We slipped into a lucky parking spot in the lot behind the Moonrise Hotel as the sun gave its final warming rays for the first-class citizens of the west side of the loop. "Two hours late for the show," I said to Johnson as we headed towards the Pageant. "This will make for an interesting review." Neither of us could have guessed how the night was about to play out.
In front of heavy beats and a spartan stage graced only with a few lone microphone stands and a table reserved for the ubiquitous laptop, five rappers filled the remaining empty space with their quick-fire poetry. In the words of one of the headliners, Killer Mike, this was church. So we paid attention and exalted.
Scottrade Center played host to four legendary hip-hop acts on Saturday when the Kings of the Mic tour came through St Louis.
Don't mess with his microphone. Crank it up and keep it loud. Standing well over six feet, and sporting a "Sex, Drugs and Rap" shirt, the one and only Ghostface Killah brought his aggressive yet intricate delivery to St. Louis on Saturday night, proving why he's one of the most impressive rappers of Wu Tang descent.
Hailing from Harare, Zimbabwe, rapper and singer Blaq Carrie locks in on "Let There Be Hope" with socially conscious themes -- and a surprising Machiavelli quote -- over some tense and catchy acoustic guitar and piano samples. The sound is as persuasive as the message.
Kristine Flaherty, aka K.Flay, has made a name for herself as an independent-minded, feminist rapper. On "West Ghost," from the new mixtape of the same name, she proves her production chops are just as strong. The track smacks and stutters and flows like the best hip-hop party starters must.
Perhaps it was simply an early show on a Tuesday or perhaps there just wasn't enough exposure and promotion, but St. Louis did not show up to support Spose and the others from Preposterously Dank Entertainment. The low turnout was certainly not for a lack of talented performers.