Although Travis Scott’s Sunday night time Austin City Limits Music Festival finale wasn’t monumental in the identical sense as Paul McCartney and Metallica’s respective Friday and Saturday night time headline units (every of them has a long time on him), it did mark a private milestone for the 26-year-old Houston-bred rapper-singer.
“Wow, that is loopy,” mentioned Scott mid-show whereas surveying the tens of 1000's who’d simply lit up their telephones on command to light up melodic banger “Skeletons.”
Obviously, it wasn’t misplaced on him that it’s an honor to shut out even a single weekend of the 17th annual competition -- the unique plan for Weekend Two’s Saturday nearer earlier than Scott inherited Childish Gambino’s twin Sunday spots -- in entrance of an viewers practically as large as Macca’s, with a victory lap nonetheless on the horizon.
That feat not solely afforded Scott probably the most prestigious platform of his 10-year profession, but in addition reaffirmed that lately at ACL Fest, hip-hop booms louder and burns hotter than many of the fest’s rock acts. His manufacturing definitely featured greater decibels and extra pryo than the earlier two nights’ headliners mixed.
Despite swirling rumors about particular visitors -- together with Drake (for his elements on chart-topping single “Sicko Mode,” tonight’s nearer and one in all six off Astroworld) or the unlikely pair of Tame Impala’s Kevin Parker and John Mayer, who joined Scott Oct. 6 for 2 songs on Saturday Night Live -- Scott held his personal, save for one riveting second when a fan joined him onstage to sing on “Goosebumps,” completely nailing each line every time he was handed the mic.
The entirety of Scott’s efficiency exuded confidence and implacable vigor, nevertheless it clocked in at a scant 55 minutes (he began 5 minutes late and ended fifteen early), leading to loads of audible grumbling from followers as they moved towards the exits.
For that motive, it felt much less like a headlining set than Arctic Monkeys’ exhibiting throughout the sector, which included a three-song encore along with 18 career-spanning cuts. Even extra worthy of true headliner standing, nevertheless, was Janelle Monáe.
“Can the vagina get a monologue?” she inquired with an assertive crotch seize earlier than “Django Jane,” continuing to repeatedly channel her late mentor Prince all through an unrelentingly energetic, brilliantly choreographed-and-costumed efficiency heavy on materials from third studio album Dirty Computer, which options the Purple One’s musicianship and manufacturing all through. The manner Monáe visibly hyped and shocked her viewers throughout “Make Me Feel,” vocally giving Beyoncé a run for her cash and sometimes uncannily emulating her fallen mentor’s alien-smooth strikes, the one resounded because the chief candidate to grow to be her personal veritable “1999.”
Other cases of incontestable will increase in star energy: British wall-of-sound-post-punk outfit Shame, whose decidedly face-melting fundamental stage kickoff marked solely their second U.S. fest look; Elle King, backed by horn gamers and auxiliary singers who added gusto to previous tunes and hinted at a largely extra sturdy (gospel and Motown-influenced) sound on impending sophomore full-length Shake the Spirit (due Oct. 18); and Phoenix, who rounded out their Ti Amo tour right here with yet another galvanic dance celebration that includes frontman Thomas Mars standing triumphantly atop the gang to conclude the present, the ultimate unique of an total first-rate ACL Fest Weekend One.