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Celebrating his origins and honouring the difficulties of ascending as an African artist, it underscores that while he’s happy to bask in the international acclaim, there’s no place like home. The closing song is accompanied by aerial shots of Lagos that show its markets, yellow buses and sandy beaches. That aberration over, Wizkid restores the night’s triumphant air with a sermon-like performance of Ojuelegba, gracefully singing “they know my story” and swaggering through confetti with imperial spirit. Either way, Brown’s appearance on Go Crazy is raspy and lacking. (He has faced subsequent allegations of violence against women and others.) Unlike Kanye West’s recent performances with Marilyn Manson (accused of rape and sexual violence, which he denies) and rapper DaBaby (unrepentant after making homophobic remarks), it seems that Wizkid brings Brown on stage out of genuine affection rather than any attempt to shock. There are clear pockets of silence among the portions of the crowd well aware that this 10-year absence was due to Brown’s ban on entering the UK after assaulting his then-girlfriend Rihanna in 2009. Wizkid hypes up the next act as the first international artist to show him love and celebrates this moment as his “first London performance in 10 years”, then brings on R&B star Chris Brown. One final surprise guest leaves an unavoidable stain on the joy that came before. (Abloh had previously designed a special Made in Lagos fit for Wizkid from his Off-White brand.) He continues the tribute with Smile and Blessed: these tracks which honour love, affection and the glory of living take on a resonance reminiscent of Nigerian bereavement practices that celebrate life as a framework for processing loss. That said, they blow through these songs with such speed, they can’t help but feel slightly wasted.Ī pause comes when Wizkid holds a minute of silence for the late fashion designer Virgil Abloh, news of whose death broke just hours before the performance. Tunez introduces it as a throwback set for the “day one fans in the building”, not the “Essence warriors” – a tongue-in-cheek reference to the tension between balancing Wizkid’s early work with the newer tracks that have made him a huge star. They rattle through his classics in a medley – No Lele, Back to the Matter, Tease Me, Don’t Dull, Pakurumo – that spiritually transforms the arena into a Nigerian hall party: the tempo is unrelentingly rapid, the bouncy rhythms and lyrics setting the entire arena jumping.
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The core of the set is just Wizkid supported by DJ Tunez. His stage presence is sexy and provocative, his presence intensified by a distinct lack of fireworks. Taking every opportunity to gyrate his hips and wave his arms, you get the sense that if Wizkid’s first love is music, his second is dancing. “Joro!” he sings – a contraction of the Yoruba term “joromi”, meaning “come, let’s enjoy”. The most-streamed Nigerian musician in the world sold out the O2 arena in just 12 minutes: when he walks on stage, his backdrop visual of candle flames pales in comparison to the constellation of phone torches that welcome him to London. They knew it was gonna be the second single.A frican music perhaps has no greater ambassador than Afrobeats superstar Wizkid. It’s that great!” He calls me like 30 minutes later saying, “Yo, this is a monster!” Two days later, Chris was in the studio recording it. He rushed out and I’m like, “No pay your tab first and then go. I ran into Mark Pitts and told him I have the record for Chris and that he needs to hear it. When they drop the retro packs, it’s huge!” So we finished the track and I went to go have dinner. I said, “Over here in America, it’s a big deal when Jordans come out on Saturdays. I remember having to explain the “You’re like Jordans on Saturday” line to Stargate, because they’re from Norway. So they pulled up the track, and no lie, I wrote that song in about 20 minutes. Mark Pitts said the label needed a record for Chris. As for “With You,” I was working with Stargate on something else back when they were stationed at the Jive Records building in New York. The latest headlines and information from Broward, Palm Beach and Miami-Dade counties including breaking news, weather, traffic, events, sports and more. He just needed the songs – he had everything else. There wasn’t any guesswork on if it was gonna work. He was special and was just so excited to be in the studio. You got that vibe as soon as you met him. I met him in Philly and he just had all of this energy and this bright smile. “Yo (Excuse Me Miss)” and “Poppin” were the first songs we recorded with him. He told me about this kid that he just signed but hadn’t done anything with him yet.
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I was working with Dre & Vidal in Philly, and I was cool with their manager Marc Byers, who’s over at Motown Records now. Johntá Austin, of whom helped write the song: