An intimate performance on NPR’s Tiny Desk brings the artist closer to his fans than ever before.
After gaining traction for his mixture of subgenres over the last five years, American rapper, R&B, and hip-hop artist Post Malone gave a performance of his biggest hits. His multitude of face-tattoos as well as his ratty, unkempt hair is usually seen on stage in venues filled with thousands of screaming fans, but the intimacy provided by the close-quarters allowed him to stray from his norm.
He begins with his hit “Sunflower” that was released in 2018, and since then has been certified platinum eighteen-times. His acoustic performance of the song is much more “sunny” than its original recording. The addition of the instruments– a piano quintet as well as drums and guitars– gives the song a much fuller feeling. The melody allows for the yearning in Post Malone’s voice to shine through even more prominently than if it was just a solo guitar. His lyrics, “We don’t want to be alone” is echoed by the other singers, bringing the idea of community and togetherness to a song that was originally quite lonely. The introduction brings a rustic, almost country vibe, which is completely different from the booming bass lines that the public usually hears from Malone. His voice has a familiar raspy twinge that is similar to what is heard in the original track, but it is much more prominent in this acoustic setting.
After singing the first song, Malone’s humility shows through his introduction of himself to the audience as Austin, his birth name, and thanks them for coming to his show. He is eloquent, and he doesn’t stumble over his words, despite his nervousness. He uses humor to calm the audience as well as himself, fostering an intimate nature to the performance. His appreciation for the audience is apparent through his open, gracious posture, speech, and expressions of gratitude.
He dives into the next song, “I Fall Apart”. The single piano introduction immediately brings the audience closer to Malone compared to the ensemble that was in the first song. Malone’s voice holds strings of heartbreak and despair as he sings “Never caught a feelin’ this hard / Harder than the liquor I pour / Tell me you don’t want me no more / But I can’t let go.” Albeit rough around the edges, his voice allows for the rawness of emotion to shine through. Even when the ensemble joins in, the piano remains the main instrument of focus until the climax of the song that opens up like the gates of heaven. Malone’s closed eyes and hunched posture demonstrate the dedication that he puts into performing every song. He expresses his sincere feelings in each track to the best of his ability. The ending is abrupt, an unfinished chord progression that leaves the audience breathless for a second.
Malone compliments the audience in between his sets and cracks jokes. He wants to establish a relationship with those in the audience, and he provides a comfortable space not only for them but also for him and the performers alongside him on the tiny stage.
He continues with the same comfortable vibe as the previous songs, as he performs “Circles”. Released in 2019, “Circles” falls behind “Sunflower” with only ten platinum certifications. Even though the acoustic version is less intense than the original, the song still has an upbeat rhythm and the usage of instruments highlight the original soft-rock quality. Malone on the guitar is intimate and a little intense, as he stares at the glittering instrument like it was his lifeline. The entrance and exits of the ensemble, leaving Malone on his own on the guitar, provides layers that echo the studio track. The vocalists provide a color that is distinct from Malone’s, yet true to the artist’s aspirations of blending genres, their chorus-like voices fit well with the rawness of Malone’s voice.
Malone bows after every song, thanking the audience again and again for coming out and listening to his songs. The relaxed-nature allows for the audience to feel like they’re in the studio with him, interacting with the star in a close capacity.
Malone ends with a song from his newest album, Austin. “Enough is Enough” is a soft song that touches on Malone’s alcohol issues in the past in accordance with a girl that has left him. The vocalists add a bit of humor to the somber song with their soft interjections that cut through Malone’s sadness. Despite it’s lyrics that allude to darker connotations “Take me home, baby, I’m fucked up now / I know it’s easier to leave me down here on the ground”, the song is surprisingly more upbeat than would be expected. There is a point where the instruments fade away and it is just vocals and the beat is supplied by drums and clapping, and it provides an encouraging feel to a sad song. The last chords are rough and deliberate, showcasing the intensity of the song as well as Malone’s emotions. He plays around with the chords, bringing a smile to his face and earning laughter from the audience.
Despite touring major venues, Malone is not exhausted by the intense lifestyle that comes with being on the road for months on end. He brings a performance that is captivating to the audience that provides them with another, more approachable side of the artist that cannot be seen on the big stage.