Live Review: Wu-Tang Clan

10 December 2018 | 5:24 pm | Shaun Colnan

"We are grateful to be at the Sydney Opera House tonight and we want you to know that we’re gonna bring it..."

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The power of unity is a lesson we should all be talking about in 2018. Yes, it’s always important but now, with the fragmentation of our society, it’s a lesson everyone should be listening to. This is the message of the legendary Wu-Tang Clan as they bring their hip hop watershed, Enter The Wu-Tang (36 Chambers).

The names that have become synonymous with a specific type of East Coast hip hop sound off one by one: RZA, GZA, Method Man, Raekwon, Ghostface Killah, Inspectah Deck, U-God, Masta Killa and, of course, the late Ol’ Dirty Bastard, who has been replaced by his first son for a few short cameos.

Twenty-five years is a long time in any industry but celebrating this milestone in rap seems more difficult, more well-earned than most. The group present not as individuals but a pack, a tight-knit crew who show their strength in numbers. The music is of a time and place, precisely 1992-93 Staten Island, NY, but their lyrics and their simple message is universal. As RZA says, “The reason we’re all here tonight is because we shared our lives with you and it was real.”

While the order is somewhat jumbled, the Wu deliver a tenacious performance of the entire 1993 album, drawing out the true Wu fans with frequent call and response but performing with adroitness on the mic and a larger than life stage presence.

Method Man, the most charismatic of the bunch, with that sultry voice and killer moves, says between songs, “We are grateful to be at the Sydney Opera House tonight and we want you to know that we’re gonna bring it but we only give what you give back. So, are you with us tonight, Sydney?”

Indeed, they brought it with Bring Da Ruckus, which saw the entire audience screaming “Bring da motherfuckin' ruckus, bring da motherfuckin' ruckus”. Tearz was another highlight, which details street life and death and features a heart-rending sample from Wendy Rene’s 1964 single After Laughter (Comes Tears). The close of the performance of the album, returning to Protect Ya Neck, was yet another highlight that had everyone blaring joyfully.

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This was for many the fulfilment of lifelong dreams and for others the culmination of many years of fandom. It would be hard to be disappointed, except perhaps about the frequent feedback from the mics.