Wireless Festival Middle East review: A rousing showcase of hip-hop's global rise

Sometimes, when an artist has a challenging gig, it falls to the fans to end the show on a high note. The same goes for festival organisers. When things don’t go to plan, they rely on the enthusiasm of the audience to smooth over some of the cracks. For Wireless Festival Middle East , the gaps were glaring after two major headliners pulled out in the lead up to Saturday’s event at Abu Dhabi’s Etihad Park. The latest withdrawal came only several hours before doors opening, with US rapper Playboi Carti – a replacement for the original headliner SZA, who cancelled her Abu Dhabi gig along with the rest of her tour last month – was also a no-show. In an Instagram post, Live Nation Middle East put it down to the Location rapper’s "unfortunate and last-minute decision to cancel his scheduled performance". But it all worked out in the end, with 21 Savage – originally scheduled to perform in the early evening – closing the festival to an uproarious audience and the kind of assured performance coming with a decade long career. Backed by tour DJ Marc B, his set was also notable for its back-to-basics approach. Where other artists on the bill – we will get to that later – tried to summon crowd energy by rampaging across the stage and screaming their lyrics until they became virtually indecipherable, 21 Savage remained cool and collected. On BS had a hypnotic quality, with brooding and minimal production complemented by Savage's icy, staccato delivery. Meanwhile, Red Opps took a grittier turn, with rumbling basslines serving as a backdrop to Savage's laid-back delivery, acting as a foil for the lyrical violence. The high point came with the songs Savage collaborated on, thus affirming his credentials as one of hip-hop's most sought-after collaborators. Listening to his verse in Post Malone 's Rockstar , one understands why the partnership works. Savage's almost surgical delivery cuts through the hazy keyboard sounds, commenting on the seedy underbelly of celebrity life. Meanwhile, Creepin , a collaboration with The Weeknd, demonstrates how Savage can hold his own alongside one of pop’s biggest names. The headlining set capped off a series of uneven performances on the main stage. US rapper Saweetie did enough to confirm her standing as an artist on the rise. Her breakout hit, Best Friend , with its pogoing beat, showcased her charismatic vocals and suggestive wordplay, leading to comparisons with Cardi B. Meanwhile, her latest single, Nani , with its tropical vibe, highlights a pop sensibility that augurs well for next year's anticipated debut album. Another artist using his Abu Dhabi performance as a welcome break from the studio was Fridayy. The Haitian-American singer is an interesting proposition, built like an NFL line-backer, but with the sweet voice of a gospel singer. Able to tackle various genres, from hard-laced trap hip-hop to 1990s-style R&B, tracks like When it Comes to You and Forever from last year's self-titled debut album underline why he is another artist to watch. Speaking to The National post-performance, he confirmed a new album is in the works for release next year. "It will be an elevation as well as evolution," he said. "I feel very blessed to do this, and coming here to Abu Dhabi to perform just feels crazy to me. It definitely makes me want to work harder." It's a lesson Homixide Gang should also take heed of when it comes to live performance. As members of Playboi Carti's music collective Opium, the duo mistook volume for energy. The undeniable power of notable tracks Sharp Shooter and Road Rage was muted by their choice to bellow out the lyrics without any sense of timing or cadence. The result was more a temper tantrum than a fully-fledged set. Some of that poise and live panache was found on the Second Stage, located at the concourse of the arena. With Ferrari World's signature roller coaster, Formula Rossa, zooming past in the background, it was a vibrant space to see some of the region’s well-known artists showcasing their craft. Egypt's Afroto delivered a stellar set. Blending the auto-tuned vocal style and blazing synths of mahraganat music, tracks such as Tege Goal and Voodoo carried an exuberant swagger that has charmed audiences across Mena and Europe. The biggest reception was reserved for arguably his most famous hit, Brazil , an Egyptian hip-hop fiesta bursting with Afroto’s inventive flows and punchlines. Morocco’s Dina Ayada, who lives in in Los Angeles, also made a case for why she could be the next regional hip-hop artist to break through in the US. Arriving in Abu Dhabi fresh from her performance at Rolling Loud Thailand, Ayada delivered one of the best sets of the festival in terms of virtuosity. Her phrasing and punchy delivery on tracks such as the bubbling Starlight and breezy 100 Bands illustrated why she has received encouragement from the likes of DJ Snake, Gunna and French Montana. “It has been a great year for me, and just being able to travel and perform is something you don’t take for granted,” Ayada told The National . “I take it seriously when I go out there representing not only Morocco, but the Arab world at festivals, to really make people understand the talent that exists here.” While the second Wireless Festival hasn’t been a smooth ride, it did enough to maintain its status as the event to see the next generation of hip-hop stars.

Wireless Festival Middle East review: A rousing showcase of hip-hop's global rise

The festival was held in Abu Dhabi's Etihad Park