“PEGGY” chants erupted at Roadrunner in anticipation of JPEGMAFIA’s Boston appearance on his “LAY DOWN MY LIFE” tour. The atmosphere was interesting, to say the least. The crowd, mostly teenagers, released an impending stench only familiar to those who attended the previous “SCARING THE HOES” tour—i.e., a moshpit of epic proportions. Regardless, Peggy showed up, showed out, and delivered an exhilarating concert highlighting his fifth studio album “I Lay Down My Life For You.”
Baltimore rapper JPEGMAFIA, fondly referred to as Peggy, has always defied genre within the ever-changing walls of experimental hip-hop. His music can be best described as chaotic, straddling the nexus between rap and punk, with a whiff of industrial noise. He’s made a name for himself with his unconventional, esoteric production and lyrics that consistently offer a mixture of pop-culture and political commentary—typically relating to his experiences with racism growing up in Alabama, his honorable discharge from the U.S. Air Force, and themes of anti-capitalism.
Jane Remover opened with a DJ set that combined hyperpop, EDM, and shoegaze. Her music had a different vibe than Peggy’s, but the audience welcomed her with open arms as she performed songs like “Flash in the Pan” and “Magic I Want U.”
“PEGGY” chants continued after Jane Remover’s set. Finally, in true Peggy fashion, he emerged from the void and appeared at a large podium dressed in an all-black outfit and a cowboy hat. He got right into it with “Jesus Forgive Me, I Am a Thot,” a single from his third studio album “All My Heroes Are Cornballs.” The crowd was intense and chaotic right off the bat, their bodies in motion without even trying to be, breaking a sweat while he broke a leg, figuratively, of course—while makeup smudges on faces melted into pits of dancers, the mosh inescapable.
Although the tour is meant to promote his latest album, Peggy paid his respects to many of his past projects and made sure to show his appreciation for his day-ones. He didn’t talk much in between songs, but his message felt sincere.
As Peggy rapped each lyric, fans moved in excitement. When it came time to perform “BALD!” off of “EP!” Peggy demanded, “If you ain’t got no hair, make some motherfucking noise. If your hairline is receding, make some goddamn noise. This next song is for y’all. This next song is called ‘BALD!’”
The setlist was diverse and paid homage to various Peggy eras. Devon Hendryx, his original stage name from 2013, took over and performed acapella covers of Carly Rae Jepsen’s “Call Me Maybe” and TLC’s “No Scrubs.” Longtime fans had a field day with these performances, but the crowd’s energy was relatively calm during these songs. Fans were singing along but didn’t feel the need to jump or mosh.
The next segment featured songs from “SCARING THE HOES,” Peggy’s 2023 collaborative album with Danny Brown, that feature Peggy as the leading rapper on each track. When fans screamed, asking for Peggy to bring out collaborator Danny Brown or for Peggy to perform Brown’s verses, Peggy refused out of respect, and because the album’s songs demanded the iconic timbre of Brown’s voice.
Still, Peggy’s live versions sans Brown do more than just hold you over. Instead, they remind the audience that Peggy is the cornerstone of the record. The five-song segment featured fans going crazy to sample segments from “Garbage Pale Kids” and “God Loves You” followed by Peggy ripping through his energetic verses.
As for his latest project, “I Lay Down My Life For You,” Peggy delves into his usual themes with his sense of humor. He kicked off with “SIN MIEDO,” a hectic song that is the latest track in the Peggy catalog that absolutely spins rap music on its head-
Big-big-big-big-big-bi-bi-bi-bi-big booty hoes, up with it-
This sample repeats paired with Peggy’s first verse, thirty seconds later descending into a beat that thrashes the listening experience, setting the tone for the songs that follow. He transitioned into “i scream this in the mirror before i interact with anyone,” and the crowd rapped along to arguably one of his best bars, “If I was an NBA player, I’d be Dillon Brooks but worse.” Other notable new songs included “New Black History” and “Exmilitary.” He ended his set with “it’s dark and hell is hot.”
Despite having a minimal set design with his logo in the background and the podium, JPEGMAFIA’s stage presence was electric. The lighting, however, was a bit disappointing. The fog machines and strobe lights minimized Peggy to a mere silhouette, making it almost impossible to see his face throughout the show.
Compared to shows from previous tours, where his raging energy is displayed through Peggy’s livid expressions while rapping and rampant sprinting around the stage, the smog made it feel like he was hidden behind a wall, diluting his message. Compromising these moments of pure anger as well as somber sing-alongs in exchange for a hazy figure takes away from Peggy actually being in front of you singing one of the strongest JPEGMAFIA setlists to date.
JPEGMAFIA’s set was only 90 minutes long, but that hour and a half was incredibly entertaining and worthwhile despite the unbearable smell and violent pit. Peggy’s shows are uncompromising, either being assaulted by your fellow crowd members (coming out of the evening with multiple blows to the head), or having your ears ring from overpowering bass, laying down your life is a small price to pay to witness JPEGMAFIA.
