Weezy F. Baby—one of Lil Wayne’s many monikers—has undeniably solidified himself as a legend in hip-hop. Saturday night, he and his opener CyHi The Prynce did their best to get everyone in the sold-out Orpheum Theater as wild as possible.
CyHi The Prynce, the G.O.O.D Music associate, hopped on stage with a lot of energy that took a minute for the crowd to latch on to. He opened up with original tracks, which were impressive lyrical paintings, but not exactly the most thrilling songs for a casual listener. CyHi had a great stage presence and did what he could to get people ampedup for Lil Wayne’s set that was soon to follow.
Near the end of CyHi’s set, the crowd finally let loose completely as he performed verses from his collaborations with bigger G.O.O.D Music artists. A quick shoutout to Kanye, Big Sean and 2 Chainz made it clear that an onslaught of Cruel Summer deep cuts were soon to follow.
“Mercy,” “Clique,” “Sin City” and his verse from “So Appalled” took the crowd to new heights. Hands were thrown higher in the air. Feet began jumping off the ground. Heads bounced up and down with a sense of fervor.
CyHi was extremely genuine on stage as he thanked fans for coming out to support him and the legend who would soon emerge. With a quick plug for his upcoming album No Dope On Sundays and a shout-out to the city of Madison, CyHi’s set ended. Tension rose as fans anticipated the arrival of President Carter.
Adorned in a customized Brett Favre jersey, Lil Wayne brought out almost all of the classics for a drug-and-booze fueled crowd following the invigorating end of CyHi’s set.
Beginning his set in the same sequence as Tha Carter III, Lil Wayne kicked off the show with “Mr. Carter” and “Get Money”—two songs that set the tone for the overall energy of the set.
After a few rowdy performances, Lil Wayne took a couple minutes to express his sincere gratitude for his fans’ support. Amid complications with his Cash Money contract, Wayne made it abundantly clear that he’s still around because of the fans.
“I ain’t put out a f---in’ album in like four f---in’ decades!” Lil Wayne exclaimed.
He went on to list three things he thought everyone needed to remember. First, that none of us “ain’t s--t without the man above.” Second, that he “ain’t s--t” without his fans. Finally, he reiterated he’s nothing without his fans.
From that point on, Lil Wayne played classic after classic. Old verses from Drake songs like “The Motto,” “HYFR” and my personal favorite “I’m Goin In” all paid homage to the golden age of Young Money. He played songs from We Are Young Money.
Then, out of nowhere, Mack Maine came out on stage to perform alongside Lil Wayne. Once I heard his name, I just about lost my mind with excitement. The only thing I could hope for is that Lil Wayne had another Young Money artist set to appear. Luckily, he did. After bringing out a few underwhelming, newly signed Young Money artists, Gudda Gudda came out; it was a heavy dose of nostalgia for any hardcore Young Money fan.
Lil Wayne capitalized off the hype at that moment to go into older mixtape songs from No Ceilings and Sorry 4 The Wait.
As the set continued, people got progressively more rambunctious. Maybe it was just them letting loose, or maybe it was because of a higher-than-average blood alcohol concentration in the crowd; there’s really no way to know for sure. Regardless, intensity grew exponentially toward the end of Lil Wayne’s set.
The beginning of the end was with the classic banger “A Milli.” The second the beat started, it was game over for anyone who tried to stay cool, calm and collected.
“No Problem” was followed by a speech about staying positive even in times of hardship—a clear reference to his troubles with Birdman. With a posse of at least 10 other people on stage, Lil Wayne descended into madness with his closing song, “No Worries.” Mosh pits sprung up in the middle of the crowd as screams of excitement rung out.
A final shoutout to the fans bellowed from Lil Wayne’s mouth as he left the stage. The house lights rose, the curtain dropped and the show ended with no encore, and sadly, no performance of “6 Foot 7 Foot.”