As far as the existing rap music scene is concerned, Tyler, the Creator could be regarded as an inimitable legacy artist. The multi-hyphenate first rose to fame in the late 2000s with his Los Angeles-based hip-hop/rap supergroup Odd Future. He has released six solo albums since about 2011, steadily rising to pop stardom.
That was evident from the diverse, sold-out crowd at Tyler’s exciting “Call Me If You Get Lost Tour” opening ceremony, which also included fan base over 40 and also students through high school and colleges. He neglects to call his Golf Wang clothing, where a good chunk of the viewer wore at Footprint Center in Phoenix on February 8th, “merchandise.”
For his song lyrics “SIR BAUDELAIRE,” “CORSO,” and “LEMONHEAD,” Tyler leaped onto the stage. He rapped as well as headbang until his eyes were rolling to the rear of his neck. In a Broadway play-like house with snowy forest backdrops as well as a white, furry Russian ushanka cap, printable button-down shirt, tasseled penny loafers, as well as white socks, Tyler spent the night enthralling his audience.
When I went to Baskin-Robbins sooner, a crackhead attempted to break in — and the doors were open!,” Tyler shouted to the crowd. Is meth the drug of choice over here? The audience cheered like they were observing a stand-up funny movie, giving the rap’s merriment hoaxer the focus he deserved.
Additionally, Tyler played songs from CALL ME IF YOU GET LOST album again for audience, including the gritty “LUMBERJACK” with DJ Drama and the witty narrative of “MASSA.” He soon performed the song “WUSYANAME” while balanced precariously on a dark smoking ship that slowly floated through the divided crowd.
Tyler occasionally answered the shrieks of the crowd. He affectionately exclaimed, “You can come here too, you know, dorks!” prior to breaking into R&B-style singalongs from his 2017 album Flower Boy.
The quintessential “She” by Frank Ocean, Odd Future, and also his solo work tracks “Bonkers,” “Bimmer,” as well as “Tamale,” were eventually played during moshpits. Even though many of oneself already are acquainted with my origins, Tyler said, “I enjoy that since it is the worst tv series I’ve ever been to.
Tyler went back on stage on his boat as night fell. The song’s climactic achievement, “Who Dat Boy,” included fireballs, further infuriating the crowd. Finally, the show-ending “RUNITUP” followed the upbeat “EARFQUAKE” as well as “I THINK” as from IGOR album.
Afterward, Tyler collected his two briefcases and walked out the house prop’s door. He had successfully led his followers to his strange, audible heaven. Check out the Call Me If You Get Lost tour setlist below.
Sir Baudelaire
The intro track shows that Tyler is ready to tap with a somber but focused tone. If that is not enough, DJ Drama would be available to remind you twice.
Corso
In any case, Tyler isn’t playing around. The bass in a Tyler song has never dropped so dramatically. This is a real slapper, and DJ Drama’s response to it has been positive overall. While riding the tempo skillfully, Tyler borrows flow from his favorite artists.
Lemonhead
Tyler must have previously stated that the Lil Baby as well as 42 Dugg song “We Paid,” an immediate Covid classic, was among his favourite tunes of 2020. Tyler has Dugg reoccurrence that flow before laying down some obnoxious horns as well as percussion in the background. The song is heavily influenced by mixtape music from Tyler’s time with Odd Future. Tyler said on 42 Dugg’s abilities: “So good are the Detroit guys. Incredibly specific and thorough.”
Wusyaname
It seems like Ma$e ought to be showcased on this lush 90s R&B track. Tyler uses the Ty Dolla sign to help him reach those epic harmonies while bringing his vocal prowess from Igor. YoungBoy enters with a smooth verse as well as rides the beat like never before. Tyler begins with a strong hook. This has the potential to and ought to be a radio hit. This is one of the best Tyler producers ever, even if it never makes it to the radio.
Lumberjack
It all started with this one. This track is crucial to the album’s mood because of its complex flow and memorable lines. Tyler raps aggressively in this clip, demonstrating his continued talent. Remember, Kendrick mentioned Tyler on “Control” in 2013 as one of the rappers to watch out for. With this song and the entire album, Tyler serves as a reminder of why.
Massa
An album of rap music must have feelings and flow. With his boastful account of how traveling saved his life, Tyler keeps it honest. Just on the album, this music is his most ghoulish composition. The lyrics, as well as cadence, are given center stage by the song’s simple, minimalistic beat. They are genuine and melancholy, which is classic Tyler from 2011.
911
“911/Mr. Lonely,” which is technically a two-parter, examines the overriding theme of isolation on two different but equitably compelling beats. As synths, as well as a heartfelt bass percussion, skip along in a specimen of the Gap Band’s “Outstanding”—a song Tyler has previously expressed a little love for—”911” appears to be sunny and pleasant on the surface.
Still, the lyrics reveal a heartsick Tyler who cannot enjoy anything much with his special somebody out of the picture. The chorus, as well as bridge, are sweetened by singers Steve Lacy as well as Anna of the North, who appear to be unsuccessfully pleading with Tyler’s ex-lover to call them back. Frank Ocean laments a similar sensation of abdication in a seamless drawl as he recalls a vital person who used to scoop him up from the suburbs when things seemed to be going well.
See You Again
The foundation of See You Again is Tyler’s excellent production. Only this particular song altered my perception of Tyler’s music.
The chorus and pre-chorus are handled well by Kali Uchis. Tyler’s three vocal performances may not have been his best, but they give this incredibly colorful instrumental more depth. Tyler begins by singing in a high pitch. Then he starts singing, which is acceptable. His poetry contains some vivid, enjoyable lyricism and references. After his verse, the instrumental becomes more emotional and gradually transforms into the most beautiful thing. Every old fogey who berates modern music MUST listen to See You Again, a contemporary masterpiece. It modifies viewpoints.
Who Dat Boy
“Who Dat Boy” is a trip, as one might expect. Having said that, the entire trip is fantastic. Tyler’s sinister, ominous production comes first. Then he launches into unrepentant rhymes. Tyler, the Creator needs to ensure that everyone knows his identity. The rapper, who is highly assured and explicit, is acting automatically.
Tyler, the Creator takes care of the hook following his verse. He doesn’t manage the situation on his own. No, he embraces A$AP Rocky’s inclusion. Rocky continues by absolutely crushing the second verse. The ferocious rhymes fit in well with the mood TTC created early on. In the last verse, Tyler is in charge of most of the work, but his friend also contributes. “Who Dat Boy” has a fitting conclusion and is chock full of twisted, cocky, as well as confident rhymes.
Earfquake
Tyler, The Creator as well as Playboi Carti joined forces to create the song “EARFQUAKE.” Distorted drum beats and upbeat piano chords that repeat themselves until the song’s conclusion are used as their foundation. The atmosphere that the song’s producers created blends flawlessly with Tyler, The Creator’s low, monotonous vocal performance. One of Tyler’s few songs where the emphasis is on psychedelic pop achievement is this one. Let’s examine the significance of a song’s lyrics by reading thru the lyrics to Earfquake.
Tyler is accustomed to frequently writing stories about heartache and failed relationships. The song manages to escape a dull atmosphere despite simple lyrics making it feel bland. This is thanks to the musician’s excellent orchestral choices as well as distinctive vocal delivery. Tyler seems to be squeezing the sorrow from his soul as he sings the lyrics to a song Earfquake.
I Think
While not everyone has mistreated their lover (“EARFQUAKE”) or would want to stay friends after just a breakup (“ARE WE STILL FRIENDS?”), they have all had to consider how susceptible they want to be. As a result, “I THINK” is undoubtedly the most approachable track.
It is unusual for two people to have the same feelings for each other simultaneously and to be in positions where they can continue pursuing something more serious. One person will likely feel more intensely and be more prepared to settle down than the other. In this situation, Tyler is in love with a man who wants to get back together with his female partner, which makes Tyler wonder if he should put his feelings on display or run away before he becomes overly attached. It turned into a waiting game for consistency and shared emotions.
New Magic Wand
It is unclear whether he is rapping to a man or a woman based on the terminology used in the lyrics of “New Magic Want,” which is why this topic is even brought up. Or, to be more specific, the song is directed at a potential love interest who is a gay man or a lesbian.
That’s because Tyler’s anger at his partner for dating a woman is the central theme of the entire song. Instead, he seeks the person’s undivided attention. He never specifies his lover’s sex using gender pronouns, which lends credence to the rumors above.
Sweet/I Thought You Wanted To Dance
The album’s title track is the most beautiful song. Tyler gives us a funky, heartfelt, jazzy, and beautiful track that takes us back to the times of the lake while channeling his inner Silk Sonic. To create a truly unique singing duo, Tyler and Brent Faiyaz come together. Fana Hues gives a heartfelt performance in the song’s second half, which features a melody with an island flavor. Well-executed, this song is stunning.
Runitup
One of the album’s more pleasantly pleasant surprises is this song. While the song doesn’t have a particularly catchy beginning, the synth, horns, and ad-libs eventually combine to create Tyler’s attempt at mumble rap in the form of some sonic chant. Who knows? All of this shouldn’t work, but Tyler has such a knack for blending similar sounds that it manages to sound catchy without effort.
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