Concert review: Yelawolf with Bad Shit at Czar, Ybor City (with photos)

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By the show's conclusion, the crowd was nestled in his sweaty tatted hands. Crowdsurfing aplenty, Yela wrapped up with an all-out bang, all the while reminding us that a rap show doesn’t always have to be a smoked-out, standstill endeavor. With the backing of Shady Records, and a seemingly undying drive for the top, something tells me this dude won’t be playing $10 dollar after parties* for long.

*Still love you, $10 dollar after parties. And your free beer.

Yelawolf is crazed in the best way possible. Absolutely annihilating the mic with a machine-gun barrage of syllables and scummy, Southern imagery, he, at least, made the time worthwhile at the Skatepark of Tampa's Tampa Pro After Party this past Saturday at Czar.

Openers Bad Shit played some really, well, bad shit for about 30 minutes while everyone schmoozed on the free beer that was far more appealing than the band. A wild stage presence and comedic interludes about how much the Bucs suck and how testosterone-ly awesome Bad Shit are were entertaining, but not enough to save their super-punchy, 4-power-chord, songs any 8th grader could learn in a couple minutes. Their cute girl drummer was a force and really the band's only saving grace.

The free beer kept flowing and soon enough Yelawolf hit the stage. For a tall, scrawny dude from Gadsden, Ala., his flow is ridonkulously impeccable. I mean, let’s be honest, the proverbial bar is set kind of low for any halfway competent rapper from some Podunk town in Alabama, but Yelawolf goes above and beyond even in comparison to his rap peers around the nation.

Yelawolf’s live power is three-fold. He’s got the breakneck delivery along the lines of MC’s like Mac Lethal or Twista, the macabre imagery and lyricism of rap provocateurs like Eminem (whose label Yelawolf is now signed to), and the stage presence of a fucking banshee, which is always awesome regardless of music (see: Bad Shit).

He rolled through a good amount of tune-age from the Trunk Muzik mixtapes. “Mixin Up the Medicine” finds him sampling the line “Johnny’s in the basement / Mixing up the medicine” from Bob Dylan’s “Subterranean Homesick Blues” and turning it into a twisted number of drug exploits in the dilapidated south.  Other tracks like “Pop the Trunk,” “Box Chevy,” and “Good to Go” were spot-on, maybe even better, in such a live, energetic setting.

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