Erykah Badu, Playboi Carti, MF Doom tribute, Sexyy Red and more bring the heat to Camp Flog Gnaw on Day 2

As someone who has been following the evolution of hip-hop and R&B for the past couple of decades, I must say that this year’s Camp Flog Gnaw Carnival was nothing short of phenomenal. The lineup was diverse, the energy was electric, and the performances were unforgettable.

The second day of Camp Flog Gnaw’s 10-year anniversary came roaring back into Dodger Stadium for fans of Tyler, the Creator’s universe of energized and eclectic hip-hop and R&B — with a dash of jazz flute. As fans swarmed the festival to see Mustard, Erykah Badu and Playboi Carti, the mindset of letting it all hang out on a Sunday evening was strong throughout the three-stage slate of acts that kept the crowd captivated from beginning to end. Here’s the best of what we saw on Day 2.

André 3000 had a larger crowd than anticipated watching him play the flute as part of his instrumental jazz group on Sunday evening. However, it was still less than those who attended. Donning a Mitch Marner hockey jersey and a red beanie, the cherished Outkast MC put on an impressive show for a massive audience at Flog Gnaw, exactly one year after the release of “New Blue Sun,” which recently received a shock nomination for album of the year at the upcoming Grammy Awards in February. This is his third time being nominated in the ceremony’s main category, with Outkast receiving nominations in 2002 for “Stankonia” and winning the prize in 2004 for “Speakerboxxx/The Love Below.

On the album, André didn’t deliver raps; instead, he played extended, exploratory notes on a collection of flutes while his fellow musicians provided harmonious beats. At one point, he even kneeled to tap several small gongs. Recognizing that this wasn’t primarily a jazz audience, André clarified that he and the band were improvising live: “Everything we play every night, we create on the spot,” he said. However, he also seized the chance to tease his fans. Towards the end of his performance, he positioned himself behind a microphone and began belting out long, passionate phrases in an unknown language. The crowd’s mood subtly changed: Could this be rapping? Then he chuckled. “I just improvised all that nonsense,” he said. “You should have seen your expressions. You thought I was saying some profound things.

Erykah Badu delayed her performance by nearly half an hour from its scheduled start time, which was a problem at a festival with a strict live stream schedule. As a result, her music was cut after approximately 20 minutes. Some artists on Sunday, like Badu, didn’t agree to stream their performances, perhaps thinking they had all the time in the world? However, Flog Gnaw, the festival, disagreed. During her brief stage time, Badu sang a jazzy version of her hit song “On & On” from 1996 and a trippy adaptation of “Window Seat,” released on her album “New Amerykah Part Two (Return of the Ankh)” in 2010. She also shared some mystical advice with the crowd, stating that “we have just entered the fourth world war – the battle between the people and their minds.” – M.W.

Tomas Richman, who transitioned from aspiring opera singer to a sensation on the video-sharing app TikTok, was unexpectedly overlooked for Grammy nominations this year. His song “Million Dollar Baby,” which reached No. 2 on Billboard’s Hot 100 chart without any prior history, became popular on TikTok, making it seem like a certain nomination.

However, Richman appeared unfazed by the recent slight, inviting friends and collaborators such as Trevor Spitta and mynameisntjmack onto a stage reminiscent of his “Coyote” album cover in the desert. As a versatile artist known for blending hip-hop, R&B, funk, and alternative genres, Richman showcased his remarkable vocal skills by performing tracks like “Whitney,” “Thought You Were the One,” “Devil is a Lie,” and “Last Night” from his 2023 EP, “The Rush.” This was my first encounter with him, as shared by Kailyn Brown.

Following Tyler, the Creator’s brief appearance on Saturday, St. Louis’ artist Sexyy Red delivered an energetic solo performance on Sunday, dancing enthusiastically in a pair of shimmering red yoga pants while performing her club-rap hits such as “SkeeYee,” “Sexyy Love Money” and her collaboration with Drake titled “Rich Baby Daddy.” With her distinctive, high-pitched Midwestern accent, she encouraged the crowd to “Shake that butt, girls!” and stirred up jealousy among other performers. – R.T.

The L.A. rock group, the Marías, were among the few acts at Flog Gnaw who addressed the current uneasy climate in the U.S. During their performance, lead singer María Zardoya urged the crowd to release their frustrations from the recent weeks as they launched into “Run Your Mouth,” a sleek disco song that provided an enjoyable escape from reality.

Currently, The Marías are a prominent Los Angeles band that stands out significantly. They are bilingual, boast a seamless global appeal, and have the ability to tap into the realm of international Latin stardom (they collaborated with Bad Bunny on “Otro Atardecer” from his blockbuster album “Un Verano Sin Ti”). Yet, they continue to incorporate R&B, indie, and vintage soul elements that define SoCal. On Saturday, Flog Gnaw has the perfect spot for a lively Latin-indie act like them or Omar Apollo. The band’s 2024 album “Submarine” narrated their internal conflict with grace and style, showcasing some of their most articulate songwriting and innovative production yet.

Zardoya has emerged as one of L.A.’s most captivating rock artists in years – she knows how to position herself dramatically against a backdrop of hazy blue lights, moving gracefully through the audience while shaking hands, much like an ambitious president-in-the-making. Her songs such as “Ruthless” and “Vicious Sensitive Robot” showcased the full band performing at their peak, seamlessly transitioning from the trumpets of yacht rock to contemplative jazz rhythms, and maintaining a hypermodern atmosphere in “Paranoia”. The crowd at Flog Gnaw was swept away by the sentimental vacation vibes of “Cariño”. In her song “No One Noticed”, Zardoya humorously referenced the relevance of “Submarine”, teasing the audience, “If you want your ex back, sing it.” However, one could guess that she may have also been pondering about missed chances for a better tomorrow in America. – August Brown (Paraphrased)

This Year Belongs to DJ Mustard

During Mustard’s performance, a variety of iconic Los Angeles landmarks like the Slauson Super Mall, Randy’s Donuts, and Dodger Stadium were displayed on a screen that grew taller as the evening progressed, with Mustard performing on a stage to match. As a nod to his fellow hip-hop artists, he paid brief homages to the late Grammy-winning DJ and hype man, FatMan Scoop (who passed away in August), and the cherished L.A. rapper and businessman, Nipsey Hussle.

Prior to the performance of “Not Like Us”, the stage was darkened and filled with green smoke, as the iconic “I See Dead People” scene from M. Night Shyamalan’s “The Sixth Sense” played through the speakers. It momentarily seemed like Kendrick Lamar might join in, but he didn’t. Still, the audience’s excitement remained undiminished. – K.B. (Paraphrased)

On the weekend, it was most likely Faye Webster who offered the quietest performance among all acts. The singer-songwriter, captivating on stage at the Gnaw platform sandwiched between Sexyy Red’s intense show and a tribute to the late MF Doom, delivered a sound that was a tranquil blend of pedal steel, saxophone, Southern soul, and West Coast yacht rock. Despite directing her crew to assist several audience members who seemed to require medical help, Faye Webster and her band remained focused and in rhythm throughout their performance. — Rewritten by M.W.

Blood Orange, the music project led by Dev Hynes, is generating buzz due to rumors of their studio work with Lorde for her upcoming album. It’s delightful to see them back on stage after a hiatus of a few years. Blood Orange uniquely blends dream-pop and R&B, a balance that very few other acts can match. This versatility allowed their performance to seamlessly incorporate a cover of Joy Division’s “Love Will Tear Us Apart,” a guest spot by Brendan Yates from the post-hardcore band Turnstile, and a new song reminiscent of Luther Vandross fronting New Order. – M.W. (Paraphrased)

At Camp Flog Gnaw, one of the most moving instances was a tribute to the late rapper-producer MF Doom. Conductor Miguel Atwood-Ferguson, donning a Fernando Valenzuela jersey and a metallic mask, directed the Metalface Orchestra along with Madlib, half of the superduo Madvillain. They performed some of Doom’s hits such as “Rhymes like Dimes” and “One Beer.” The sound system played MF Doom’s voice, making his spirit resonate in the air.

Since they performed as the final act on the Gnaw stage that evening, it’s safe to say that if you were there, you wouldn’t have wanted to miss it. The fans were fully engaged, eagerly following every lyric and swaying in rhythm with the tunes.

As a dedicated fan of Playboi Carti, I was among those eagerly anticipating his headline performance at Flog Gnaw. However, to my surprise, he was the sole act who decided not to stream his show. This left many of us from the Opium record label family expressing our disappointment in the comments. Yet, it seems that Carti’s enigmatic persona played a role here. His unique style, characterized by head-to-toe Rick Owens goth attire and the integration of punk, metal, and trap elements in his productions, is all about mystery. The high-ramped stage bathed only in strobe lights and void of close-ups further adds to this aura of intrigue.

The Atlanta-based rapper has created a unique artistic world similar to Tyler, the Creator’s in Los Angeles, blending raw hip-hop, grungy “Hesher” style, and avant-garde fashion at its core. Notable albums such as “Die Lit” and “Whole Lotta Red” have significantly impacted Gen Z rap music, dominating album charts and festival lineups while maintaining a sound that resists the mold of a typical hit single (despite occasionally appearing on more mainstream tracks like Tyler’s “Earfquake” and Camila Cabello’s quirky “I Luv It”). His personal life may be tumultuous, but there’s no denying the grandeur of his aspirations or the widespread appeal of his edgy artistic expression.

Fans are eagerly waiting for the sequel to 2021’s “Whole Lotta Red,” and a glimpse of his Flog Gnaw performance hinted at its imminent arrival after numerous setbacks, with the message “I Am Music” displayed on stage. The brief performance was classic Carti, featuring live metal guitar riffs, frenzied vocals, and a whirlwind of new tracks such as “Ketamine,” which pulsed with tension and pit-inducing chaos. At the end, he invited the Weeknd to perform their synth-infused collaboration “Timeless.” With barely any pause or break, Carti vowed to release a new single this Friday. It must be said that Carti always delivers exactly what he wants to his fans. – A.B.

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2024-11-19 02:32