Drake In Concert - New York, NY
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Drake And Migos Light Up Brooklyn With Hits At Barclays Center

Drake and Migos have seven NYC shows in nine nights, and Brooklynites got their money's worth on Friday.

Drake and Migos gave Brooklyn a party Friday night (Aug. 31) as fans filled the cavernous halls of the Barclays Center for the highly-anticipated Aubrey & The Three Migos Tour. In support of his record-breaking number one album, Scorpion, the 6 God embarked on a 57-date tour across the country, hitting cities like Chicago, Toronto, Miami, and Boston.

With New York holding a special place in Drizzy’s heart, the Big Apple is getting quite the treatment with Drake and Migos performing seven shows in nine nights. It was an energetic night as both the 6 God and the Atlanta trio delivered incredible sets giving Brooklyn fans an exciting show to remember.

Migos got the night off to an explosive start as the group ran through their extensive catalog of hit records. Classics like “Hannah Montana,” “Handsome & Wealthy” and “Pipe It Up” delighted fans who rapped along. Migos’ electrifying presence brought on boisterous cheers from the Brooklyn crowd as highlights from Culture and Culture II, including “Narcos” and “Slippery,” rang through the Barclays Center.

Audio feedback issues during their set caused no problems, as they maneuvered through “Kelly Price” and “Deadz” without missing a beat. Before making their exit, Quavo praised the old and new fans for their nonstop support saying, “Thank you for making us the number one group in the world.”

As fans were still gathering themselves after Migos’ thrilling set, Drake wasted no time diving into the A Side catalog of his latest album, with hard-hitting tracks like “Talk Up,” “Mob Ties,” and “Energy” booming through the giant speakers stationed high above the stage.

Fans rapped alongside Drizzy on “Elevate” and “Emotionless” while marveling at the bright, miniature drones on stage and the inflatable yellow Ferrari making its rounds through the arena during Drake’s guest verse on “Yes Indeed.”

“This that Friday night Brooklyn sh**,” Drake said in response to the raw Brooklyn energy that radiated throughout the venue. “This not Madison Square Garden. We definitely in Brooklyn tonight.”

READ MORE: Drake Parties With Quavo And French Montana In “Nonstop” Music Video

Drake took a moment to speak on his long history with New York City before jumping into a medley of his throwback records. “Do you realize how long we’ve been together,” Drake asked as he reminisced on the moments he’s experienced in the city —- like his first performance at the famed SOB’s or hearing “Best I Ever Had” on the iconic radio station Hot 97. Fans wallowed in the retro vibes as Drake blazed through a vintage medley that included “Trophies,” “Over,” “Headlines,” “Yolo,” and more.

Migos, French Montana (who served as a surprise guest) and a group of backup dancers joined Drizzy on stage to bring the night to an even higher level. After their fiery set earlier in the night, Migos kept the momentum going with a lively performance of their collaborative banger with Drake “Walk It Talk It.” The quartet followed that up by rapping through their respective verses on “Versace” with quickfire precision. French Montana joined the party afterward, performing his standout chorus on Fat Joe and Remy Ma’s “All The Way Up” and his number one record “Unforgettable.”

After a brief intermission, Drizzy put a smooth relaxing vibe on the night as he moved on to his B Side records. Performing mostly R&B hits, Drake sang his way into the hearts of all the women in the audience belting out vocals for “Jaded” and the Michael Jackson-assisted “Don’t Matter to Me” while also covering the King of Pop’s timeless record “Rock With You.”

Acknowledging the strong, independent women in the audience, Drake had the ladies in their bag with “That’s How You Feel” and “Nice For What” while recognizing Brooklyn’s rich reggae history with “Controlla” and “Work.” The troupe of dancers joined him on stage once again, taking part in the Shiggy Challenge during a booming performance of “In My Feelings.”

READ MORE: #DoTheShiggy: Drake Brings Out Shiggy On Stage At NYC’s Madison Square Garden

As the show neared its end, a tireless Drake reignited the flames with his guest verses on Blockboy JB’s “Look Alive” and Travis Scott’s “Sicko Mode.” Drake kept his foot on the pedal with “Nonstop” and “I’m Upset” before taking another moment to reflect on his early beginnings.

A video montage showcasing a young Drake alongside his longtime friends and OVO brothers 40, Oliver, and Future played on the screen above the stage. The crowd cheered and applauded Drake’s 10-year journey that took him from his mother’s basement in Toronto to becoming one of hip-hop’s titans.

When the video finished, Drake got right into the anthemic “God’s Plan” with massive amounts of confetti falling from the rafters. While fans relished at the moment Drake left the OVO faithful with a moving, uncharacteristically sociopolitical message.

“All of us are living in a country where we have to deal with people telling us we don’t understand, how divided we are, and how bad sh** is getting and how we gotta deal with this fu**ing idiot that’s in office,” Drake said.

“They’ll sit there and tell us this country is falling apart because of us. But tonight we got 16,000 people from all different backgrounds inside one building and all we’re doing is chilling and having a good time. This is how the country should be.”

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Scott Legato

Rick Ross' ‘Port Of Miami 2 Tour' Is Motivation To Hustlers Far And Wide

“I can spot a millionaire—from the guy working at the carwash,” Rick Ross said to a sold-out crowd at New York City’s Gramercy Theatre on his “Port of Miami 2 Tour.” “He got the rag hanging out of his pocket, to the way he rock his [pants]. I see the millionaire in him,” Rozay continued.

For nearly two hours on Tuesday (Oct. 15), the MMG bawse galvanized the hustler’s spirit, thanks to the preciseness of words used to explain his “came from the bottom” narrative combined with first hand accounts of the imperative mental spaces that dope boys experience.

But before Rozay graced the stage at the Gramercy Theatre, MMG’s baby boomer Yowda entertained the crowd for a brief set before passing the mic to lifelong MMG soldier Gunplay.

Rocking a black Dickies outfit, the Triple C member, who has been vocal about his cocaine addiction, stormed the stage with coke-like energy while mouthing lyrics to his sobering verse from “The Great Americans,” a song from MMG’s Self Made, Vol. 3.

Gunplay, who was actually born in the Bronx, nimbly bounced across the stage like a point-guard maneuvering through defense closed out his set with his under-the-radar street classics “Blood on the Dope,” “Bible on the Dash,” and his verse from Waka Flacka’s “Rolling.”

With marijuana smoke clouding the venue, liquor relaxing some concert-goers, and the clock inching toward 9:15 p.m., Rozay slowly walked toward the center of the stage—indirectly egging on the standing ovation by confidently nodding his head. Lex Luger’s “B.M.F.” instrumental blasted from the speakers for what seemed like minutes before the Dade County native dived into his verses.

The motivational concert commenced with the words: “I think I’m Big Meech, Larry Hoover,” here Ross is claiming his declaration to be financially independent---probably his No. 1 goal in life.

Less than two minutes into the start of Rozay’s set, The L.O.X.’s Styles P surprised the crowd by appearing onstage to deliver his verse from “B.M.F,” which was followed by ”Good Times (I Get High).” Surprises continued when Jadakiss appeared on stage to help his partner-in-rhyme run through their classic, “We Gonna Make It.”

 

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Elite Mc’ing last night with @richforever . #Dblock #Lox #NYC

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After working up a sweat, a slimmer-looking Ross shedded his beige designer trench jacket. Dressed in all white—like the cocaine money that he raps about—with shining jewels wrapped around his neck and wrists, Ross played the visual representation of success to kids from every coast.

Ross proceeded the show with his get-money classics like “I’m Not a Star,” where when he rapped: “Nine for the slice, dummy that’s a Dan Marino/Talking quarterbacks, meaning talking quarter kilos,” concert-goers enthusiasm seemed to max-out as they rapped with words with Ross.

After performing a list of favorites like “Aston Martin Music” and “Hustlin’,” the Box Chevy anthem that set the rapper’s career in motion, and “Where My Money (I Need That),” Rozay surprised New Yorkers by inviting Brooklyn native Fabolous onstage.

The Young OG entertained the Gramercy with hits like “Breathe” and “Cuffin Season” before closing his set with his verse from Meek Mill’s “Uptown.”

As the night grew to a close, Ross decided to remind fans that it’s totally fine for hustlers to shed tears. With that, the 43-year-old delivered his masterful verse from Kanye West’s “Devil in a New Dress.”

The place erupted with emotion with lines like “Whole clique appetite had tapeworms/Spinning Teddy Pendergrass vinyl as my J burns/I shed a tear before the night’s over.”

 

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Elite Mc’ing last night with @richforever . #Dblock #Lox #NYC

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Tears continued to fall as Ross ran through the CeeLo Green-assisted “Tears of Joy,” a woeful hip-hop ballad that shows the imperativeness—from a dope boys POV—of financial freedom.

Overall, Rozay’s performance is not filled with animation and routines. His stage presence isn’t as strong as fellow hustler-turned-rappers Jay-Z and Pusha T. However, Ross’ words of encouragement are powerful tools that incites the “give me liberty or death” mentality that birthed the hustlers spirit of America, and birthed America.

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Kadeem Cobham

A$AP Rocky Returns To New York, Brings Out 50 Cent And Swae Lee At Rolling Loud

A$AP Rocky is late. At any other rap show, this would annoy people who waited hours standing in cramped spaces to see their favorite artist perform. At Citi Field in Queens – the home of the first edition of Rolling Loud in New York, a two-day hip-hop festival held this past weekend (Oct. 12-13) – it becomes a game time decision on how you want to end your night. As flocks of attendees made their way to the Fashion Nova Stage, you can already hear Lil Uzi Vert performing at the nearby Dryp Stage. Rocky fans who secured a spot at the guard rails next to me kept looking back, maybe contemplating giving up their position to rage with Lil Uzi. Wisely, they stay.

About 10 minutes have gone by since Rocky’s scheduled 9:00 p.m. performance, and it's starting to feel like this is all on purpose, to build a dramatic opening for the Babushka Boi, who finally returns home after a highly-publicized stint in a Swedish jail for allegedly attacking two men outside of a hamburger restaurant in central Stockholm over the summer.

Suddenly, without warning, someone screams “yeahhhh!” in the mic. That same person wearing a red puffy coat runs through center stage, screaming “yeahhhh!” again before returning to the main stage. Backed by a sizeable group wearing white Testing-esque ski masks, the wait is over. Get ready to mosh because Rocky is here.

 

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Thank you for a great close to night two Flacko! @asaprocky 🎥 @evanhammerman

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For New Yorkers, A$AP Rocky has created plenty of hometown moments in his rap career. Depending on your age, you were probably there when he and the A$AP Mob invaded Santos Party House in 2011 to do a defiant performance of “Pesos.” Or in 2012 when he brought his Long. Live. A$AP Tour to Roseland Ballroom with some help from his good friends ScHoolboy Q and Danny Brown. The inaugural Yams Day, initially held at Terminal 5 in 2016, has become an institution for the Harlem crew, promising a lifetime of homages to the late A$AP Yams by holding one every year, to increasingly bigger crowds and venues.

Rocky at Rolling Loud wasn’t just another Rocky show. It had more significance. Technically, Rocky already had his big U.S. comeback when he hit the stage at Real Street Festival in Anaheim, California on Aug. 11, telling the crowd, “I just want to say what I experienced was so crazy. I'm so happy to be here right now. That was a scary, humbling experience but I'm here right now. God is good.” He was later found guilty by a Swedish court but avoided further jail time.

No, this was different because Rocky came back to where it all began. The imagery of Testing, his latest album released in May of last year, was in full effect – the crash test dummies aesthetic, the smiley faces, the vehicles hanging on the rafters like ceiling fans. After sending his squad to stage dive, Rocky took off the fall appropriate outerwear, dressed in a Rick Owens long sleeve and all-white mid Uptowns, to keep the party going. “Praise the Lord,” “Telephone Calls,” and “Babushka Boi” already had this crowd wanting more turn up.

Rocky was in the zone. He took to the skies, standing on the hood of one of his suspended cars to rap “Gunz N Butter” and “OG Beeper.” As it lowered to the ground, he followed with a freestyle filled with that Pretty Flacko talk: “Look at me, get what you see, envision me/Brazen chains, is he Pusha-T or Mr. T?”

“We in fucking New York City right now,” he said after. “This is the home of the A$AP Mob, are you shitting me?”

Our first special guest: A$AP Ferg.

The pair have one of the best chemistries in hip-hop, shown in their buddy-buddy attitude and how seamlessly they work off one another. No matter how many times you’ve heard “Plain Jane” and “Work,” the songs still go off. When these come on, New York definitely doesn’t know how to be quiet.

“Ferg, you crazy if you think I’ma let you leave. You’re crazy,” Rocky said.

“Welcome home, Flacko!” Ferg replied, continuing with “Floor Seats.”

Ferg gave a special shout to day-one fans who have been with the Mob since their early singles, listing “Peso,” “Purple Swag,” “Get High,” and “Shabba.” Later, after Rocky brought out AWGE affiliates Smooky Margielaa and G4 Boyz, he playfully nodded to having no type after showing off his collection of bras he got from women who threw theirs on stage earlier. It was a tongue-in-cheek lead-in to the second major guest, Swae Lee, who performed “No Type” to the surprise of many. Rocky, who continued to hold his bras with delicate care, likened tonight’s show as a hip-hop Woodstock and he, the rock star.

“I don’t know about y’all, but when it comes to this New York City shit, this shit shaped and changed my whole fucking life,” he said, explaining how much he respects the OGs that came before him.

Born and raised in Harlem, Rocky started off with The Diplomats’ “Dipset Anthem,” with Juelz Santana’s verse causing a ruckus. Rocky wanted to move on to play more legendary New York classics, but his DJ, Lou Banga, threw off the vibe by accidentally playing songs by Bobby Shmurda and Pop Smoke. Modern classics, sure, but Rocky emphasized “legendary New York shit” from Queens.

Our third and final special guest: 50 Cent.

 

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First year in New York was legendary. @asaprocky @50cent

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Fif came out to “What Up Gangsta” with Rocky as his hypeman, rapping lines from the song like he was a youth again. It was two generations from two different boroughs reuniting in Queens, where 50 is actually from. Despite hiccups by the NYPD with preemptive cancellations of performances by Pop Smoke, Casanova, 22Gz, Sheff G and Don Q, this was a positive moment for the city and showed two rap eras can coexist. No rap beefs, no violence. Just good energy to help put the city on the map.

Fif stuck around to run through more hits such as “I Get Money” and “Big Rich Town,” but not after asking the audience if they watched Power. Clever promotion from hip-hop’s savvy businessman.

While the show was supposed to end at 10 p.m., Rocky was down to get lit until past curfew. He called on the A$AP Mob for a brief moment of silence for Yams before getting into “Yamborghini High.” Ferg, A$AP Illz, A$AP Twelvyy, and A$AP Nast all appeared to show love to Eastside Stevie.

“My n***a was a New York vet and at the end of the day, his whole vibe was just making sure everybody ate,” Rocky said. “Yams was a good-hearted n***a, trying to put n***as on…He was a good one. We lost a real one.”

The tribute only made the Mob’s performance of “Yamborghini High” that much more meaningful. Rocky and his crew could’ve left Rolling Loud fans with that. But they had one more thing in store, even after the fireworks went off and lights in the parking lot went on.

Tariq Cherif, one of the co-founders of Rolling Loud, presented Rocky with a Rolling Loud chain. After Sunday’s lineup featuring stars like A Boogie Wit Da Hoodie, Lil Tecca, and Young Thug, to give Rocky a chaining day in New York is how you end on a high note. His last song, “Lord Pretty Flacko Jodye 2,” and it's opening lyrics couldn’t have been more perfect.

“Who the jiggy nigga with the gold links?”

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Rich Fury

‘Jesus Is King’ Is Kanye West’s Attempt To Get Right With God

Less than two hours have passed since I received confirmation that I somehow scored tickets to Kanye West’s Jesus Is King NYC listening session. You know, the album that was supposed to drop last Friday? It’s now Sunday, and this session seems to be the only guaranteed way to hear the album.

I scroll through Twitter to see if copping the free tickets was just that easy. I’m especially curious, given the vocal pushback against Kanye over the past year and a half, by a slew of his now-former fans who took issue with his seemingly newfound, conservative opinions.

But I see a frenzy on my timeline, courtesy of the unofficial Ye documentarians behind @KanyePodcast, of other people still clamoring to get tickets. Many of the passes were snapped up by scalpers, who were selling them for as much as $150 each, if not more.

It’s a shame, but it’s the name of the game. Especially for any event involving Kanye West.

After throwing on the nearest clean outfit, I hop on the train to head to the venue, United Palace, in Washington Heights; it doesn’t take long to find other people who are, too. They’re wearing Yeezys. And they can’t stop chattering.

As the stops come, one after another, more Yeezys board the subway car. Most of them are pristine, but some—the cream white and butter 350s, in particular—are just impossible to keep clean. In a lot of ways, they reflect their creator: they’re ostentatious, but in the simplest way. And, try as you might, you can’t get them back to the way they used to be once the façade has been stained. You just have to accept their current state, and press on.

An hour-plus journey later, I get off the train and follow the sea of Yeezys for the three-minute walk to the venue. Once inside the theater—30 minutes after doors open, and an hour and a half after standing in line—my phone is placed inside a locked bag and given back to me. Thankfully, I have two McDonald’s napkins and a pen in my purse to take notes.

I rush through the ornate and stately United Palace, which doubles as a non-profit cultural/performing arts center and church, and pass by merch stands. I only have time to briefly examine the set-up, but my eyes bug out of my head when I get a glimpse of what Ye is selling: Jesus Is King hoodies for $140. You read that right. One hundred and forty buckaroos.

Several failed attempts to grab a seat later, I finally find one near the back of the space, on the lower floor. No more than a minute later, the crowd collectively jumps to its feet and begins chanting “Yeezy! Yeezy!”

“All rise,” I think to myself, “for the Honorable Kanye West.”

I take a look around to get a better idea about who still counts themselves among Kanye’s diehard fans. Social media would indicate that his recent events cater mostly to white audiences. “Kanye gentrified his own fan base,” Bronx comedian Desus Nice tweeted Saturday. But here, it’s a completely mixed experience. To my immediate left is an Asian couple; to my right, two white men (who don’t clap for anything, all night). Behind me is a Hispanic couple, and in front of me are two young black women, wearing matching black-on-black Jesus Is King sweatshirts.

The event begins with a brief hello from the 42-year-old Chicago rapper, but I can’t see him because so many people are standing on their seats, trying to get a better look at the man who provided them with a soundtrack to their lives. It’s equally treacly and touching.

After greeting us, Kanye introduces two films: the first is about five minutes long, about the making of Jesus Is King. When the clip rolls, tiny silhouettes grace the wings of the dark stage. Even from the back of the venue, I can make out Saint and North West, dancing and clapping along with their father’s take on worship music. As the night progresses, North edges closer and closer to center stage, wanting to be applauded and seen just as much as Ye.

In both the short film and in an approximately 15-minute preview of the Jesus Is King IMAX documentary, Kanye places an immense focus on his choir. In a stirring moment, the singers flip his moody 808s & Heartbreak cut, “Say You Will,” into one of their signature Christ-focused covers: “Savor His Grace; it’s in His will.”

There are powerful moments aplenty, including close-ups on beautiful black women shedding tears while praising God; women who remind me of my own sister, who sings in a choir back home in Texas. But the energy in this room is conflicting. People who likely have never set foot in a black church are leaping up and “testifying” in a way that looks hauntingly familiar, but contrived. Studied. It looks like a lot of pretending.

Thankfully, I don’t have to wallow for long in my shadiness. Kanye takes his position in front of the stage, MPC at the ready, and begins the show we’ve all been waiting for.

The first track he plays, “Up From the Ashes,” bounces like a track Chance would have put on Coloring Book. “I come to You empty, free of my pride,” Ye vocalizes over gentle, minimal production. Everyone stays tame and in their seats, enjoying the moment but waiting for the next song.

The second Kanye presses play on the next track, “Follow God,” a few stans pop out of their seats, almost like synchronized jack-in-the-boxes. At this moment, Kanye tells us he needs us all to stand up. Of course, most of the audience thought that meant to storm the aisles, climb over seats, and hop onstage with Ye. I can honestly 1000% understand why this was the song that moved him to move us: driven by a soul sample, which I can’t yet put my finger on, it brings to mind Kanye’s 2011 collaboration with Jay-Z, “Otis.”

Three tracks into the album (“On God”), two things become abundantly clear: 1) Kanye did not have permission to tell his fans to break venue protocol and rush to the stage; and 2) Jesus Is King has a peculiar pattern—there’s no distinct sound that travels from one song to the next.

After security does its best to restabilize United Palace, Kanye continues to play “On God.” A vast change from the tracks before it, “On God” veers more toward electronic than gospel or hip-hop.

“Sunday,” on the other hand, is guitar-driven and brooding. On top of that, it has a witty hook: “Closed on Sunday, you like Chick-fil-A… Follow Jesus, listen now—obey.” Ye is feeling this one so he runs it back again, so his fans can get the “Chick-fil-A” line down. And they do.

A more experimental track follows “Sunday”: “Water.” It immediately reminds me of both Frank Ocean and Imogen Heap; it’s evocative, warbling, and tender, and there are countless moving parts. All I can think is: I would much rather hear this, than hear Ye rap about bleached assholes.

You might recall this tainted subject from Ye’s opening bars on “Father Stretch My Hands Pt. 1” off of 2016’s The Life of Pablo. It was particularly jarring to hear after “Ultralight Beam” at the start of the project, which Kanye explained would be “a gospel album with a whole lot of cursing on it.”

It’s almost like Kanye is now bending over backwards to make up for his TLOP gospel album pump fake. On “Selah,” track six, the song is overpowered by organs and what sounds like irreverent yelling, but is likely just Ye’s way of worshipping. He doubles down IRL at the end, with what can only be described as a series of Howard Dean screams.

“New Body,” the only song that’s been heard by the public (via leaks), sounds downright terrible in this venue. The speakers at the front of the space and the soundstage in back, near me, just aren’t aligning. (The drums, my God, the drums.) I wait patiently for the next song, which I think Ye calls “Ugliest Nightmare”; that title is not on the latest version of the tracklist posted by Kim Kardashian West, but it seems to match up with “LA Monster”: “Everyone is saying they woke, but they sleep,” Ye raps. “Walking dead, eyes closed.”

Kanye plays one of the most moving tracks on Jesus Is King penultimately: “Hands On,” featuring revered gospel musician Fred Hammond. “Tell the devil that I’m going on strike,” Ye announces. “I been working for him my whole life.” He gets even more honest later in the song: “‘What are you hearing from the Christians?’ They’ll be the first ones to judge me. Make me feel like nobody love me.” This made it very clear, to me, that Kanye is aware of the conversations happening around him, whether he chooses to engage or not.

The final track of the night is “Use This Gospel,” featuring No Malice, Pusha-T, and Kenny G. Before Ye can play the track in full, the NYPD enters and shines its light of authority down the aisles, announcing the concert is over. We’re effectively being shut down, but Kanye pushes through and has the crowd sing and hum with him until the end. “Use this gospel for protection,” Ye advises in song. “It’s a hard road to heaven.”

To be frank, Jesus Is King doesn’t compare to hardly any of Kanye’s previous works. The one thing it does have in common, with The Life of Pablo and ye, is that Kanye is reportedly still making adjustments to the project, beyond the final countdown. The production itself could hypothetically be tinkered with endlessly, and a reported Nicki Minaj verse could pop up. But Ye’s bars feel locked into place: simple, unpretentious worship. It sounds like he’s learning how to rap all over again, complete with figurative training wheels. You know how on Showtime at the Apollo, if a kid sings “His Eye Is on the Sparrow” badly, the audience still can’t boo them because it’s a song about God? Same thing.

But, Kanye has retained a lot of the elements that we know and love/d him for: the explorative production, the augmented, autotuned vocals, and perhaps most of all, his enthusiasm. A lot of the things that we love about Kanye are still there. It just so happens that this time, he’s backed by a choir, singing straight to Jesus.

Kanye is trying to do something revolutionary—he’s pivoting in real time from a flippant, sex-obsessed rapper, to a focused man of God, both in purpose and on wax. This has happened before: the late Bushwick Bill, DMX, and the aforementioned No Malice are just a few MCs who turned their lives over to Christ and dedicated their careers to praising Him. But none of them have the platform, or staying power, that Kanye holds.

On the ride home after the listening session, the subway cars fill with Yeezys, yet again. About halfway to Brooklyn, a young white man startlingly yells out, “Hey! Somebody AirDrop that Kanye!” A few folks laugh, but the force field of Ye’s energy has waned by this point. The event lasted an exact hour, leading me to speculate that people were left wanting more; especially fans who are used to his bombastic, elaborate performances.

Still, Kanye’s fans on the subway genuinely describe the event as “fire” and “crazy.” At this level of fandom, they probably don’t care what the album is even about: they’re just buying into the brand of Kanye West. His stans are always going to show up. They will always buy his merch, by the bag—even if it’s connected to a religion they don’t believe in, yet.

In all fairness, Kanye is a legend. Despite his polarizing comments over the past year and a half, he has accomplished things in his roughly two-decade-long career that many would take several lifetimes to complete. He will likely never be “canceled.” His works are woven too tightly into the stitching of our musical tastes and more importantly, our memories.

I get off at my stop, happy to finally be free to think to myself about what exactly just happened, and what this might mean for Ye’s future success. As I walk out of the subway station, a lasting moment is imprinted in my brain: before sharing the album, Kanye asked the audience to praise Jesus with him. His request was met with a smattering of half-hearted applause.

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