Every year, some of the biggest stars in rap and R&B gather in one place. Over the weekend that place was Los Angeles for the 2024 Rolling Loud LA Festival. With four big-name headliners and dozens of beloved supporting acts, everybody got a taste of something they love during the festival. While everyone goes to music festivals for different artists and different reasons, these were some of the best sets of the weekend that brought both energy and theatricality to the festival stage.
For a lot of artists, the spectacle is as much a part of the show as anything else. That was definitely the case right out of the gate for Summer’s Saturday Night performance at the GoPuff stage. With an impressive live band and array of backup dancers she made her presence known instantly upon arrival. But unlike some of the weekend’s other most theatrical performances, there was actually substance underneath the flash.
Throughout her set, Walker brushed through numerous fan favorites as well as some of her newest material. Throughout, Walker’s vocals were stunning, consistently soaring above the live instrumentation. Her performance was strong enough to reach the dramatic peaks of some of her most dramatic sonic moments and it made the set an absolute delight.
Rolling Loud has a reputation for virality. That often comes from huge moments where the biggest names in hip-hop take an absolutely massive stage to show off their sheer force of star power. The only set of the entire weekend that lived up to that level of grandiosity was the Sunday night headlining slot of Future and Metro Boomin. The two superstars closed out the entire festival with a career-spanning performance that lived up to the promise of Rolling Loud.
Just a few weeks ago the pair confirmed that they have two new albums on the way very soon. Throughout the set, they continually promised that it was going to be some of the best music of the year. From what they performed live, many fans agreed, In particular, when the duo had fellow stars Travis Scott and Playboi Carti join them on stage it made for one of the best and most talked about moments of the entire weekend.
Saturday night, Flo Milli hit the GoPuff stage in the wake of a major couple of weeks for her. She’s scored one of her biggest hits to date with the single “Never Lose Me,” which just got a new remix featuring SZA and Cardi B. She also just released her new album Fine Ho, Stay her first new project since 2022. All of that gave her plenty of reason to celebrate and flex, which is exactly what she did throughout her set.
She delivered one fan-favorite cut after another spanning her entire career during the 30-minute set. Much like her albums, it was an absolute banger fest. For one song after another Flo Milli routinely got the chance to spit confident bars and hard-hitting catchy refrains. With an audience clearly packed full of die-hard fans the intensity and attitude of the performance was unrivaled for the entire weekend.
It’s only fitting that two of California’s finest would deliver one of the best performances of Rolling Loud Los Angeles. YG first appeared on Thursday night alongside Kanye West, Ty Dolla $ign, and a myriad of other guests for the VULTURES listening party. But that was nothing compared to the energy he would bring to his own set on Friday. He’s celebrating the 10th anniversary of his debut album My Krazy Life and kicked off the set with fiery performances of some of the album’s classics.
But the highlight of the show came once the pair went back to back in the second half. They did an impromptu live Verzuz on stage that reminded fans they both have hit after hit. That even included a surprise appearance from Saweetie alongside YG where they tantalized the crowd by flirting on stage. The celebration of two of the West Coast’s finest felt like one of those Rolling Loud moments that fans will talk about for years to come.
One of the most signature elements of Rolling Loud is the raucous crowds. Nearly every year videos of massive mosh pits breaking out with fans going absolutely wild hit the internet and go viral. It’s arguably the hallmark of the entire festival. Yet the only crowd of the weekend that really felt like it lived up to that high bar of intensity was Ski Mask The Slump God. He’s no Rolling Loud novice and you could tell as he seemingly knew exactly what songs to deliver to get the crowd hype.
During the second half of the set, he paid tribute to both XXXTENTACION and Juice Wrld and the crowd chanted along with nearly every word of every song. From the more intimate moments where cell phone lights swayed back and forth to the throttling intensity of songs like “Rip Roach,” Ski Mask’s set was the weekend’s lone moment that felt like it was destined to be the next viral Rolling Loud crowd hype video. Nobody all weekend was in command of the stage and the crowd more than Ski Mask The Slump God.
Last year, Nicki Minaj made a pretty triumphant return with Pink Friday 2, her first new album in 5 years. The record came on the back of numerous hit singles, most notably the smash hit “Super Freaky Girl.” It also spawned some new beloved hits of its own like “FTCU” and “Everybody.” Unsurprisingly, she followed it up with a tour announcement on the back of the record. But far from just a celebration of Pink Friday 2, the resulting tour has turned out to be a career-long victory lap for one of rap’s premiere hitmakers.
In a similar fashion to mega-tours in 2023 like the Eras and Renaissance tours, Nicki delivered visuals, set pieces, outfits, and set lists that span her entire 15 years of hitmaking. The potential for her to unpack nearly any song she’s ever recorded clicks perfectly with her rabidly devoted fanbase of Barbz. The pink-clad stan army fundamentally change anywhere they arrive in bulk and Rolling Loud was no different. One main stage act after another during the festival’s Friday schedule couldn’t help but notice the seas of pink overtaking the grounds. All of the built and built into a fevered anticipation for Nicki herself to take the stage. While she delivered all of the bells and whistles fans could hope for, it was delivered in an impersonal and over-rehearsed package that felt far more concerned with seeming grand and elaborate than actually putting on a dynamic performance.
Nicki Minaj Takes The Rolling Loud Stage
Credit: Frankie Perez @sketchyfrankie
Rolling Loud Los Angeles was officially the 6th stop on the Pink Friday 2 tour. The set got underway 40 minutes late, though that was the case throughout the weekend-long festival and didn’t necessarily have much to do with Nicki. But she did give fans lucky enough to have cellphone service a QR code to explore her Gag City website while they waited. When it was finally time for her to take the stage, she was preceded by a flashy introduction video. The clip features an animated Nicki in the image of her Chun-Li character gearing up to take the stage.
Videos like that one were played repeatedly throughout the performance. Alongside the numerous shifting stage elements, that meant there was quite a substantial portion of the show where Nicki was entirely absent. In fact, multiple entire songs from the set were played while she was nowhere to be found on stage. The combination of constantly shifting set design and repeated outfit changes gave the impression that they were condensing an entire concert into the compacted festival timeline. While the elaborate presentation was larger than life, it came at the expense of some of the intimacy that makes live music so great in the first place.
Nicki Bounces Between Eras
Credit: Frankie Perez @sketchyfrankie
The jittery pace of the show had a lot to do with the ever-changing design of the set. Nicki brought with her numerous props that helped accentuate her various characters. As she jumped between different eras backup dancers wheeled her on stage in boxes labeled “Chun-Li,” “Barbie,” and “Roman.” Those almost always came with outfit changes. While the looks are often the biggest part of a tour of this caliber, the shortened time span meant that a substantial chunk of her time was spent off-stage changing clothes.
If the recapping sounds repetitive, that’s how it felt. Watching Nicki elaborately redesign the entire stage amid a lengthy outfit change was exciting at first. But as she continued to only unpack shortened versions of one or two songs before redesigning everything again, it lost its shine. It was only after she blew through one era after another that the show finally shed its theatrics and opened up the opportunity for Nicki to be the forceful entertainer she’s always been capable of.
Nicki Minaj Finally Hits Her Stride
Credit: Frankie Perez @sketchyfrankie
Across the final run of songs the show finally slowed down, took a breath, and lived up to everything it was capable of. Shockingly, it took this long into the show for Nicki to address the crowd at all. In fact, it was the first time she actually said anything between songs when she asked the crowd to applaud for themselves. In the lead-up to her sentimental classic “Moment 4 Life,” she gave a speech to the audience about living in the moment and seeking out happiness every day.
For her second to last song, she gave the Barbz in attendance an incredible treat. During a New Year’s performance a few months ago Nicki passed on performing her smash hit “Starships.” She later claimed that she doesn’t perform the song anymore, something that disappointed fans craving to hear it live. That made her surprise performance of the song one of the most special moments of the entire Rolling Loud weekend. Punctuating it by crushing her go-to closer for every tour stop so far “Everybody” ended the set on a massive bright spot despite its frantic start.
Nicki Minaj is a once-in-a-generation performer who has withstood one controversy after another for decades. In moments during her Rolling Loud Headlining Set, she showed exactly why. With bright, fiery, intense performances and a back catalog that can go toe to toe with anybody, Nicki is still an iconoclast. But under the pressure to deliver the grandest moment possible, she turned in a performance that paid more attention to elaborate theatrics than the powerful voice at the center of it all.
Kanye West is an artist who’s always been able to see the value of a great performance. His career is full of legendary on-stage moments from his rendition of “Hey Mama” honoring his late mother at the 50th Grammys, to him and Jay-Z unpacking a Watch The Throne classic 12 times in a row in Paris, to his brief rekindling with Drake for a special Larry Hoover Benefit show. In the past 10 years of his career, however, he’s become a fan of the listening party.
But despite assumptions the iconic moments haven’t slowed down a bit since. The unveiling of his Yeezy Season 3 collection alongside the debuting of material from The Life Of Pablo is one of the most recognizable moments of his career. A few years later he captivated fans all over again with a trio of DONDA listening experiences preceding the album’s release. Fans watched early material transform over time and shared in the surprise as artists like DaBaby and Marilyn Manson appeared. All of that is to say that a special VULTURES listening party at Rolling Loud Los Angeles was rife with potential to be his next legendary moment. Despite all of that potential, West delivered a night that won’t exactly enter the textbooks of rap history.
Kanye West’s Underwhelming Evening
Credit: Frankie Perez @sketchyfrankie
To start, many of the fans in attendance were fully expecting a performance instead of just a listening party. Rolling Loud itself didn’t exactly build up expectations for a live performance, but they were also careful about their wording. “Vultures headlining,” and “Vultures live” were used to describe the set. For fans paying attention to West’s recent run of shows it was easy to connect the dots, but it’s clear that many others came in expecting a more conventional concert.
Those disappointed fans got the chance to express themselves in the comments of a Rolling Loud post about the show. Underneath pictures of the duo on-stage attendees shared their thoughts. “I’m grateful to see Kanye Live but this was probably his worst performance ever” one of the top comments on the post reads. “This should’ve just been a Fortnite concert” another agrees.
The bulk of Kanye West and Ty Dolla $ign’s “VULTURES” show was similar to many of the other recent listening parties. It got underway around 40 minutes after the scheduled start time, which felt early by West’s standards. The pair made the long walk onto a stage in the center of the crowd sporting ski masks and black jackets. The stage itself sat underneath a dome-like pair of crisscrossing beams. They served as overhead lighting throughout the performance while massive smoke machines covered all the artists on stage in a thick mist.
As you’d expect, the listening party was a star-studded affair. Among the least surprising guests was North West, who brought a group of friends along sporting matching Vultures shirts to dance to her now beloved guest verse on “TALKING.” Despite being an expected addition the adorable moment was undeniably one of the highlights of the night. YG was also there which was unsurprising as he’s performing at the festival alongside Tyga at the festival on Friday.
A High-Profile Guest List
Credit: Frankie Perez @sketchyfrankie
Throughout the night numerous guests joined. Freddie Gibbs marked the first surprise appearance of the night and fans erupted when he came on stage to mime his standout verse on “BACK TO ME.” Additionally Quavo, Rich The Kid, and Bump J were all in attendance for their appearances on various VULTURES cuts. Though the crowd was excited as guests emerged on stage, the allure of seeing a surprise collaborative performance didn’t quite transition into a listening party.
As the set went on, more and more attendees appeared to realize that they weren’t there for a performance. Compared to viral videos showing seas of hyped crowds at Rolling Loud the demeanor of the audience felt stuck in a permanent state of anticipation. Throughout the night the DJ pulled a classic live performance move and cut out memorable refrains from various songs to let the audience’s singing take over. But it was impossible not to notice throughout the night that the enthusiasm was fading.
A Series Of Unfortunate Teases
Credit: Frankie Perez @sketchyfrankie
West and Ty left the stage after around 40 minutes with their performance failing to reach the 9:30 time promised despite getting off to a late start. Around 30 minutes into their set, in full view of the crowd, the pair both dramatically removed their masks and headgear on stage. It would have been the absolute perfect time for them to pick up a microphone and surprise the crowd with an actual performance. But it never came to be and the pair departed the stage after playing shortened versions of every song from VULTURES 1 and the previously debuted Backstreet Boys-sampling “EVERYBODY.”
What followed was unfortunately the crystalizing moment of the entire evening. Following a 5 minute interlude where fans waited in bulk for some kind of encore, the crowd erupted in cheers as “Father Stretch My Hands Pt. 1” came on over the speakers. The expectation of the audience was clear, West would come back out and finish his set with a few classics, but that never happened. As one hit after another came on over the speakers, “Flashing Lights,” “Runaway,” “Fade,” and more, fans slowly realized that the show was over.
One of the most fascinating features of Rolling Loud’s main stage is that planes fly shockingly low overhead as they land at LAX. It happened throughout the night and fans repeatedly pointed their cameras at the passing aircraft in bulk as they soared by. Around 10 songs deep into the DJs set following West’s exit the Watch The Throne classic “Otis” came on the speakers. Just as the song shifted into the intense final verse yet another plane passed overhead, shortly followed by West’s lyric “Can’t you see the private jets flying over you.” Had he been performing the track live, the moment could have been yet another instantly timeless entry into Kanye West’s career. Instead fans were left with the perfect lasting image of the VULTURES Rolling Loud set. Watching an accidentally brilliant moment fall short of its potential as more and more of the fans in attendance began shuffling away from the empty stage towards the exit.
With audiences and critics’ unrestricted access to the inner happenings of creatives (in various mediums) reaching a new frontier, the delineation between music, personal circumstances, and the demands of a fanbase is rapidly evaporating. Every statement and motion magnified to the umpteenth power, the lens can begin to shift away from what matters most: the music.
Some artists, though, take it upon themselves to step out of that perpetual game of cat and mouse, taking the art in a direction that may seem jarring to others, but feels true to themselves. In this moment, the union of intention and intangibles creates something honest, and in that sense, undeniable.
The full-on megastardom brought about by her 2019 album Hot Pink came along with the inevitable magnification of one’s entire existence. 2021’s Planet Her only continued the ascent, multiplying the spectator’s angle of view. These facets of artistry/industry all came to a head when Doja decided to make a blatant shift in aesthetic, ditching the bubblegum for something much more abrasive, and in many ways, more tactile. New haircut. New style. And a new (or moreso revealed) musical approach.
In the period after Planet Her, Doja Cat released tracks such as “Paint The Town Red” and “Attention.” The latter truly set the tone for the potent rapping that would take place on her 2023 album Scarlet. In fact, the former set the stage for an unforgettable spectacle that tour attendees won’t soon forget.
Akin to watching a fully fleshed-out horror film or dark anime i.e. Devil May Cry, Doja Cat leaned into the Scarlet theme with reckless, yet somehow meticulous, abandon. Draped in all red regalia during a dramatic intro accompanied by a string section, she then burst into full energetic bravado for “WYM Freestyle.” The visual backing then transitioned the audience into a jarring, captivating performance of “Demons.” A mechanical black spider, of which seemed to be all of 20+ feet tall with red, piercing eyes, added an intimidation factor incredibly early in the show. This, coupled with her immaculate breath control told everyone one thing – Doja Cat means business.
She rounded out the first act with “Tia Tamera” and “Shutcho,” instantly garnering massive crowd engagement. The choreography began to ramp up, and the presentation of the dancers left nothing to be desired. The characters in the ‘Scarlet’ theatre embodied each scene, whether with fervent aggression, tender sensuality, or tangible culminations of both. The aforementioned sensuality began to display itself more during the final song of this act, “Agora Hills,” and would continue to reprise its role in the acts to come.
As mentioned in the intro, the June 2023 single “Attention” signified an aesthetic and energetic shift for Doja Cat. The same can be said for its iteration as the first track in Act II. There was a fierce focus in her delivery of the verses. Moreover, the choreography was much less dance-based and served as interactive sculptures around different moments of the song. Even the accompanying screens and effects were ever-so-slightly more subdued, directing every anticipating eye to the star of the show.
Following that was a sonically stunning performance of “Often,” but what came next was a shock. After filling the crowd in about some details of a voice ailment she was dealing with, out spilled the lyrics “I’ve got a red room, it is the red hour when the sun sets in my bedroom.” This was a thematically poignant, gorgeous cover of “Red Room” by the ever-transcendent Hiatus Kaiyote. This tied together her performance. Not to mention, it also displayed Doja’s ear and creative choices to a heightened extent.
She closed Act II with a rousing performance of “Ain’t Shit,” an obvious fan favorite, then dove headfirst into the next segment of this spectacle.
Still Superstar Status
The intention behind the cinema that is Scarlet still stands strong. However, shedding the pop-star persona for something that aligns more with her creative approach just works. Doja Cat still has a plethora of crowd-moving mega-hits in her arsenal. Act III was a showcase of metaphorical (and literal) firepower, as she rattled off hit after hit, with various pyrotechnics aplenty setting the scenery ablaze.
In succession, the crowd was delighted by “Woman,” an afrobeats-inspired mix of “Say So,” “Get Into It (Yuh),” “Need To Know,” and “Kiss Me More.” As if some of her hottest tracks weren’t enough to elevate the temperature in the building, intricate lasers, thermal optic sights, and a kiss cam took the act to a different degree. Doja’s screams of “KISS EACH OTHER” served as an entry point for what was next to come.
Being her “biggest rap hit” in terms of sales numbers, “Paint The Town Red” was yet another eye-catching single released prior to the unveiling of ‘Scarlet.’ One issue with people’s understanding of artistry – or lack thereof – is they begin to attach unrelated context that was never intended.
Doja Cat never said she would no longer make hit music. The perpetual bubblegum pop aesthetic – coupled with a lack of awareness for her lyrical prowess and penmanship – simply called for a drastic enough redirect to be intentional, visible, and most importantly, effective. Performing the track with a massive sentient eyeball alongside her on stage acted as an omni-directional lens: everyone is intent on looking at and analyzing her, while she now has the wherewithal to keep an eye on everyone else.
Following that display of multi-level understanding, Doja shifted the atmosphere back to palpable sensuality. “Streets,” the most sonically sultry of her hits, received a performance in equal measure. “Painting the town red” was seemingly not enough. Standing alone, she instead opted to delve into a visual masterpiece in performance art all her own. She communicated each brush stroke through music and motion. The dance of the cosmos, in miniature. In an act of beautiful juxtaposition, she then performed a reverberating, raucous “FTG.” She did this alongside more flames and intensified choreography to close Act IV.
Numerous tracks encapsulate the essence of the ‘Scarlet’ cinematic experience. “Go Off” and “Ouchies” leading into “Wet Vagina” is an incredibly vivid illustration. The nonchalant braggadocio, tailing into ruthless lyrical aggression, all spiraling into uncensored, unfiltered outbursts truly created an experience that Doja Cat may currently have a monopoly on.
The live band, of which was stellar throughout the entire night, put on an absolute masterclass during the closing act. Each riff added dimensions that speak to the reasons live concerts are regarded so highly. The drummer was phenomenal, with impeccable timing alongside the electronic bass hits and ghost notes that rounded out each verse in pristine fashion.
Capping off the spectacle was an amalgamation of the effects present within the duration of the show. Fireworks, pyro, lasers, screen flares and flashes – whatever your mind can construe, it played a role in bringing down the curtain exquisitely for the parting act. One thing is astonishingly clear – with this echelon of artistry, Doja Cat will be painting towns in whichever color she feels for many years to come.
Camp Flog Gnaw Carnival 2023 is exactly as its father, Tyler, The Creator, explained during his set over this past weekend: the spirit of Los Angeles in two days. Dodger Stadium became a playground of approximately 56,000 music nerds’ on November 11 and 12, and was the Odd Future creative’s first edition of the concert and ride extravaganza since 2019, following a couple of years off due to COVID.
Now that it’s over, in all of its sun-drenched, expensive, passionate, grueling, talented, chaotic, diverse, and above all, fun glory, what was the best from CFG? And, is it worth attending next year? Tyler’s brainchild is up there with the best in the world when it comes to its hits and misses. The lines were eternal (especially for merch), pricing was quite steep, and there could’ve been fewer “fake fans” in attendance. Still, these definitely weren’t as bad as every other major fest. These issues haunt everything from the biggest of stages to the most humble multi-artist lineup. However, if you’re like me and you wouldn’t rather do anything else on a weekend, then you’re in luck.
I obviously didn’t get to see even close to the amount of acts I would’ve wanted. Some I caught the whole way, and others I saw from afar, making a line for some pork buns or on my way from one stage to another. I’m sure that Balming Tiger, d4vd, Liv.e, Domo Genesis, beabadoobee, Fuerza Regida, SPINALL, Khamari, DAISY WORLD, Toro y Moi, and many, many others put on amazing shows which I, unfortunately, couldn’t make it to. Below, we’ve ranked the top five sets we got to see, along with some honorable mentions.
Might as well start with the big dogs, right? There were plenty of huge names on the lineup this year in addition to those already mentioned. Lil Yachty brought out Offset, WILLOW performed with her brother Jaden Smith during her excellent sunset show, and The Hillbillies tapped Tyler, The Creator to join them onstage for their self-titled track’s performance. It’s fitting that we start here because the music video for Kendrick Lamar and Baby Keem’s 2023 single launched this year’s Camp Flog Gnaw Carnival back in June. Now that we finally made it, it’s no surprise that they closed off Saturday expertly across 24 tracks and alternating sets with spoken-word interludes. It was another masterclass in crowd control, mood shifts, lyrical performance, and dedication. As such, The Hillbillies is this year’s standout experience from CFG’s top-tier mainstream performers. Kendrick Lamar and Baby Keem showed everyone how it’s done.
For every few bangers, like their opener “family ties,” there was a cool-down moment like Kendrick’s “A.D.H.D.” and Keem’s “HONEST.” Their chemistry was evident, too, as they hyped each other up for their collaborative cuts and knew exactly how to play off of each other’s energy when they switched out onstage. Furthermore, this is what separated this performance from The Big Steppers tour, and showed another dimension to their already legendary reputation.
Next up is Kevin Abstract, the former BROCKHAMPTON main brain who was one of many genre blenders this weekend. The ARIZONA BABY artist was also one of a few with brand-new projects to unveil in a concert setting. Sure, it wasn’t the sharpest or most fine-tuned, but it crystallized something more important beneath those fluorescent lights.
Kevin Abstract clearly cared a lot about his first solo performance in about six years. His performance, vocally and demeanor-wise, was very raw, grateful, unfiltered, and fully sunken into the vibes that he and his band created onstage. He played killer tracks like “Madonna” and “What Should I Do?” off of his new album Blanket and revisited fan favorites like “Baby Boy” and “Empty.” The cherry on top was that he revamped these tracks to fit his new, shoegaze-like style. While many artists played their hits or stuck to their most popular sounds, the 27-year-old fearlessly dove into a new era, and crafted a gear-shifting and deeply personal moment in his career for old and new listeners.
Kali Uchis is one of many artists on Camp Flog Gnaw’s lineup whose work with Tyler, The Creator is very beloved. You’d be hard-pressed to find someone on the bill who isn’t at least good friends with the Hawthorne native, and the Colombian-Virginian singer goes way back with T. With a great backing band, dancers, and impeccable stage design, she crafted one of the most visually stimulating sets of the weekend. Her blends of soul, R&B, and other genres were just as wavy as those from PinkPantheress, Syd, and of course, SZA.
Moreover, she performed many old and new hits: the dembow anthem “Muñekita,” “See You Again,” “telepatía,” “Blue,” etc. What’s more, is that the 29-year-old even brought out Omar Apollo for their collab “Worth The Wait,” and they seemed to really enjoy their time onstage, especially Omar. If there’s one thing that this set represents from this festival, it’s the confident and fitting stage presence that many of these artists embodied. No one did a better job of creating that illusion and grandeur than Kali Uchis. As you’ve probably already noticed, Camp Flog Gnaw is full of superstars with underground sensibilities and sounds. Part of their charm is how they stay down-to-earth within their styles, but Kali knows that she’s larger than life. Among massive fame and acclaimed artistry, she’s right at home.
Don’t let that name fool you: if you live under a dozen rocks and have never heard of this jazz group, they are anything but. Among a cavalcade of indie, R&B, hip-hop, and rock-adjacent artists, plus some Afrobeat and Latine representation, BBNG still stands as the most unique set of the weekend. Not many artists can pull off opening their set with “War Pigs” by Black Sabbath, going into ambient saxophone passages, and then coming through with a killer remix of their KAYTRANADA collab “Lavender” while still sounding cohesive as a unit. But BADBADNOTGOOD has been doing this for too long. They had perfect crowd control and a varied collection of jazz improvisation, psychedelic rock, Latin percussion, spacey soundscapes, amped and groovy drum solos, and some of their best compositions across their impeccable discography.
For day one fans, we didn’t get to hear their famous rap covers from back then, but we did get a gorgeous rendition of “Confessions.” On the other hand, we’d be remiss not to mention their incredible performance of “The Chocolate Conquistadors,” their MF DOOM collab. Drummer Alexander Sowinski and the rest of the band dedicated that cut to the late masked villain, and they also made sure that the crowd was having the best time of their lives. There were moments to gaze in awe at a solo, dance the night away, sing along to a melody, or take a moment to appreciate your place in the world right then and there. Music festivals can be overwhelming, especially CFG, but artists like BADBADNOTGOOD remind you of why it’s all worth it. No other set this weekend had me as completely immersed in the present as theirs.
Finally, we have the leader from Prince George’s County: redveil. He represents the amazing hip-hop on Camp Flog Gnaw’s bill: from Yachty to Earl, Domo to Ice Spice, Maxo to Maxo (Kream), The Hillbillies to Clipse to Paris Texas to AG Club… easily making up the most vocal and numerous fanbase here (although every other group felt just as welcome). Regardless of subgenre and labels, this festival had a lot of verses and moshpits, incredible crowd dynamics, and hungry MCs learning from the previous generation’s greatest. So why write this whole reflective and nostalgic intro for a 19-year-old, the freshest and youngest face here? Well, it’s because he’s the best proof that this weekend is not just Odd Future or Tyler’s festival: it’s thefuture’s festival.
Vibrant energy and fun moshpits from the crowd? Check. Unbridled hype, control, and stage presence from the learn 2 swim artist? Check. Sing-alongs, hardcore fans’ satisfaction, and new listeners falling in love with each song? Check, check, check. He ripped through all of his verses like “2daside,” thanked everyone who helped him along the way, kept his will, determination, and performance ethic at 100%, and put a spotlight on the world outside of CFG. He called for Palestinian freedom, powerfully closing out his set by speaking on their decades-long fight for justice. To put it bluntly, it was the most important moment of the whole endeavor. It’s that passion, awareness, talent, and love that redveil and every other artist on the bill will surely bring to Camp Flog Gnaw in 2024. After an incredible festival like this, all that’s left to say is, “We’ll see you again.”
Ice Spice performs at the Camp Flog Gnaw Carnival – Day 1 at Dodger Stadium on November 11, 2023 in Los Angeles, California (Photo by Christopher Polk/Variety via Getty Images)
Ice Spice continued to prove why she’s one of the most beloved artists right now despite a short set time, and Pusha T and No Malice reunited as the Clipse in the most legendary and triumphant set of the weekend… that I only got to see footage of. At the end of the day, everyone on the lineup deserves a mention. This festival really focused on consistency, quality, and a no-frills attitude throughout its 48 hours. It’s all a matter of your personal taste. SPINALL and Fuerza Regida gave global spotlights, while new names joined a lineup of veterans. Baby Keem even took some time to unveil the trailer for his Amazon Prime short film, The Melodic Blue, which will be released on December 5!
Alas, there’s still so much to say, and such little time. For example, Earl Sweatshirt’s discography-spanning set, plus some new unreleased gems, could warrant a breakdown of its own for how he hypnotized the crowd alongside special guests The Alchemist, Domo, and Zelooperz. No other festival has this level of intangible closeness between fan and performer, and its atmosphere invigorated the Dodger Stadium grounds in ways hard to explain.
Travis Scott made history at the SoFi Stadium on Sunday, November 5th. He brought his electrifying Utopia – Circus Maximus Tour to the stadium in Inglewood, California, and it was an experience to remember. This larger-than-life spectacle was a sensory overload, to say the least. It defied the boundaries of a traditional concert. In fact, Scott transported the audience to his world, or his UTOPIA. Complete with a stage that resembled a rock trail, an ambiance that consisted of cricket sounds, and an eerie smoke coming from the stage, it was anything but average.UTOPIA was the album released this year, five years after his last full-length studio project ASTROWORLD. The project came off as one of the most cohesive bodies of work of Scott’s career thus far, and it earned him a No. 1 spot on Billboard’s coveted Top 200 chart.
As far as transporting audiences to utopia, Travis did just that. Teezo Touchdown was the show’s opener, and he enchanted audiences with his performance. From the moment the lights dimmed, the atmosphere crackled with anticipation. Flames erupted from the stage as music began to play, adding to the intensity of the evening. The rock stage design seemed to have a life of its own, with flames spontaneously shooting up during select moments. Although most of the setlist consisted of music from Travis’ latest album Utopia, he did in fact sprinkle in a few fan favorites from his discography.
In fact, he started the set with “Hyena,” and “Thank God,” which set the energy for the night and definitely got the crowd hyped. These two songs are also the first to appear in chronological order on the album, too. Around 10 o’clock, a robotic, AI-sounding female voice pleasantly prepared people for Scott’s lively entrance. Throughout the stadium, her voice could be heard announcing, “Greetings from Utopia. Before the show starts, open that s**t up.” The robot was referring to the mosh pits that tend to ensue at Travis Scott’s concerts. Finally, about 20 minutes after the announcement was made, Travis Scott made his grand entrance. Following the first two songs “Hyena” and “Thank God,” he went into “Modern Jam” with Teezo Touchdown, followed up with “Aye” and then performed “sdp interlude.”
The energy increased throughout the stadium with each song becoming more and more high-energy. There was even one moment when some fans tried hopping over the barricade to get to the floor. Some people made it, and ran off into the crowd. As more tried to jump the gate and get a front-row experience, security stopped that from happening. Moreover, towards the middle of the night, Scott kept the energy high. He performed three of his most popular songs, back-to-back, to which everyone knew the words. The songs were “Butterfly Effect,” “Highest In The Room,” and “Mamacita.” This was truly the peak of the night as the entire stadium filled with 70,000 people, was standing and singing each song word for word.
His performance of “Mamacita” from 2014’s sophomore mixtape, Days Before Rodeo, was a highlight of the night. It’s a song that marked the early days of Travis Scott, and also signified his rise in the industry. He didn’t stop there with taking the audience back. In fact, he dug deeper into the archives to perform “90210” from his 2015 debut studio album, Rodeo. The energy was still pretty insane as the audience relived the classics.
The night took an unexpected family twist when Scott’s firstborn child, Stormi, made a surprise appearance. As the song “Mafia” played, Stormi made her cameo and rose onto the stage. With her fearless dad Travis Scott, the two rode the parasail structure together, harnessed in so that they could soar above the wild crowd. High above the mosh pits, fans witnessed an extraordinary father-daughter bonding moment, as Scott held Stormi’s hand the entire time. It was a cute moment to witness, for sure. In addition to bringing Stormi out, Scott was pretty interactive with his fans as well. He selected two people from the crowd to ride the parasail at one point during the show. Two men in green masks were selected to rage atop the rocks, definitely making their night.
But, that’s not all the surprises Scott had in store! He brought out King Vamp, also known as Playboi Carti to the stage for his performance of “Fe!n.” The song’s intro track played for at least 20 seconds before Carti emerged from the rocks. His surprise appearance had the crowd going crazy. It was definitely one of the most memorable surprise guest appearances of the night, and maybe even concert history, as the two powerhouses took the stage to turn the crowd up even more than they already were. It felt like an entire party inside the stadium as the flashing strobe lights made it feel like a club.
After Playboi Carti’s appearance, Scott seamlessly segued into “Sicko Mode,” keeping the energy levels cranked up to eleven. His trusty DJ, Chase B, was the sonic conductor. He ensured every transition between tracks was a flawlessly orchestrated symphony. The entire concert felt like an unbroken, exhilarating flow of music and movement, a testament to Scott’s mastery in delivering an unforgettable live experience. The crowd was left in awe as the hits kept coming, making it a night to remember all the way through.
Finally, as the concert came to a close, it was clear that fans didn’t want the party to end. Before ending his set, he took a moment to thank his fans with a clever transition into his last song. “I never thought of this dream coming true, this night has given me beyond chills… I have goosebumps.” Furthermore, he closed out with a performance of “Goosebumps,” one of his most popular and well-known songs. As people were walking out, “Telekinesis” played in the background. The night ended far too soon!
In retrospect, it was an unforgettable night that’s going down in concert history. Travis Scott delivered an incredible performance, spanning from classics like “Mamacita” to the crowd-favorite “Highest In The Room.” Stormi’s adorable cameo and Playboi Carti’s electric performance of “Fe!n” added extra layers of magic to the evening. The audience was caught in a euphoric trance, wishing for the night to last forever. It was a party that transcended time and left a mark on all who were fortunate enough to be part of it.
Last night, the City of Angels witnessed firsthand a musical experience like no other. Gunna made his return to the stage at the YouTube Theater as part of the second leg of his The Gift & The Curse tour. The energy in the room was high with anticipation, as fans eagerly awaited the Atlanta rapper’s performance after a two-year hiatus. Prior to this show, Gunna performed at Barclay’s Center earlier in September. This tour was in support of Gunna’s latest album, a Gift & a Curse, which debuted at No. 3 on the Billboard Top 200 chart.
The YouTube Theater in Los Angeles was the perfect backdrop for this unforgettable night. The venue buzzed with anticipation as fans of all ages gathered in the intimate, sold-out theater. From Gunna performing some of his classics from beloved projects such as Drip or Drown to previewing new music, fans of all ages had something to appreciate. While the evening experienced a brief hiccup when technical difficulties silenced Gunna’s microphone, necessitating a 10-minute pause in the show, the rapper didn’t let that hinder his ability to deliver an outstanding performance. Keep reading for 10 of the best moments from the show.
Kicking off the night of Gunna’s headlining tour was Flo Milli and DDG. Flo Milli, known for her infectious energy and razor-sharp lyricism, set the stage on fire with her captivating performance of “In The Party.” She set the energetic tone as people poured into the theater getting ready for the night. After that, second opener DDG kicked off his performance with his hit song “Moonwalkin’ in Calabassas.’ He performed three songs total before finishing out with “I’m Geekin.” During this song, he brought an extra dose of surprise and excitement to the stage when he invited his talented little cousin, Woo Wop, into the spotlight. The 7-year-old’s cameo appearance was met with cheerful applause as he helped perform the song with him.
2. Gunna Started His Set With “Back At It”
Image via HNHH
As the clock neared showtime, around 10 p.m., the venue plunged into darkness, igniting a wave of cheering and roars among the crowd. The stage was set with a white curtain, which ultimately was lifted to reveal a giant statue head of Gunna. The sculpted material also included a massive snake that adorned the stage. The intro to “Back At It” began playing and this was a moment in itself. Although it was the first song, the crowd was eager to get things started. The curtains lifted to reveal an elevated Gunna standing several feet above the ground, on top of his statue head. As the curtains lifted, an elevated Gunna was unveiled, positioned several feet above the ground, and standing on top of the towering sculpture of his own head. It was a grand entrance to remember.
As the show went on, Gunna performed fan favorites throughout the night. Some of the memorable songs on the setlist included “back to the moon,” “bread & butter,” “pushin P” “you & me,” “poochie gown,” and plenty more. However, one standout song that everyone seemed hype for was when he performed “Too Easy,” which appears on his album DS4EVER. Some fans speculated that he would bring out Roddy Ricch since he’s featured on the remix of the song. However, he didn’t, but it was still a great, lively performance. The audience sang the words lyric for lyric.
4. Gunna Performed Songs From Each Of His Previous Albums
Image via HNHH
Despite being on tour in support of his latest album, a Gift & a Curse, Gunna left no stone unturned in delivering an unforgettable performance. He played music from his previous projects which included songs from Drip Or Drown (1 and 2), DS4EVER, Drip Season 3, Slime Language 2, and WUNNA. Before delving into his renowned catalog, he eagerly asked the crowd, “Where are my Drip or Drown fans at?” This reference to his 2017 and 2019 albums, Drip or Drown and its sequel, marked pivotal moments in his career. Both albums earned widespread acclaim and helped foster a devoted fan base. The crowd’s enthusiasm reflected this, and he gave his day one fans something to be excited for. He proceeded to play fan favorites such as “Dollaz ONnMy Head,” “Space Cadet,” “Drip Too Hard,” “P Power,” “Ski,” “Baby Birkin,” and so many more that left fans feeling nostalgic.
Just a year ago, Gunna’s life took a dramatic turn when he found himself behind bars as part of YSL’s 56-count RICO Act indictment filed by Fulton County in May 2022. However, he emerged from that situation seven months later, thanks to Georgia’s Alford Plea, a legal maneuver that didn’t require him to admit guilt but allowed him to secure his release. This period of uncertainty and legal trouble undoubtedly cast a shadow over Gunna’s career, with fans divided over his involvement in the case. One notable moment during the show was when he performed “Hot,” which he originally performed with YSL head honcho Young Thug, also commonly known as Jeffery. During this song, fans noticed the “Free Jeffery” artwork displayed on all sides of the stage.
NEW YORK, NEW YORK – SEPTEMBER 09: Gunna performs onstage during Gunna – The Gift Live at Barclays Center on September 09, 2023 in New York City. (Photo by Craig Barritt/Getty Images for Gunna)
Gunna’s performance of “Yosemite” was fitting for the middle of the night. It’s one of the calmer songs he has in his catalog and it allowed audiences to vibe out and be mesmerized by the music. His delivery was nothing short of awe-inspiring as he effortlessly flowed through his verses, his voice resounding loud and clear. “Yosemite” is a song that actually appears on Travis Scott’s album Astroworld, but Gunna has a notable verse on the track.
7. Brought Out Special Guest Victor Thompson
Gunna brought out Nigerian artist Victor Thompson to perform his hit song “This Year” at his sold out show in LA pic.twitter.com/fgBt3HB1FH
As far as special guests, Nigerian artist Victor Thompson was the only performing act that Gunna brought out on stage. Thompson is an Afrobeats artist and performed his hit song “This Year (Blessings)” which served as a nice change in pace for the night. It seemed as though the audience was getting familiar with him, but many enjoyed the vibe he brought to the stage.
There was a moment where a song played during his set and no one in the audience knew the words. Later, the crowd realized it was unreleased music that he was previewing. Although no one seemed to know this initially because Gunna didn’t announce that he’d be playing unreleased music, the song was a banger. People had their hands up and rocked out anways.
9. Performed “Top Off” Like Viral TikTok Challenge
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Another highlight of the night was when Gunna performed “Top Off.” This was significant for the main reason that he performed it in a similar way as the viral TikTok challenge that took the internet by storm. While the song itself dates back to 2018, the viral TikTok trend emerged in 2022 and found millions of users imitating Gunna’s original COLORS performance that had a microphone hanging from the ceiling while he rapped. Needless to say, many fans in the audience understood the reference, and appreciated that he acknowledged the trend.
Last but not least, Gunna’s longtime friend and collaborator Turbo, known for his producer tagline “run that back Turbo,” appeared on stage for a piano solo. It was a beautiful moment that occurred as Gunna closed out his performance for “Lemonade.” Overall, last night’s performance was a testament to Gunna’s commitment to his craft and his fans. The final songs of the night included fan-favorite “fukumean,” and “missing me,” to close out the night. As he exited the stage, the crowd clapped and cheered, signaling that his music had spoken louder than any controversy surrounding him. It was a night to remember. Stay tuned to HNHH for what’s next for Gunna.
Last night in LA felt like a reunion! Blxst and Bino Rideaux performed at a sold-out show at the Novo. And the energy in the room was crazy. The two L.A. artists are currently on a 4-city tour for their collaborative Sixtape album series, and last night kicked off the third night of the tour in their hometown. Performing songs from parts one through three of their Sixtape trilogy, they had the crowd vibing the entire night. Not only did they perform just about every song from each tape, but Blxst and Bino performed some of their own popular solo records. Just when fans couldn’t think the night would get better, they brought out special guests 03 Greedo, Kalan.FrFr, and BlueBucksClan to add to the night.
The anticipation in the room was high as the intro to each track played, teasing the songs, and the crowd roared with applause. The atmosphere was electric, with fans of all ages coming together to celebrate the unique blend of hip-hop and R&B that Blxst and Bino Rideaux bring to the stage. Their chemistry as a duo is undeniable. Blxst and Bino began the show with tracks from their first Sixtape, which they dropped in 2019. This initial project consisted of six songs in total, including classics like “Wake It Up,” “Right Now,” and “Time.” Fans recited every word of each track, underscoring the deep connection between the artists and their audience.
The sequel, Sixtape 2, released in 2021, featured an impressive 12 tracks, doubling the number from the first installment. The energy reached new heights as the duo performed hits like “Movie,” “Pop Out,” and “One Of Them Ones.” The standout moment from Sixtape 2 was the performance of “She Perfect,” with Bino’s signature voice on the hook, making the song irresistibly catchy and fun to sing along to. Another memorable highlight was their rendition of “Program,” which had the majority of the audience singing along.
In the middle of the show, Blxst and Bino teased the possibility of special guest appearances. “You know we’re in LA, right?” Blxst asked the crowd, hinting at the impending surprises. Shortly after, the opening notes of BlueBucksClan‘s “Walkin In” filled the venue, and the duo rushed out to perform the song, igniting the crowd with excitement.
LOS ANGELES, CALIFORNIA – JULY 15: Bino Rideaux attends the Blxst & Bino Rideaux ‘Sixtape 2’ release event at The Theatre at Ace Hotel on July 15, 2021 in Los Angeles, California. (Photo by Jerritt Clark/Getty Images for Red Bull Records / Evgle / Out The Blue)
Subsequently, they continued to perform songs from Sixtape 2 before taking a pause to announce another surprise guest. Although this time, it was the California native Kalan.FrFr who graced the stage, causing the crowd to erupt in screams and cheers. Kalan.FrFr, known for his collaboration with Blxst on “No Stoppin,” treated the audience to one of his hit tracks, “Never Lose You,” from his TwoFr 2 album in 2021. But the night was far from over. Blxst and Bino additionally closed out the show with tracks from their most recent release, Sixtape 3. The fan-favorite “Doin Yo Stuff” had the entire crowd vibing and singing along, creating an unforgettable moment. And just when everyone thought the surprises were over, the duo brought out the final special guest, 03 Greedo.
Following his five-year hiatus behind bars, Westcoast rapper 03 Greedo made a triumphant return, hitting the stage to perform his hit track “Run For Yo Life.” It was a heartwarming sight to see him back in action, as if he had never left. In fact, since his release, he’s been back in the studio and even released a new song, “Rich On Grape Street,” just last month. Fans were pretty excited to see him on stage.
It Was A Night To Remember Complete With Special Guests
LOS ANGELES, CALIFORNIA – JULY 15: Bino Rideaux and Blxst onstage at the Blxst & Bino Rideaux ‘Sixtape 2’ release event at The Theatre at Ace Hotel on July 15, 2021 in Los Angeles, California. (Photo by Jerritt Clark/Getty Images for Red Bull Records / Evgle / Out The Blue)
Overall, the show was a night to remember, complete with the performance of every fan-favorite track and surprise appearances that left the audience buzzing with excitement. Blxst and Bino Rideaux closed out their LA show with a bang. And as they head to San Diego for the final night of the tour, fans can only imagine what surprises they have in store. Their seamless chemistry and ability to connect with their audience make them a dynamic duo in the world of hip-hop and R&B. As the final songs played through the venue, it was evident that this night was a testament to the unique sound and community surrounding LA artists and music. Furthermore, Blxst and Bino Rideaux had not only delivered a sensational performance but had also created a sense of community among concertgoers, bridging generations through their music.
Ultimately, the Los Angeles show at the Novo will undoubtedly be a cherished memory for all who attended, and it leaves fans eagerly awaiting future collaborations and projects from these talented artists. With each performance and song, Blxst and Bino Rideaux continue to solidify their places in west coast hip-hop and R&B. So, whether it’s a Sixtape 4 or another surprise collaboration, fans want more. It’s safe to say that audiences would love a Sixtape 4. Maybe it’s on the horizon? Stay tuned for more news on HNHH.
In 2003, 50 Cent emerged as a tyrant in hip–hop with the release of Get Rich Or Die Tryin’. Already established as a rebel in his own right, the industry blacklisted him prior to its release. A deal with Columbia Records fell through. Meanwhile, songs like “How To Rob” and “Ghetto Quran” established 50 Cent as a forceful MC that wouldn’t hold his sharp tongue against heavyweights. Although his career hit a brick wall, his resilience and hunger caught the attention of Dr. Dre and Eminem. And maybe without those two, we wouldn’t be celebrating one of the greatest hip-hop albums 20 years later.
The Final Lap tour appears to be 50 Cent’s final full-fledged trek on the road. The past decade hasn’t seen him releasing much music but his television empire has grown exponentially. Marking the 20th anniversary of Get Rich Or Die Tryin’ and coinciding with the 50th anniversary of hip-hop, The Final Lap tour has been nothing short of a spectacle; a time capsule that revisits 20 years of heat, from defining singles found on his chart-topping debut and sophomore releases to deep cuts that only his day-one fans can appreciate. With opening acts Pressa, Jeremih, and Busta Rhymes, 50 Cent celebrates his own contributions to the culture.
The opening acts all hold a place in 50 Cent’s heart to some capacity. The connection to Pressa seems to have developed more recently. Pressa’s appearance on stage, alongside WhyG and Bundog, suggests that 50 Cent’s cooking up something in the 6ix. Tony Yayo hasn’t shied away from expressing his appreciation for BunDog and Pressa in recent times, either. However, it strongly indicates that 50 Cent and Tony Yayo have taken the budding Toronto star under his wing. It’s an impeccable feat for Pressa, who has the bragging rights of touring with 50 Cent and Drake.
There might not be another R&B artist whose influence is as understated as Jeremih. The Chicago-born’s catalog speaks for itself but in the past few years, his presence hasn’t been as consistent. A serious and highly publicized bout with COVID-19 left him re-learning how to walk. Three years later, he made his triumphant comeback to the stage. His set brought fans through a decade-plus-worth of hits that sent a wave of nostalgia through the crowd.
Backed by a DJ and two scantily-dressed pole dancers, Jeremih’s strain of futuristic stripper-friendly R&B anthems received its proper visual accompaniment. Jeremih’s sheer presence took command of the Bell Centre. Through each song, the crowd’s enthusiasm grew, eventually building up to songs like “Oui,” “Planez,” and of course, “Birthday Sex.” After not being on the road for a few years, Jeremih’s catalog shines from night to night. He’s opening up in front of an audience of hardcore hip-hop fans. Even so, his sultry and airy vocals take control of the room.
With a career spanning 30 years, Busta Rhymes’ is the definition of a timeless act. When he accepted his Lifetime Achievement Award at the 2023 BET Awards, he admitted that he never had a desire to be a solo artist while a member of Leaders Of The New School. It’s ironic, considering that his star power shone brighter than any one of his group mates. Busta Rhymes and Spliff Starr’s live performance remains one of hip-hop’s greatest acts by a landslide. Without gimmicks, the strength of Busta’s hits, bolstered by his chemistry and synchronicity with Spliff Starr, make for a dynamic performance. Busta said it best: “We don’t need no special effects. We are the special effects.”
Busta’s dramatic intro kicks off with a WWE-like monologue, courtesy of Spliff Starr. Busta’s throne rotates as he joins his hypeman with high energy with M.O.P.’s “Ante Up (Remix).” The coordination between the two boils down to the details, with choreographed moves executed throughout the set.
Busta Rhymes’ grip on the rap game from the late 90s to the 2000s was on full display. He went through classics like the funky, “Put Your Hands Where My Eyes Can See.” Later, he’d demand the women serenade him with Mariah Carey’s hook on the uber-sensual, “I Know What You Want.” Of course, it wouldn’t be a Busta show without performing “Break Your Neck.”
Although the last bit of his set felt abrupt, it became more personal. Busta and Spliff Starr would dive into records, some unreleased, before cutting them off before the hook came in. For example, Busta began performing “Touch It” and cut off the record before reaching the hook. The reason? He’s afforded that right through his 30+ year tenure in hip-hop.
Still, it’s quite clear that one of Busta’s most mesmerizing moments as an MC only occurred within the past 12 years. He still raps his verse on Chris Brown’s “Look At Me” without skipping a beat. It’s truly a testament to a man who has mastered his craft. At 51 years old, Busta Rhymes’s breath control is giving every MC in the game a run for their money. Before Busta left the stage, he had already shown us exactly why he’s feared in the Verzuz space.
50 Cent’s assumed the role of an elder statesman in hip-hop these days. His proximity to the music industry has largely consisted of the mentorship he provides to the younger generation. However, 50 Cent’s The Final Lap tour almost feels like a bid farewell for a titan in the rap industry. Joined by Tony Yayo and Uncle Murda as his faithful hypemen, 50 Cent implemented the precise choreography of a pop artist to bring fans through a journey of his greatest hits.
The elaborate stage setup included an extended platform that split the floor seats. Behind him were screens plastered from the top to the bottom of the stage. Joined by a DJ and a full band, who performed from an elevated platform, as well as a whole dance squad, 50 Cent created a Vegas-like atmosphere, where the lights, confetti, and pyrotechnics amplified the nostalgia of his unmatched run in the early 2000s. The screens behind them amplified the feeling of the East Coast as animated replicas of New York brownstone buildings and the city skyline displayed through records like “I Get Money” and “Hustler’s Ambition”
Although a celebration of the 20-year anniversary of his debut album, 50 Cent proved that his career didn’t necessarily phase out following his sales battle with Kanye West when Curtis dropped. He went across anthems on GRODT, The Massacre, Curtis, and even a few records from the past few years, whether “I’m The Man” or “The Woo,” where he pays homage to his late prodigy, Pop Smoke.
While Fif managed to get through his vast catalog within the first half of the show, he eventually welcomed Jeremih back out on stage where they performed “Down On Me” together and then, allowed the Chicago singer to deliver a gorgeous stripped-down version of “Birthday Sex” on the piano. Afterward, Fif returned to the fold to close out the show, leading up to the extravaganza that accompanied “In Da Club.” But for his encore, 50 Cent dived into the back catalog with anthems like “Wanksta,” “Southside,” and “Poor Lil’ Rich” before finally closing out with, “I’ll Whip Ya Head Boy.”
In 2005, a Liberal Member of the Canadian Parliament petitioned to have 50 Cent banned from performing in Canada as a result of his lyrical content, largely the references to guns. Nearly 20 years later, 50 Cent’s The Final Lap tour yields far different results, providing fans with a healthy dose of nostalgia to revisit the early 2000s. No less of a gangster than he was when he came in the door, 50 Cent’s ascended to another stratosphere of pop culture. Similarly, his audience has also evolved and matured within the same time frame. The Final Lap tour isn’t necessarily marketed as a 50th Anniversary Of Hip-Hop event but it certainly emphasizes the contributions of two East Coast legends with the support of one of R&B’s finest talents.
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