GZA (Performing Liquid Swords) - Harpers Ferry - (Allston, MA; Sept. 13, 2008)

For three hours, the crowd in Allston’s Harper’s Ferry waited, at times with Wu-Wing karaoke, at times with jeers, all in expectation of GZA. Here was a chance for a live performance of 1995’s Liquid Swords, part of a quartet of solo Wu-Tang Clan albums that cemented the group’s dominance of 1990’s hip-hop commercialism. Building from the unified force of Enter the 36 Chambers, the Clan’s nine members created a branding empire with clothing, video games, and of course, solo projects. Rather than merely side ventures, these albums formed a dynastic catalog of stark beats and cryptic word play. Liquid Swords was, and is, simply amazing.

OK. Academic subtext aside, people love the Wu. Not in a VH1 nostalgic retrospective way. This is a full-on internalize every lyric, argue over 5 percenter symbolism, hug some random guy next to you at the concert kinda way. This love was evident in between opening slots by Boston’s AZN and Oak Lonetree as the DJ spun classic Wu bangers, channeling anticipation into a full out rhyme-fest. Whether you were spitting all lines to Triumph, or just joining in with hooks, Harper’s bristled with energy. 

Well, three hours of bristling turned sour. The breaking point came as the DJ defeatedly hit play on his computer, then retreated to the rear of the stage, unable to even cock his headphone to check the beat, looking lost and growing tired. His task was nearly impossible: to bring a crowd into a sustained frenzy for over an hour after Killah Priest and GZA were scheduled to start. It didn’t help that the touring support, Folk and Stress, had spent a forced thirty minutes asking Boston to show love. Sure, we don’t know your music as well as...GZA, and your joint with Aesop Rock is quite tight, but no need to throw classic beats at us “for something you already know.” There was just too much opening, and it was time for the show to begin.

When he finally did stride on stage, flanked by Killah Priest, the crowd erupted with relief. His smile full, his hand extended to all, GZA offers an open invitation to join the Clan, and please do sing along. What I appreciate about GZA is how much he understands this irony of the Wu legacy. Here’s a hardened rapper who can go on the Chappelle Show for a Wu-Financial commercial with old white folks throwing up their hands like they just don’t care. GZA knows that for most of his shows, the real hip hop heads are at home; frat boys excitedly take their place with caps slung low. And we do all sing along.

This tour, billed as a celebration of Liquid Swords, places GZA like mid-90’s Pink Floyd who recreated Dark Side of the Moon for adoring audiences. GZA knows how much you love his album, and he is happy to share. In fact, this concert had the interaction of a Dashboard Confessional show: passionate backing crowd vocals, and witty banter that ranged from self deprecating to surreal.

Here is a checklist of the GZA show-
1: DIY t-shirts with Ol’ Dirty Bastard’s license, held up for “Shimmy Shimmy Ya”
2: Father offering pen and photo of son, yelling “Wu Tang is for the children”
3: Sarah Palin interlude: a librarian looking lady next to me was brought on stage to tell McCain to “get the fuck back,” while GZA was noncommittal on his voting choice
4: Killah Priest checking his text messages while on mic
5: 2am and GZA is still on stage? Is this New York or something?

In all, GZA looked tired. He had played at Irving Plaza the night before- Cappadonna, RZA, Raekwon, and Masta Killa all going strong by his side. In Allston, with the exception of “B.I.B.L.E.,” that featured Killah Priest, he operated with only minimal side help. Ragged, but still infectious, he would kneel, offering lyric to the faithful clan in the front, then pop up and turn to deliver a call for the TV to be shut off. And it was. GZA scolded the crowd, saying the reason some lines came out all stumbled was because that’s what we looked like. Asking for eye contact, he tried to have us all connect. After this request, I did feel guilty when he looked my way. It was high school all over, only this teacher was chiding me since I didn’t fully know the lyrics to “Duel of the Iron Mic.”

His material from last month’s Pro Tools, built back some energy.  But, the hyper flow of “0% Financing” had him drop out midway. Folks wanted the 50 Cent dis, “Paper Plates,” and this closed the evening. GZA stayed around to thank those who made it past 2, and again his graciousness poked through his at times lack luster performance. 

A haunting ripple opens GZA’s Liquid Swords with dialogue from the film “Shogun Assassin.” A boy’s ghostly voice narrates how his father, the Shogun’s decapitator, had been targeted by ninja spies. Suddenly, the synthesized chords give way to a throbbing, bombastic pulse layered under the album’s opening refrain “When the MC’s came, to live out their name.” This is GZA at his finest.

However, the intro also has this line, a fitting description of the evening: “The Shogun just stayed inside his castle—and he never came out...maybe that was the problem.” I’ll wait expectantly for any GZA album, but might wait it out for the next tour. 

1 comments thus far ...

melophobe sponsors

Connect To melophobe

1. melophobe
2. concert reviews
3. fifty-word reviews
4. articles
5. links
6.