PartyNextDoor has seemingly underestimated his star power over the years; a nonchalant pioneer of our time. His impact is undoubted, as we’ve seen the soundscape of R&B evolve alongside him, whether through the seductive bedroom gems that he unleashed on Soundcloud or bodies of work, like the first three installments of the PND series, that shifted R&B each time through nocturnal soundscapes or island-flavored hits that dominated summers. Or even the diamond and soon-to-be-diamond hits he wrote like Rihanna’s “Work” and DJ Khaled’s “Wild Thoughts.”
His mystique has played into certain narratives, such as those that suggest his role at OVO is to primarily pen Drake’s music. But the reality is that Party earned the luxury of being a reclusive auteur who works on his own time rather than becoming a machine churning out hits, which he’s more than capable of doing. “I get into relationships and then music becomes second,” he told Billboard earlier this year. “I think I’m going to take a break from relationships, a long break, and just get back to making music.”
With the release of P4earlier this year, PartyNextDoor is sticking to the course. As understated of a project that P4 might be in the grander discourse of 2024 releases, its impact didn’t miss the OVO Stans who patiently waited four years between PartyMobile and his latest album. On Monday, he touched down in Montreal for the first time in eight years for the Sorry I’m Outside tour. It marked the first of two back-to-back sold-out shows at MTelus, a venue with a capacity of 2,300 – an indication that he miscalculated his demand. In fact, by the end of Monday’s show, he acknowledged that he’d book a bigger room for the next time he hits the road… whenever that might be.
Photo Credit: Fouad Jreige
With the backing of a keyboardist, guitarist, and drummer, he emerged onto the fog-filled stage from an oval-shaped portal to the subdued DMX sample from his single, “Lose My Mind.” The quartet of dancers that accompanied him, dubbed the Angels Girls, appeared at the fore of the stage as he played the background and breezed through records like “Cheers,” “For Certain,” and the tour’s namesake, “Sorry But I’m Outside.” But without exerting much command of the stage, the crowd ate from the palm of his hands. The Angel Girls get plenty of credit, though. They served as a personification of the muses that inspired his catalog of heartbreak and lust when he serenaded them.
Though the records off of his latest album brought him on tour, the bulk of his fans have been around for over a decade anxiously awaiting the records that catapulted him to this stage in his career. Party’s catalog from 2013 and 2017 secured him a cult-like following, so records from PartyNextDoor 1, including “Break From Toronto” and “Wus Good/Curious,” washed the crowd over with elation as much as his collaborations with Drake, whom he’s reportedly working with currently on a collaborative album. “Wednesday Night Interlude,” for example, served as a mid-show break for the band to shine, while P’s recorded vocals led a karaoke-like portion of the evening. But by the time he re-emerged after the IYRTITL cut, it was like he snapped into a comfort zone that found him gravitating even deeper toward the crowd’s energy.
Photo Credit: Fouad Jreige
The band was the MVP of the evening, amplifying the songs into their anthemic qualities from their original Soundcloud-ready forms, and providing smooth transitions through each song that didn’t allow much of a break and limited the amount of crowd interactions that PartyNextDoor had in the night. Songs like “Loyal” closed out with an electrifying solo and heavily distorted guitar riffs gave “Make It To The Morning” stadium rock-like qualities that shook through the theatre. But, as much as Party’s vocal prowess shone brighter, with or without auto-tune, across his set, the moments where backing tracks played out had mixed effects. In some cases, like “No Chill,” his raw vocals began to clash with the recording and the crowd. In others, it allowed him to dive into different pockets through ad-libs and harmonies that added more depth to the original record.
For day-one PartyNextDoor fans, the Sorry I’m Outside tour marks an appropriate celebration of his career to date and a catalog that’s had a distinct impact in R&B. Perhaps not a groundbreaking trek by any measure, it’s a refreshing one that sees one of the most mysterious figures in R&B finally step into the spotlight and celebrate a catalog that few of his R&B contemporaries could rival. His core fans were treated to several records that never saw the Billboard charts under his name, such as “Persian Rugs” or his reference track for “Work.” Meanwhile, hit records off of P4, Partymobile, and previous albums were given a facelift that matched the exuberant energy of a crowd who used his catalog as a gospel to summer flings and relationship woes.
Quebec’s rap scene is as niche as it gets but don’t get it twisted: the talent shouldn’t be overlooked, and Mike Shabb is at the forefront. His French-centric bars fused Caribbean cadences with spacey, psychedelic post-Soundcloud rap production that captured the youthful essence of growing up in Montreal’s Hochelaga neighborhood. And while much of that laid the foundation for his Quebec-centric base, it’s actually his production that garnered significant attention from South of the border.
After landing production credits on Westside Gunn’s “Switches On Everything” (and apparently, Michelle Records), Mike Shabb’s stock went all the way up. He became a proponent of the drumless sample sound, which his close friend and collaborator, Nicholas Craven, specializes in. Shadow Moses, their 2023 collaborative project, captures the essence of their chemistry. However, it’s hard not to deny how their working relationship and friendship extended to Mike Shabb’s latest project, Sewaside III, which boasts a few Craven beats as well as some of his close collaborators, such as Boldy James.
“[Nicholas Craven and I] probably spent $1,000 every time we go up in this shit, trying to find the best sh*t we can. That’s hip-hop, bro. Like, that’s what we grew up on and shit,” Shabb told HotNewHipHop ahead of his performance at Festival D’Été De Quebec. “That’s why I feel like we’re special because we keeping the original recipe, we rocking it up a little bit.”
Just hours before Nas was set to take the stage (weather concerns forced the festival to cancel the Queensbridge legend’s performance), Mike Shabb delivered a high-energy performance alongside Nicholas Craven on the ones and twos and Trapmat as his hypeman. Before his performance, Mike Shabb chopped it up with HNHH to discuss his latest project, Sewaside III, his relationship with Earl Sweatshirt, and so much more.
Mike Shabb performs at FEQ. Photo : Stéphane Bourgeois via FEQ
This interview has been edited and condensed for clarity.
HotNewHipHop: How are you feeling before the show?
Mike Shabb: It’s an amazing opportunity, I ain’t gon’ hold you. This is my first time here. Not my first time in Quebec but my first time at FEQ and sh*t so it’s big, bro. It’s a huge opportunity. It’s probably going to be my biggest show.
And, you’re basically opening ahead of Nas.
That’s a blessing, bro. I grew up on Nas and sh*t. That’s one of my favorite rappers of all time. It’s an honor, bro. It’s crazy.
It’s dope because I see you as someone at the forefront of Quebecois rap.
Especially in English, but like, yeah, and I mean, I feel like the music is kind of – not the same, but like, same essence and all that so yeah, that should that should definitely gon’ work. It gon’ work, for sure. It’s gon’ be fire.
You’re bilingual, too, right? Like, you also rap in French?
I try to slip a couple of lines here and there but it’s like, bro, the thing with me is I grew up like fully French, bro. I had to learn English like with the music and shit. And then, I grew up with so many like English music type sh*t. I was like, “Yo, if I make music, it gotta be in English,” you feel me? At first, I started rapping [when] I was like 15. My English wasn’t even that good at this time. I was still doing it because I was like, “Yo, this is what I want to do” and shit, then I just got used to it. I made a whole lot of English friends in my city so that helped me a lot, also. But yeah, well I was born – I’m a lil’ French Canadian boy, man.
You’re from the East Side too, right?
I’m from the East Side of Montreal.
And that’s usually the more French side.
It’s all French. All French and Haitian. [I’m] half Haitian, half French Canadian.
Yeah, I’m closer West so it’s a lot more English.
For real, Montreal is so weird because it’s basically like two cities in one, you feel me? You got the whole English side then you got the French side but it’s like all in the same. And everybody understands each other so it’s like – it’s a blessing. Montreal is crazy. It’s an amazing city.
Sewaside III just dropped and it feels like a triumphant release for you after such a prolific run these past few years. Can you tell me a bit about the process behind this album including the features and how this project reflects your growth as an artist?
Damn, that’s a good-ass question, bro. I guess I was just trying to make the music I felt like doing at that moment. And then it was like – everything fell in place perfectly, bro. Since I linked up with Craven and sh*t, I’ve been going on trips with him. I’ve been going to Detroit with him, New York. So I met a lot of people through him. That’s how I met Boldy [James], Navy [Blue] and all that. It just came naturally, bro, like the features and all that. N***as is just genuinely fucking with me, bro. So I was like let’s do it. Then, as far as the concept for the album – I don’t know, bro. It’s what I’ve been going through for the past years and shit. What I’ve seen, what I’ve heard. Bro, this shit is like – this is my life my whole life in one album, basically. Like all my pains, all that shit. So that’s what I worked like maybe like a year on that sh*t. I made, maybe, 30 songs in a year and I kept 17, and that’s the album. I ain’t even make that much music. Every song I made, I was like “yeah, this got to be the one.” So yeah, that’s how it came about, bro. Sewaside III, that’s just like… I think that’s my best album. My most complete album and sh*t. That’s not even the end. I’m about to drop Sewaside 4, 5, 6, 7, 8, 9.
Did you do the features in person?
Most of them I did in person. The Boldy James one, Craven was there. He recorded it for me because he was in Detroit with Boldy. I couldn’t be there so I was like “Yo, get my shit!” And he did, though. Everything went smooth, though. Like, I ain’t felt like I had to rush n***as or anything like that. Sh*t just came naturally and now it’s out. And, it’s a beautiful project. I’m proud of it.
Even working with Nicholas Craven on Shadow Moses, the sound itself is boom-bap –
It’s sample-based music, bro! Everything got to be sampled. Like, me and [Nicholas Craven], we go to the record store shit, we probably spent $1,000 every time we go up in this shit, trying to find the best sh*t we can. That’s hip-hop, bro. Like, that’s what we grew up on and shit. And I feel like producers nowadays don’t even do that anymore because everything is digital. That’s why I feel like we’re special because we keeping the original recipe, we rocking it up a little bit. So it sounds actually actual.
You guys have amazing chemistry together. Like, you never miss a beat but I read that Complex interview where you said that you guys don’t even really work on music together.
That’s what I’m saying. Like, man, me and Craven, we basically really good friends, bro. It’s not even about music at this point. But I mean, he got a name, I got a name, so why wouldn’t we? [laughs]
As a producer yourself, I wanted to know how the creative flow for you differs from being behind the board to working with Craven where he’s kind of – I’m not sure if your process is always him taking the lead in that sense or if it’s more collaborative.
I’m so picky with beats, bro. Exactly, because I make my own beats most of the time. So it’s like, I’d be trying to pick stuff that resonates with me, but like sometimes I gotta go to 1000 beats before I find like five. So basically, that’s how Shadow Moses came about, bro. That n***a played me like to 200-300 beats. I picked six, I said “yeah, that’s gonna be the album,” and we did it. But like as far as me [and] the way I do my music, basically bro, I’ll start making a beat and shit, and then I’ll know it. I’ll know exactly when. I’ll be like, “Yo, yeah, this the one right there. I got to rap on this sh*t right now.” So that’s how I work. I basically make the beat first. Like, my little ideas and sh*t. And then I’ll just go and write, write, write some stuff, or punch in on the mic or whatever. And then I’ll play around with the beat afterward and shit. I feel like that’s how you make like complete songs and shit. You do your first step, it’s like you got to make the beat, and then you got to rap all that shit. And then you can add little details and shit around the beat to make that shit, you know what I’m sayin’?
Mike Shabb performs at FEQ Photo : Stéphane Bourgeois via FEQ
I have to ask about the Earl Sweatshirt co-sign. How’s that relationship developed? And have there been any discussions of collaborations in the future?
Bro, I don’t even remember how it came about, for real. I feel like I had posted a snippet one day on Instagram. And that n***a like, straight up – bro, he straight up DM’d me or some “Yo, you hard as f*ck. I keep running that.” He was talking about the “Buckshot Flow 93’” song and then he was talking about the “‘83 Beatstreet,” those two songs he was like, “Yo, I keep running this sh*t.” And I was like, “Yo, bro it’s 100,” because obviously, I grew up on Earl, bro, like, the whole Odd Future shit bro… That sh*t had me in a headlock! Bro, I used to walk around with them long-ass socks and sh*t, bucket hats, all that because of them. Ophelia like I bro I used to walk fucking long as such fucking has all that because of them.
Basically, when he hit me up and shit, I was like, “oh, that’s big, man.” And he gave me his phone number and shit. I talked to him on the phone. We text sometimes and sh*t. He’s a real good dude, for real. And then he went on the fucking the interview, the podcast and sh*t, and then, bro, I seen him. You seen it, right? He was going through his phone. And he was like, “Oh, Mike Shabb, I f*ck with Shabb.” I was like, that’s crazy. Yeah, he just blessed me right there. I earned like 1000 followers on Instagram in the hour, bro.
I f*ck with Earl, bro. And definitely we got some sh*t coming. I can’t tell you when but it’s coming. It’s coming, for sure. Me and Earl got some some sh*t coming, for sure.
Kevin Durant, Earl, Joe Budden – all these people checking you out. What do you think this means for Montreal’s music scene at large?
To be honest, bro, I feel like it’s a wonderful thing. I don’t know if Montreal people realize it, like how big that shit is. But like, it’s gonna come naturally. And then, it’s a blessing for me before anything else, so I just got to keep on doing what I do. If it’s good for me, then it’s good for the city, you feel me? That’s basically it.
Final question: you mentioned that Sewaside 4, 5, and 6 are on the way but is there anything else you’re working on that we could expect from you before the end of the year?
I’m working on some more trap shit right now, I ain’t gon’ hold you, you know I’m saying? Like I did my part in the drumless scene, now I’m trying to get back to my old sh*t. But yeah, definitely gonna drop another tape and shit. Maybe, by the end of the summer. [I] already got like 20 songs stacked up. We ain’t stoppin’, bro. This sh*t never stops. I’m just gonna keep applying pressure and do what I do. Some real shit. Yeah, we definitely dropping some more sh*t in 2024.
Rick Ross appeared to have bailed on a performance in Montreal to instead take the stage in Nashville on Saturday night, after the Mural Festival announced last minute that “personal reasons” prevented Ross from showing up. Despite the explanation, Ross made an appearance at the Blavity House Party Music Festival in Nashville the same night.
“For personal reasons, Rick Ross has made the decision to cancel his performance at the Festival In the coming days, we will provide a full refund of the daily tickets you purchased or a partial refund of Weekend 2 Passes and Festival Passes if applicable,” the organization said in a statement translated by Google.
NASHVILLE, TENNESSEE – JUNE 15: Ross performs for day two of the Blavity House Party Music Festival at Municipal Auditorium on June 15, 2024, in Nashville, Tennessee. (Photo by Jason Davis/Getty Images for Blavity)
When MtlFlex TV shared the news on Instagram, fans posted various theories to explain why Ross decided to perform in Nashville instead. One user wrote: “DJ Akademiks said Rick Ross banned from Canada after dissing Drake.” Another remarked that he “canceled his show because of the law 101 he didn’t want to convert his name in French.” Ross has been feuding with Drake in recent months, even dropping the diss track, “Campagne Moments,” back in April. Drake threw some shots back on his tracks primarily addressed to Kendrick Lamar. Check out Mural Festival’s statement on Instagram below.
The apparent scheduling mishap isn’t the only negative drama Ross has dealt with in recent weeks. Many attendees at his annual car show in Georgia hit him with criticism and demanded refunds following the event. He laughed off the complaints on Instagram afterward. Be on the lookout for further updates on Rick Ross on HotNewHipHop.
Montreal police have a long history of making things difficult for rappers that try to perform in the city. While the city has a bustling rap scene of its own, instances of backstage issues and police shutting down shows date back years. Despite their reputation, they took it to the next level during a recent show Dave East was trying to perform in the city.
In a compilation of clips assembled by MtlFlexTV, they recap the events of the night. It first starts with the police interrupting Dave’s show inside with a series of back-and-forth interactions between him and various officers on the scene. Afterward, they stop the show entirely and force everyone outside which is where the eventual confrontation happens. The final clip shows the police pepper spraying East and the group surrounding him as well as anyone nearby including the person trying to film the encounter. Check out the full clip below.
In the caption of the post, the account makes reference to the reputation Montreal police have. “SPVM doing their best to make sure no artist wants to perform in Montreal,” it reads. “No big rapper or entertainer would ever wanna don’t here anymore it’s a damn shame. Everytime there is a little bit of hope for the city the Quebec government steps in or the police,” one of the top comments on the post agrees.
Dave East is fresh off the release of a new mixtape with Crunch Calhoun. The project is called 30 For 30 and features 14 track with numerous collaborations throughout. Mike & Keys, Buda & Grandz, J. Stone, aarabMUZIK, and Lyrivelli all make appearances on the record. It’s Dave East’s second new project of 2023 following his lengthy Fortune Favors The Bold which dropped back in July. In addition to that he also shared the deluxe edition of his album Book Of David which added an entire 9 new songs to the project. What do you think of the Montreal Police interrupting Dave East’s concert, taking him outside, and pepper spraying him? Let us know in the comment section below.
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.
After six shows in the United States, the It’s All a Blur Tour has headed to the Great White North for the first time. The Drake/21 Savage co-tour hit up Montreal’s Bell Center for a pair of shows beginning on July 14. Of course, there has been a little bit of controversy with the tour so far. The start of the tour was delayed multiple times without explanation. The tour was originally meant to begin in Memphis on June 16 but actually began in Chicago on July 5. Furthermore, people were surprised to learn that the “hologram” that formed part of Drake’s set was actually just a guy playing “young Drake”.
However, fans were treated to yet another surprise guest during the Montreal show. Drake has brought out some heavy hitters on the tour so far. The most notable of these was in Boston when Drake brought out Celtics superstar Jayson Tatum. Despite this, Drake’s guest in Montreal was not a local star. Instead, Drake’s guest for his first show in Canada was North Carolina rapper J. Cole. Regardless, fans were very excited about the superstar, who walked to the stage through a sea of outstretched hands. After Montreal, the tour is set to head to Brooklyn on July 17.
However, an appearance by J. Cole wasn’t the only tour-related news coming out of Drake’s first Canadian performance. Drake also shared photos from the tour so far on his personal Instagram. “You love thinking that this shit is all heavenly and what not like we’re not capable of being enemies and what not like it’s just security moving heavily and what not you boys over the hill like you seventy and what not or over the hill like we in Beverly and what not. Even when we sober react we tend to over react…allegedly or what not,” Drake added as a caption.
While many of the pictures show the love that Drake has received on the tour so far, or his energetic performances, one picture stood. A picture of a goth/emo child appeared as the final image of the set and was tagged with the account of “V4ng0thz”, a Canadian artist and musician. V4ng0thz also appeared in the comments of Drake’s post, saying “y’all sleeping on the last pic.”
(@mtlflextv)
(@mtlflextv)
