Not content with establishing a new paradigm for hip-hop productions -- and
scoring a string of hits and two multiplatinum albums in the process --
Kanye West set out to redefine the live rap concert with his "Touch the Sky"
tour.Though he's prone to bragging, this was no idle boast: As evidenced
by his performance at the UIC Pavilion Monday night, the 28-year-old
Chicago-reared superstar has succeeded brilliantly.
More than two decades into the genre's development, many of the best
rappers still treat live shows as an afterthought, padding short sets with
momentum-killing cameos by their crews, truncating songs into unsatisfying
medleys, performing to canned backing tracks and indulging in trite
left-side, right-side "battles" while vainly trying to pump up a crowd that
they've left sorely uninspired.
While avoiding the most tired cliches, West's two-hour concert set a new
standard for imaginative staging and visuals, challenging musical
arrangements and tireless energy on the part of the star.
Cutting-edge lighting and well-chosen video clips illuminated a
futuristic stage of transparent cubes. Two backing vocalists, a live
percussionist, a keyboardist and a string section with two cellos, four
violins and a harp decorated the backing tracks controlled by West's
talented turntablist, DJ A-trak, to deliver one powerful groove and
undeniable melody after another.
West structured the set like a play tracing his personal and artistic
development. After an uplifting opening with "Touch the Sky," we found him
waking up in his South Side home before going to work at the Gap in
Evergreen Plaza mall ("Drive Slow" and "Spaceship"), visiting his ailing
grandmother and paying homage to his college professor mom ("Roses" and "Hey
Mama"), living through a potentially fatal car wreck and questioning his
faith ("Through the Wire" and "Jesus Walks"), and emerging to overcome
naysayers by topping the charts ("Bring Me Down" and "We Major").
As much of a notorious perfectionist and workaholic as fellow Chicagoan
Billy Corgan, West continues to tinker with the show, and there were several
substantial changes from the concert I caught earlier in the tour in
Champaign. But the biggest surprise in Chicago came when the headliner
turned over the mike to his South Side mentor and friend, Common.
West originally envisioned the tour as a showcase for himself and two of
the most successful artists he has produced on his Good Music label, rapper
Common and R&B star John Legend. But Legend has been successful enough to
headline his own jaunt, and Common dropped off the tour when he accepted a
film role, though he flew home to join West for four songs in their
hometown.
After trading rhymes with West on "Get Em High" and "Testify," Common
tore it up on his own on "Go" and "The Light." For West, ceding the
spotlight was a generous move as well as a brave one: Common is one of the
most deft and skillful rappers in hip-hop, while many critics contend that
West's rapping is the least of his strengths.
But West proved that he could more than hold his own, making up for what
he lacked in flow with sheer exuberance and the force of his personality.
And while Common's mini-set did derail some of the momentum of West's
carefully paced lineup, the star recovered and built to a climactic ending
with "Diamonds From Sierra Leone," pointing toward the increasingly
political tack of his music and his public statements.
In the funniest line of the evening, West encouraged fans to sing along
on the chorus of his No. 1 hit "Gold Digger" -- "Now I ain't sayin' she a
gold digger / But she ain't messin' wit' no broke niggaz" -- with the
crack, "White people, it's your only chance to say 'niggaz'!"
The biggest knock doubters have on West is what they call his "arrogant"
persona. Aside from the facts that it's not bragging if you deliver the
goods, and that the same critics have no problem with gangstas such as 50
Cent forever giving themselves props, the "Touch the Sky" tour shows that
the boasting is really an act. At heart, West is still a geeky kid dancing
alone in his bedroom to "Take On Me" by a-ha, and he isn't afraid to portray
that onstage.
Opening the show were two hip-hop/R&B divas. Keyshia Cole is a
considerable talent who was ill-served by a short and stripped-down set and
suffering from a sore throat, while Fantasia is yet another undeserving
"American Idols" prefab pop star unduly fond of bombastic overstatement. Her
histrionic screaming during soulless covers of "Purple Rain" by Prince and
"Dream On" by Aerosmith doubtlessly had dogs howling in pain throughout the
UIC campus.
BACK