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.
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Doja Cat Weaves Her Web
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.
Standing At Attention
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.
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Paint The Streets Red
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.
Doja Goes Off
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.
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