Certain artists project certain crowds to their concerts. If you’re at a Curren$y or Wiz Khalifa concert there are chances the concert will be packed with beautiful women and plenty of weed smokers. A Wu-Tang show might give you some of the most tasteful backpackers this side of Shaolin. A show from the West Coast?

Beautiful women, a few hipsters and even more beautiful women.

When LA buzzmaker Dom Kennedy touched down inside of a fairly modest crowd at Groundhall on last Thursday, most of the crowd had been served notice that it was a West Coast affair with a little bit of Houston thrown in just to spice it up.

The Leimert Park legend briskly waltzed through his 25 minute set with little flubs or indignation of fatigue, having few guests and running through cuts from his From The Westside With Love and 25th Hour mixtapes like they were studio sessions. In other words, no extra effort required to get the crowd on your side when you’re the most relaxed rapper on the set.

He even gave in house DJ Mr. Rogers a bit of a shoutout as he stopped his show to introduce Rogers as the man who handed him the beat to the standout single from Westside, “1997”. Rogers seemed humbled by the gesture, a stark contrast to his emotions earlier where he tore through his usual set with an array of tracks from West Coast heads Kendrick Lamar & Pac Div to even local artists The Niceguys. He still stuck to his core of being the DJ who broke the Party Boyz and the “Flex” dance to mainstream America.

The undercard to Kennedy featured Houston to California transplant cARTer. The Legal Trappin’ rapper was out promoting his latest mixtape Going Hollywood (available for download here) and swept through his set with energy, especially on the Bun B featured “Houston Summer”. The ironic part was during his set, a concert attendee started passing out flyers for The Pharcyde, undercutting what had been a promising set from the young rapper.

Concert promoting of everyone except the local artists on stage was a theme of the night. We’ve got reminders for New Years parties, The Pharcyde, Wale and more. Even those up and comers with distinct looks (Mookie Jones) and laid back sounds (L.E.$ in a mostly inebriated performance) felt the brunt force of a slightly disinterested crowd who were immediately swarmed over by the opening act of the night: Sore Losers>

Brown & Blue from Dallas were quick to denounce the side of D-Town where the music leaned strictly towards dancing and opt for the side of Dallas that promotes up-tempo production, self promoting raps of decadence and high energy. Leaning mostly to their mixtape Free Loaders: The Soundtrack, the duo even brought on Killa MC for a little throwback to a Big Daddy Kane concert. Although the group only rumbled through a five song set, the following they amassed only grew on Thursday night, even after the group decided to mingle with the rest of the crowd as fans.

That’s the thing that could be assumed from attending the show. While it was catered to those who prefer the West’s brand of hip-hop, Dallas came in and set the tone early, leaving everyone else of the bill attempting to play catch up.

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