Review: Kendrick Lamar rewrites the rules of the rap show
” — six arrows piercing his silhouette’s skin. Taken together, the artistic flourishes demanded the crowd’s attention, through their eyes and not their camera phones. As he rapped on “Element,” “I don’t do it for the ’Gram.” It’s clear he didn’t want the crowd to do it for Instagram, either.
Not that certain moments wouldn’t be great to share with the wider world. At one point, Lamar was encased in a plastic cube alongside four dancers in hazmat suits, one of whom “administered” a coronavirus test right before he launched into “Alright.”The song, which has found a second life as a protest anthem, was a familiar crowd-pleaser on a set dominated by Lamar’s new album. Old favorites such as the blustering “Backseat Freestyle” and the antagonistic fire starter “m.a.a.d.
along to his older hits, it was as if he was giving those songs away to the crowd. He’s just about done with them now. To paraphrase Jay-Z, if you want Lamar’s old stuff, buy his old albums. These days, Lamar seemed more concerned with the personal dialogue on “Mr. Morale & the Big Steppers” with agonizing questions and bittersweet realizations .
As Lamar closed his set with “Savior,” he looked toward the crowd and asked, “Are you happy for me?” Judging by the Cheshire grin across his face as he descended below the stage, Lamar knows the answer and is ready for the next question.
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