Talib Kweli Demanded to Be Heard in Ottawa │ Exclaim!

Like its American counterpart Washington, D.C., Ottawa has long supported two of the most politically charged genres of music—punk and hip-hop—with artists from labels like Fat Wreck Chords and Def Jux regularly filling clubs across the city. So it's no surprise that the rapper and activist Talib really has gained a loyal following in the nation's capital. Despite a last-minute change of venue from the 400-capacity suburban Brass Monkey club to the 250-capacity 27 Club at ByWard Market, Kweli still drew a full house of eager fans ready for another performance.

After a warm-up from the ex A Tribe Called Red DJ John DecThe evening began with a pair of 20-minute performances by local performers. Suddenduo JDavid and Syn delivered an energetic set, rapping over pre-recorded vocals to create an Eminem-style double-track effect, while In Iex it was followed by a grittier take on Ottawa hip-hop, mixing rap and rock vocals in a way that wouldn't seem out of place at the Gathering of the Juggalos.

The promoter even came out on stage to sing a verse, and Talib's turntable Chino Chase performed another DJ set, and the crowd erupted with a mixture of respect and relief when Kweli finally appeared. Dressed in a dark denim Canadian tuxedo and a pair of sunglasses, the Brooklyn rapper took the stage. Eternal reflection“Move Somethin'” and “Too Late” from his 2000 duet album. Train of thoughts. After performing a track from his collaboration with rapper J. Rawls in 2024, Confidence in knowledgeKweli highlighted several fan favorites, including “Hot Thing” from his 2007 hit. Eardrum – and “Definition”, his highest-charting single within Black star.

From the moment Kweli took the stage, he continued to order the sound guy to “raise my mic,” “raise the vocals in the monitor,” and “give me more bass,” repeating these requests nearly 100 times throughout the performance, threatening to ruin the energy of the show. Luckily, Kweli was in control, dancing around the stage and exchanging high fives and fist bumps with fans in the front row while performing tracks like the Danger Mouse collaboration “Old School Rules” and “Nat Turner,” originally recorded with Madlib.

He performed the latter twice in a row, the second time a cappella, because “no one could hear my vocals.” Kweli was right to ensure the crowd got his message, as he dedicated songs to “all the people who deserve reparations around the world” and “all the people who resist fascism,” while using the “Get By” set from his 2002 solo debut. Qualityto call for an end to the Palestinian genocide.

After struggling to complete his set after just 50 minutes, Kweli was rightly called for an encore. He agreed, asking for all the lights to be turned off and ending the performance with Reflection Eternal's “The Blast” in complete darkness, lit only by the glow of the crowd's phones.

Immediately jumping behind the decks for a post-show DJ set that lasted until closing, Talib Kweli proved that he is a man who knows exactly what he wants: to bring Ottawa another unforgettable party, entirely on his own terms.