“Cole Bennett brought Chief Keef back to Chicago … and he’s white!” joked rapper Lil Yachty about the founder of Lyrical Lemonade and Summer Smash on the festival’s final day in Bridgeview. Lil Yachty held the set time before the drill artist’s much-hyped homecoming on the festival’s mainstage Sunday. It’s been some 12 years since Keef has performed in the Chicago area — a wait due in part to alleged threats of violence, legal issues and lingering tensions with elected officials.
“Without no Chief Keef, there would be no Lil Yachty,” the rapper continued before launching into his song with his hero, “Say Ya Grace.” “Without no Chief Keef, there would be none of this (music) in 2016. So when that man comes on this stage, ya’ll better show some (expletive) love and respect!”
But the preceding day and hours leading up to Keef’s return were marred by emergency medical responses, a heavy security presence and an early-evening weather evacuation on Sunday that tested both guests and staff at SeatGeek Stadium.
Saturday’s Day Two unfolded under a decidedly different tone compared to Friday, with hotter temperatures and a crowd double the size, eager to see acts including Ski Mask the Slump God, Lil Tecca and headliner Playboi Carti. Midday sets from locals Mick Jenkins, celebrating the 10 year anniversary of his breakthrough LP “The Waters,” and Lucki were standouts among a day heavy in up-and-comers. Lines wrapped around designated water refill stations, crossing those for food and the nearby Ferris wheel, and by nightfall, teams of first responders were rushing to the main medical tent with festival-goers. (Calls to the Village of Bridgeview regarding official hospital transports have not been returned.) Florida rapper Kodak Black’s unpredictable Saturday set aided in the elevated, uncomfortable feeling that lingered over the rest of the evening.
Arriving nearly 25 minutes late into his 45-minute set, dancing to his own tracks and dropping the mic occasionally, Black finally addressed the crowd after his erraticism became too much to ignore.
“I don’t know what’s going on with me right now,” he admitted. “It’s the moon.”
The set awkwardly continued until 9:20 p.m., despite an attempt to leave the stage by the artist himself. Bennett then joined Black and crew on stage to deliver a “Happy Birthday” serenade to the rapper, who recently turned 27.
While Summer Smash’s final day Sunday boasted a loaded lineup featuring Laundry Day, Waka Flocka Flame, Lil B the Based God, Ken Carson, JID and others, it really belonged to one person, Englewood native Keith Cozart, aka Chief Keef, Sosa, BigGucci Sosa, et al.
Though the remaining performance schedule was reconfigured to account for the weather delay, which required a full evacuation at 5:15 p.m. and gates reopening about an hour later, sets continued to start late and go beyond their allotted time. A 9 p.m. kick-off for Keef came and went, but — unlike Friday’s Cactus Jack hold-up, which was met with booing — the massive crowd stayed focused on the future legend that would surround the weekend’s grand finale.
It was history-making for a subgenre and figurehead maligned for over a decade, now harnessing the power of a devoted fan base that underscores the shift in how to break new ground and influence a stagnant industry through social media and independent releases. While drill was founded by the late rapper Pac Man, Chief Keef is widely considered its progenitor — paving the way for fellow Chicagoans Katie Got Bandz, Lil Durk, Polo G and G Herbo (who would join him on stage during his Summer Smash set) and taking the sonic characteristics of drill worldwide.
At just 16, he became the face of the genre with hits “I Don’t Like” — which garnered his reported $6 million record deal from Interscope Records — “Love Sosa,” and “Faneto.” But with more recognition came more scrutiny.
After relocating to Los Angeles in 2014, things came to a head in July 2015 when Keef tried putting on a benefit concert in Chicago remotely via hologram for the victims of a shooting and car accident that claimed the lives of his friend, rapper Marvin Carr, aka Capo, and a 13-month-old child. Then-Mayor Rahm Emanuel thwarted Keef’s efforts, referring to the rapper as “an unacceptable role model” and labeling the performance a “significant public safety risk.”
A relocated event during Craze Fest in Hammond, Indiana, was shut down by law enforcement soon after it began. The last time Keef took the stage in his hometown was at Perry’s stage at Lollapalooza in 2012.
Now, still only 28, a noticeably refreshed and regrouped Keef hit the Summer Smash stage shortly after 9:30 p.m. Sunday, ready to receive the admiration of thousands. Despite the frenetic reception, Keef kept his signature nonchalance and hypnotic, stoned cadence cool. Ushered onto the stage by his longtime DJ Amaris, and flanked by an entourage that included his daughter Kayden “Kay Kay” Cozart in a proud Father’s Day moment, Keef was triumphantly crowned both the “king” and “father” of drill during his 45-minute set.
With the audience extending back to the rows of carnival games in the field, Keef delivered live debuts of tracks from his new album “Almighty So 2” including “Almighty (Intro),” “Treat Myself,” “Hadouken,” and “Neph Nem” (with the aforementioned Herbo). His biggest songs however, fan-favorites “300” and “Street Runner,” were what had folks climbing the remaining vinyl tents and surrounding light posts for a better view. A nearby hill off of Harlem Avenue was also covered with people hoping to catch a glimpse and enjoy the show.
“Almighty is the (expletive) G.O.A.T of Chicago,” Herbo proclaimed before Keef performed the hit “Faneto” to an enraptured audience for the first time in his city — a culminating moment for the controversial young star who’s made amends.
Sitting on the lawn outside of SeatGeek Stadium with two friends, attendee Lee Covarrubis, 24, shared that he only came to see Keef.
“He was amazing. He did exactly what we hoped he would,” he said. “We’ve seen Lil Yachty as well, he was mediocre, but I agree with what he said (about Keef). It was a great performance.”
Jessi Roti is a freelance writer.
