At the Accor Arena, the inhabited and successful performance of Kendrick Lamar

Kendrick Lamar is back in Paris for two concerts at the Accor Arena, Friday October 21 and Saturday October 22. Its musicians are in the pit, as in 2018, and still play admirably well. But this time, “the greatest living rapper of all time”, according to the magazine rolling stonelived up to his status.

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For his new tour, where he mainly defends his latest record, Mr. Morale and Big Stepscertainly one of the least accessible, the MC, who won the Pulitzer Prize for his previous album, Damn, was not content to offer himself alone on stage. The Californian rapper seems to have regained the common sense that characterized him, especially since his first Parisian concert was broadcast live on the Twitch platform and on Amazon Prime Video. This will also be the case for the second, Saturday evening.

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This pressure, Kendrick Lamar used it to deliver an intense, rich performance, and an extremely licked realization, like that of his video clips and his performances during the Grammy Awards ceremonies. The scenography is not overwhelming, just two cubes which alternately serve as a canvas for Chinese shadows or as a protective bubble for a reminder of the health crisis, where, after announcing to be tested at Covid-19 live, the rapper sings the refrain of the federator Very well : ” We are well ” (“We’ll get through this”).

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With Bitch, don’t kill my vibe, it will be one of the rare moments of the show where we will release the last album. On the side screens, it will also extract a punchline from the sublime Don’t count on me where, in Chinese shadow, we see arrows planted in his back: “A mask won’t hide who you are inside” (“A mask will not hide what you are inside”).

A DNA complex

A proscenium is placed between the two cubes as in a fashion show. If the rapper does not survey it constantly, he does not hesitate to perform a few choreographed steps with the ten dancers, four women and six men who accompany him on several titles. And even if he dances a little, Kendrick Lamar, unlike the majority of rappers of his generation, does not take advantage of it to rap in playback or over a soundtrack. No, he raps with passion, alternating highlights like introductory songs United in mourning and N95, which seem cut out for the stage, and the moments a little quieter, with rich mind we paternal time, on which the Englishman Sampha unfortunately remains absent.

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