![]() Lonely,” Tyler screams, commanding the throng of listeners to sing along to the lyric “I’m in love” while he performs “IFHY.” He gives concert-goers the permission to end “Earfquake” after a dramatic piano rendition of the hit. He relies on the crowd to sing, react, and listen to his interjections throughout the show. The audience is given a prominent role in his show. He moved like the music has a vice-like grip through his body, erratic with wobbly steps and wig bravely surviving the multiple jolts and jerks of his head. There are no backup singers, nothing else on stage beside the props and himself. He commanded the stage with the help of nothing more than the flopping blonde wig and his own piercing vocals.ĭuring “Running Out of Time,” a dreamy track with a glittering electronic beat, Tyler’s simply snapping in place without much choreography or movement because his presence is enough to carry the show and leave the audience enraptured. In many ways, this was an impressive feat that only Tyler could achieve. It’s intensely dramatic, meant to keep the crowd at the edge of their seats without allowing a breath of relief. There’s nervous energy moving through the room, breaths held in anticipation for what could come next, what could be thrown at the crowd next. ![]() It’s like watching a play being put on by a figure with the bright blue suit and icy blonde wig, rather than a concert of an acclaimed artist. The entirety of the show feels theatrical. He’s introduced to the crowd with the reverberating intro of “Igor’s Theme” that threatens to blow out eardrums, simply blinking at the crow from a raised stage for the introduction. Yet, when Tyler reaches the stage, it’s deafening. Opening act Blood Orange is serene, displaying a visually stunning backdrop accompanied by soulful vocals. He plays with serenity and mayhem as though he was an expert in meddling with these two emotions. ![]() It’s the type of show to leave you breathless, refusing to lessen its hold on your attention. It’s only fitting that his stage at The Bill Graham Civic Auditorium is filled to the brim with ostentatious displays of his eccentricity. Coupled with the unconventional outfit choices, his formerly cutting lyrics are traded in with soul-baring hooks that are just as painful to experience. He lulls his fans into this sense of safety, to only bombard their comfort with a powder blue suit-clad figure. That we knew him because of the collective laughter we’ve shared because of his antics. With his blunt comebacks or hilarious captions, it deluded onlookers that we were able to understand Tyler, The Creator as a whole. The project is a creative reiteration of his abilities, soulful meditation on the fragility in lieu of formerly biting lyrics.Īt the surface, it’s easy to be blinded by this internet famous persona able to deliver humorous, virulent attacks. With the release of his latest work, his songs fully embraced vulnerability in the face of heartbreak. Song “Earfquake” had climbed the charts with streamlined ease. The album has been critically and commercially admired, winning a Grammy for Best Rap Album. What makes “Igor” transformative is how nearly everyone, fans and critics alike, were stunned with his intentional honesty. He’s witty, undeniably funny, and insults staunchly severe. The persona we see is always prepared to make a snappy, completely capitalized tweet to expertly critique those who dare cross him. His “IGOR” tour is a monumental one with the evolution of his artistry. A Tyler, The Creator concert is one that melds artistry with moments of chaos.
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