Once again Manchester’s masses were summoned by the almighty Warehouse Project, where a much anticipated ‘Doomsday’ awaited us, with the promise of one of America’s most eponymous emcees awaiting us in the sidelines. Judging by the bulk turnout of northern brimmed flat peaks, it was clear that the mask with many names, still bears the power to raise ‘All Caps’ in his honor.
MetalFace took to the stage with a lyrical cross fire, not wasting a second’s breath to much adulation, while the digital count down to Doomsday chimed on the big screen projector behind him. Having shimmied and hustled our way into the heart of the crowd, we became barricaded by our sweaty fellow neighbors – switching up our steps in aid of an ‘8 mile’ mosh pit, wittingly fueled by idiosyncratic lyricism and straight up jazzy bass-lines. We were brought together by a back catalogue of impressive side projects most notably Dangerdoom, but the true stand out numbers were MF Doom classics such as ‘Hoecakes’, marking a funked up nod to J Dilla and Madlib. Our villain reloaded the crowd with cries of ‘Supaaaa’ on the chorus, with the occasional interjection of ironic skits; sprawling his victorious laughter over the mic, like a comic book arch nemesis in his hey day. The night continued with bumps and grinds, as the boys danced with girls who had golden ‘Curls’, helping us forget the fallacy of our supposed “land of milk and honey”.
Beats aside, we as an audience saw the evolution of The Doom Project in motion, bringing the philosophy behind the mask to the forefront of the stage it was preached upon. Few lyrical engineers of our era can claim testament to a character complex alike to Doom, and few more have the amateur dramatics to join the dots. As he left the stage, stooped over his b-boy waistline due to the weight of the crown – all one could hear was the low cry of “Dooooooooom” resounding around The Warehouse.