For a more personal take on the “festivies” head over here as Ms. Davis gives her account of the show.

Smokers usually come in packs, armed to the teeth with various methods of getting high. While making a stop in Houston for The Smoker’s Club tour, headliner Curren$y took the notion to heart, quite literally.

Stopping in the middle of his 35 minute set, the Jet Setter partook of a blunt before getting back to performing a multitude of tracks from various mixtapes and his Def Jam debut Pilot Talk. Even though the House of Blues light cut on due to Houston’s bar operating laws, Spitta didn’t mind it one bit. “They cut the lights on? That’s cool, just means we can fuckin’ see each other!”

Despite his always laid back demeanor, the man rips through bars and tracks (see him hit both his verse & Chip Tha Ripper’s verse for “Fat Raps”) with seamless transition, equally fitting both “Michael Knight” & “Twistin’ Stank” into his set. The loudest roar aside from his initial appearance on stage was to remind folks that Pilot Talk 2 was set to drop in less than a month. Which after a few hours of standing in a room filled with weed and brew, the crowd felt like they’d be dragged to the finish line instead of built up to get there.

For most of the night, the HOB found itself filled with hipsters of all nationalities bonded together mostly for their love of ganja and good music. Or that was the assumed case. After a great opening set by Kydd Jones, the tone switched easily during the middle of set. White papers broke out; weed heads came in full force, hypnotized by the mixing of DJ Mr. Rogers who somehow blended “Mahogany” from Eric B. & Rakim into “Elevators” from OutKast.

The PV native spun in between acts and much like his set at the Big Sean show last month, each section was packed with hits that had the front portion of the crowd rocking, especially one concert goer who traversed through each side of the DJ booth and even on stage for most of the night. Just for shits and giggles, Rogers threw on “Ether” from Nas in a crowd of folks who were obviously strong Jay-Z fans but no one song had folks swaying left and right (grown men included) than Kanye West’s “Runaway”.

L.E.$. came out to a lukewarm response, despite his opening salvo regarding disrespectful promoters. Despite his presence on stage, the fact he performed over his own taped vocals slightly turned the crowd off and turned the hipsters into elitist, which by then had made the venue seem like one hazy industry event with little smiling, lots of drinking and plenty of smoking. An irony lost in that statement, people associated with the event were getting kicked out & well, getting so loaded that they passed out. Luckily, those who were prematurely booted found their way back in and everything seemed alright.

Politics prevented The Niceguys from performing but that didn’t mean the group wasn’t found in some capacity enjoying the venue and the artists performing. Even with a forty-five minute delay and Mr. Rogers spinning anything from Travie McCoy’s “Billionaire” to “Shawt Bus Shawty”, the crowd yet again got antsy. Once the headlines got involved, the crowd turned mundane and non-respondant. Not even for Fiend who was a cornerstone of No Limit back when the tank was the strongest symbol in the South.

Smoke DZA slowly started pulling the crowd out of its slumber and rolls through cuts from George Kush Da Button, probably the best titled mixtape of the year. Of note, somebody said he looked like Tony Yayo with his Ralph Lauren and bucket hat wardrobe selection. I laughed and DZA proved he was better than Mr. So Seductive. But the star of the night who wasn’t the headliner? Big K.R.I.T.

Maybe it’s because he reminds so many in the South of UGK or the fact he’s from the South period but Mississippi’s Justin Smith marked his territory and had the crowd on its tip toes to catch a glimpse and get a view of a future star. Even with Houston spitters such as Killa Kyleon, Eskabel & Ricquo Jones in the building, nobody outside of Curren$y got more love and reception than Krizzle.

Which might tell you something about the Houston hipster scene, at least when it comes to rappers. The newer acts from the city got little love but the names with the biggest co-signs got more love than anything. It’s a scary feeling for any up and comer who others feel is worthy enough to step on a stage like HOB or even the Verizon Wireless Theater. If Z-Ro himself can get a lukewarm response in Houston, what does that say about somebody trying to reach that level?