Trying to put Tech N9ne in a box is futile. Consider the archetypes this Kansas City rapper’s persona draws on: regretful father, obdurate womanizer, chronic moralizer, repulsive weirdo, uncompromising artist, manic kingpin, recovering drug addict, son bemoaning his mother’s illness. At a time when the clever lyricism of old-school rappers like Big L, Grand Puba and Sadat X has largely given way to Lil Wayne’s baseless bluster, Soulja Boy’s content-free verses and Waka Flocka Flame’s riotous discord, Nina has dutifully assimilated hip-hop’s canon to forge a new weapon.
By sacrificing radio and BET for touring and merchandising, while still collaborating with industry titans, this shrewd performer grossed $15 million in 2009 alone, making him the world’s foremost independent hip-hop artist. Nina’s new EP, Klusterfuk, applies a strikingly sparse sonic backdrop to a dystopian vision tempered with mettle. “D.K.N.Y.” is an impassioned soliloquy on racial oppression, calling for an end to absentee-father-ism among the black community. “Can’t Stand Me” delivers a propulsive, rugged call-and-response that affirms his outcast status—a theme he’s converted into an irresistible brand.
Nina’s Hostile Takeover Tour—a record-setting 90 shows in 99 days—hits Highline Ballroom on Sunday, with ever-excitable sidekicks Krizz Kaliko, Mayday, Prozak, Stevie Stone and Machine Gun Kelly on hand to dial up the intensity. Despite a Bad Boy endorsement, MGK’s ersatz rock-star–rapper persona is a letdown. But at least his spurious attempt at lyrical shell-spraying will highlight Nina’s real virtuosity.—Ian Gibbs