The current perceived wisdom on hip-hop is that (a) no-one makes decent albums anymore, (b) the gangster culture and it’s huge mainstream success has left it a joyless, soulless beast with no social conscience, and (c) it makes for a crap gigging experience.
The word on Kanye West is that he is the one who could change all that. The reasoning is hard to argue with. Late Registration hangs together well as a record and West’s recent award show appearances have seen him steal the show from the rock glitterati in their own back yards (his UK sales rose a staggering 86% in the wake of his memorable Brits performance).
Dublin, it would appear, loves him as much as anywhere, with The Point rammed solid for two nights. The noise that greets his arrival on the Friday night is staggering.
As with much of what he does, the staging of the West show combines the accepted (a DJ supplies most of the backing) with the unusual (he’s joined by a 10 piece string section). The opening sequence is thrilling, ‘Diamonds From Sierra Leone’ and ‘Heard ‘Em Say’ raising the roof on the old barn.
This is very much the real deal, or is for the first 15 minutes or so at any rate. After a bit though, the show’s relentless pace gets a bit much. West says nothing between songs and the crowd’s energy begins to noticeably subside.
It needs a lift and it comes in the shape of an interlude from the string players (who rather sweetly still look like a bunch of classical musicians – not quite sure what they’re doing here but loving it).
Instrumental runs through ‘Eleanor Rigby’ and the ‘Bittersweet Symphony’ loop restore spirits and the return of the main attraction restarts the party in full effect. This time round, West is more relaxed and lets more of himself show.
The gig ebbs and flows accordingly, from the big production numbers to seemingly off the cuff moments – the best of which sees his DJ drop A-Ha’s ‘Take On Me’ to a massive roar.
Having sat through interminable nights here with Snoop and 50 Cent, this is a different world - funny, smart and musically brilliant. Instead of surrounding himself with an army of flunkies, West virtually carries the show on his own, his personality (as opposed to his inflated ego) filling the place, even if he is wearing a cardigan.
Those looking for the much vaunted political edge are disappointed.
But, it’s the only thing missing. Otherwise this is all we might have hoped for. As a massive ‘Jesus Walks’ and joyous ‘Touch The Sky’ bring proceedings to a close, you do get the feeling that this really could be a turning point for music, and not just hip-hop. Top of the world, baby, top of the world.