#Bitch dont kill my vibe church full

This closing is reflective too, but so was Mr. It’s definitely not a safe closing, instead, it's risky as these songs are low tempo. Morale,” and “Savior.” It’s an interesting close to the show. Before he exits, he dives into “Crown,” “Mr. hits Lamar returns to the piano where he is back in solitary mode. When he’s nearly done with his set he brings out Baby Keem for “Family Ties,” though the rapper had previously come out and held his own this shared moment is moving. But, someone else at the show might have taken this moment differently. It's then that we are able to visualize what the album is possibly getting at: being a rapper at this stage of his career is about subverting being put into a box, powerful.

When he’s literally put into a box to be tested for COVID-19 with four men in hazmat suits this is a definitive moment of the set. And even though the 90-minute set allows space for the album to be covered almost in its entirety (sans the problematic “ Auntie Diaries” and “Mother I Sober.”) Yet, there’s something in the air during Kendrick’s performance that proves he’s still grappling with stretching himself musically while he deals with the toxic habits, fatherhood, a savior complex, and people’s expectations. Morale & The Big Steppers a messy album? Yes. This moment is followed by a rendition of “N95.” A single white spotlight beams down as he recants this single ferociously, as the song picks up speed fireworks and additional spotlights are added. The beginning moments of “United In Grief” rings off and then Kendrick intently starts rapping whilst still sitting, he eventually walks down the stage’s walkway – once there he stands and completes the lyrically heavy song. But then Lamar is finally revealed sitting alone playing a piano, his back is to the audience and I ponder if this is how he often feels as an artist. This is an official remix of Kendrick Lamar’s 2012 single, Bitch, Don’t Kill My Vibe.

#Bitch dont kill my vibe church full

One element calls this out immediately: dancers appearing in full suits walking toward the front of the stage one by one. Each of these puzzle pieces makes a way for concertgoers like myself to better understand themes that were on Kendrick’s mind while he was creating his latest album: self-reflection and grappling with being a Christ-like figure.īefore he begins it's obvious things won’t be able to be described as a straightforward hip-hop show. The Big Steppers Tour is intricately filled with well-thought-out additions such as the use of shadows, a silver glistening glove clearly inspired by Michael Jackson, dancers who made me think of liturgical dancers in a church, and also stellar lighting. The humanness bled through and this too was compelling and powerful, I’ll say it’s an innate power Kendrick has. The high expectations I had for the evening in Brooklyn were met mainly due to how natural he appeared to be. I remember being surrounded by at least a thousand others and being awed at his electric stage presence and how it poured into the crowd. He was fresh off of releasing his second album good kid, m.A.A.d city. The last time I saw Kendrick was ten years ago as a college student in Tallahassee.