Wu-Tang Clan, Nas live!
Rock The Bells
Charter One Pavilion, Chicago
Sunday, August 26, 2007
Getting the entire Wu-Tang Clan on the same stage is a gargantuan undertaking. Thus pulling all nine of these erratic, kung fu flick-loving Staten Island rappers together was the primary draw of the original Rock The Bells concert in 2004. Three years later, the Wu is no longer the only real reason to attend the Rock The Bells with ballsy, major-label approved lyricists like Nas and Pharoahe Monch, as well as trusty indie MCs, being featured on the bill. On the Chicago stop of this popular tour, there was no short of talent on hand at Charter One, and the crowd of all ages and races were essentially in hip-hop heaven . . . that is, when we weren’t subjected to a handful of annoyances.
For one, whoever decided to put Talib Kweli on first made a questionable choice amid such a large lineup including much lesser known acts (see: Jedi Mind Tricks). There’s no doubt that Talib doesn’t have the clout of the Wu, but he has paid his dues and is no opening act a decade into his career. Another aggravation arose because there was no proper DJ between sets. This amounted to the same five singles being played on repeat the entire day — from three o’clock well into the evening. As great as “Award Tour” by A Tribe Called Quest is, the repetition had the crowd screaming “Change that song!”
And aside from the spotty sound, those were the main drawbacks to this otherwise noteworthy night. Freestyle champion Supernatural did a commendable job providing entertainment between some sets when they didn’t have hip-hop classics 101 on repeat. What’s great about Supernat is even though he has a super-limited discography, he knows exactly how to work a crowd with his impressive impersonations of hip-hop legends like Biggie Smalls and freestyle sessions where he pulls objects from the audience (bras, baseball caps, Swisher Sweets, etc.) and makes up raps about them.
As for the actual sets, self dubbed “revolutionary” Immortal Technique did a decent job of relaying his dead serious hip-hop while Pharoahe Monch — with his back-up singers and full band — takes the crown for the most original approach. But it was Nas who arguably brought the best overall energy to Rock The Bells, even though he stepped to the stage sporting shades at night. Pretty much anyone else may have looked suspect doing that. While he set things off properly with his much-talked-about recent single “Hip-Hop Is Dead,” Nas really won the crowd’s respect by performing favorites from ’94 such as the menacing DJ Premier-produced cut “N.Y. State Of Mind” with pinpoint precision. Hell, even when Wu-Tang invited him out to help perform “Verbal Intercourse” he was the focal point. Although after that song, Nas was quick to step out of the spotlight and call the members of Wu-Tang some of the best lyricists in the game.
With nine MCs and even more affiliates tromping around during their set, the Wu-Tang’s time slot was purely chaotic. But that’s what you expect from Method Man, the RZA, Ghostface, and company. There’s no way you’re going to see an orderly performance from these guys. Although the Wu did what they came to do: provide vigorous performances of their favorite crew and solo material — from “C.R.E.A.M.” to “Incarcerated Scarfaces.” Too bad a knucklehead kid from the audience almost had the show stopped. While Method Man was trying to lead a tribute to the their late brethren ‘Ol Dirty Bastard, an audience member apparently shouted “Fuck Wu-Tang. Where’s ‘Ol Dirty?” Method Man wasn’t going to let the kid off easy as he gave him an extended verbal beat down. A few members of the Wu even jumped down into the photo pit, but it was hard to tell what else happened from there. After Method Man declared they weren’t going to let one person ruin the show, the Wu carried on the aggression with an extra rugged rendition of “Bring Da Ruckus” — a perfect save from a foul interruption and proof the Wu hasn’t gone anywhere.
— Max Herman
Category: Live Reviews, Weekly
