As the title of one of their smash debut single “Grindin” suggests, biological brothers and partners in rhyme Clipse have been paying dues in the hip hop game for nearly 25 years.
When they stormed the stage Monday night for the local stop of their “Let God Sort Em Out” tour, artistry met intellect at the intersection of culture and soul.
Their east coast cadence layered with southern influences, Virginia natives Malice and Pusha T reminded audiences of their state’s major stake in the evolution of the art form – and its staying power.
Last month Clipse released their latest album, which shares the same name as the tour, more than 16 years since their last release – and more than 30 years after the brothers formed the group.
The seemingly ageless rappers gave a timeless performance.
They dug in the crates with tracks from their 2002 debut “Lord Willin.” They also leaned on new music from “Let God Sort Em Out.” Fans sang along to the new music as if they had been listening for years, despite the fact that the album is only a month old.
“P.O.V.,” one of their new tracks, had the bass vibrating from the walls with lyrics that were the true embodiment of hip hop. They rapped back and forth in the gritty style in front of large screens that sat on the stage behind them.
Images and montages of Black cultural activities flashed behind them telling the story of the Black American experience. They ranged from positive moments – such as attending church and participation in a step team – but also included police brutality and other challenging elements that afflict the community.
Video snippets of Black excellence on full display, in churches, sports, music, and even mundane moments like doing hair or talking on the phone were revived through the thought provoking classic Black imagery.
The duo opened the concert with “Chains & Whips,” a song from the new album, while the words “culturally inappropriate” daringly flashed through the montage of Black faces. Reverberating bass intensified the song’s message of overcoming racial violence and recognizing generational systematic oppression.
Their lyric and strobe light design held the audience in a trance as they performed the classic “Popular Demand (Popeyes)” under flashing red lights that illuminated the stage. The crowd cheered wildly for what felt like minutes at the song’s end.
The duo stood in silence, mesmerized by the continued praise being rained down on them. The faces of the audience reflected the awe-inspiring moment. The silence was broken with the familiar melody of “What Happened to That Boy.” The crowd rocked as soon as the beat dropped.
The dancing continued with “Inglorious Bastards” and “Keys Open Doors.” There were also songs that made a statement, like “Mr. Me Too. Fans who leapt to their feet for the Clipse intro were still standing more as the group performed the last leg of their set. A video flashed to children performing a step routine that cleverly transitioned into the beat of “Grindin’”.
The blast from the past back to their introduction to rap fans was met with roaring cheers. They transitioned back into more new music like “F.I.C.O.” and most played songs like “Ace Trumpets” and “So Be It” – which featured a catchy hook and photos from O.J. Simpson’s infamous highway arrest and subsequent trial.
In a display of vulnerability, Clipse performed “The Birds Don’t Sing.” The soulful rap over a piano instrumental features Emmy, Golden Globe, Oscar and Tony Award winner John Legend.
For their finale, the Clipse performed “So Far Ahead.” The moment delighted the audience – so much so that they rushed to pull out their phones and record themselves singing along to its melodic chorus before going word for word with the gritty lyrics.
Show openers EARTHGANG perfectly controlled a crowd that was predominantly unfamiliar with their music through raw grit and precision. EARTHGANG, also a duo made of Johnny Venus and Doctur Dot, brought the audience into their world of new school hip hop with their collaborative sound that blends rap and melody. One of the standout selections from their set was “This Side.” They earned extra points with the St. Louis audience– and showed love to the city’s hip hop contributions – when they mixed the instrumental of Nelly’s “Country Grammar” into their performance for one of their songs.
Living It content is produced with funding by the ARPA for the Arts grants program in partnership with the Regional Arts Commission of St. Louis and the Community Development Administration.
