Photo credit: Averie Harvey
Rapper 360’s confidence was evident in the Super Store that was his merch stand: patched denim vests, hats and hoodies at inflated prices were sold to tatted-up fans hoping to buy into some of his ‘fuck you’ swagger.
Support act Coin Banks warmed up the stage with his high-energy pop culture-fuelled rhymes. His tracks with R&B goddess Thandiwe Phoenix seemed a little wasted on 150 people. The pair had a chemistry that brought Banks’ lyrics to life, particularly in Circles where they chased each other around the stage as Thandiwe’s soulful vocals “360’d” the Metro.
360’s Run Alone made a clear floor pack-out with people, all spilled drinks and intensity. He acknowledged the half-cut crowd and made them feel entitled to be “getting loose” on ANZAC Day, then kicked it old school and played some tracks off his mixed tapes, from a time where he was super aggressive and offensive – making it evident the compromise of creative control to release a commercial album.
However, for a live show he proved he hasn’t lost the love for the foundations of hip hop. A freestyle rap over classic track, Shutterbug brought forth that renowned social commentary with razor-sharp rhymes. His DJ, Matty, had killer execution on the decks, and deafening but clean bass lines. In an endearing sense he appeared to be 360’s number one fan.
360 played the role of Godfather as one-by-one four amateur rappers came out to do a verse. This amped up the crowd to climax, the Metro resembling a scene from Eminem’s Eight Mile.
360’s bad boy attitude was ratified by a strong performance with a genuine affinity to his lyrics; a sentimental tendency to close his eyes and tap into their birthplace. This rapper means business and transported the crux of hip hop and its community through a powerful set.