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In April, popular American rapper Danny Brown entered a rehabilitation program. While this is not uncommon among artists of all genres, Brown’s situation is particularly noteworthy because his entire music career of over a decade has been centered around selling drugs and later, excessive partying after quitting dealing.
He has stood out in a highly competitive industry. If there was a poet laureate for joyfully indulging in nihilism, Brown would hold the title with his sharp wit and humor. Even in his most seemingly simplistic works, like Smokin’ & Drinkin’ (from his 2013 album Old), he celebrates getting completely wasted. Tonight, it turns into a hedonistic back-and-forth chant (“Drinkin’ and smokin’!”) with the energetic and packed crowd.
All of us are extremely excited to finally meet our “distant Detroit cousin”, as he likes to refer to himself. He is joined by his DJ, Skywlkr, and is wearing a black leather biker jacket and a peaked cap, giving off his signature punk vibe. It’s clear that his time in treatment has not dampened his rebellious attitude. Additionally, his high energy levels during the hour-long performance showcase the positive effects of living a clean lifestyle.
Brown, who has recently overcome addiction and is no longer in rehab, is not the only artist in the music industry to have faced struggles with overdoses. Mac Miller, Juice Wrld, and Lil Peep are also part of this group. In addition, Brown has been credited with creating two of the most captivating albums of 2023: “Scaring the Hoes” (released in March with Jpegmafia) and “Quaranta” (released last month).
There is context here. “Dad rap” – music made by older, often leftfield rappers – has had a phenomenal year, with stellar offerings from Atlantan powerhouse Killer Mike (half of Run the Jewels), cult New York sophisticate Billy Woods (across two albums), a vault album from Danger Mouse and Jemini, as well as André 3000’s surprise flute suite. But Brown’s double whammy still stands out.
This evening’s first song, “Quaranta,” sets the tone with its contemplative title and twangy guitar riffs reminiscent of a spaghetti western. Quaranta reflects on the impact of his career in rap, admitting that it has both saved and disrupted his life. Despite his reputation for reckless behavior, Brown’s discography delves into deeper themes and commentary. His 2011 album, XXX, launched his rise to fame as a unique rapper and also explored his relationship with Xanax.
In 2016, Brown’s performance, published by the British electronic label Warp, solidified two key aspects of his career. Atrocity Exhibition, titled after a Joy Division track, highlighted his diverse musical preferences and showcased his ability to rap over a variety of genres, from electronic dance to industrial noise.
Furthermore, in tracks like “Ain’t It Funny” – a sublime performance tonight – Brown openly expresses his frustration with his own clownish persona, portraying himself as a chaotic rapper for the entertainment of the public. Rather than being confronted by those who could have held him accountable for his actions, he was indulged and turned into the very atrocity that he was being showcased as. Both exhilarating and jarring to listen to, the song “When It Rain” from the album Atrocity Exhibition highlights the connection between drug use and societal collapse – showcasing Brown’s talents as a “murder music orchestrator”.
Tonight, all that we are hearing is emphasized by Brown’s abrupt return to a sober state. This piece, written during the pandemic and in honor of his 40th year, honestly captures his struggles with hitting rock bottom and losing everything due to his solitary substance abuse following the end of a significant relationship.
Brown, who was waiting for his samples to be cleared, also collaborated with the unconventional rapper-producer Jpegmafia to create Scaring the Hoes. This dynamic piece features a frenzy of dial-up internet sounds, porn samples, and unexpected musical shifts that energized the audience. The two artists toured together in the US this past summer. It would have been even more gratifying if Danny and Peggy (their nicknames) had performed together in a double-header.
The name of the album, on the other hand, represents a popular online joke about the wrong ways to attract women. Putting aside the immediate sexism, when used by Danny and Peggy, the expression becomes a loud and rebellious rejection of mainstream rap.
During the beginning of the title track, we all participate in quick handclaps. The song features a lively drum kit and a solitary saxophone, with not much else. Brown jokingly asks, “Where’s the Auto-Tune?” and demands the return of their aux cord. In “Jenn’s Terrific Vacation,” a song about gentrification in Detroit, the intense sub bass penetrates us and alters our emotions.
Jpegmafia’s ear-melting production reflects the altered, manic states Brown raps about. But it’s the deranged joy in this often apocalyptic-sounding music that shines through. And Brown clearly doesn’t need any assistance, pharmaceutical or otherwise, to be one of the most exciting hip-hop practitioners around.
Source: theguardian.com
