Cheffin’ Up Instrumentals

Heavily auto-tuned, Houston’s Travis Scott may seem just another robot-voiced rapper stretching his limited vocal range into a kind of soul music for the singularity: a casualty of modern pop existing in a focused grouped box that’s within a box and produced in a factory.

Yet there’s an earthy charisma beneath the synthetic veneer of Scott’s wildly popular 2016 release, Birds in the Trap Sing McKnight. First, there’s the loping, whooping chain-gang backbone of “Way Back,” Scott testifying to the awesome spectacle of Houston Rockets star James Harden when he finds the range.

And then there’s something of the old-time bluesman on McKnight album-track “The Ends,” a strongly narrative tale about a predator conning kids to their demise with promises of fame and fortune in the music biz. Scott growls: “I gave up on the Bible long time ago … I came up in the town, they were murderin’ kids/ And dumped them in the creek up from where I live,” and you can feel it’s true.

Scott’s a natural storyteller. And throughout McKnight, the conceptual brio, future-leaning production and sweaty veracity put Scott in line, in the eyes of many, to be heir apparent to one-time collaborator and reigning hip-hop king of self-promotion, Kanye West.

In fact, Scott recently broke his own world record performing his own song “Goosebumps” 15 times in a row, the kind of absurdist concept rap stunt that surely leaves West slapping his forehead like, “I’m losing my edge.”

But for Scott’s fans, the rapper’s frenetic stage show and electric mic presence are what it’s all about. Scott was recently arrested in Arkansas for inciting a riot at his performance. He pleaded not guilty and was released without bail, proving one person’s riot is another person’s show business.

Travis Scott brings his Bird’s Eye View Tour to Eugene alongside Khalid 8 pm Friday, June 2, at Cuthbert Amphitheater; the show is all ages and SOLD OUT, but in 2017 there may still be ways to score tickets to the areas most hotly anticipated show of the summer. — Will Kennedy

A Note From the Publisher

Dear Readers,

The last two years have been some of the hardest in Eugene Weekly’s 43 years. There were moments when keeping the paper alive felt uncertain. And yet, here we are — still publishing, still investigating, still showing up every week.

That’s because of you!

Not just because of financial support (though that matters enormously), but because of the emails, notes, conversations, encouragement and ideas you shared along the way. You reminded us why this paper exists and who it’s for.

Listening to readers has always been at the heart of Eugene Weekly. This year, that meant launching our popular weekly Activist Alert column, after many of you told us there was no single, reliable place to find information about rallies, meetings and ways to get involved. You asked. We responded.

We’ve also continued to deepen the coverage that sets Eugene Weekly apart, including our in-depth reporting on local real estate development through Bricks & Mortar — digging into what’s being built, who’s behind it and how those decisions shape our community.

And, of course, we’ve continued to bring you the stories and features many of you depend on: investigations and local government reporting, arts and culture coverage, sudoku and crossword puzzles, Savage Love, and our extensive community events calendar. We feature award-winning stories by University of Oregon student reporters getting real world journalism experience. All free. In print and online.

None of this happens by accident. It happens because readers step up and say: this matters.

As we head into a new year, please consider supporting Eugene Weekly if you’re able. Every dollar helps keep us digging, questioning, celebrating — and yes, occasionally annoying exactly the right people. We consider that a public service.

Thank you for standing with us!