MC/VL at 7th St. Entry, 7/24/14

Categories: Last Night
Photo by Mike Madison

with Gay Witch Abortion and Kitten Forever
7th St. Entry, Minneapolis
Thursday, July 24, 2014

Rap duo MC/VL returned after a three-and-a-half-year hiatus to mark the upcoming departure of Vicious Lee, partner in rhyme of Mighty Clyde. Their old-school leanings and raw energy blew up a packed 7th St. last night, marking a bittersweet night of great performances.

See also:
Slideshow: MC/VL pack the Entry

Photo by Mike Madison

This felt more like a punk show than a rap show, in terms of the bill and audience, but the night proved the rappers could stand to learn a little something from the punks. Kitten Forever delivered a heartfelt shout-out to the headliners, who've shared many bills and tour vans with them over the years, in the midst of pummeling through their modernized Riot Grrrl punk. Members rotated among drums, bass, and telephone receiver microphone, quickly working through a set of energetic and uptempo numbers that set the tone nicely for the night.

Photo by Mike Madison

The always welcome noise wash of Gay Witch Abortion filled up the tight space afterward, further illustrating the lineup's uniqueness. It's not often you see the group blare through their brand of blistering guitar-and-drum fury preceding a hip-hop outfit. Shawn and Jessie nonchalantly worked through a big-sounding set of feedback, guitar squeals, and towering drum pounds in front of a mesmerized audience.

There was not nearly as much movement as the raucous sound would imply, which is something the punks can learn from the rappers: Sometimes a full show experience requires audience involvement that can be drawn out of them with more specific engagement. The set was enthralling as always, but stood on the brink of a explosive response that never came.

Photos by Mike Madison

Until, of course, the finale, the triumphant return of the beloved rap duo MC/VL, who transitioned into their set with a few quick rock joints performed on drum and bass, sounding not unlike the band previous. Shouting vocals without amplification, the introductory songs offset the bulk of their set, which quickly became classic two-man microphone juggling with a crackling iPod backdrop. The pair tore through their repertoire, ripping apart Nine Inch Nails and AC/DC samples with a Beastie Boys flavor that seemed to borrow from every era of the group's existence, extending back to the Young Aborigines era on through their college-darling days.

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