Before joyous discussion on police malfeasance in “Early,” Brooklyn-born producer/rapper El-P openly wondered, while looking at a sad-faced Obama sign, “Why does Obama look so sad?”
“He’s the president,” responded ATLien counterpart Killer Mike with a (tongue in) cheek-piercing chuckle. That exchange as fitting microcosm in the midst of summer’s last breaths, Run the Jewels then flame-broiled a raucous crowd at the Miller Lite stage.
Killer Mike and El-P have the formula down pat: come together on the second half of successful individual careers to spawn the best rap duo since Outkast’s heyday. Then spike the proverbial punch with cement-cracking sociopolitical salvos across two critically acclaimed albums. Great plan, fellas.
Fortunately, it’s not all Reaganomics and drug policy bashing. Sometimes it’s about classic debauchery (“Love Again”) and murderous flows (“Pew Pew Pew”), both of which predictably slayed. Utilizing what would be neutralizing and detrimental for the unskilled, the twosome ran the entire performance and the crowd at one hellacious, break-neck pace.
Paying homage to Texas’ emissary Bun B, who was brought out for “Big Beast,” Mike had the Houston MC submit to well-merited idol worship. On booming crowd scorchers “Lie, Cheat, Steal” and “Early,” Run the Jewels demonstrated their expounding on Public Enemy’s message, forging political rap and humor into something palatable and nonthreatening. They present positions and ideas more explosive than a vast majority of their more militant predecessors with a knowing smile.
In fact, never before has discussing racism, inner-city reality, and social policy been so rousing and danceable. The message never more straightforward, bass creates subversion.
This article appears in October 9 • 2015.