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Beepr Goes To Shows: Governor’s Ball 2021.

In this first installment of Beepr Goes To Shows, I spent all 3-days at this years Governor’s Ball to give you crowd coverage you deserve and concert recaps/reviews you want. Stay tuned for more show write-ups and other updates!

Freddie Gibbs and The Alchemist

What happens when you put two legends on the same stage? You get one hell of a fucking show. Freddie Gibbs and The Alchemist were on another level that Friday afternoon, delivering classics from Madlib collaborative albums (Crime Pays, Fake Names, Palm Olive, Thuggin), recent singles from Freddie (Big Boss Rabbit, Gang Signs), and all your favorite offerings from Alfredo (Baby $Hit, Scottie Beam, Something To Rap About). The braggadocious swagger Freddie brings to the stage is tempered by Alchemist’s suave production and generally reserved demeanor, making them a very balanced performance. Despite being an acclaimed producer, you get the sense that The Alchemist is there to support Freddie rather than make the performance about himself. Freddie’s natural humor shines through in between songs, cracking jokes while taking tokes and hitting a bottle of Hennessy. Chants of “Fuck police,” cheers for the Alchemist, and concert-goers belting choruses created a deafening atmosphere, rivaling some sold out indoor venues I’ve visited. To call Freddie a cult artist would be disrespectful of all the mainstream achievements (Grammy nominations, cracking Billboard Top 25s, etc), and yet for some reason, he remains on the fringes of superstardom. Part of what people love about Freddie Gibbs is his larger than life personality, as he has an authenticity about him that’s naturally charismatic. If there’s anything I can be certain about after that set, it’s that Freddie Gibbs and The Alchemist have undeniable chemistry and I hope they have more on the way.

Phoebe Bridgers

In January of 2018, a report from Nielsen Music identified that rap had surpassed rock in terms of overall music consumption. But Phoebe Bridgers will not allow her genre to go quietly into the night. She very well may be the next iteration of a rockstar. From her band all being in uniform, to the stage production, and most importantly, her diehard fans: Phoebe Bridgers is killing it in all aspects of the game. Apparently, I had been living under rock for quite some time as I only did a deep dive into her music when I saw her on the Governor’s Ball lineup announcement. How foolish was I? Phoebe has an incredible catalogue despite being only 27 (bolstered by her work with groups like Boygenius and Better Oblivion Community Center). Songs like Motion Sickness, Garden Song, and ICU feel more like Phoebe hosting a singalong, as the entire crowd is belting back each and every lyric at the top of their lungs with emphatic energy. Tracks like Kyoto also fall into that category, but there’s an immense rush of excitement as the brilliance of Bridger’s music blares through over the speakers for the chorus. Ballads like I Know The End are blissful moments of serenity, as I found myself swaying with my eyes closed in my little spot in the crowd. Her nonchalance in between songs is intoxicating, as it’s a beautiful contrast to her immensely emotive and personal performance. It’s so endearing to see past what’s on the outside and find an individual who profoundly cares about their work. What perhaps is most endearing about Phoebe’s performance is how she’s unabashedly herself: quips like “Fuck nihilism, too” are interjected in between songs, her outfit a glamorized rendition of the classic skeleton t-shirts. While I might have been late to the party in terms of the Phoebe Bridgers hype train, you can bet I’m going to be early to every one of her shows from here on out.

A$AP Rocky

As Saturday night of Governor’s Ball was drawing near to an end, there were millions of individual conversations buzzing around in the crowd. But almost all of them were centered around one question: When will A$AP Rocky start? At 9:12pm EST, our question was answered, with a bang. Crowd surfing around in an inflatable car, bullhorn in hand, Rocky showed off some new sounds as unreleased tracks (Grim Freestyle amongst the slew of unreleased tracks) boomed over speakers. Mosh pits opened up left and right as the concert slowly evolved into a beautiful, New York block party-esque chaos. Hearing recent work like his features on Slowthai’s MAZZA and Famous Dex’s PICK IT UP were unexpected yet gratifying moments. But what really amplified the crowd was hearing some of the “older” radio hits. I can’t remember a time in recent memory when I’ve been as excited as when the first synths on LPFJ2 and Telephone Calls hit. Classics like Praise Da Lord and Yamborghini High ensured that there were no lapses in energy or excitement. Babushka Boi set the crowd ablaze, as the off-key notes intermingled in the beat acted as cues for the rowdy meter to kick it up a notch. Rocky even gave up some of his set to ensure the rest of the Mob was represented, as he had the DJ play Plane Jane by A$AP Ferg. The softer side of Rocky’s discography was met with equal anticipation as Sundress and A$AP Forever were met with exuberant cheers. Fully embracing his trippy side, after asking us if we liked hallucinogens, Rocky performed L$D to a roaring crowd (he also teased us with the unreleased Mushroom Clouds after asking us if we fucked with mushrooms too). During what felt like a showcase of the Harlem rappers’ ability to generate raucous ovation, the time had the crew informed Rocky his set had to be wrapped up. An earnest plea to keep it going was made, begging to at least get off Peso, but the euphoria was always going to be finite. It’s safe to say, anyone saying Rocky fell off is full of it.

Burna Boy

From start to finish, Burna Boy kept it hot. Bringing plenty of Nigerian flair to the CitiField air, I can safely say that Burna Boy’s set was one of the most enjoyable of the weekend. Even before he appeared, loud chants imploring him to take the stage could be heard ringing throughout the grounds. As his band and mom (who doubles as his manager) patiently waited, you could see them grinning and laughing as they knew we were in for a great show. Burna Boy then graced the stage and we were transported to another world, filled with laid back vibes, political protest, and triumph. Opening up with Gbona, it was apparent that the entire show was going to be electric. Hitting dance moves, grinning from ear to ear, it was obvious that Burna Boy planned on making a stellar first impression at the Governor’s Ball (he also earned major New York brownie points by giving us an animated performance of his velvety feature on Enjoy Yourself by Pop Smoke). Hearing some of my favorite songs live cemented them even further in the favorites category, as his performance adds another level of fun and personality. Collateral Damage, a beautifully subverted political protest anthem, felt truly harmonious as the entire crowd chanted the chorus with their fists in the air. As much as I love my AirPods, the heartfelt energy of both the crowd and Burna Boy I felt in the crowd during Anybody and Dangote could never be matched by speakers. Even the less upbeat songs (such as Wetin Man Go Do) he performed were met with incredibly cheerful reactions as. Live riffs from the band during some of his most popular singles added great spice for those who are familiar but equally exciting for new listeners. It’s apparent that there’s a great sense of camaraderie amongst the whole crew, that their main goal is to put on a memorable and joyous show. I can only hope that Burna Boy and the band make trips to the states more frequently.

Ellie Goulding

Have you ever felt the urge to forget everything that’s worrying you and just live in the here and now? Then you should go to as many Ellie Goulding shows as humanly possible. There’s a good chance you’re already familiar with some of her work (I’ll get to that in a bit), but it’s an entirely other thing to see her bring them to life. Hidden under the surface of a soft-spoken, singer-songwriter is a powerhouse performer, ready to give the show and attendees her everything. Watching her confidence grow during the set, seeing her come out of a shell that had likely developed as a result of not touring, was a beautiful sight to behold. In between comments about how grateful she was to be performing, quips about her outfit, you really got to watch her conviction begin to grow and take root. Anthemic at every instance, the crowd was equally ready to return the same energy Goulding graced us with. The only thing that was all over the place about her refined and poised performance was the eclectic mix of work she pulled from. From Lights (and yes, if you’re curious, that shit slapped) all the way up to her latest album, Brightest Blue, we got treated to the Ellie Goulding evolution set. Intermingling a solid slate of collaborations like Diplo’s Close To Me (I don’t know if I’ve ever sung along as fervently as I did for that one), Calvin Harris’ I Need Your Love (okay, I lied, this is the one where I lost my voice), and Major Lazer’s Powerful, there was a reference point regarding how they discovered Goulding for everyone in the audience. Hearing oldies like Aftertaste, Anything Could Happen, and Only You instantly transported me to simpler times, back when bills and deadlines seemed like an abstract concept. In another edition of music star leads a sing-a-long, the crowd could have taken over for Lights and Love Me Like You Do. Thankfully, we got to hear Ellie too. It’s a magical moment when a few hundred (maybe a full thousand) are all united by one common goal: to embrace the present and shower the performer with adoration in the form of knowing every lyric. Harmony amongst total strangers, tied together through a common love of music. Ellie Goulding gave us more than one of the best sets from the weekend, she gave us a sense of unity and togetherness unlike any other I’ve experienced.

Post Malone

When you find a superstar, with millions of fans and millions in the bank, that you feel like you can still crack open a crispy Bud Light, you’ve found something special. And we all know that Post Malone loves a cold one. The final chapter of Governor’s Ball 2021 ended with Post Malone’s Sunday night set, a perfect way to wind down the weekend. Opening up the set with an inquisitive “Hello?” to test out the mic, this show was one of the most authentic and down-to-earth concerts I’ve been to in quite some time. It almost feels like you’re just hanging out hearing some song ideas from your friend Austin Post, wearing some regular denim shorts and a “Where’s Waldo” style striped shirt, until the audible roars from the crowd of “Posty” remind you you’re at a headliner. Arguably the most larger-than-life aspect of Post’s set was his entrance on the stage, via a smoke-cloud suspended platform adorned with metal chains. With a healthy mix of beerbongs & bentley’s, Hollywood’s Bleeding, recent singles and old hits, Post Malone was showing us all of his repertoire. Chugging beers at the request of the crowd, checking in with all of us in between songs, calling for celebration and happiness, Post goes to great lengths to ensure that the crowd is with it and that everyone is having a good time. Tracks like Psycho were somehow both relaxing and energizing at the same time, as the chorus transformed the venue into an incredible echo-chamber. We also got to see how many friends Post has, as we got guest appearances from Young Thug (performing Goodbyes), Roddy Rich (gracing us with Every Season and The Box), and 21 Savage (to perform Rockstar, which Post Malone did his best to embody all night). With each feature, the crowd seemed to kick into another fear of excitement, but that’s not to say people didn’t lose it for some of Post’s solo work. Stay, which Post performed seated strumming an acoustic guitar, was as heartfelt as it could get in its stripped down state. Despite previously admitting to not being able to sing without autotune, you could see how much he cared about capping off the weekend right while performing that song (without autotune in an effort to be as real as possible). White Iverson and Congratulations were both barn-burners, as the whole festival grounds were chanting lyrics and bouncing along. After a very long weekend of raging and raving, Post Malone’s set managed to run through the whole gambit of festival emotions: joy, excitement, surprise, and relief. It’d be disingenuous to say anything other than Austin Post has mastered the art of headlining.

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