![]() ![]() ![]() Lamar’s fourth studio album, released in April, is his first record rooted in the tensions associated with success. What’s changed is how many people are watching. He is a blazing technical rapper and a relentless searcher, and as he has become more famous and successful, he hasn’t backed away from those traits. Lamar’s art, which is anti-flamboyant, interior and complex. That has a lot to do with the nature of Mr. Lamar began his nationwide arena tour with a show that was far simpler than those of his peers: For the most part, one man on one stage, making the vast room feel tiny and intensely focused. On Wednesday night, at the Gila River Arena in this northwestern Phoenix suburb, Mr. Kendrick Lamar, rap’s most modest, skeptical and monastic superstar, is having none of that. Rather than become shinier, or more expensive, these concerts have become gaseous, expanding to fill the volume provided. ![]() In part, this reflects the rappers’ outsized ambition and latent boredom with simple symbols of excess. Now stage diving is the thing, peaking in May when Lil Uzi Vert climbed to the top of a tower at a Miami festival and flew into a rapturous crowd. In 2016, Kanye West performed on a platform dangling perilously low above a moshing crowd, and Drake filled the empty arena air with a sinuous light show. In the last year, big-tent hip-hop concerts have taken to the skies, making the space above the arena floor as important as the stage. ![]()
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