Entering from stage right in a blood-covered, leg-limping fashion, Chattanooga-based rapper Isaiah Rashad (known to fans as Zay) had already set the standard for what to expect that night: dense theatrics, transparent honesty, and verses spit in a manner so heartfelt you have no choice but to listen attentively. In May, Rashad released his first studio album in five years, titled It’s Been Awful, described by Zay as an exploration of how “growth sucks,” with a central theme on breaking old habits. For anyone new to Zay’s work at the concert, it broke one habit that we’ve become all too complacent with: only listening to artists who would rather craft a persona than share their ongoing struggles.
Opening with “THE NEW SUBLIME,” a track about his previous substance abuse and familial relationships, Zay emphasizes one line in particular: “Profit over Love.” This theme, acknowledging the nature of the world, continues throughout the show. The poppy “M.O.M.” highlighted an important question on the big screen: “Can you spot a lie when the government tied to it?” And of course, the classic “Free Lunch” took on a new meaning when a flashing message displayed across the screen: “Starving is American, feed the kids” with a picture of President Trump – in reference to SNAP cuts from the Big Beautiful Bill. At this point, you may be asking: did Zay impress with actual bars or just politically-adjacent gestures?
That question was swiftly answered. After Zay took a turn on camera duties for the crowd, it was his performance on “Heavenly Father” that had me at attention. The song itself is so packed with lyricism that I still find something fresh each time I listen. His breath control while running through these dense 16-bar verses was very admirable. Zay described “Happy Hour” as a prayer to his younger self, when alcohol seemed destined to control him – something one wouldn’t have guessed with its happy piano melody. Overall, I left feeling very impressed on just how much Zay has to spit.
During the performance of “Cameras,” Zay brought out a special guest – Dominic Fike. He seemed to blend in with the fans Zay brought on stage at first, but his talented singing made myself and others suspicious enough to confirm that it was in fact the Grammy and MTV awards-nominated artist, currently on tour with Tame Impala. As clips from an album-style “movie” rolled during song transitions, I couldn’t help but think of the effort it takes into making a truly good album with lasting appeal, and Zay’s one album per five year ratio has paid off, both artistically and financially. His song “Ain’t Givin Up” samples Houston’s very own Khraungin, with an interpolation of “White Gloves” setting the scene for Rashad’s journey into sobriety. It also tells how the habit was re-ignited after Zay’s sex tape with other men was leaked, and the rapper found himself addicted to meth and seeking to end his own life. Although Zay now confidently identifies as bisexual, the track captures him at his worst – when he was only fixated on vice. An extra shoutout to Zay for his ability to write raps that are both deeply personal and universal.
After some brawling fans “hugged it out” at Zay’s request, he began running through the classics that gave him prominence after signing to TDE in 2013. “Wat’s Wrong” with Kendrick Lamar, “Lay Wit Ya” with Duke Deuce, and new album single “Same SH!T” all derive from a melodic trap structure that goes over doubly well in concert. In fact, “SAME SH!T” takes the same two-word structure that helped make A$AP Rocky’s “Praise Da Lord” so popular. After closing on the Project Pat-sampled “RIP Young,” Zay made one thing clear: his ability to escape sub-genre categorization keeps the focus on his ability to make quality, nostalgic, and honest projects that serve as a litmus test between cultural crusaders and fans of real hip-hop artistry.
GALLERY BY AARON RODRIGUEZ
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