The chemistry between two or more people is sometimes instantaneous and undeniable. Once formed, these bonds are hard to break. For Haley Cass of Red Martina, this moment came when she created music for the first time with bandmates Ish Quintero and Ben Polinsky.
“We wrote the hook of our first song outside the first day we all met,” says Cass. “We knew it at that moment.”
Before Red Martina became a seven-member band creating music in a West Philadelphia basement, they started off as a foursome. Quintero, the group’s multi-instrumentalist who decides what they’re going to sample, was working on hip-hop and trip-hop projects with Stoupe, a local Philadelphia producer. Once Polinsky and Cass were invited on as vocalists, the sound and rhythms to Quintero and Stoupe’s previous projects became more diverse. Red Martina was born.
“When Haley and Ben came to start working with us, we realized we could use what we had in different ways,” says Quintero. “We didn’t have to stick to the formula of a rap song where Ben would rap and Haley would do the hook or chorus.”
Their ability to stray from any set formula was amplified after the additional members, Noam Szwegold, Adam Williams and Aaron Blouin joined the group. Drawing on various musical influences like Parliament Funkadelic, the Red Hot Chili Peppers, Caribbean and Latin rhythms and Billie Holiday, Red Martina’s songs blend elements from a broad range of genres. To categorize them as pure hip-hop would be ignoring the richness and complexity of their sound.
“What makes a good band is the sum of its parts and since we all come from different backgrounds, it’s kind of like a creative tension in a good way because it creates a unique sound,” says Szwergold, the band’s pianist. “The songs are versatile, and I think that’s reflective of the Philadelphia music scene. There are so many backgrounds and genres that come together and make this cool mosaic of sound.”
This mix of sound and their ability to bring it all together in a cohesive, head-nodding way, forces the audience to truly listen during Red Martina performances says Cass.
“It’s not just young kids or one type of person,” she says of the band’s fan. “We get people who really want to listen to music, who are not there to party, but to listen to what we have to play,”
Fans have flown from Chicago and Denver to listen to their live performances, which they have started recording as a tribute to their followers, both in the States and abroad.
“They had their first show at Milkboy in Philadelphia and I was utterly impressed with their performance, especially it being their first one,” says Taylor Gannon, a fan of the band since their early days as a foursome. “More people in Philadelphia should get a chance to listen and see them live.”
Gannon adds that the band’s complexity in being rooted in hip-hop, jazz, funk and even reggae is what makes them all the more interesting.
“With all of the new music coming out these days, even just in Philadelphia, it’s nice to hear something straight up different from the rest,” she says.
To get lyrical inspiration, Polinsky says he does not look much farther than his own home of Philadelphia. Whether it is taking a walk around the streets to clear his head or hopping a ride on SEPTA, the stories are all around him.
“It’s like Mr. Cheeks from Lost Boyz says, ‘Sometimes I take the train just to clear the brain,’ and I think it’s really true,” says Polinsky. “It’s tough to write if you don’t get out to see what people are doing.”
While Red Martina is working on their next album, they have not set a release date yet.
“We will release it when the moment is right and we feel good about what we’re putting out there,” says Cass. “For music that draws from so many people and tastes, we can’t rush.”
In protest of having that album, or any of their other work boxed into one genre again, Red Martina created their own. They call it West Philly Basement.
“It’s where we make our music and it embodies who we are, where we’ve come as a group and where we still can go,” says Szwegold.
Last Thursday night, at Union Transfer, six turntablists mixed, scratched and spun with all they had for 15 minutes each to determine the United States champion in the Thre3Style competition, Red Bull’s search for the world’s best DJ.
The legendary DJ Jazzy Jeff, renowned turntable champion Skratch Bastid and 2015’s world Thre3Style winner DJ Byte served as judges for the night, critiquing contestants on versatility, originality, technicality and stage presence.
To see this many world-class DJs in one night, most people have to travel to a major festival like EDC and even then, the music doesn’t always skirt as many genres per DJ as Thre3Style prides itself on. To have Journey mixed with Jay-Z melded into Don Omar is a transformative experience for the hips. With DJ Royale and Matthew Law warming up the crowd, along with the judges hitting the decks after the competition, the audience would be shepherded on a musical journey by 11 different DJs.
Atlanta’s DJ Jaycee opened the competition and delivered a mesmerizing scratching finale. Chicago’s Boi Jeanius performed next and delivered a charismatic set highlighting his Chi-town roots and paying homage to DJ Timbuck2, who passed last year after a battle with cancer. In the third slot, Las Vegas representer DJ Ease’s set had the crowd knucking and bucking one minute and frozen in awe at his mixing the next. Minneapolis native DJ Mike 2600 dazzled with the beat machine and Guam’s (by way of Seattle) DJ Supagi sonically controlled the crowd with his song selection and beat creation.
But it proved to be a night of vindication for longtime Thre3style competitor, DJ Trayze, who was and the last to take the stage. Performing a set he had worked on for six months, he was he was crowned the champion and will serve as the North American representative for the Thre3Style World Finals in Chile this December.
As the other competitors threw shots at each other during their sets, Trayze was bulletproof. When Boi Jeanius played the snippet from “Half Baked” where Scarface quits his job and flipped off all the other DJs, Trayze was cool. When Supagi showcased his bravado with a mix involving the competitor’s drops and MC Hammer’s “Can’t Touch This,” he was quick to add, “Trayze, you can touch this.” The good natured shots and excitement of battle culminated in hugs all around when Trayze received the title as United States’ 2016 Thre3Style Champion. Boi Jeanius took second place and jaycee came in third.
But the night was not over.
After the competition, DJ Byte showed his mix mastery and why he was crowned 2015 Thre3Style champion with a set that often had the night’s competitors lined up and on the side of the stage amazed. Towards the end of Byte’s set, his turntables had some issues but like a professional, he soldiered through until it was time to take a bow. DJ Jazzy Jeff and Skratch Bastid performed simultaneously on two sets of turntables, with a back and forth that showcased their chemistry and abilities. Even a few legendary DJs like Z-Trip took a turn or two on the tables before the clock struck 2 a.m.
By the end of the night, those who walked out of Union Transfer’s doors couldn’t say they hadn’t been treated to six hours of genre bending mixing, scratching and spinning.
Text and images by Rick Kauffman.
It was uncomfortable sweat, the kind that burns the eyes that you can’t whip clean. Clothes were drenched, walls condensing, and everyone squinted at the seizure-inducing strobes pulsing to the wild and unfettered rhythms of The Dillinger Escape Plan.
The nucleus of the crowd, crammed front and center at Kung Fu Necktie on Thursday night, had people pushed so tight forward they were falling over the lip of the stage the entirety of the set. No mercy. Spread to the back, the 150-cap venue had people hanging from the walls, standing on ledges that were never meant as bleachers, but were necessary if you wanted a piece of the action.
Starting off with the first track off their most recent release, One of Us is the Killer, released in 2013, the song ‘Prancer’ has become ubiquitous as their opener as of late. One of the last times around in their ongoing sold-out (or near it) streak at Union Transfer, singer Greg Puciato said after they closed out the previous UT show with a mob on stage, calling everyone up for the ruckus finisher, they’d begin that show the way the last one ended. From then on, ‘Prancer’ became the high-energy opener fitting of the tech metal pioneers.
The second song, ‘Limerent Death,’ is a banger off their forthcoming album Disassociation, dropping October 14, 2016. Guitarist Ben Weinman said recently via Noisey and a subsequent Instagram post that after the tour cycle of their upcoming sixth full-length the band will go on indefinite hiatus after nearly 20 years as a band.
To be clear, they aren’t finished yet.
On a short tour that hit spots on the east and west coasts, and not very many stops in between, the band was joined by another just returned from hiatus, The Number 12 Looks Like You, who split in 2010 before recently returning under the guise of The Devil’s Dick Disaster, the first track from their 2005 album, Nuclear. Sad. Nuclear.
Down from the previous six members that once spewed havoc and organized dissonance, two members returned, vocalist Jesse Korman and drummer Alexis Pareja. Renewed as a four-piece, they needed help from the crowd to scream the parts of the second vocalist they once enjoyed. However, a tighter group may be best for #12 as they potentially plan a comeback. They sounded clean, tight and as heavy as they ever did.
The drenched bodies surfing on each other’s heads and blindly shouting along was only the warm up before the pummeling that DEP put on those in attendance.
Halfway through the DEP set, Weinman walked on heads before grabbing onto the ceiling fan twelve people deep into the mass. He bent and twisted the blades, which left KFN ownership shaking their heads after the masses spilled onto the streets.
Fans came from as far as Michigan to catch a glimpse of DEP on the smallest stage they’ve played in years, probably since the time they tore the Barbary to pieces. One guy had caught the shows in Baltimore and New York City. He arrived in Philly with a gash on his head caused by Weinman, whose patented trick is violently spinning his axe from one arm.
Dillinger will soon travel to the United Kingdom the Reading Festival before prepping for their final tour in the fall, much more likely to be held in a full-size venues after selling out the show at KFN in seconds.
Jennifer Pague wears a red Victory Brewing beanie and jokes about being sponsored by them. She counts the goals of 2016 for her band, Vita and the Woolf, on her fingers.
“Get a booking agent, go on tour a lot, get some publishing, get a lot more fans and get closer to traveling the world and getting paid to do it,” Pague says.
Pague has always been the mastermind of Vita and the Woolf. She started recording songs in her Kensington neighborhood and played her first show with friends in West Chester, Pennsylvania, when she was 21. The band has gone through several lineup changes because Pague says it was difficult to keep people together.
“Eventually, I was just scared from having so many people and trying to schedule rehearsals that I decided to keep it at two people,” she says.
Over the next two years, 24-year-old Pague had an ever-changing lineup of bassists and drummers. It wasn’t until she was introduced to Adam Shumski through a mutual friend that she found someone with the same work ethic as her. There is something about the two that has kept them together and led to their quick success in Philadelphia and beyond.
“I think that we are both really driven people at our core,” Shumski says. “We have the same goal, which is to be in a really good band, and I think that is what keeps us together.”
The way the two recent Temple graduates gaze at each other after their responses in comforting silence, it’s apparent they work off each other like balancing weights. Pague is the driving, passionate bullet and Shumski is her reinforcement and right-hand man along the way.
When Pague first started playing the synthesizer, she listened to Of Montreal, Bat For Lashes, James Blake and other artists that somehow fall under the large electronic music umbrella. She would watch live video performances to see the type of equipment they would use on stage.
“It’s so hard to translate electronic music into a live setting because you don’t want to come off as you just press the spacebar and then, ‘Here you go, that is my music,’” Pague says.
After Pague graduated from Temple with an audio production degree in 2013, she said it was time to take Vita and the Woolf to the next point.
Pague released her debut album, Fang Song, as a solo artist in September 2014, which was followed by her first tour with Shumski as her drummer. Shumski graduated from Temple in 2015 with a degree in music performance.
The electronic indie pop record features a long list of musicians, including a bassoonist and accordionist. The album, which was recorded in her family sitting room, feels like a large orchestral piece accompanied by an abundance of harmonization.
But Pague’s latest music venture, Tunnels, shows that she has grown, lyrically and musically. Pague says she isn’t as concerned with harmonies anymore.
“Now it is more about, ‘Does this work in the melody?’” Pague says, adding that she was more inspired by R&B music for the upcoming album. “I do a lot with octaves, so I’ll do a melody singing an octave low and then an octave higher and then you get that R&B type thing going.”
Shumski says that much of his inspiration as the Vita and the Woolf drummer comes from his educational focus in jazz music. The 22-year-old also often plays with a drum sample pad, which complements Pague’s synthesizer.
“It has been exciting for me being able to explore that side of percussion and electronic music in general, because I haven’t really experienced it prior because jazz music is all acoustic,” Shumski says.
Singer and guitarist Matt Holden of Legs Like Tree Trunks believes a lot of Vita and the Woolf’s success is their comfort in working together, along with their determination.
“They do tour a lot,” says Holden, who has played on the same bill as the duo. “They go out on a limb, meet people and hustle. That is why they are doing well.”
Pague says she is excited to release Tunnels – a more “cohesive sound” – as her next step in music after Fang Song. The production process has been long but Pague made it clear that this latest project was handled with care.
“It’s always difficult if you are working on something that is your thing that you care so much about it,” Pague says. “Anyone would be crazy about it. It is just intense and you can totally lose your shit over some stupid music, but it’s cool.”
The North American Finals of Red Bull’s Thre3Style competition to find the world’s best DJ is this Thursday, August 11, at Union Transfer. Our Donte Kirby had a chance to chat with one of the world’s premier battle DJs, three-time Scribble Jam champion Skratch Bastid (Paul Murphy) who is one of this year’s Red Bull Thre3Style judges, along with DJ Jazzy Jeff and last year’s champion, DJ Byte. We talked about what it takes to be a battle DJ champion, his best and worst show and the importance of versatility as a DJ.
What does events like the Red Bull Thre3 Style and competitions like it do for the craft of DJing?
Skratch Bastid: I’m a DJ that grew up watching battle videos. So I come from a battle background. What I’ve always loved about battles is that it creates an event for DJs to work towards. It pushes people to be their best. While I do think competition and music can sometimes be a dangerous thing, I think that with Thre3Style we’ve created a healthy environment to showcase their skills of party rocking, being creative and showing what they got as DJs. I think we’re all better from that. It pushes DJs to be better and give the crowd the best show they can have. It’s healthy for DJs to have something to work towards instead of just all working towards their own individual goals.
As a world class DJ who’s won competitions like Scribble Jam repeatedly, what does it take to consistently perform at such a high level?
SB: A lot of practice. Good support around you. Practice is number one, you gotta be working on your craft. If you’re not putting the time in, then you won’t improve. So you gotta put the time in, that’s number one. That time isn’t necessarily always skill. You gotta be studying. Being aware of what’s going on around you in the DJ world, what has gone on in the DJ past and what’s going to happen in the DJ future. Then you gotta figure out where you fit in and how you can contribute. The number one way to do that is focus on it and practice.
One of the key elements of the Thre3Style is that DJs have to play three different genres. As a DJ how important is versatility and how do you incorporate that in your music?
SB: It becomes more and more important as the world becomes more and more connected. With streaming sites like Spotify and Apple Music, music has never been more accessible than it is now. Because it’s so easy to access we’re not limited by distribution as much. People can dabble in whatever taste of music they want. I find we have more casual fans than ever. I should say that listeners have a wider musical pallet than ever. As a DJ it’s up to you to satisfy that. I don’t think that every gig is going to be a multi-genre gig, but I think the average person is more open to hearing different genres of music. I think it’s important to be versatile as a DJ not only to play all different types of stuff in one night but to be able to play many different types of situations. As a DJ I never want to see a room that I can’t play.
How do you take people on a journey through sound when you perform?
SB: As far as building up my career, my name, a lot of it has to do with videos of my routine. People see the videos and want to see me live. What I’ve learned is that you can prepare people for your set by showcasing your skill and getting your talents out there through videos and mixtapes. Then you deliver when they arrive. Even before people get to the party you can start to direct the traffic. More to the point, when I see a crowd I try to read the area. I look at who’s at the party. Then I think to myself, what other parties have I played that are similar to this? What do I see out there? What are the indicators? Do I see a young crowd, an older crowd, do I see a mix, from the country, city, international? And I take all the research that I’ve done through my traveling and studying of DJ culture and I apply it. If I play a party that feels like a situation I’ve felt before I’m like, oh let me try this because it worked at the last one. If it works well, then I go deeper into that. If it doesn’t work so well then I say, maybe I should try something different. That’s why experience and practicing is so important to a DJ. You have to stay in touch with what’s going on in the party environment and in the musical world.
Can you talk about what has been your best show, your worst show and what you learned from both experiences?
SB: Damn. I don’t think there has really been one specific show that’s been the absolute best. I run an event called Bastid’s BBQ. I’m really proud of that event. I’ve been doing it in Toronto for six years now and I’ve had some of my DJ heroes come to play it. Ali Shaheed Muhammed, Jazzy Jeff of course, DJ Just Blaze. What I’ve created with [Bastid’s BBQ] is an environment where I can literally play whatever I want. That to me is better than any show because it’s something that I’ve created. I made it out of my passion for DJing and now it’s become a thing that people want to go and see.
And can you talk about a show that you’ve bombed in and what you learned from that?
SB: I’ve never been thrown of stage, I’m thankful for that. Some gigs go better than you think and some gigs go not as good as you think. If you’re able to learn from the gigs that you don’t do as well as you thought you were, it’s still a win overall. DJing is learning. You can always learn from experience, go home, practice, get new music, come back and rock it harder. In all honesty, I’ve never bombed so hard that I didn’t know what to do.
Do you have any advice for up and coming artist and DJs?
SB: Yeah. Follow what your passionate about musically. Play records you like. Find mentors. Follow DJs that you like and practice.
If you want tickets, find details for the show here.
The members of Howling Fantods are gathered around a table in bassist Joe Paone’s South Philly home. It is a quintessential Sunday morning scene: coffee is brewing and Paone’s cat sits curled on the staircase nearby.
In recent years, the band has grown accustomed to a quieter lifestyle, both as musicians and people.
Guitarist and vocalist Doug Wright has been at the center of Howling Fantods, performing with a rotating cast of musicians since the band’s inception. Most recently, Paone and drummer Lance Crow joined to form what Wright says is the eighth iteration of Howling Fantods.
“What I love about this band is it’s the only band I’ve ever been in where there’s no ambition that drowns out the music,” Paone says.
“There might be literally no ambition,” Wright says.
What Howling Fantods might lack in ambition, they make up for in pure enthusiasm for playing music. The musicians are more focused on enjoying their time together rather than making a name for themselves in the Philadelphia scene.
“For me, and I think Joe too, we spent a lot of our youth touring around and doing that kind of stuff,” Crow says. “In this band, it’s like, we know what that’s about. Do we really want to get involved with that?”
Although the members are not as active with Howling Fantods as they were with projects in the past, they admire the younger acts that give Philadelphia its reputation as a destination city for music. Paone says house-show staple Mumblr is the best band in Philly “bar none,” while Crow is partial to Lithuania, the collaborative project of Dr. Dog’s Eric Slick and DRGN King’s Dom Angelella.
The members agree that their age puts them in an interesting place in the youthful DIY scene in Philadelphia. Wright says the band is “totally removed” but still grateful to contribute to the thriving music community.
“My friends don’t live in houses where they have punk shows in the basement,” Wright says. “My friends are all 35.”
The band faced a major loss in February of 2014, when the South Philly practice space used by them and other Philly-based acts, like JJL, burnt down. Most of the group’s gear, including Crow’s prized drum set, was lost in the fire.
Though Paone calls the dilapidated space a “death trap,” the band shares fond memories of their time spent practicing there.
“We were like, the greatest rock band in the world when we were up in that little room,” Wright says.
After the fire, Peter Santa Maria of Philly-based punk band Jukebox Zeros offered the band gear and a place to practice, providing the push the members needed to continue making music together.
“I’ve known Joe at least 16 years,” Santa Maria says. “I played in a band [The Thirteen] with Lance for a couple years. These people are our friends. We’ve known them for years and we just wanted to help them out.”
The fire allowed Wright to refocus the subject matter of the band’s most recent effort, Forever. Wright, Paone and Crow did not let the tragedy interfere with the experiences they share playing music together.
“That might be the joy about being in a rock band,” Wright says. “It’s so over the top that you get swept up in it,”
For now, Howling Fantods will continue to practice when they can and play shows when they are offered.
“It’s a good feeling to create,” Paone says. “Knowing these guys gives me so much energy. It’s really awesome.”
The sky was clear, with a light breeze blowing as the sun set in the background – a scene almost too perfect for rappers G-Eazy (Gerald Earl Gillum) and Logic (Sir Robert Bryson Hall II), on their Philadelphia stop at Festival Pier on The Endless Summer Tour.
The crowd was filled with fans sporting the looks of the rappers they came to see – the ’50s greaser look with a modern Bay area spin for G-Eazy fans and NASA jackets and full on orange NASA jumpsuits for the RattPack, Logic’s affectionately named fans, who paid homage to Logic’s Space Opera themed, The Incredible True Story.
It was not hard to see why G-Eazy, from Caligfornia, and Logic, from Maryland, joined forces for this tour. They both draw inspiration from the ’50s.
Aria Nicole, 21, has been listening to G-Eazy since before his rise to fame.
“A lot of people here didn’t listen to his MySpace music,” she said. “It had the ’50s, run-around summer feel. It was different but it worked!”
As with G-Eazy, Logic’s early mixtapes were also ’50s inspired, most notably by Frank Sinatra. Logic even went so far as to adopt the moniker Young Sinatra. He calls his group of friends and his fans the RattPack, a nod to the 1950s super group led by Sinatra. Logic has stated his positivity comes from growing up with Sinatra.
Liz Ayers, 36, couldn’t have agreed more.
“‘Incredible True Story’ is my favorite song from [The Incredible True Story],” she explained. “When my son showed him to me, I had no idea who he was but his message, it’s just what I need to hear in my life. What he says is real but it’s uplifting.”
Her son, Ryan Ayers, 16, wearing a NASA jacket, added, “My friends were playing his song, ‘All I Do’ and it was really good. After that, I looked up his music. I’ve enjoyed everything he’s made since.”
Both rappers don’t rap about what is usually heard on the radio.
“They talk about their lives,” Ashley Marie, 21, pointed out. “They’re authentic and relatable. They rap about more than just money and girls.”
“They have real emotion behind their lyrics,” Nancy Thatch, 22, said.
Both women shared that some of G-Eazy’s lyrics are so relatable it brought them to tears.
After a slight lull, the on-stage screen came to life as Logic’s song “Contact” began to play. With no one on stage, images of space started to flow through the boom box shaped screen. As the song ended, Logic’s name was chanted throughout the sold-out crowd. As if summoned by their collective voices, Logic appeared on stage wearing a cap and a FILA shirt. The chants only grew louder.
After confessing that he was sick with a fever earlier in the day, Logic jumped head first into entertaining the crowd. Throwing nothing less than his heart and soul into his performance, he gave the crowd what they were asking for and more.
Keeping things fresh, Logic began to play music from his recent mixtape, Bobby Tarantino, choosing to play the well-received track “Super Mario World.” At one point, he even took a moment to teach everyone how to produce a proper beat. From defining and giving an example of metronome, to actually freestyling over a self-produced beat on the spot.
Logic ended his set with “Gang Related.” Finishing strong, he began rapping in his usual rapid-fire pace, then he abruptly stopped the music, calling out a fan in the front row for her impressive memory of his lyrics.
“Let’s see if you can keep up!” he taunted her, smiling.
As Logic began swiftly rapping a verse from the song, an equally amazing sight took place. On the screen, a young girl kept up with Logic – word for word, line for line, syllable for syllable. Stopping, he looked at her again and challenged her with a different set of lyrics. Without out missing a beat, she stayed right there with him, looking him dead in his eyes.
“What’s your name?” Logic asked.
“Shea,” the girl in the horn-rimmed glasses beaming with confidence shouted.
“Hey Shea, how old are you?” Logic continued, smiling.
“I’m 14,” she said as a low rumble of cheers began to spread.
“Damn, girl,” Logic continued. “You’re about to put me out of a job. All right, this is the last one and we’re going to do it in one breath! You ready?”
Nodding in agreement, they begin rapping.
Logic, rapped at a pace that was so rapid it made indelible impressions on any listeners ears. Yet, the whole time, Shea was rapping right along with him.
Logic, satisfied with the girl’s talent, congratulated her and resumed his last song.
“Like I said, I’m here to promote peace, love and positivity,” Logic reminded the crowd. “You are all capable of anything you put your mind to!”
Leaving with that message, it was clear that even those who weren’t there to see Logic appreciated the truth in his logic.
After the sun set, a short intermission took places. Murmurs could be heard all around. Among the calmness, a countdown clock appeared on the screen, everyone sprinted back towards the stage. At five seconds, the crowd finished the rest of the countdown.
With every light on stage burning red, G-Eazy walked through the screen illuminated by the bright neon glow, a pure silhouette.
He opened with “Random,” from the album When It’s Dark Out. After a few songs, G-Eazy addressed the crowd, walking with a swagger he began to talk about his love for Philadelphia,
“I remember first coming here and selling out shows with 200 people at The Barbary. And now here I am,” he continued, bending down to pick up a bra. He paused and grinned at the crowd while everyone went wild. “Some cities are whatever. But Philly is close to my heart!”
He threw the bra and began his next song, “I Might,” which seemed fitting after the given scene.
Midway through his set, G-Eazy took a moment to introduce and thank the people on stage with him, from his drummer to his DJ. Soon after, he invited the opening acts back to the stage. First YG, performed the remixed version of “Fuck Donald Trump” featuring G-Eazy himself. Yo Gotti was next up, hyping the crowd with his song “Down in the DM.”
Taking a moment to slow the mood, G-Eazy played some of his more sensual songs. With the screen going black, G-Eazy reappeared under a white light with a mic and a stand. Shouting out the next few songs to the ladies in the crowd, he began to perform the song “Some Kind of Drug.” By the end of the song, a few more garments ended up on the stage, much to G-Eazy’s delight.
After closing the concert with his radio hit “Me, Myself & I,” G-Eazy reminded the crowd that in truth, without them he wouldn’t be here.