Let’s go here, let’s go there, let’s go on the boat. It remains unclear whether the track will appear on any project since Bunny previously stated he would be taking a break: “2023 is for me, for my physical health, my emotional health to breathe, enjoy my achievements,” he told Billboard in December. The Texas-based band joined Bunny during weekend two of his headlining appearance at Coachella. The single is a new direction for Bunny who has been expanding his artistic repertoire as of late, most recently in the Hot 100-topping norteño-cumbia “un x100to,” a collaboration with Grupo Frontera. The video also includes cameos from a diverse set of models like Isabella Manderson, Julian Consuegra, Juliana Nalú, Sabrina Zada and Ysham Avdulahi. Bunny can be seen driving a car at full speed in one moment, while cameras cut to a squad of running horses the next, and as day turns to night, the ambiance changes to party-fueled madness. It wasn’t that Ocean’s performance was perfect it’s how there can hardly be another like it.įrank Ocean’s setlist at #PanoramaNYC with Spike Jonze’s notes on which camera he uses for each song pic.twitter.“Baby, tell me the truth if you forgot about me/ I know it was only one night, that we’re not going to repeat,” Bunny’s slurred vocals echo in the opening verse.Īs the blood-pumping tempo of the track builds, an action-packed sequence of events unfolds. Ocean had said all he needed to say, and every artist that plays the Panorama main stage over the rest of the weekend has an almost impossible act to follow. The stage lights lingered for a few moments, giving hope to an encore, before it all shut down for good. Ocean left the stage with the crowd wanting more and for a moment, it seemed they might get it. It was “Nikes,” the harrowing Blonde opener in which Ocean eulogizes ASAP Yams, Pimp C, and Trayvon Martin. After going solo for the first few songs, Ocean brought a handful of musicians on stage - two guitarists, a bassist, and a keys player - who accompanied him through his sonic journey and pushed the mood towards its emotional climax. Working with a deceptively complex live setup, Ocean messed up a couple times - missing a couple queues in his headphones, singing one song a few bars early - but it only added to the experience he chuckled off these gaffes, openly admitting them to a crowd that was very much in the palm of his hand. The biggest message came unspoken, from his white T-shirt that read, “WHY BE RACIST, SEXIST, HOMOPHOBIC, TRANSPHOBIC WHEN YOU COULD JUST BE QUIET?”įrank Ocean's 10 Best Songs: Critic's PicksĪnd before you knew it, it was all over. Scribbled artwork, presumably Ocean’s, adorned the stage. Sometimes the cameras would switch to a stagehand who was playing movies on his laptop and typing out playful messages in a Word doc (“heyyyyyy New York”). Being out in the crowd was the most important part, with massive screens on the vacated stage projecting Ocean’s image, often quite psychedelically, to the sprawling Randall’s Island crowd. Ocean’s stage show, what apparently led him to cancel those other 2017 festivals, was essential to the intimacy. That meant no “Slide” or “Pyramids,” but tear-jerking performances of “Ivy” and “Nights,” the kind that make you want to take out your phone and text everyone you love, just because.įrank Ocean’s shirt tonight at Panorama NYC: “Why be racist, sexist, homophobic, or transphobic when you could just be quiet?” /XLPjAM9ZP8 Ocean focused on his 2016 album, peppering the set with a couple recent singles and Channel Orange songs, though only ones that fit this introspective, nocturnal feel. The pensive, stripped-down vibes of that Blonde track characterized the rest of the evening. Appropriately, he was the only human on stage. His first move? Nonchalantly putting a cassette tape into a stereo - upside down at first - before launching into “Solo” from this mid-crowd platform. He emerged about 10 minutes later, walking out alone to predictably massive applause. A platform in the center of the crowd - about 30 yards from the front of the stage - was outfitted with keyboards, amps, a disco ball - all suggesting Ocean would be performing from inside the crowd. start time came and went with no Ocean, but it was clear the stage crew was cooking up something interesting. It certainly helped if you were up close. The R&B singer mesmerized the New York crowd for a little over an hour, inviting fans into his own world for the sort of intimate performance you’d think would be impossible for a major festival headlining slot. Previous festival cancelations be damned, this one happened and it was special. In the weeks leading up to Panorama, there was reason to fear Frank Ocean’s Friday night (July 28) headlining set would never come to be.
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