Beepr Blog

Where do you even start when covering an artist like Remi Wolf? It’s safe to start by saying she’s come a long way from her 2014 American Idol appearance. Blending pop with influences of soul, funk, and R&B, the Californian singer-songwriter has a wealth of styles that she executes with ease. Even her stage design (a dream-like rendition of Between Two Ferns) and visuals (trippy and funky as ever) were unequivocally Remi. Quickly selling out her initial night at Webster Hall, it only seemed right that she gave the fans what they wanted: a second night of splendor.

Opening up with Liquor Store, Remi set the tone for the evening: anthemic and unrivaled. From the second she hit the stage, dawning a psychedelic quasi-school uniform, it was clear that this was her temple, her happy place, where she feels most at home. For an artist at 26 to already be so comfortable on stage is quite the feat and bodes well for her career trajectory (which I imagine to be headlining festivals and eventually being too big for a venue like Webster Hall). Shortly after, Remi confirmed what we already knew when she said “Thank you for being here. We’re gonna have a lot of fun.”

Her next piece to be performed was a deeper cut called Sauce, which is an odd concept given it only came out in 2019 but we are at the beginning of her career. Regardless of when it was released, Sauce unequivocally slapped, despite it being a quite different energy than Liquor Store, it was a “feel it in your bones” kind of joint, with sensual vocals that grew all the way into belting. Following that brief foray into previous work, we were treated to consecutive tracks off of her debut album Juno: wyd, Grumpy Old Man and Sexy Villain. While all three of these songs are incredible and unique, they all reinforce something I previously touched on: whatever style Remi wants, Remi delivers whenever, all while effortlessly having the crowd eat out of her hands. What’s arguably even more impressive is the flawlessness in which she’s able to keep up such a pace. She’s able to deliver such emphatic vocals all while running around, wearing what’s like a lot of wool. 

Another credit to her confidence, Remi Wolf also isn’t shy to perform covers. She masterfully performs and seamlessly interjects Janice Joplin’s Piece of My Heart, Gnarles Barkley’s Crazy and Shaggy’s It Wasn’t Me, into her set. Another one of Remi’s many musical talents includes her prowess on the drums, which we were treated to while her drummer shouted positive affirmations to the crowd. After a few more deep cuts like Doctor and Shawty, plus Quiet On Set (which was arguably where the crowd got the most raucous during the evening), the show was nearing its end. 

How many concert tickets can you say you’ve only spent a dollar on? Thanks to Slowthai (real name Tyron Frampton, who I will occasionally refer to as Thai throughout), I can now say one. Fans could sign up for a chance to win a $1 ticket to see Slowthai at Baby’s All Right on January 13th, or, hope they were lucky enough to be one of the first 40 at the door if they weren’t emailed their ticket. What a brilliant premise for a concert: make it as accessible as you can, from a pricing standpoint, and give the diehards a chance to prove their loyalty by being first to the door. Given how small Baby’s All Right is (from a capacity standpoint), you’re essentially guaranteeing to have a dedicated and excited crowd. Slowthai would also give LA fans the same treat, performing at El Cid on the 17th of January. I’m not sure words will truly do justice to the brilliant pandemonium that was that fateful Thursday night, but the following is my best effort.

No opener needed, Thai brings the energy of a thousand performers to the stage, and manages to generate the response of thousands out of a crowd one fifth the size. I may have been covered in bruises and left almost without a voice by the end of the night, but I wouldn’t have it any other way after a show like that. A lot of crowd surfing, many instances of moshing, a few walls of death and one circle pit summed up to create one of the most raucous shows I’ve ever been to. But don’t let that fool you: Slowthai really does care about everyone’s experience and well-being. From beseeching those in the back of the venue to join in on the madness of the floor, reminding us that we were there to have fun and be ourselves, to imploring a gloomy-looking concert-goer to come up on stage for a hug, Slowthai cares as much about his fan’s experience as he does his art.

From a setlist standpoint, the concert was mainly a showcase of songs from his latest (and arguably greatest) album TYRON. We also were treated to plenty of loose singles such as Enemy, BB (Bodybag), T N Biscuits, and Psycho. Despite it only being the second song, CANCELLED set an incredibly high bar for how much energy we needed to give. i tried, another song off of TYRON, delivered incredible singalong energy even if it was one of the softer songs on the album. Despite not having the help of A$AP Rocky to perform MAZZA, the New York crowd responded with untamable energy. We were also lucky enough to hear some new, unreleased music: a single called Basquiat (which I pray will be released soon). Basquiat is a classically hectic yet focused Slowthai track. On tracks like Momentary Bliss, a song by Gorillaz, Thai still shines despite having to one-man-show it, a true credit to how passionate a performer he is. Slowthai is no stranger to collaborating, as the back half of his set features two songs with Mura Masa. Deal Wiv It, an ode to growing up in the estates, is a feel-good/let-loose type song where you equally feel like dancing and raging. Doorman is a much more sinister track, with its anti-establishment and punk undertones, and truly fits the bill as a final song to any setlist. As a long-time Slowthai listener, I was lucky enough to lock eyes with him as I screamed back lyrics which seemed to fuel Thai as he carried on. I also wasn’t the only one throughout the night that this happened to, another credence to how much Thai really cares about his fans.

For an artist in 2021, Bakar is a bit of a recluse and keeps his online presence minimal. He lets his music do all the talking that needs to be done. The second stop on his tour made landfall in Brooklyn, selling out Baby’s All Right. Baby’s All Right is certainly more than its name leads you to believe. This small bar doubles as an intimate performance venue, and it gives you a feeling that you’re on a movie set (or somewhere else where fantasy and reality blur). There’s not a single spot in the venue where you’d feel like you were missing out on the action. An extremely small stage, equipped with a silver wall that radiates with LEDs, surrounded by heavy duty speakers and sound treatment on the ceiling all ensure everyone’s got a chance for a memorable moment.

After an incredible DJ set from TALIA GODDESS, mixing elements of classic house hits with modern hip-hop and R&B, the mood was set. After an incredibly energizing melodic build-up, Bakar took the stage. Filling the air with vibrating bass and humming synths, Bakar was ready to capitalize on the intimacy and excitement in the venue. Bakar mixes elements of indie rock, rap, and punk into a harmonious blend that invites fans of all types to show. In some of the best concert luck I’ve had in recent years, Bakar treated us to a few unreleased tracks off his upcoming album (if only I could let you know what it’ll be titled or when it’ll be released, but Bakar spared us those details). One detail he felt necessary to share with us was his undying support of Arsenal Football Club, adding an extra element of personality and authenticity to his performance. Bakar’s newer stuff leaned heavy on the grungier side of previously explored sounds, and featured extremely emotive vocal performances. Once he was through his unreleased material, a new side revealed itself: the side that was ready to rage. Somehow, Bakar walks the line between incredibly relaxed on stage and capable of whipping the crowd into a frenzy.  

30 years ago, most rap beefs were settled via diss-tracks or in the streets. In the waning months of 2021, we’re lucky enough to have them settled by joint performances. Ye and Drake, together on stage again, one-night-only at a sold-out LA Coliseum. Much like the Donda listening parties, fans were able to purchase tickets for the live show while the rest of us sat on the edge of our seats, awaiting arguably the most anticipated concert of the year.

And also much like the Donda listening parties, we witnessed a choir dawned in all-black Yeezy outfits, an elevated mound drenched in smoke, and two of the biggest artists in the world reuniting for a common cause. The #FREELARRYHOVER benefit concert created a rallying point for Ye and Drake to set aside their (supposed, but I’ll address that later) differences to bring awareness to the case of Larry Hoover. After a beautiful choral performance of various works, two silhouettes appeared atop a staircase. Ye and Drake, side by side, a sight for hip-hop heads to behold. As they descended down into the field, we saw a brotherly dap between the two, hopefully one of many signs we saw that night that the air had been cleared.

Ye took to the mound (classically a little over an hour late) and uttered a phrase diehard Ye fans had been yearning to hear for years: “Let’s take it back to day one.” As Jesus Walks hits, both the live audience and likely fans at home felt a wave of nostalgia and euphoria rush over them. On top of tracks from Donda, we were treated to classic cuts from Late Registration, Graduation, 808s & Heartbreak, Watch The Throne, My Beautiful Dark Twisted Fantasy, Yeezus, The Life of Pablo, and various popular singles like All Day and Mercy. As a longstanding Ye fan, what more could you ask for? One potential answer could be a refresh, with the help of Mike Dean, of some of Ye’s most famous works (please go watch clips of Touch The Sky, Flashing Lights, and Black Skinhead if you dont believe me). After covering Find Your Love and then performing Runaway, Drake joined him on stage as Ye performed Can’t Tell Me Nothing. Drake then performed a good portion of Certified Lover Boy, most of his Scary Hours 2 EP, and a cover of Ye’s 24. Anthemic chants from the crowd were met by Drake asking how much louder they could get. You could tell that the energy and excitement were immense. Every show I’ve ever been to that’s had “special guests” have never had the special guest actually perform a concerts’ worth of songs. This was truly a sight to behold and perhaps what might be needed to revive two-headliner tours.

Fivio Foreign

Arguably the hottest rapper from New York right now, Fivio Foreign is on a mission to bring Brooklyn drill to the world. From Big Drip to Off The Grid, it was incredible to watch classics from every era of Fivi. But what’s the most notable thing about his performance is that Fivio is as true to himself and his neighborhood as the day he first started making music. Performing Pop Smoke’s Sweetheart and bringing a host of other Brooklyn MCs, Fivio was putting on for the city in terms of giving others a moment in the spotlight. Fivio has a charisma and swagger that’s equally inviting and captivating, hitting woo walks with ease while anthemic tracks like Wetty blare in the background. Between moments of crowd surfing and “litness contests,” Fivio Foreign is an incredible performer and it’s safe to say you’ll see a few viral moments at any of his shows.

A$AP Ferg

What’s better than seeing one member of the A$AP Mob during Rolling Loud weekend? Seeing two. A$AP Ferg is unreal live, amplified by a homefield performance: not one New Yorker was quiet or calm during Work. Ferg has crowd control beyond belief, as he’s got an incredible discography of hits to draw on. Spanning from Shabba to Floor Seats, Ferg ensures there’s a point of familiarity for all concert-goers. Much like fellow New York legend 50 Cent, Ferg augmented his set with live drums, adding another layer of flair to an already spicy set. Ferg has always been a taste-maker, having his career start with making belts and jewelry, and in 2021 that hasn’t changed. Bringing out artists from his new label Sewer Sounds out for a mini-spotlight showed off an old talent of Ferg’s we haven’t seen in some time. Capping off the performance with Plain Jane, it’s a certifiable fact that A$AP Ferg is the king of turning up.

Lil Tjay

Saturday seemed like a celebration of New York artists and that theme was kept alive by Lil Tjay. While he may not historically be a drill artist, Tjay had no issues when it came to performing a cover of Pop Smoke’s War or when he brought out Fivio Foreign to help with Zoo York. It also never hurts to throw in Mood Swings by Tjay and Pop Smoke. Outside of paying respect to the late, great Pop Smoke, Lil Tjay had some heat of his own to bring: Pop Out damn near blew the metaphorical roof off Citi Field. The self-described “hip-hop heartthrob” blends harmonizing with hard hitting beats and effortless flows. While there may be plenty of Lil [insert name here], a Lil Tjay show is certainly memorable and unique.

Roddy Ricch

TiaCorine

You know the feeling when an artist you’ve been dying to see lives up to the hype? Look no further than TiaCorine. With the ability to nail each flow and cadence she wants, TiaCorine is a superstar in the making. The young Winston-Salem rapper easily hops between ethereal, melodic instrumentals and hard-hitting, bassy beats. And speaking of, it was incredible to hear some of her collaborations with Kenny Beats live (like Luigi and the unreleased Cranky). Tia’s unique style(s) make every release exciting as you never know what you’re going to get, but you can always expect fire.

Kenny Mason

Having already seen Kenny Mason earlier that month, I knew to expect a heavy show. And sure enough, he delivered. You can check out the recap of Mason’s longer set from Kenny Beats and Friends for a more in-depth recap of his set, but know that he’s a ferocious performer in every setting. At Rolling Loud, Mason was able to generate the same roars and cheers from a crowd one third of the size and during the daytime (everyone knows that night shows get a little more crazy). Essentially delivering a streamlined version of his set from Kenny’s show, the Rolling Loud performance was nothing short of amazing.

Ski Mask the Slump God

Ski Mask the Slump God is as individual an artist as his name leads you to believe. The Florida native has both a unique style visually and musically, but this Florida man knows how to get a crowd crazy. Ski would scream, shout and dance around between songs to maintain the energy, which was evident when he played BabyWipe (especially during an acapella part). Ski and DJ Scheme, who made an appearance, also make an effort to never forget honoring his late friend and collaborator XXXTENTACION. The crowd went crazy for both their track Take a Step Back and a cover of Look At Me! I can safely say that no one was slumped during this set.

Lil Yachty

BFB Da Packman

You can’t pin down BFB Da Packman to one style. Delivering a set that’s part comedy, part trap-raps, and part melodic bangers, this is not a show to miss. Free Joe Exotic is as good as you’d expect it to be, but the best part of Packman’s set is how authentic he is. Whether it’s tossing pastries out into the crowd or inviting girls up on stage for a special donut segment, the Packman does as the Packman pleases.

Flo Milli

When you see Flo Milli’s name attached to a festival or a show, your eyes should immediately light up. With confidence and swagger through the roof, Flo Milli comes to the stage with one goal in mind: turning it up to 100. Her set spanned all her projects and singles, which helps fans new and old alike have a blast. Between teasing upcoming collabs with Rico Nasty and performing classics like Beef or In The Party, the energy she gets out of the crowd is relentless.

Rico Nasty

Prepare for a rowdy affair if you’re going to a Rico Nasty show. You should also be prepared for an immense display of concert-goers letting go of all their inhibitions, which is part of what makes her show so much fun. A Rico show is a beautiful scene of release and rage. Her performance covers something for everyone, from older tracks like Trust Issues to gold plaques like Smack A B*tch (and even her feature on Doja Cat’s Tia Tamera). Rampant with mosh pits and headbanging, it’s hard to find a show more metal than Rico’s.

Jack Harlow

Always in touch with the moment, evident by coming out to the Squid Game theme, Jack Harlow is a great showman. Devoting an entire segment of his set to “ladies night,” testing old fans with deep cuts, and popular singles. But what really blew the roof off the place was bringing out Lil Nas X for their chart-topper Industry Baby. Save for Travis Scott, that might have been the loudest moment of the weekend. And what better way to follow up that than by performing What’s Poppin? Nothing, nothing is better.

Bobby Shmurda

New York’s own Bobby Shmurda, live at Citi Field: have you ever seen the stars align so perfectly? While it may have been the shortest set of the weekend, Bobby brings it. Bobby also brings the whole team with him, as Rowdy Rebel helped take things up a notch (especially co-performing Computers). It’s a beautiful thing to see Bobby back on stage, and even better to hear unreleased music too. Despite Hot N*gga getting cut off early, it was iconic to hear those chords hit over a full festival speaker setup. It’s safe to say that Bobby’s back.

Gunna

Gunna has an amazing ability to float over instrumentals and it translates live in a heavenly way. If you have any doubts about it, you should watch him go from Sold Out Dates into a cover of Travis Scott’s Yosemite (it’s flawless). He has a calmness about his vocals despite having anthemic tracks and it makes for a beautiful duality. Gunna jumps from track to track, melodically bouncing with ease. While performing his feature on Ski, despite not having Young Thug, Gunna captivates while in cruise control.

Gucci Mane

If you’ve been a fan of hip-hop for over a decade, there’s a good chance you can time travel by going to a Gucci Mane concert. It’s always incredible to watch artists age with grace and class, and Gucci Mane fits that bill. From I Get the Bag to Lemonade to Pillz, Gucci came prepared with the hits. His laidback cadence allows him to glide over beats with suaveness and poise. His natural ability to lull you into the rhythms of each track help make for a great show that shouldn’t be missed.

50 Cent

Aris

On a warm evening in early October, Kenny Beats and Friends started off with one of Kenny’s true friends, Aris aka Sirasounds. A creative powerhouse at Don’t Over Think Shit (DOTS), editor of The Cave, photographer, Twitch extraordinaire, and talented DJ. Curating a great opener is no easy task, but I feel like Aris gave us a great spread on what to expect for the rest of the evening. A tasteful set featuring hip-hop vocals over energetic yet melodic production, Aris delivered on setting the mood for what would be an incredible night of performances.

Teezo Touchdown

Following Aris, fans who showed up early enough can say they were there to see Teezo Touchdown’s New York debut. Much like the buzz surrounding Teezo, the live show is undoubtedly unparalleled. Drawing on the world-building established in the catalogue of music videos, Teezo’s performance is powerful and heavily participatory. Bouncing off of his football coach/hype man for skits and interludes alike, Teezo takes us on a tour through his discography and then some (like performances of The Cave freestyle and an interlude of Randy Newman’s You’ve Got a Friend in Me, which gave way to Strong Friend). You can tell Teezo is truly committed to memorable and unique shows, as he came out dawning a Daniel Jones jersey, provides fans a chance to win “the game ball,” and tosses the bouquet that enshrouded his microphone into the audience. Seeing live renditions of songs like Social Cues and Technically contrast with those like Mid and SUCKA! shows you the range at Teezo’s disposal. To be able to effortlessly croon as well as generate mosh pits are skills seldom found in one artist. What’s perhaps even more impressive is when most of the audience is able to sing along for the first ever performance of the latest Teezo single, I’m Just a Fan. Teezo’s artistry, rollouts, and fan interactivity generate an aura of intrigue and curiosity, and yet many of sonic styles invoke familiar sounds, which perhaps is what is so inviting and familiar about it. Don’t be afraid to jump on the bandwagon now, as Teezo says, “don’t worry, you’re still early.”

Kenny Mason

While he isn’t the virtuoso of beat production that most people bought tickets to see, Kenny Mason is a Kenny to pay attention to. It’s always so refreshing to see young artists who have stage presence and crowd control beyond their years. Equally capable of gliding over 808s as he is guitar riffs, Mason has range to be reckoned with. Splitting the set time between the original Angelic Hoodrat and new cuts from the deluxe version, Mason provided offerings for fans new and old. Even without having the likes of Denzel Curry and Freddie Gibbs to back him up on A+ and Much Money respectively, Mason delivers unrelenting energy mixed with a swagger normally reserved for someone further along in their career. The confidence displayed was somewhere between breathtaking and inspiring as he effortlessly progressed through his set; Mason posed questions that would surely elicit cheers thoroughly throughout the crowd (such as “Y’all get money?”), took time to teach the hooks of songs, and peppered positive affirmations about success and hard work. On tracks like Pup and Metal Wings, Mason taps into the more metal side, with a natural ability to rage. Distorted electric guitars, heavy drums, and vocals imbued with a touch of existential angst mix together nicely in a way that Mason’s “rock-rap” (you will never see me use those words again) feels oh so natural. It wouldn’t be just to say that Kenny Mason is all raw, unrelenting energy, as he channels a quieter, more reflective style of performance on songs like Partments that are quite enjoyable to see live. At 25, Kenny Mason is surely still in his pup phase as an artist, and I can’t wait to see the dog fully unleashed.

Zack Fox

As I sat down to write this Zack Fox review, I’m ashamed of myself for having set any expectations about what this show would be like (although I was certainly right in that it got very rowdy). What can one even expect from Zack Fox, except the unexpected. After a raucous set from Kenny Mason, the crowd began to hum and murmur about where the next performance might take us in terms of energy, and we should have known Zack planned on taking it all the way up to 10. Politely requesting a vile and sinister mosh pit in order to open with The Bean Kicked In, the tone was set for the show: hilarious contradictions. Hectic, funky, and amplified: Zack Fox has no business being a part-time rapper. His latest single fafo, produced by BNYX, mixes incredibly witty comedic lyricism with catchy cadence and natural rhythm. Songs like Square Up, produced by the headlining Kenny Beats, also caused the crowd to erupt into a beautiful mayhem. In a preview of what was to come later on in the evening, Fox used his time center stage to shine a spotlight on artists he deemed worthy of such an occasion. Melodical and transcendental, 454 performed a few songs complimented by Detroit’s own ZeLoooerZ, hard-hitting and stylistically as they come. With the show culminating with freestyles and JLO’s Waiting For Tonight, Zack Fox had the entire venue eating out of his hands. As unpredictable and eclectic an artist as he is, you can certainly guarantee you’re in for a stellar show.

Kenny Beats

It’s hard to argue you go to any concert primarily for an artist other than the headliner. The same can be said for me when I bought tickets to Kenny Beats and Friends. At the beginning of the pandemic in 2020, I found comfort and consistent entertainment in his Twitch streams and catalogue of The Cave episodes. It’s not often you get the opportunity to cut through circles of separation and understand what makes brilliant creatives tick. Despite his pseudonym, Kenny is committed to more than just beats: he helps artists flourish. With the sole goal of creating fulfilling yet exciting sounds, Kenny Beats helps musicians of all levels produce work they’ve been craving to create. Kicking off the show with an intro video comedically comparable and similar to something out of Anchorman, a definitively diverse DJ soon ensued. Half of what makes a show fun is when the performer is having fun, and it’s safe to say Kenny was enjoying himself. Leaning equally into throwbacks for fellow 90s babies and the latest hits of today, his DJ set embraced anthems for all ages. While he might consider it a blip in his career he might rather not revisit, Kenny’s set is certainly ameliorated by his EDM past. During a supposed moment of less-than-satisfactory crowd participation, we were pleasantly trolled by Calvin Harris’ Feels So Close which gave way to Playboi Carti’s New N3on. Flawless transitions, unexpected yet immensely satisfying switches, and effortless crowd control were all on display throughout the performance. What impresses me most about the discography of Kenny Beats is its unabashed contempt for being boxed into one genre, style, or sound. Bouba Savage (a 13 year old Harlem rapper, performing his latest single Shutdown), Offset Jim (a Bay Area rapper, performing their collaboration Face Card), DJ Lucas (a western Massachusetts rapper performing cult classics from Kenny’s Twitch stream like Weed Person and recent single Fake the Funk), Nick Hakim (who serenaded the crowd for a pleasant change of pace), Kenny Mason (performing some quality unreleased “kentertainment”), and Zack Fox (leading essentially a sing-along for the viral collaboration, Jesus Is The One (I Got Depression)) all made time to show out for Kenny to surprise and satisfy fans from all entry points. Capping off the night with a motivational speech about how he’s turned his career around in the past five years, pursuing work that he’s passionate about and working with artists he respects and admired, Kenny Beats wants the crowd to succeed and flourish as much as they have fun. Make sure you don’t overthink buying tickets to the next DOTS show.

In this first installment of Beepr Goes To Shows, I spent all 3-days at this years Governor’s Ball to give you crowd coverage you deserve and concert recaps/reviews you want. Stay tuned for more show write-ups and other updates!

Freddie Gibbs and The Alchemist

What happens when you put two legends on the same stage? You get one hell of a fucking show. Freddie Gibbs and The Alchemist were on another level that Friday afternoon, delivering classics from Madlib collaborative albums (Crime Pays, Fake Names, Palm Olive, Thuggin), recent singles from Freddie (Big Boss Rabbit, Gang Signs), and all your favorite offerings from Alfredo (Baby $Hit, Scottie Beam, Something To Rap About). The braggadocious swagger Freddie brings to the stage is tempered by Alchemist’s suave production and generally reserved demeanor, making them a very balanced performance. Despite being an acclaimed producer, you get the sense that The Alchemist is there to support Freddie rather than make the performance about himself. Freddie’s natural humor shines through in between songs, cracking jokes while taking tokes and hitting a bottle of Hennessy. Chants of “Fuck police,” cheers for the Alchemist, and concert-goers belting choruses created a deafening atmosphere, rivaling some sold out indoor venues I’ve visited. To call Freddie a cult artist would be disrespectful of all the mainstream achievements (Grammy nominations, cracking Billboard Top 25s, etc), and yet for some reason, he remains on the fringes of superstardom. Part of what people love about Freddie Gibbs is his larger than life personality, as he has an authenticity about him that’s naturally charismatic. If there’s anything I can be certain about after that set, it’s that Freddie Gibbs and The Alchemist have undeniable chemistry and I hope they have more on the way.

Phoebe Bridgers

In January of 2018, a report from Nielsen Music identified that rap had surpassed rock in terms of overall music consumption. But Phoebe Bridgers will not allow her genre to go quietly into the night. She very well may be the next iteration of a rockstar. From her band all being in uniform, to the stage production, and most importantly, her diehard fans: Phoebe Bridgers is killing it in all aspects of the game. Apparently, I had been living under rock for quite some time as I only did a deep dive into her music when I saw her on the Governor’s Ball lineup announcement. How foolish was I? Phoebe has an incredible catalogue despite being only 27 (bolstered by her work with groups like Boygenius and Better Oblivion Community Center). Songs like Motion Sickness, Garden Song, and ICU feel more like Phoebe hosting a singalong, as the entire crowd is belting back each and every lyric at the top of their lungs with emphatic energy. Tracks like Kyoto also fall into that category, but there’s an immense rush of excitement as the brilliance of Bridger’s music blares through over the speakers for the chorus. Ballads like I Know The End are blissful moments of serenity, as I found myself swaying with my eyes closed in my little spot in the crowd. Her nonchalance in between songs is intoxicating, as it’s a beautiful contrast to her immensely emotive and personal performance. It’s so endearing to see past what’s on the outside and find an individual who profoundly cares about their work. What perhaps is most endearing about Phoebe’s performance is how she’s unabashedly herself: quips like “Fuck nihilism, too” are interjected in between songs, her outfit a glamorized rendition of the classic skeleton t-shirts. While I might have been late to the party in terms of the Phoebe Bridgers hype train, you can bet I’m going to be early to every one of her shows from here on out.  

A$AP Rocky

As Saturday night of Governor’s Ball was drawing near to an end, there were millions of individual conversations buzzing around in the crowd. But almost all of them were centered around one question: When will A$AP Rocky start? At 9:12pm EST, our question was answered, with a bang. Crowd surfing around in an inflatable car, bullhorn in hand, Rocky showed off some new sounds as unreleased tracks (Grim Freestyle amongst the slew of unreleased tracks) boomed over speakers. Mosh pits opened up left and right as the concert slowly evolved into a beautiful, New York block party-esque chaos. Hearing recent work like his features on Slowthai’s MAZZA and Famous Dex’s PICK IT UP were unexpected yet gratifying moments. But what really amplified the crowd was hearing some of the “older” radio hits. I can’t remember a time in recent memory when I’ve been as excited as when the first synths on LPFJ2 and Telephone Calls hit. Classics like Praise Da Lord and Yamborghini High ensured that there were no lapses in energy or excitement. Babushka Boi set the crowd ablaze, as the off-key notes intermingled in the beat acted as cues for the rowdy meter to kick it up a notch. Rocky even gave up some of his set to ensure the rest of the Mob was represented, as he had the DJ play Plane Jane by A$AP Ferg. The softer side of Rocky’s discography was met with equal anticipation as Sundress and A$AP Forever were met with exuberant cheers. Fully embracing his trippy side, after asking us if we liked hallucinogens, Rocky performed L$D to a roaring crowd (he also teased us with the unreleased Mushroom Clouds after asking us if we fucked with mushrooms too). During what felt like a showcase of the Harlem rappers’ ability to generate raucous ovation, the time had the crew informed Rocky his set had to be wrapped up. An earnest plea to keep it going was made, begging to at least get off Peso, but the euphoria was always going to be finite. It’s safe to say, anyone saying Rocky fell off is full of it.

Burna Boy

From start to finish, Burna Boy kept it hot. Bringing plenty of Nigerian flair to the CitiField air, I can safely say that Burna Boy’s set was one of the most enjoyable of the weekend. Even before he appeared, loud chants imploring him to take the stage could be heard ringing throughout the grounds. As his band and mom (who doubles as his manager) patiently waited, you could see them grinning and laughing as they knew we were in for a great show. Burna Boy then graced the stage and we were transported to another world, filled with laid back vibes, political protest, and triumph. Opening up with Gbona, it was apparent that the entire show was going to be electric. Hitting dance moves, grinning from ear to ear, it was obvious that Burna Boy planned on making a stellar first impression at the Governor’s Ball (he also earned major New York brownie points by giving us an animated performance of his velvety feature on Enjoy Yourself by Pop Smoke). Hearing some of my favorite songs live cemented them even further in the favorites category, as his performance adds another level of fun and personality. Collateral Damage, a beautifully subverted political protest anthem, felt truly harmonious as the entire crowd chanted the chorus with their fists in the air. As much as I love my AirPods, the heartfelt energy of both the crowd and Burna Boy I felt in the crowd during Anybody and Dangote could never be matched by speakers. Even the less upbeat songs (such as Wetin Man Go Do) he performed were met with incredibly cheerful reactions as. Live riffs from the band during some of his most popular singles added great spice for those who are familiar but equally exciting for new listeners. It’s apparent that there’s a great sense of camaraderie amongst the whole crew, that their main goal is to put on a memorable and joyous show. I can only hope that Burna Boy and the band make trips to the states more frequently.

Ellie Goulding

Have you ever felt the urge to forget everything that’s worrying you and just live in the here and now? Then you should go to as many Ellie Goulding shows as humanly possible. There’s a good chance you’re already familiar with some of her work (I’ll get to that in a bit), but it’s an entirely other thing to see her bring them to life. Hidden under the surface of a soft-spoken, singer-songwriter is a powerhouse performer, ready to give the show and attendees her everything. Watching her confidence grow during the set, seeing her come out of a shell that had likely developed as a result of not touring, was a beautiful sight to behold. In between comments about how grateful she was to be performing, quips about her outfit, you really got to watch her conviction begin to grow and take root. Anthemic at every instance, the crowd was equally ready to return the same energy Goulding graced us with. The only thing that was all over the place about her refined and poised performance was the eclectic mix of work she pulled from. From Lights (and yes, if you’re curious, that shit slapped) all the way up to her latest album, Brightest Blue, we got treated to the Ellie Goulding evolution set. Intermingling a solid slate of collaborations like Diplo’s Close To Me (I don’t know if I’ve ever sung along as fervently as I did for that one), Calvin Harris’ I Need Your Love (okay, I lied, this is the one where I lost my voice), and Major Lazer’s Powerful, there was a reference point regarding how they discovered Goulding for everyone in the audience. Hearing oldies like Aftertaste, Anything Could Happen, and Only You instantly transported me to simpler times, back when bills and deadlines seemed like an abstract concept. In another edition of music star leads a sing-a-long, the crowd could have taken over for Lights and Love Me Like You Do. Thankfully, we got to hear Ellie too. It’s a magical moment when a few hundred (maybe a full thousand) are all united by one common goal: to embrace the present and shower the performer with adoration in the form of knowing every lyric. Harmony amongst total strangers, tied together through a common love of music. Ellie Goulding gave us more than one of the best sets from the weekend, she gave us a sense of unity and togetherness unlike any other I’ve experienced.

Post Malone