REVIEW: Nicki Minaj – Odyssey Arena, Belfast
Arguably, the first and foremost thing that, ahem, sticks out, so to speak, about Nicki Minaj is that of her elaborate, risqué image.
When she first exploded into the music scene back in 2012 she was adorned with bright neon wigs, elaborate make up and even more elaborate outfits.
To say that this doesn’t have a certain amount of bearing upon how her status as an artist, and a female artist at that, is perceived would be wrong. A Nicki Minaj concert comes loaded with a certain amount of scandalous, boundary pushing expectations. Many may see her racy get ups as the only thing that defines her yet she’s the only female that has featured on the Hip Hop Cash Kings 2013 list, earning more than Eminem and Kendrick Lemar. Superficial or not, Minaj is clearly doing something right within the male dominated realm of rap and hip hop. Indeed, as the fans flooded into the Odyssey in their hundreds it’s time to figure out if there’s more to Nicki Minaj than racy outfits.
Opening up the night was support act Trey Songz, promoting his new album ‘Trigga’. As the arena is left in darkness for his entrance, the screen displays the cover art for his new album. Said artwork equates Trey Songz with Christ through an image of him in a cross position. It was enough in itself to confirm that this portion of the night was going to be one big ego-trip. His entire show was tirelessly punctuated with cries to the audience of “Who is gonna be my girl?” and other empty cat calls to that effect. Greeted with hundreds of girlish cheers from the audience he gained himself exactly the reaction he wanted but it wasn’t for his music, it was for his physicality. Musically, Trey Songz is reminiscent of Chris Brown or Ne-Yo. Yet his music feels slightly derivative, the kind of songs that sound like something else that you can’t quite place. Song after song devoted to the subject of sex, with lyrics that lack any kind of vigour, Trey Songz’s portion of the night feels extremely repetitive and elongated. Just when you think he’s going to close his portion with his cleverly named ‘Na Na’ he jumps right into ‘Touchin, Lovin’ and asks his audience “Who wants to touch me?” An artist that clearly has no sense of the fact that he is not in fact Kanye West or Jay Z, there is a palpable relief when he finally exits the stage with an unearned ego of abhorrent proportions.
As a support act, Trey Songz was tiring. It was lucky that there was an interlude for the audience to collect themselves. Finally, however a dramatic opening that displays a video of various clips of Nicki being photographed by the paparazzi builds up a certain sense of tension only intensified by smoke snaking around the stage. While this intensity is built through the video clips, it does feel slightly longwinded, almost as if it’s preparing us for Nicki Minaj: The Movie, yet eventually, the eagerly awaited singer rises up on a lift from underneath the stage. Dressed from head to toe in black with a veil over her face, the colourful eclectic association we have of Minaj appear in this moment to be obsolete. There is the sense that she is challenging these widely held, narrow notions of who she is and showcasing to the audience how she has deeper dimensions.
Her latest ‘The Pinkprint’ album which the tour is promoting, was written in the wake of a break up with a long term partner. As she begins the show with the first song of the album ‘All Things Go’ the sense of mourning the end of her relationship is strongly clear through lyrics such as “Cherish these days, man do they go quick, just yesterday I swear it was ’06” Seemingly a far call from the days of her fun, upbeat club anthems such as ‘Starships‘ which perhaps she has become most associated with, right from the onset Minaj shows herself as a developed artist musically.
This deeper vein continues right throughout the show as she continues with more offerings from ‘The Pinkprint’ such as ‘I Lied‘ and ‘The Crying Game.‘ However, this is not to say that the entire show was bereft of the colourful, scandalous side of her we have come to know so well. Indeed, lacking the skirt she was wearing at the beginning of the show, she begins her song ‘Feeling Myself’ which Beyonce featured in on ‘The Pinkprint’. More energised, this risqué song, evident even through its title, throws the audience in at the deep end after the slow beginning we were subjected to. At one point she steps back on to the stage lift for a costume change and is lowered down with one fist in the air appearing like some kind of backwards superhero, which indeed, could arguably be a fitting description of her overall.
Returning to the stage in a gold outfit donning gold thigh high boots Minaj looks more in line with audience expectations. When tree stump stools are laid out on stage it becomes instantly evident that the song so many people have been waiting for was about to happen. Yes, up next was the controversial ‘Anaconda‘ with some extremely elaborate dancing with her back up dancers. The stark transition from the dark, gloomy beginning to the shouts of “My anaconda don’t want none unless you got buns, hun” show how much diversity is abundant throughout the show.
Yet, perhaps the song that shone out the most, was unexpectedly, ‘Marilyn Monroe’. Introducing it with the words “For anyone that’s ever doubted themselves, that’s okay, I get that way too” she jumped right into the highly emotive, piano infused song. For an audience that had such a dominantly female audience it felt extremely prominent in how many girls and women alike would see her as a role model. It’s easy to see an artist that reaches sky high heights of fame in only one particular light, they feel somehow fictional in a way through the continual projection of a certain image. Yet ‘Marilyn Monroe’ and indeed the concert overall humanised a cultural figure that has become subject to so much scrutiny by the media and through her music videos.
Bringing the show to an end, she invited three members of the audience on stage to dance with her, the one that stuck out most was a twelve year old boy with so much enthusiasm for her music. He left the stage with the heartfelt statement ‘I don’t care what anyone says, you’re the queen of rap’ it caused the biggest reaction from the audience as they confirmed his statement through cheers. Returning for an encore wearing a blonde wig and performing a string of her more upbeat hits such as ‘Bang Bang‘ it was clear that the upbeat and energetic side of Nicki Minaj has not disappeared through showing the more candid side of her in ‘The Pinkprint‘. The show simply displayed an artist that is exploring ways of developing more mature musical inclinations while maintaining the more lighthearted side. Kaity Hall, GiggingNI.com