
“We gon’ step on all those lines that separate us tonight; you’re about to witness music at a very high level.”
Jay-Z made this characteristically bravado-laden declaration three songs into his set at New York City’s Carnegie Hall last night, the second of two charity shows benefiting the United Way and the Shawn Carter Scholarship Foundation that he performed this week. Much has been said about cultural ramifications of a night like this, a triumphant chapter in a rags to riches story so improbable that Horatio Alger himself would never have envisioned penning it. It was clear from the outset of the show that Jay-Z had every intention of delivering on that ambitious bill of goods —when was the last time anyone attempted to put on a hip hop show featuring a 20-plus piece symphony orchestra for an audience filled with (primarily rich white) people in suits?—but by the end of the show, I couldn’t help but feel like he wasn’t quite able to achieve both of those audacious goals equally.
First, the scene. Carnegie Hall is one of our country’s most legendary musical venues, and also one of our most exclusive. Not just anyone is allowed to perform here, nor is just anyone necessarily allowed to attend a gig there. As a means of showing respect to the 121-year-old venue and all that it symbolizes, attendees of this two-night stand were encouraged to dress formally for the occasion; like a good general, Hov made sure to follow his own directive. Taking the stage a few minutes after 10 p.m. in white tuxedo jacket, black tux pants, a dapper black bow-tie and stylish shades, J-Hova looked like the long lost sixth member of the Rat Pack as he performed “Public Service Announcement” off his 2003 LP, The Black Album. The audience ate it up, leaping to their feet and waving their well-manicured hands in the air like they just didn’t care, perhaps no one more so than his wife Beyoncé. The new mom snuck into her box seat (stage right, closest to the stage) just as the house lights dimmed and proceeded to emphatically dance in a standing position for most of the show’s nearly two-hour runtime.
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