Though the audience was filled with diehard Ruff Ryders fans, a select few among the crowd at the Coliseum Friday night came to see DMX act crazy.
It’s no secret that he’s been a media spectacle and train wreck for his off-stage antics for almost as long as he’s been a star, but he wouldn’t give those gawkers the satisfaction of seeing any indication of it.
DMX presented a performance that mixed street rhymes with spirituality – and a rant about the decline of the hip-hop industry as a sidebar – with a caliber of performance that was reminiscent of what could be seen at the height of his popularity.
Though he didn’t want the show to end and lost plenty of folks towards the end, DMX gave the crowd exactly what they loved most about him for his hour-plus set.
He went from ‘hood tales to the Holy Ghost as he thanked God for the journey that led him to the stage. He soaked up the energy that the crowd generously displayed. He shaded some of the new breed of rappers – and the industry that makes room for them – whose lyrical content he described as a laundry list of bragging rights.
“Good for you,” DMX said, as he mentioned the cars, clothes and women that seem to be the gist of their messages.
He also included performances of hits that ranged from his introduction into the rap industry 15 years ago up through his most recent release, Undisputed – “What They Really Want,” “Party Up (Up in Here),” “Who We Be” and his verse on Busta Rhymes “Touch It,” to name a few.
Because of the controversy that has surrounded him (his repeated arrests and admitted substance abuse, in particular), it’s easy to forget the indelible mark DMX has made by way of his rap legacy. But he reminded everyone Friday night.
Pound for pound, he’s one of the best-selling hip-hop acts of all time with more than 30 million albums sold. While some might consider him doing a club concert tour a fall from grace, he made the absolute most of the moment.
He was in top form, figuratively and literally. He looked great. His focus was on love for what he does and who he does it for, and there was a mutual appreciation and exchange of love between him and the crowd.
They were along for the ride. Head nods and a hip-hop chorus permeated the crowd. Even the more obscure music within his catalog had at least a few voices backing him up.
The walking irony that is DMX (a man who at one point in his career left hip-hop to pursue preaching) continued through the show. He inserted what could be best described as off-the-cuff prayers and spiritual poetry as he transitioned through his club bangers that include lyrics on everything from sexual overtures to “tearing the club up.”
The show was not without its shortcomings. As per usual, DMX proved to be his own worst enemy. He rambled, he labored he carried on with inaudible jabber. He passed a bottle of what appeared to be Hennessy and took sips of it himself. And the show was essentially over 10 minutes before he left the stage.
But who could blame him for not wanting to leave? Even in its moments of distraction and confusion, the show served a taste of the best of times.
At the end of the day, He made generation X (who on that night could have been known as generation DMX) proud as he showcased what they love most about him: his passion for hip-hop and his sincere appreciation for the folks who have supported him along the way.
