What went down from the front row at Lee Scott\u2019s return show [31.07.21].<\/p>\n
A teetering queue stretches through Camden as London\u2019s Jazz Cafe<\/strong> readies its doors for a barrage of Lee<\/strong> Scott<\/strong> fans, whose nine month wait has finally fallen to minutes.<\/p>\n The three-times postponed event was originally a sit down affair showcasing the boss of Blah Records<\/strong>\u2018 album, Lou Reed 2000<\/a><\/em>. Now, with lockdown restrictions out of the window, the iconic venue is set for a sweat-fest of surprises. Heads have travelled in from across the land, including notable figures from other UK labels such as High Focus<\/strong>, Potent Funk<\/strong> and beyond.<\/p>\n Once inside, an hour passes like a backstage spliff and before you know it Lyza Jane<\/strong> and Sniff<\/strong> take to the stage. Formz<\/strong> is on the decks while the melody machine Lyza sets a chilling tone. With a short support slot she can only squeeze in a couple of tunes, including the ever-popular \u2018Blue Sunday<\/a>\u2018 featuring Sniff himself. She then slips away amidst applause. <\/p>\n For another smooth set, Sniff is joined by MUD Fam<\/strong>\u2018s Mongo<\/strong> and Taurean<\/strong> on live sax. Then, on bursts Stinkin Slumrok<\/strong> who proceeds to big-up Mongo before stealing his shades and mic. A lot of respect is shared between the two as the tunes roll out and the energy increases, leading CLBRKS<\/a> to enter the scene only to dive into the crowd.<\/p>\n Moving leisurely between support acts, the interim sees CL back on stage in a suit, spraying sanitizer over the audience. Symbolic to say the least.<\/p>\n Then, with suspense gushing from the smoke machine, the crowd begins to chant \u201cWe want Lee Scott\u201d. Recent Blah signee Franky Bones<\/strong> emerges alongside a bass guitar, while a trilby-wearing Jack Chard<\/strong> slides off his shoes as he settles in behind the keyboard. On steps Hyroglifics<\/strong>, (who produced most of Lee\u2019s new album [gate clicks shut]<\/a><\/em>), taking position upstage behind the decks. Franky hands his drink to the front row. A punter taps down a zoot at the foot of the central mic stand. Enter Lee Scott stage left.<\/p>\n A figure wearing a giant mascot-esque head gambols across the stage, its eyes upside-down crosses. You can\u2019t deny that this is no ordinary rap gig. In fact, it might as well be a wrestling match, as ring girls hold up signs declaring the first round has begun. Interestingly, Lee Scott shares his name with an American professional wrestler, and samples of related wrestling commentary open his new album as well as this performance. Ding ding.<\/p>\n \u2018Somewhere<\/a>\u2018 kicks things off. King Grubb<\/strong> takes a seat onstage to croon melodies and digs into a large Amazon box of wayfarer shades. He launches fistfuls into the crowd before Lee takes the box to do the same, shouting \u201cI don\u2019t wanna see no eyeballs\u201d. \u2018Title Track<\/a>\u2018, (from Lou Reed 2000<\/em>), is our third song and one of the night\u2019s most touching moments of crowd singing. If there are tears they\u2019re disguised by sweat. This is followed by \u2018Rocket Fuel<\/a>\u2018, (again from the same album), in which Lyza Jane rejoins for the hook. Bisk<\/strong> enters handing out cigs to the band, who all leave before \u2018So Cactus So Owl<\/a>\u2018 closes the first round.<\/p>\n This next section is packed with tracks from Lee Scott\u2019s new project with Hyroglifics, including \u2018Bonus Money<\/a>\u2018 alongside Lyza once again. At this point in time [gate clicks shut]<\/em> is still yet to drop, and on the topic of it\u2019s release date Lee says, \u201cThat\u2019s why it\u2019s called Blah Records; we just do what we feel init\u201d. He goes on to explain how he hasn\u2019t rapped live in two years, but from where we\u2019re standing, there\u2019s no rust to be seen. Cue round three.<\/p>\n After Lee announces he\u2019s forgotten the set list, Reklews<\/strong>\u2018 beat for \u2018Breakfast<\/a>\u2018 slaps in and Bill Shakes<\/strong> bounds onto the stage as the crowd roar \u201cWoke up this mooorning\u201d to commence the Hock Tu Down<\/strong> classic. The guests don\u2019t stop, with Sly Moon<\/strong> slinking on for some sticky G-funk and a dungaree-clad Black Josh<\/strong> for \u2018Fisher Price<\/a>\u2018 sans-Milkavelli<\/strong>. Then the whole stage piles in for \u2018Ellesse, Ellesse<\/a>\u2018 where the room\u2019s energy hits a new found peak. Round four is declared and bedlam is the weapon of choice.<\/p>\n There\u2019s little difference between the carnage on stage and in the pit, with the Blah gang pulling out all the stops. The tunes are getting harder and there\u2019s certainly no space for a keyboard anymore. Slummy steps in with a last minute verse to fill in for Estonian MC V\u00c4IKE PD<\/strong>, as the yet to be released \u2018All On Tick<\/a>\u2018 gets its first performance. The crowd is in the palm of his clammy hand. <\/p>\n Out of nowhere, (and perhaps the biggest surprise of the night), appears the elusive, Glaswegian star CHLOBOCOP<\/a>. The audience is treated to both \u20182 Phones<\/a>\u2018 and \u2018Bell Me Back<\/a>\u2018, in which Black Josh climbs the DJ table and hangs from the railings above. In contrast, CHLOBOCOP\u2019s shy style keeps the attention on her, the crowd hanging off her words instead. She exits the stage having handed over the mic, though most of the other guests have remained in the madness.<\/p>\n This fourth round is the hardest of them all. The lights cut out for the Sniff-produced \u2018What If Lee Was A Lil Rapper? Wow, OMG<\/a>\u2018 where things get properly trappy, running into 2014\u2019s \u2018Yes He Did<\/a>\u2018 before anyone can catch a breath. Lee Scott then whispers into the ears of his posse, who each drift offstage while Hyro spins the final beats alone. The crowd has feasted and have been thoroughly fed but surely we\u2019re not done yet? It\u2019s a good thing \u201c616<\/strong>\u201d has the same amount of syllables as \u201cOne more song\u201d. The chants begin.<\/p>\n Bang bang ahh ahhh. In comes the beat to Cult Of The Damned<\/strong>\u2018s self-titled beast of a tune<\/a>. The full team, (and then some), storm the stage, meaning another new peak is reached. Tony Broke<\/strong>\u2018s arrival receives a response close to that of Goeff Hurst\u2019s 1966 hat-trick, the place popping off to the \u201cOne man supercrew, in a supercrew\u201d. Their collective chemistry is unmatched. Everyone hypes everyone. This is truly \u2018Lee Scott & Friends\u2019.<\/p>\n With the Blah Records battalion throwing the rest of their drinks and cigs into the crowd, they exit the stage for good, (and for bad). This show was likely much more than it could have been in its original form, despite the multiple reschedulings and arduous wait. Lee managed to cram in music from throughout his extensive discography, including label-wide releases that landed after the initial gig was promoted. This was the return to abnormality the whole venue needed.<\/p>\n Catch \u2018Lee Scott & Friends: Part Deux<\/a>\u2018 in Bristol on October 2nd for another helping of alt-rap antics from the Runcorn royalty.<\/p>\n Peep our\u00a0playlist<\/a>\u00a0compiling all the songs and artists mentioned above:<\/strong><\/p>\n Lee Scott: Instagram<\/a> \/ Facebook<\/a> \/ Twitter<\/a> \/ Spotify<\/a> \/ YouTube<\/a> \/ Website<\/a><\/p>\n St\u00e9fan Weil: Instagram<\/a> \/ Facebook<\/a> \/ Website<\/a><\/p>\n Reverb Music:\u00a0Instagram<\/a> \/\u00a0Facebook<\/a>\u00a0\/\u00a0Twitter<\/a>\u00a0\/\u00a0Spotify<\/a>\u00a0\/\u00a0SoundCloud<\/a>\u00a0\/\u00a0YouTube<\/a><\/p>\n Written by: James Wijesinghe<\/p>\n \t\t\t<\/div>\n![\"Lyza](\"https:\/\/reverbmusic.org\/wp-content\/uploads\/2021\/09\/75028-lee-scott-5-of-185-min-1024x683-1.jpg\")
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