5 Best Moments From Metro Boomin’s Red Bull Symphonic Concert

With Metro’s production already sitting at the intersection of classical and hip-hop, Parnther and the Symphonic Orchestra knew how to draw out the refined elements of his music without losing its swagger. The violinists bopped their heads while accentuating the eerie, pensive strings on “Wicked” (from Future’s 2016 album EVOL) before transitioning into mischievous violin staccatos for the Weeknd-assisted “Low Life” from the same album. Metro shouted out violinist Peter Lee Johnson’s scene-stealing outro during “Trance” (which Johnson has writing credits on) that extended the track’s (dare we say) trance-inducing production. Meanwhile, an opera singer added melodramatic flare to the transition (without the Homelander sample from The Boys) between “On Time” and “Superhero (Heroes & Villains),” the latter of which was amplified with live horns.

For someone who’s been in the game for over a decade, the 30-year-old producer knew he had to take it back for the “day ones.” “We in L.A., where the fine mamacitas at?” he yelled before playing “Mamacita” by Travis Scott, Rich Homie Quan and Young Thug from Scott’s 2014 mixtape Days Before Rodeo. Metro followed it up with Scott and Thug’s “Skyfall” from the same project, as the orchestra’s brass section amplified the song’s ominous nature. And throughout the 90-minute set, he dusted off a couple of tracks he doesn’t usually perform — like Big Sean‘s “Bounce Back” from his 2017 album I Decided. (Metro and Big Sean dropped an entire collab album, Double or Nothing, later that same year) and Kanye West’s “Waves,” one of four tracks Metro produced on Ye’s The Life of Pablo, also including “Father Stretch My Hands, Pt. 1.” “This right here is one of my favorite records I’ve ever been a part of,” he said of “Waves.”

Metro’s enthusiastic fans couldn’t care less about decorum, because they could hardly contain themselves in their theater seats. When he performed “Jumpman” from Drake and Future’s 2015 joint mixtape What a Time to Be Alive, the mezzanine felt like it was experiencing an earthquake due to how many people began frivolously jumping up and down, screaming the hit word for word. The magnitude increased by his and Offset’s “Ric Flair Drip,” leaving anyone still in their seats with no other choice but to move along to the song. By the time the “Feed the Streets” sample introduced Drake, 21 Savage and Project Pat‘s “Knife Talk,” nearly everyone in the 3,400-capacity venue was on their feet.

Following “Skyfall,” a robotic voice delivered a monologue about the function of masks for heroes and everyday people. “The masks we wear are the foundation of the personas that we present to the world. It is only when we take these masks off that our true selves are revealed. Who would you be if you took your mask off?” it recited, with Metro echoing, “Who would you be?” while taking off his black sunglasses, serving as the perfect segway to the song “Mask Off.”

The mysterious voice returned to offer an apt prelude about power, before Legend recited “You’re the only power!” from Pastor T. L. Barrett’s “Father Stretch My Hands” with a full choir in tow: “In a world where power often leads to corruption, every hero is faced with a profound test. Power is not the dominance over others, but rather, the ability to protect, inspire and shape the future.” It’s safe to say that Metro’s ability to protect rap’s legacy, inspire up-and-coming producers and even shape pop music without compromising his sound qualifies him as the musical superhero he’s continuously touted himself to be.

Metro had a few surprises up his tux sleeve, including bringing out Roisee for her first-ever performance of “Am I Dreaming” (sans A$AP Rocky) from the Spider-Man: Across the Spider-Verse soundtrack. “He once texted us a line that a string quartet had played,” Phil Lord, one of the film’s co-writers and co-producers, said in Metro’s recent Billboard cover story. “Then he had [Mike Dean] come over and do this really wild synth stuff. That became the song that’s on the end credits of the movie.” The Symphonic Orchestra’s live, stirring arrangement made the song feel even more whimsical and cinematic, but the up-and-coming St. Louis artist’s robust vocals remained the focal point of the performance. “She’s the future, just wait on her. She’ll show you,” Metro assured the audience.

When he revisited Spider-Man later on in his set list (see the full list below), he called on Swae Lee and Nav for an emotive rendition of “Calling,” where Lee’s melodic Auto-Tuned vocals provided a nice contrast to Nav’s robotic flow. But a grand piano and all-Black choir were brought in shortly before Legend waltzed on stage and took fans to church by bellowing Pastor T. L. Barrett’s “Father Stretch My Hands” sample from West’s hit of the same name. “It’s a beautiful night! It’s so good to be here to celebrate my brother tonight, Metro,” he exclaimed. “You may have waited a while, but I’m on time!” he added, segueing into the victorious Heroes & Villains opener, “On Time.”