By Steve Weinstein
By Bryan Bierman
By Lindsey Rhoades
By Chaz Kangas
By Ben Westhoff and Sarah Purkrabek
By Jena Ardell
By Jesse Sendejas Jr.
By Katherine Turman
Forget the pressnothing, nobody can touch West right now. He knows this. And as on Late Registration, live West basked in the contradictions his genius affords him. Bright-light, hands-up weed advocacy in "Get Em High" turned one song later into the night's coldest, most vicious snipe: "Bitch, is you smokin' reefer?" The Just Blazeproduced "Touch the Sky" moved on up the Mayfield horns it samples into the show's most triumphant and hope-giving momentbut that was only the first song. Soon after, for "Crack Music," West turned angry, ranting incurably on the ghetto epidemic as the stage was doused in deep-red police floods. "God, how could you let this happen?"
The pull 'n' tug of West's repertoire kept the show from building momentum, but the loose song-to-song narrative kept it moving: Before West could work the grave shift in "Spaceship," he had to "drive slow," and so on. Expected anymore to stop by for these things, Jay-Z gave a "surprise" encore performance of "Encore" and "P.S.A.," which counted for the night's Big Moments. But more tellingly, people were bummed "we only got Jay-Z"no Cam'ron for "Gone." MaybemaybeJay should stop reintroducing himself.
Afterward the exiting mess of age and race and sex buzzed in awe that Nine Inch Nails played the MSG stadium while West just did the theaterespecially since West clearly appeals to so many more and different people. Who knows why, and it was still the MSG theater, but check this: "White people," West had quipped during the chorus of "Crack Music," "this is your only chance to say 'nigga'take advantage of it!" It's possible that, even at this height of cockiness and popularity, he's impossible to overflatter.