An Outsider's Analysis: Brockhampton at the Fillmore

I’ll be frank: I bought the concert tickets for the openers.

A few friends of mine were already going to Brockhampton at Miami Beach’s Fillmore, and I was not. That is, until I heard that 100 Gecs were opening, and on top of that, Slowthai, the up-and-coming, politically-charged UK rapper was opening as well. I knew I couldn’t not see the gecs when they came to Miami, and I knew I’d enjoy Slowthai too. So, I opened my pocketbook, and before I knew it, I found myself with tickets to a Brockhampton show.

Now, my relationship with Brockhampton and their music is an interesting one. I’d found ALL-AMERICAN TRASH in the heyday of 2016 and fell in love with “MICHIGAN,” a smooth and emotive song about finding love in Michigan, my home state (narcissistic of me? maybe...). After that, however, I’d kind of fallen off with paying attention to their music as they picked up speed and soon became cultural phenomenons— gaining a huge following, and releasing several albums that I felt I’d never be able to catch up with.

But it’s impossible to not pay attention to this group, especially with the internet. Through the years, I’d heard of some of their drama after they let go of a certain member, I’d listened to a few of Merlyn Wood’s and Kevin Abstract’s own singles, and I’d made a lot of funny memories with friends and loved ones to songs like “GOLD” and “STAR.”

When I looked at the setlist, I didn’t recognize too many songs, so I knew I’d be there for the sole purpose of observing and absorbing.

As soon as they took the stage, I could not help but notice the allegorically religious nature of their entire set, their stage set-up, their presence, and even the name of the tour, “Heaven Belongs to You.”

The stage was adorned with three cross-shaped lights at the very top, very clearly crucifix-like, the number three being a perpetual symbol for the group (three iterations of the SATURATION series, Abstract stating in interviews that there are only three albums left). To emphasize the religious undertones even more so, they started the set with “If You Pray Right.”

The six performers introduced themselves, the crowd cheering loudly for each member. I could already see just how dedicated these fans were to these men. During songs, the pit would go absolutely insane, the crowd of approximately 2500 knowing every single word, every single beat and drop. Though this is not unique for concerts of venerable artists, I was still taken aback by just how strong the reaction was. Every so often, after a song, the boys would just stand there, stage lights low, the crowd going crazy for several minutes while they’re doing absolutely nothing. Sure, I’d react the same for my favorite artists, but there was something slightly chilling about the culmination of the religious elements and the dedicated audience that made me wonder just how far this fanbase goes.

If there’s one thing I’ve noticed through my interactions with Brockhampton fans, it’s how dedicated they are. They’re a very strong fanbase, paying attention to their every move, drawing major inspiration from their fashion and style, wanting to create music like them, and treating the members like friends, reprimanding their music when it doesn’t match up to years past. I’ve had many a conversation with a Brockhampton fan who takes liberties in acting like they are their friends and their peers, but also their idols.

And i think i’ve cracked the code: they’re just guys; They’re best friends and partners who ended up making music together and becoming so worldly famous. Their style is, more often than not, rather casual, rather normal. And it’s their casual and everyday nature that turns these guys to Gods. They’re so approachable, they’re so similar to friends that these fans already have, that it seems that the entry-level to become like them is low enough, so this, in turn, grows into idolatry.

Although idolatry has its downfalls, I do believe that the impact of Brockhampton could be a net positive. These guys are passionate about their art and their influence, and they’re pretty good at it. They are prolific, caring, and hardworking, and overall, they seem rather genuine. Their friendship and teamwork sends a message to teens in their formative years, showing how important it is to stick together and work hard for what you want to accomplish. Songs like “QUEER” and “JUNKY” cover topics regarding social change such as racism, religious questioning, LGBTQ+ pride, and mental health. They question the long-standing male expectations, and they help to reshape the cultural perception of masculinity.

All of these thoughts raced through my head while watching them effervescently jump around on stage during their lengthy but jam-packed two hour set. Finally, they ended the set with “NO HALO,” which was definitely one of my favorite songs of the night. Returning to the religious analysis, this song, as the title states, could be taken as a contra-religious one. One of confusion and agnosticism. Lyrics like, “Went to church for the hell of it, stumbled in drunk as shit” are rectified with Joba crooning, “In times like these, I just need to believe it's all part of a plan.” This peaceful and introspective tune was the perfect final note, both brutally honest yet nurturing.

All in all, I’m fortunate that I was able to witness this impactful group do their thing on stage, and I’m glad I was able to open my eyes to how they’re touching the lives of many, adolescents and beyond. Though I may not be too well-versed in the entirety of their career and reach, I was able to see inside of this “megalodon” of their fame and understand how they became the Gods that their fans look up to so much. Though idolatry to a point can be detrimental and blinding, I feel that Brockhampton handles it in a responsible and meta way, for the most part. It will surely be interesting to see where these boys next, given that every move they make is scrutinized by their dedicated fanbase and made into gospel.