with such fury that I could sense the collective ability to go to war still as strong in humans as ever, weakened by convenience or not.Ĭontinuing with songs off their only album, “Freeee” and “Reborn” unchained everyone form whatever bound them on this earthly plane, whether it be responsibility, pain, or love. They began with the Kanye song “Father, Stretch My Hands” then went into the first song on their album, “Feel The Love”, the rabble rousing machine gun vocal rattatat scatting in the song made for the most intense concert experience of 2018. In one quick fell swoop, with no music to usher them in, the drape fell and behind it was suspended a rectangular glass box which held Kanye West and Kid Cudi. Once Post’s setup was cleared and a black drape was strewn on the stage, we all assumed videos would be projected onto the drape but were pleasantly surprised with what was in store for us. We were tightly packed-in as we waited an hour for the show to begin. The tone on “Candy Paint” or “Psycho” are two examples of such pleasant sounding productions.īy the will of the gods, I was pulled closer to the stage for Kids See Ghosts. It’s scientifically produced to use tones that are pleasant to the ear with this sleepy, dreamy, epic quality, almost like a Disney soundtrack turned rap beat. Musically, tonally though, Post’s music is incredible. It’s music for kids who are getting drunk together for the first time ever. Lyrically, Post Malone’s music is pretty shallow. related content: Rolling Loud SoCal 2017 Doses The Youth With The Latest Opiate Of The Masses One album later, with a new haircut, new tattoos, new clothes, and new songs, an evolved Post had a new stage setup that included a backdrop of white lights and plenty of fog to give the audience the impression of glitz, professionalism, and heightened rawness. The last time I saw Post at Rolling Loud, his stage setup was like the living room of a Stoney themed cabin. I wanted to hear how the new songs played live and they went over incredibly well. The other that I’m not supposed to get along with but do because I admire them for everything they’ve done and are. Seeing the race that inspired this entire movement catered to in that video is exactly what wanted to see. It’s strange, going to a hip hop festival and realizing that only 1/10th of the attendants are black. Hill gave a soul-stirring vocal performance with a video montage behind her that captured black celebration and contribution. Her band had incredible synergy and dipped and peaked to bring moments to agonizingly beautiful climaxes. This was one of the most profoundly beautiful and inspiring sets I had seen all year. She has such a powerful voice, body of work, and image and for whatever reason, in 2018 she gets flack for various claims made against her that are then perpetuated by the kinds of people that feed off venom. Lauryn Hill is an iconoclast, celebrating 20 years of her best album The Miseducation of Lauryn Hill.
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