As temperatures dipped towards single digits this week, Yung Gravy and bbno$ flew into Denver to the sold-out Fillmore on Tuesday night. Fans lined up in the cold 30 minutes before doors opened. The opener for “Gravy Baby Tour,” Freddie Dread, woke up the crowd with his heavy beats and dark lyrics. He then hosted a sing-along/dance-along party, playing classics like “I Write Sins Not Tragedies” by Panic! At The Disco, “Hollaback Girl” by Gwen Stefani, “Africa” by Toto and “Take On Me” by a-ah. The crowd sang confidently and Dread commented on the impressive energy for a weeknight show.
A silent Betty Boop-style cartoon played on the backdrop, featuring Yung Gravy and bbno$ when they first met and decided to work together. The pair appeared on opposite sides of the stage in coordinated suits and started their set full force with the hit “Welcome to Chilis” off their 2020 album, Baby Gravy 2. A massive disco ball hung above the stage and was used during all disco-esque samples. Spots of light glittered across the stage and the Fillmore’s iconic chandeliers.
Photo courtesy of Yung Gravy on Facebook
Following several upbeat jams, bbno$ brought a shift in energy with his song “help herself.” Clouds of steam billowed behind him. Shortly after, an alleged “tech person” came on stage to help fix a piece of equipment but then broke out into an intense opera cover of the vocal solo from Phantom of the Opera. “So, should we do an opera album?” Gravy teased.
Audience interaction was an essential part of the dynamic duo’s set. In a moment of pause, bbno$ explained to the first-time attendees that at each show he hands out a very special cookbook. He then read a recipe — instructions and ingredients — to screaming fans. The book was later given to a fan who he observed singing the lyrics to each and every song. Throughout the show, fans threw bras onto the stage. Yung Gravy and crew hung each bra on the DJ platform behind him, displaying them proudly the whole show. Yung Gravy announced on Instagram that he will donate all bras thrown on stage to women’s shelters and will match the price of all bras collected with a donation to breast cancer charities.
Both performers commented on how winded they felt during the show and attributed it to the altitude change. After commenting on his tiredness, Yung Gravy passed water bottles through the crowd and asked everyone to save one sip for the next song. As the beat dropped the crowd sent water flying through the air. Soon after, roses were thrown into the audience with romantic commentary from bbno$.
The crowd sang lyrics throughout the entire show. The auditorium echoed with words from older hits such as “Shinin on my Ex,” “Lalala” and “1 Thot 2 Thot Red Thot Blue Thot,” as well as new releases including, “oops!,” C’est La Vie” and “Betty.” Each tune sent the crowd into a jumping frenzy much encouraged by the performers. Gravy directed the crowd into sections and instructed fans to mosh during “The Boys Are Back In Town.” He then brought out an EDM-style remix and commented on Denver’s love of electronic music. Fans could not hold still.
Photo courtesy of Yung Gravy on Facebook
Yung Gravy and bbno$’s distinct sound is made with wordplay, involving food and sexual innuendos, boyish charm and beats you can’t help but bounce along with. Many songs include samples from barbershop ’50s tunes and ’70s through ’90s hits. The pair create a chaotic mix of absurd adlibs, references and unique instruments with each beat.
Laughter could be heard through nearly the entire show and smiling faces filled the crowd. Yung Gravy and bbno$ present a persona of a rich man whose main objective is to spoil the women he encounters, particularly those older than them. Despite the humor in this act, both seem to be holding true to themselves and expressing pure creativity. At the core of their work is ultimately one message: “Live your life!” as Gravy told the crowd Tuesday night. An emphasis on compassion and joy can be seen in the way Yung Gravy and bbno$ interact with their fans, live music and the world around them.