mgk

Name a Western contemporary genre that’s taken some sort of cultural relevance in the last decade, and chances are Machine Gun Kelly (who now goes by MGK) has dabbled in it in some sort of manner. However, the major switch from rap to pop-punk on 2020 album tickets to my downfall not only gave Colson Baker the biggest commercial success of his career, but also brought the genre to an entirely new generation. Six years on, Colson has continued to maintain his relevance in the scene, backed further by the release of seventh album lost americana in August last year. Even before his switch in genres, MGK has always remained divisive amongst both fans and critics, with some suggesting he’s struggling to fit in and find himself. However, if anything, tonight proved the complete opposite. MGK delivered an excellent live experience for all to enjoy, whether you’re a long-time superfan or a newcomer.

The show began in just the manner you’d expect from the outlandish yet enjoyable MGK persona. A curtain drop revealed the stunning stage design, the centerpiece being the head of a ‘Statue of Liberty’-like figure, with a massive arm reaching up to the sky clutching a cigarette. MGK rose up from inside the sculpture, grabbing a guitar suspended up in the air and immediately kicking into ‘outlaw overture’. It’s a punchy, electric and fast start to the show, moving straight into ‘starman’. Right from the beginning, chants of “MGK!” rang across the arena, showing the passionate support that Colson has across the pond that’s only continuing to grow. Encouraging those in the crowd to “get fucked up” on what was a gray and cold Tuesday evening, he proceeded to turn up the heat in the room, both metaphorically and literally. Following a brief chorus of his collaboration with Bring Me The Horizon, ‘maybe’, we were taken back to his rap era with both ‘Wild Boy’ and ‘El Diablo’ serving as a reminder of how solid his rap game has always been. Complete with pyro flames shooting up around him, it was an indication of how much energy the rest of his two-hour set would have.

His crowd interaction was not only prominent but also felt authentic. He caught a Shadow the Hedgehog stuffed toy from the audience and thanked it for being a superhero and saving people, before later inviting a large group of fans on stage for ‘bloody valentine’. There was thankfully no repeat of the viral moment from his London show where a woman unfortunately fell off the stage, as he ensured everyone was kept back a safe distance from the ‘XX’ design on the catwalk. Colson then ran across the crowd collecting high-fives like Pokemon cards, before arriving at a B stage to play a medley of various of his other hits such as ‘Glass House’ and ‘times of my life’. As had been customary across the tour, MGK did a cover of a song by an artist that means a lot to the area, and who better to choose than the late great Brummie himself, Ozzy Osbourne. Performing a more stripped back version of Crazy Train, it was a lovely tribute to a man who gave his heart not just to heavy metal, but to the Midlands as a whole.

Throughout the 30 songs, there was barely a moment to catch your breath.. Going straight from the ease and emotional vulnerability of ‘treading water’, straight into mosh pits of fury and fire on ‘DAYWALKER!’ emphasised Colson’s versatility and ability to channel contrasting emotions, while still delivering the same impact. Perhaps the most beautiful moment of the set came during his performance of ‘play this when i’m gone’, a heartwarming tribute to his eldest daughter Casie, complete with a touching video montage showing their everlasting relationship. It highlighted that no matter what persona MGK put out on stage, Colson Baker is deep down a guy you really want to root for. Coming back out for the encore, it was a whirlwind of a 15 minutes beginning with ‘papercuts’, featuring an MGK guitar solo accompanied by pyro firing out of the guitar’s headstock. Then came a ‘lost americana’ run of ‘cliché’, ‘sweet coraline’ and ‘vampire diaries’ without a single break in between, transitioning seamlessly from song to song. You could sense Colson was having the time of his life, even using the bridge of ‘vampire diaries’ to show his genuinely solid dance moves in choreography with his back-up dancers. As Colson and his band took their final bows, I thought back to when I saw him live in 2020, at the beginning of his transition from rap to pop-punk. Sure, his music isn’t everyone’s cup of tea, but his grit and perseverance to evolve as a musician has translated perfectly into his electrifying live performances. There’s no surprise there’s this many people packing out arenas just to see him.