Looking forward to So Help Me God is a thrillingly impossible task. A double serving of All Day just as 3AM approached, with Allan Kingdom’s haunting chorus echoing across the venue, was the only way this one-off concert could end. Not just because that misunderstands his intentions, but it also assumes Sketpa, Novelist and JME need their hands held.Īfter Black Skinhead and Blood On The Leaves tore the inhibitions out of every single balcony stationed industry-type, Kanye brought the entire ensemble back on stage with Raekwon for a rendition of C.R.E.A.M before nostalgia turned into an assault of what’s to come. It would be foolish and disrespectful to paint Kanye as some kind of father figure.
Once Sketpa wrapped up his final bit, he didn’t thank Kanye- he just stared into the crowd and declared “Boy Better Know forever”. Nobody was coming out on top, nobody was having “their moment” and – crucially – nobody was doing anyone any favours. There was a definite feeling of history in the making beaten only by a greater feeling of unabashed revelry.Ī transatlantic relationship where both camps are wholeheartedly excited by the creative output of one another. The track-for-track moments like this are the proof that Kanye isn’t roping Boy Better Know in as backing dancers. Skepta then brought the anthem-in-waiting velocity of Shutdown to the crowd before the rumbling bass of New Slaves rattled through the PA. The whole event felt like a thrilling middle ground between an album launch and the party of a Middle Eastern prince who can afford to have all their favourite artists perform for their personal entertainment.įor those there for Ye, the presence of CyHi The Prynce meant the pair could play So Appalled from 2010’s opus My Beautiful Dark Twisted Fantasy.
It was a Kanye West show but Ye spent most of his time gleefully sprinting in the background, mobbing out like the 1400 other spectators. A setlist that followed Jesus Walks with Sketpa’s It Ain’t Safe. Amongst the torrent of press attention that followed Kanye’s All Day debuting at The BRIT Awards, one of the numerous standpoints taken was the cynical view that his decision to perform with mascots of the UK grime scene was in some way condescending.Īside from the blinding truth that it is far more condescending to treat grime artists like some flock of lost souls who can’t make their own minds up, this pessimistic outlook now has to answer to a setlist that places Mercy earlier than JME’s 96 Fuckries.
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