Post Malone Rides Into the Observatory on a Cloud of Stoney Hype

Post Malone
The Observatory

On the evening following ComplexCon’s esteemed conclusion, Post Malone stopped back in OC for the second to last stop on his Hollywood Dreams Tour. Along with Saint Jhn, Larry June, and Jazz Cartier, Post played host to a venue full of young fans who came short of the streetwear snobbery that prevaded the Long Beach Convention Center at ComplexCon.

A “true” punk, donning a chunky, purple mohawk and studded, sleeveless denim vest is just one of the types that would have stuck out at the convention. The punk later emerged as the alpha in a pit organized by Toronto’s Jazz Cartier, a special guest at this weekend’s event. Cartier, on the up-and-up, was well-received by the crowd who were generally receptive to the other opening acts and tracks with which they were unfamiliar.

During Post’s set, he previewed a track from his upcoming debut album, Stoney, out Dec. 9. Patrons treated the new track like their favorites “White Iverson” and “Too Young”, with which Malone started his set; the melody and beat were as friendly as the 21 year old’s disposition. His Cheshire Cat grin and gilded grill illuminated the venue in between lyrics and songs; attributes comprising Malone’s look, which would make him the crown-jewel of any trailer park community.

With wooly dutch braids that could have been twisted as long as a month ago and scruffy cheeks, Post rides the line between folk music hero and melodic cloud rap artist. The intersection finds Post there alone. Open-minded as the crowd was though, it was no surprise that most of the teenage coterie sang along to his cover of Fleetwood Mac’s “Dreams” with the same vigor as they did his other his popular cover in 50 Cent’s “Window Shopper”.

He intro’d the track by noting that “a lot of skinny ass, poo poo ass, bitch ass muthafuckers” like to talk to shit about him. The redo of the 2005 track was Posty’s response.

While both of the tracks predated the majority of the crowd, they stuck with Post throughout the set. And how could they not when the charismatic Dallas emcee(?) wearing a lengthy candy necklace, assuaged them by passing out [REDACTED] and his sweat towels?

Especially warming was Post’s half plug, half apology for the delay of his debut album, which he made sure to note was available for preorder now.

Though just one album and a few mixtapes in, Post has defined and made clear who it is he wants to be in this game. The genre flexible, Bud Light-drinking, cigarette-smoking and often barefoot (he wore white slip-on Vans Monday) adolescent is hell-bent on being a “player” in this game. A devotion to playing informs a large part of Post’s persona.

From his debut in “White Iverson” about a young baller to his ode to current baller Monta Ellis, Malone is fueled by the chance to be a PTPer. Even in his aforementioned Fleetwood Mac homage, the “Dreams” hook espouses the notion that “players only love you when you’re playing”. Considering his Dad’s one-time position in the Dallas Cowboys organization, his affinity for the bright lights makes all the sense in the world. Riding the pine was never a viable option for him. He won’t accept anything short of shining. At one point he encouraged the crowd to put some diamonds on their wrists to match the jewels he wore.

Upon hearing the “Go Flex” intro, two friends turned toward each other and slapped hands before rocking out with the aspiring MVP. Get it while the getting is good, Post. Get it while the getting is good.

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