The fast-rising American star delivered nimble rhymes and had his fans in raptures – but the production values let him down
I’m not sure if this is what passes for a compliment in hip hop circles, but Jack Harlow seems like a nice young man. The 24-year-old American rapper appeared genuinely humbled by the enthusiasm of the audience at the cavernous Wembley Arena.
“I gotta be honest, I’ve been thinking I could maybe spend some of my life in London,” he announced. “I love the energy, I love the architecture, I love how intelligent the girls are.” This latter produced a deafening communal shriek of appreciation, perhaps because “intelligence” is not a feminine virtue routinely celebrated in the genre. But it was amusingly on point that this resolutely polite Kentucky native gave the architecture a nod too.
Harlow is a fast-rising star, with two US chart topping singles (both reached number 2 in the UK) and a transatlantic top 5 album, cutely titled Come Home the Kids Miss You. A handsome, charismatic, skillful rapper with a lot of wit and charm and a nerdy, unaggressive persona, he has already been courted by Hollywood, where he has been cast in the Woody Harrelson role in a remake of the 1992 interracial sports comedy White Men Can’t Jump.
In some interviews, Harlow has been prickly about suggestions from American music critics that white rappers have an unspoken commercial advantage. On the slick groove Tyler Herro – named after a white National Basketball Association (NBA) player – he tosses out the line “the ones that hate me the most look just like me” but really makes a stronger point by demonstrating an impressive range of flowing rap skills all night, switching up tempos, making clever rhymes, and frequently letting the beat drop out to rap a capella with exuberant flair.