But there were also enough dives into his back catalogue to appeal to the veteran supporters. These were acknowledged by Kendrick as “the tests”, before setting the crowd of with exuberant renditions of ‘Swimming Pools (Drank)’, ‘Money Trees’, ‘Maad City’ and ‘Backseat Freestyle’ from ‘Good Kid, Maad City’. ‘ELEMENT.’, ‘LOYALTY.’ and ‘DNA.’ are highlights and Kendrick spends the night hearing his own words projected straight back at him, so strongly even that ‘HUMBLE.’ was performed twice first acapella by the audience and then all over again with Kendrick and the backing track.
It being the ‘DAMN.’ Tour, it makes sense that the set list was heavy on songs from Lamar’s latest album, and it seems the audience have no bones about this.
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The humorous skits of Lamar in full 70s Kung Fu film mode are scattered throughout the night, giving Lamar chance to prepare for the next track, move around unnoticed or more likely with his level of energy grab a short breather.
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Whilst it would have possibly been more accessible or predictable for Kendrick to bring along one of his Top Dawg Entertainment label mates such as SZA or Schoolboy Q, Blake builds up a fantastic atmosphere playing a set of glitchy yet soulful and ambient electro with a blistering light show and whilst it may seem initially that they are musically worlds apart, there is something in the mood of Blake’s songs that bring him and Lamar together, as though Blake has built a musical foundation ready for Kendrick to bust through upon his arrival.įollowing Blake, the first of a series of recurring films surrounding the ‘Legend of Kung Fu Kenny’ is shown. This self confidence and ambition is clear to see from the get go, even before he is on stage, as Lamar has chosen Mercury Prize winner James Blake as his opening act. From the opening ‘I got, I got, I got, I got!’ of ‘DNA.’, Compton rap superstar Kendrick Lamar has the people of Manchester in the palm of his hand, and keeps them there for the full 90 minutes he is on stage.Īs a live performer, Kendrick continues to highlight his willingness to do things his own way, evidenced previously in the studio by his jump from tough, narrative focused hip hop on 2013’s ‘Good Kid, Maad City’ to the jazzy instrumentals and political poetry found on his 2015 record ‘To Pimp A Butterfly’ and now onto his current release, the sharply self-reflective ‘DAMN.’.
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