West Glows with his friends
Kanye West is madly vain. But if he was half the megalomaniac he makes himself out to be, the self-proclaimed “biggest star in the universe’‘ wouldn’t ingest invited marquee acts of the Apostles Lupe Fiasco and N.E.R.D. to illumine his Glow in the Wickedness tour.
Earlier the headliner’s propspaceship landed on the Tweeter Center stage, ticket holders got more than iI hours of assorted Hoarding bangers. As W belike planned, the pre-show got blood flowing, merely was just enough to exhaust devotees.
Lupe Fiasco’s sic was in full loaded, with Chicago’s virtually fashion-able Moslem dashing through major hits, including “Kick, Push” and less-commercial blasts such as “Hip-hop Saved My Life.”
N.E.R.D. exploded unannounced. For a 30 minutes, the newly age rock-hoppers brought raucous spontaneousness, something that their tourmates avoided. As the sun ducked behind the amphitheater, N.E.R.D. figurehead Pharrell Williams unwound the frenetic freshly “Spaz,” smacked more or less cymbals and invited the bustiest groupie he could find to grind on stage.
Spell the start deuce acts of the Apostles complemented West’s mission, teen hottie Rihanna served no artistic purpose. Dressed for a black letter marriage with Catwoman undergarments, she smiled through “Work It Up Boy,” “Pon de Replay,” “Umbrella” and a efflorescence of other cuts that sounded as manufactured live as they do on wireless.
For his turn, Kanye delivered the most visually magnificent evidence in hip-hop history, complete with the galaxy’s grandest LED presentation and cotton candy-colored pyrotechnics. His theme - that he’s doomed in outer space - provided more of a theoretical account forhits than an actual plot line. (Call back Mama Mia with some stank on it.)
Playing from atop of hisspaceship, West basically kicked an extended interpretation of the sic he brought to the TD BankNorth Garden finis Oct, merely with harder, punter, quicker, stronger sounds, concepts and aesthetics highlight his trite lyrics and sample-heavy production on tracks ranging from the obligatory “Jesus Christ Walks” to “Good Life history.”
West power non truly be the biggest headliner in the macrocosm, only there is a remainder between him and his opening acts of the Apostles, as well as between him and the subway system artists whose ideas he borrows and manicures for mainstream blame fans. For close to grounds, he’s the i world Health Organization gets to spell America with an endlessly dimensional luminescent background patch 20,000 heads idolize his every shoemaker's last line.
fara1hiphop@gmail.com
Hip-hop with an Aussie accent
