![]() However, digging a bit deeper, listeners will begin to appreciate how graceful and respectful Scott salutes West all throughout the July 28 release. Also clear as day, it’s evident Scott still supports West through all the recent turmoil, rapping I’m loyal, bitch, I got Ye over Biden on “SKITZO,” referring to West’s constant presidential pursuits. Most evident and easy to acknowledge, UTOPIA boasts three production credits from West on the second song, “THANK GOD,” as well as the fifth and penultimate songs, “GOD’S COUNTRY” and “TELEKINESIS,” both of which were meant to land on West’s 2021 album, Donda, and now exclude West’s vocals heard on previously leaked or teased snippets. And with UTOPIA, it’s clear that the artists he studied and emulated most during the LP’s creation were his aforementioned, essential music professor, Kanye West, as well as younger versions of himself, particularly from the early to mid-2010s. Since helping produce West’s 2013 groundbreaking studio album, Yeezus, notably earning credits on songs like “Guilt Trip” and “New Slaves,” Scott’s solo catalog has seen him use his intensively-produced albums to show how much of a hip-hop historian and enthusiast he really is. And, while many of the remarks West made during that time period were objectively abhorrent, he happened to be correct in this assertion. and DJ EFN of Drink Champs that Scott, an artist he has mentored and collaborated with frequently, was purely an amalgamation of his idols and influences, including West, Kid Cudi, and A$AP Rocky. He opened the first of two encores with "Dancing Together" from "Here Lives Love," a collaboration with Fatboy Slim inspired by the life of former Philippines first lady Imelda Marcos.In late 2022, in the midst of a horrific tirade where he singled out several of his peers and blurted out several antisemitic thoughts, Kanye West told N.O.R.E. There were eight Talking Heads songs, including such obvious highlights as "I Zimbra," "This Must Be the Place (Naive Melody)" and "Once in a Lifetime," bringing the set to a powerful close with the one-two punch of "Blind" and "Burning Down the House." But the lighting did throw giant shadows of Byrne and his bandmates on the metal rope curtains surrounding the stage – the same curtains through which the players came and went as needed.īyrne, now 65, was in amazing form, singing and dancing his way through a set that included no fewer than seven of the 10 songs on "American Utopia," his latest album, without skimping on the Talking Heads material.Īnd he seemed to be having a blast, his grin as contagious as ever. There were no video monitors, for instance. ![]() It was innovative and visually striking, eschewing the 21st Century brand of spectacle pop fans have come to expect in favor of something much closer to minimalism. And this show was all about movement, its artful – and at times amusing – choreography playing to the singer's strengths as one of rock's more idiosyncratic live performers while the groove had people dancing in their seats for almost the entire set.
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