![]() His previous turn at Lollapalooza in 2018 found him admonishing the crowd for not forming a proper mosh pit, but even then his more thoughtful side had already emerged with the release of Flower Boy the year prior. Tyler the Creator performs at Lollapalooza in Chicago on July 30th, 2021. Tyler has had a fascinating and stunning metamorphosis, from an irascible figure whose early depraved lyrics and antics were polarizing, to the sophisticated and charismatic artist who commanded the stage with ease as he danced, affably shared stories and set different tones for the eras of his career, via lighting, background and clothing changes. ![]() “Massa” addressed his transformation with his grooving flow building grittier as the song progressed. But, he surmised, a decade after his debut studio album, Goblin, dropped, he was “super proud” of where he’s arrived. “I was nasty as fuck” and “ugly” he recalled. “I was gross,” the rapper said thinking back on his come-up. By nightfall, Tyler, the Creator contemplated how far he had come. “You have no idea what that person has been through,” he said, and Giveon reveled at the opportunity for his first-ever festival performance. Earlier in the day, Grandson encouraged fans to be kind to those around them. While fans were reacquainting themselves with how to navigate crowds, the year-plus spent away from the stage gave artists plenty of time to reflect. On Friday night, the festival tweeted that beginning Saturday, masks would be required in indoor spaces on the grounds.ħ0 Greatest Music Documentaries of All Time Masks were required on the honor system for those who were unvaccinated (and could be obtained for free at the fest), though very few people were seen wearing them on a day that coincided with Chicago health officials recommending universal masking indoors following the uptick in Covid-19 cases nationwide. Though it was busy and packed tighter near stages (and it got more crowded as the day wore on), there was still a decent amount of space away from the front of stages to socially distance and maneuver around the park, a welcome respite while in the midst of a pandemic where Covid-19 case numbers are once again rising. While official attendance numbers were not made available, the grounds did not appear to be at its typical 100,000-person capacity. Frank Ocean, Pharrell Williams, Kali Uchis, Syd, and Estelle are among 11 supporting cast members, not one of whom is inessential to the whole.It’s been a long 16 months without in-person concerts and festivals, and as Lollapalooza returned for Day Two at Chicago’s Grant Park on Friday, attendees and artists alike were all still feeling their way into the new normal. ![]() Even with combination bleacher-stomping/trunk-rattling drums and an F-bomb, "See You Again" is a positively kaleidoscopic love song, tricked out with laser zaps, xylophones, strings, horns, and sugary lines like "I'd give up my bakery to have a piece of your pie." On "Pothole," a low-profile standout, Tyler approaches driving as a metaphor for life, laments his solitude and vehicular escapism, but then proudly asserts his lone-wolf status over the sheep: "I'd rather drown in a pool by myself than fuck with they fleece." While most of these songs are rife with anxiety and isolation, the open-hearted lyricism and wide-scoped productions, put together by an artist in peak form, make them immensely engrossing. The album contains another hard-hitting track in the form of "I Ain't Got Time!," with the rhymes ranging from routine threats to singular declarations ("Next line will have 'em like 'Whoa'/I been kissing white boys since 2004"), but its makeup is typified more by "911" and the similarly lively "Find Your Wings," off the preceding Cherry Bomb. Lonely," where a longing Tyler, over a supreme dazed groove, sees adoring fans and fast cars - the latter self-effacingly acknowledged elsewhere as a recurring album theme - as inadequate fill-ins for one-on-one time. There was little indication from the pairing of the bare-knuckled blast "Who Dat Boy" with "911/Mr. Going by the preceding lead double A-side, the album's essence was impossible to forecast. This is a major creative advancement, no slapdash repository of provocations and whims. ![]() album - marching-band drums, curlicue strings and synthesizers, candy-coated melodies galore - filled with purpose, lacking in aimless frivolity. It's also the most radiant one, akin to a modern-day N.E.R.D. Despite the coarseness of its alternate title, Scum Fuck Flower Boy, this is easily the least vulgar Tyler release. Proclaiming himself as Flower Boy T with that gravelly voice and irascible disposition befitting a proprietor of a rust-belt collision shop, Tyler, The Creator thrives on his paradoxical character and daily life throughout his self-produced fourth solo album. ![]()
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