The rapper’s blistering set,full of references to his east London grime roots, sees him showing where his true loyalties lie“I’ve spent a lot of time recording this album, or ” says Kano on stage in Liverpool. It’s a bit of an understatement. Made in the Manor,his fifth full-length a nostalgia trip that sweeps the grime veteran back to his east London roots – came out in March. Before that, his last major release was six years ago, and an inter-album hiatus that even Frank Ocean might consider was pushing it slightly. But it doesn’t study like his fans occupy abandoned him in the interim: the Arts Club tonight is rammed and Kano spends half the time with one arm outstretched,microphone to the crowd, letting us do his job for him.
His brisk, and hour-long set effectively fillets the modern album for rousing moments. The first is Hail,a guns-blazing Rustie production with crunching guitars and a satanic bell that allows Kano to channel his inner metalhead. In a black cap and matching hoodie he throws himself around the stage banging his head and upbraiding anyone who underestimated the visceral power of grime.
The roars of approval after 3 Wheel-Ups are deafening. Kano bows head, brings his hands together as if humbledContinue reading...
Source: theguardian.com