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Chance The Rapper

Acid rap ten year anniversary show.

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Chance The Rapper  brings the Acid Rap Ten Year Anniversary Show to Brooklyn on  Saturday, August 26.

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Chance the Rapper Announces 'Acid Rap' 10th Anniversary Shows in New York and Los Angeles

After selling out the first chicago date..

After selling out the initial Chicago date for his Acid Rap 10th anniversary show, Chance the Rapper has announced that he will be bringing the festivities to New York and Los Angeles as well.

During an appearance on Late Night with Seth Meyers , Chano confirmed that he will be performing at the Barclays Center in New York on August 26 and the Kia Forum in Los Angeles on September 21. The two new dates continues his celebration of the mixtape’s 10th anniversary, with live events, pop-ups, merch drops and special music releases promised in the next few months.

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Chance The Rapper to Celebrate 10-year Anniversary of Acid Rap at Barclays Center

It’s been nearly a decade since Chance The Rapper released his transformative body of work, Acid Rap . In light of the momentous occasion, Chance will honor the project through a series of can’t-miss live events, pop-ups, merch drops, and special music releases. During a stop on Late Night with Seth Meyers , Chance officially announced two new  Acid Rap  concerts after the original Chicago performance quickly sold-out. The first of the new shows will be at Barclays Center in Brooklyn, NY, on Saturday, August 26, with the second in Los Angeles, CA at the Kia Forum on September 21.

What Acid Rap Means to Hip Hop

Acid Rap is a monumental body of work during hip-hop’ digital age. Much like his musical idol Kanye West the prior decade, Chance The Rapper broke the mold for popular music in the 2010’s with his lyrically proficicent, wide-ranging, psychedelic and idiosyncratic body of work. During a time where Chicago’s drill culture was at its peak, Chance The Rapper carried the torch for the social media era of “backpack” rappers. As such, Acid Rap has gained cult-status within the hip-hop community. Moreover, Chance’s independent status while releasing his best work became part of his appeal for anti-establishment fans during hip hop’s do it yourself era. His stardom and reach as an independent act was inspiration for many, showcasing that great music does not need corporate entities to flourish.

Produced by Live Nation, these performances will be Chance’s re-emergence into the realm of popular culture. The “ No Problem ” rapper has been on a musical hiatus since his only studio album, The Big Day , was released in 2019. In light, 2023 is an exciting year for Chance as he prepares to release his next body of work,  Star Line Gallery . Chance’s latest project will intertwine the worlds of art, music, and cinematography through a series of interdisciplinary works in collaboration with artists from the continent and Diaspora.

Tickets and VIP packages for the Acid Rap anniversary shows are available at  livenation.com .

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Chance The Rapper Announces “Acid Rap” Anniversary Concerts In NYC & LA

The Windy City native will commemorate his classic project.

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Chicago-bred recording artist Chance The Rapper will head back to his hometown to celebrate the ten-year anniversary of his breakout mixtape Acid Rap .

The  Live Nation-produced “Acid Rap Ten-Year Anniversary Show”   taking place on August 19 in Chicago’s United Center has already sold out. Two more dates have been added to the celebration.

This week, Chance The Rapper officially announced  Acid Rap  concerts at the Barclays Center in New York City on August 26 and at the Kia Forum in Los Angeles on September 21.

Acid Rap dropped in April 2013. The groundbreaking project featured BJ the Chicago Kid, Vic Mensa, Twista, Saba, Childish Gambino, Action Bronson, Noname, and more acts.

Chance The Rapper’s Acid Rap earned a Best Mixtape nomination at the 2013 BET Hip Hop Awards. The reviews website Metacritic lists Acid Rap with an 86/100 score which signifies universal acclaim.

In addition, then-President Barack Obama added the Acid Rap track “Acid Rain” to his 2016 Summer Playlist . Chance rereleased Acid Rap on streaming services in June 2019. It peaked at No. 5 on the Billboard 200 chart that year.

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Chance the Rapper Will Always Be Proud of Acid Rap

In 2013, as new albums from Jay-Z, Drake, and Kanye topped the charts, a small mixtape you couldn’t even buy on iTunes became one of the year’s most talked about releases. Chance the Rapper ’s Acid Rap felt and sounded different from everything else on the market: An exuberant, introspective collection of rap songs drenched in soul, jazz, and gospel influences. Though much of the subject matter skewed serious, the Chicago native’s playfulness shined through: His grizzly, charming sing-song delivery; his scattered yells of “AHHH!” over a honky-tonk piano in “Juice,” that school-house taunt refrain on “Nana.” Listening to Acid Rap felt like cutting class with your best friend, and with features from the likes of Vic Mensa, Twista, Childish Gambino, and Action Bronson, it turned Chance the Rapper into the biggest indie rapper in America.

Ten years later, much has changed for Chance, hip-hop, and America at large. The 30-year-old rapper, who is currently embarking on a mini-tour honoring Acid Rap ’s anniversary, admits rap doesn’t sound nearly as fun as it used to. “I think if I had to blame it on something, I would just say times is hard,” he told me for a recent episode of Into It . But Acid Rap still remains a classic, and Chance is excited about where rap is headed as well as the legacy of his breakthrough mixtape and the days before he became a star. “Right after Acid Rap dropped, I was just running around trying to do small shows or people’s little local radio stations,” he recalls. “Whatever I could do to make it get heard.” Clearly, it worked.

Listen to the full interview from Into It below or read on for an excerpt of our conversation.

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Where was Chance ten years ago when Acid Rap was released? What did your life look like?  I mean, I didn’t have money, but I also didn’t have kids. I was living at my parents’ house and just trying to make this dream work. This was my second mixtape under the moniker Chance the Rapper. And I had dropped a mixtape the year before this called 10 Day . That was all about me getting suspended from high school and that landed me on a national tour with Donald Glover as an opener. Now, nobody in the crowd knew who I was. I think the preparation of that tour put me in the right mindset as a performer to really push to make this mixtape heard. And then I got picked up to go on tour with Mac Miller, who was incredibly impactful to my career and to my understanding of the industry. And soon after that I did my first tour, and that was when I first made some money. I know I keep talking about money like it doesn’t matter, but if you asked me about ten years ago—

It mattered. —It mattered a lot.

Acid Rap really captured this youthful exuberance. Not every song was happy, but a lot of it was and there was this energy that crackled.  For me, what was so cool was that it was real underground. Music was still very heavy on the iTunes side. This is before any large-scale streaming service. Around that time I was trying to shop for deals, and it just wasn’t really working out the way that I wanted to. Not that people weren’t trying to sign me, but they wasn’t trying to give me no control. We put together this mixtape with my own money. And the way it spread was just so different. Like, SoundCloud, DatPiff, LiveMixtapes.

I had the DatPiff app on my iPhone just to listen to it. A lot of people have that story. The music felt like it belonged to people. It felt like it was something you had to go outside of your typical iTunes or buying a CD from FYE or Walmart or Best Buy. You had to find it. Somebody had to tell you about it.

When did you know that Acid Rap was blowing up? I did a listening party the day of the release in Chicago where I rapped a couple of the songs but played the mixtape all the way through. And I remember there being a line around two blocks long of people waiting outside. The difference between that listening party and the listening party from my 10 Day mixtape, it was just so different. I went on tour in Europe that same year in 2013. I got two really cool offers. I got brought to do a few dates with Eminem in Ireland.

Eminem in Ireland surrounded by whites. Yeah, I was in Dublin, surrounded by whites, and it was a lot. We did this place called Slane Castle. It was 90,000 people. I went from opening for Mac Miller and Donald Glover for 2,500-cap rooms in America where I was kind of still struggling, to going to foreign countries with Eminem. Macklemore took me on in the same year. I was playing these sold-out rooms where the entire audience didn’t really know who I was, but in a lot of cases didn’t even speak English. And so, there was a really big barrier between me being recognized for this body of work that I put out that I was seeing going crazy in the States, but being stuck overseas. When I came back, I did my own little mini tour. It started off as 35 dates. It got extended to 50 dates. I did every major and small market around the U.S. and all sold-out shows.

Is that when you knew the album blew up? Yes, that was the longest answer you probably ever got. But, that’s when I felt it.

What’s your favorite song on Acid Rap ? Probably “Acid Rain,” just because it’s the most pure to me. It’s a long single-verse song with no hook that’s just me rapping very transparently and talking about issues that I had with drugs, with some of my closest friends, with the PTSD after I saw my friend get killed. It was a lot of stuff that I would not normally talk about so plainly in my music.

In spite of having these songs that deal with PTSD and drug use, the vibe in Acid Rap is often joyful and fun. When I look at Acid Rap and Coloring Book together and compare it to stuff I hear now, it seems like none of the biggest men in rap are as happy or having as much fun as you were on those albums. I feel like women in rap right now are having fun. But the men seem sad. Is it fair to say that? Yeah, I don’t think they’re happy. What a lot of us experience is melancholy, sadness, displacement, poor relationships, poverty, attacks on your humanity or your masculinity … It’s a lot. I was lucky to make it off being different, but a lot of people make it off of a different angle of the same shit. I feel for niggas. I feel bad. I was just watching a video on Instagram, somebody I know from Chicago and they was like, “Why you think we be in the club feeling some type of way, feeling on edge just because we listening to fucking four hours of murder music about the most despair you ever seen?” Most of us have lost somebody to violence or witnessed some type of violence that scarred us. I don’t think that there’s this master plan from all these niggas that made it out of poverty to continue this fucked-up cycle of producing dark, angry music. I think that the powers that be are a lot of times in control of what direction we’re going.

Can you put your finger on when an actual shift began or what caused it? I think shit is just worse. In terms of public safety, even the weather. The Earth is not as lit as it was in 2013. I think if I had to blame it on something, I would just say times is hard. Everybody is just rapping what they know.

I want to talk a bit about Kanye’s influence on you, especially at the time of Acid Rap . How was his work affecting the way you made that album? I mean, “Good Ass Intro” is a direct sample from the intro to a Kanye West mixtape that came out when I was in high school called the Get Well Soon mixtape. And then, there’s six interpolations towards the end of the record, and those are a lot of interpolations of Kanye-produced beats for Common or Twista or himself. But since ‘04, I’ve been extremely influenced by Ye’s music and his art.

One of the things I think of a lot in your journey in the last ten years since Acid Rap was entering this space where as a Black man in hip-hop who is famous, you got to be a little outspoken on politics. But I’ve heard less from you on that front these days. What has been your philosophy in the last ten years about how much you dabble in those spaces?  I think before, my understanding of politics was through the governing bodies and systems in the United States. I’ve just, I guess kind of become a little, I don’t know.

A little what? Jaded? It’s not even jaded. It’s just like I don’t believe in that shit anymore.

I want to unpack that. Are you saying you don’t believe in electoral politics anymore to effect change, or are you saying something else? I’m also like a whole fucking public figure, so I don’t want to dissuade anybody from whatever it is that they believe is important. And we Black, so it’s a very big deal for us to be able to have the right to vote and to vote without being terrorized.

I think I’ve gotten a better understanding of my identity and placement in the world outside of notoriety or money because in certain spaces, neither one of those matter when somebody can tell that I’m Black. I think Black folks, our natural destiny in the near future is to collectivize and create a more homogenous body. We attach so many other categories to our identity that kind of keep us splintered. I think the only time that we’re allowed to be Black people is when we’re the Black vote. And again, I’m not trying to dissuade anybody from voting or from making their voice heard or any shit like that. I’m very focused on politics. I’m just focused on it in a different space.

This is the most guarded I’ve heard you in this conversation. I told myself I wasn’t even going to talk about shit like that anymore. To tell you that I don’t want to talk about it, I got to give a long explanation.

I feel like when you talk about politics, you are so much more aware of who’s hearing it and how they’re hearing it, and you’re more guarded on that stuff than you are on just the music. Would it be fair to say that? It’s one of the more important things that I could talk about. And there’s a great sense of like, responsibility. I think any time I get a question about it, the first thing that happens is my brain fills up with all the things that I’m mad about. The second thing that happens is I start to think about how I could be misquoted or misunderstood. And then I try and speak on it with both parts of my brain working at the same time, and it comes off as guarded.

I’m not even as worried about a quote being misunderstood. I’m more worried about myself being misunderstood because a quote misdirects everybody. That’s just the game that we play though.

It’s the 50th anniversary of hip-hop. You’re seeing all the press coverage and everyone’s talking about the history and where it came from. But, I’m not seeing as much conversation about homophobia, or sexism, or the glorification of extreme wealth in hip-hop. Do you think our conversation about hip-hop turning 50 is as critical as it should be? That’s a good question. I think it’s always a good time to have a conversation about how we could be better. But I also think that there’s a time and space for celebration. Hip-hop is the dominating culture in terms of fashion, music, and art. It mobilizes all of the capitalist movements, advertising, and marketing. All of these things are using our car to get there. It’s like our car is supposed to have us in the front seat driving, and we’re just still in the back seat arguing.

We do have a huge problem with homophobia. We do have a huge problem with sexism. We do have a huge problem with misogyny, with violence, with over-romanticizing extreme wealth and with a lot of stuff. I hate to sound like I keep flip-flopping, but hip-hop is a reflection of the world. It’s not just a promotional tool. It’s also what people are experiencing and what people grew up understanding. We do need to fix hip-hop to fix the people, but like, that’s what I’m tasked with I think.

Do you think things are getting better at all on any of those fronts? Because, I’m not sure. I’m going to say no. So I started this festival this year called the Black Star Line Festival, and the goal of it is to create free weeklong activations in different Black countries where we can collectivize and share ideas. I think one of the biggest hurdles in this is that a lot of Black countries outside of the U.S. demonize or flat out have made being gay illegal. And so, a big, big thing that I’ve been trying to figure out is how can I collectivize people under this umbrella of Blackness whilst also eliminating some of those other identifiers, like the division of nationality or the division of religion, or most importantly, the division of gender and sexuality. It’s a tough thing because I’m also an outsider. As much as we centralize ourselves as Americans, I’m a foreigner in all these spaces.

We should define this festival more clearly for folks who might not know what’s going on.  I had some conversations with my grandma, and she was just teaching me about the global Black identity. After learning more about Marcus Garvey and his efforts to create Black mobility, I realized that I was never given an opportunity to tour Africa. The only show that I ever did on the continent was in South Africa, which is typically where we go when bigger artists go over there. But, I’ve been in every nook and cranny in Europe. I’ve played Asia, Australia, South America. But, in order for me to get to West Africa, I would have to put on my own concert. In going to Ghana, I realized that the infrastructure and appetite existed for not only me to play a show, but so many other artists. We ended up putting it on this past year with myself, T-Pain, Erykah Badu, Dave Chappelle, Vic Mensa, Tobe Nwigwe, Jeremih. It really put a better understanding and a new identity on all of us where we don’t have to be Black Americans, we don’t have to be Ghanaians, we don’t have to be Africans.

It’s about the collective. Exactly, we got to be brothers and sisters.

That seems so not what the predominant message of American hip-hop is right now. Well, it’s also like every once in a while, you see a new white rapper or Hispanic rapper that pops up and they’re doing a cartoonish, buffoonish interpolation. They’re blowing up, and they have the budget to market and the money to pay for Instagram posts. That creates a snowball effect of more people feeling like that’s what it is to be hip-hop, that’s what it is to be Black. So it’s like we are all in this cycle.

I mean, I listen to a lot of violent music. I like violent music. But, the fact that that’s the most successful music out there is not necessarily by our design. I don’t think that’s Black people’s goal. I live in Chicago. When you asked me about a turning point, Chicago changed everything. There was a wave of music that came out right around the same time as Acid Rap . I hope that this doesn’t come off as giving blame, but the popularization of what we had going on here definitely changed the landscape.

You’re talking about drill music. Yeah. Drill music specifically in Chicago, blowing up the way it did, influenced the entire world. There’s Italian drill music, there’s Chinese drill music.

Listen, there’s a long tale of Chief Keef to be told. Yeah, and that’s what I’m saying and that’s what I don’t want, I can’t blame Keef …

This is the life he lived. He was speaking his truth. Literally. For me, I think that if we are to move towards upper mobility, towards liberation, towards acceptance, towards self-love, it’s going to come through our tool that’s lasted 50 years. Hip-hop didn’t just last because we let it last. The same shit that happened to all the people that Elvis fucked over and the Beach Boys fucked over, that happened in hip-hop. That’s happening today in hip-hop. Hip-hop has survived, and I think it has a divine reason to because it is our tool for Black liberation. It’s just waiting on its right moment.

What I’m hearing is you received a bit of an education since Acid Rap was released, on what hip-hop means, what Blackness means, and how an artist like Chance the Rapper fits into that. What do you think has been the biggest shift in terms of the way you think about hip-hop and Blackness since Acid Rap was released ten years ago? I look at it all as one day. Acid Rap was yesterday to me. I also did a lot of drugs, so I have terrible memory-loss issues. But, I would say the biggest thing that changed me was a phone conversation I had with my grandma. She got my daughter Kensli some kids’ books. One on Juneteenth, which I didn’t think was too heavy, but still a little bit much for a 5-year-old. But also, there was one on the Tulsa race riot. And so, I called her and I was like, “Hey, you know I love you, but what is this? Do you really want me to read these to her?” And she just really taught my ass. What she was saying was that my parents’ generation, people born in the late ‘60s, mid-’60s, had to be taught as a means of survival that racism had died out, that people don’t see color, and the effects of Jim Crow and and the burning of Black cities were all solved so that their kids weren’t running around getting they ass beat in the streets. Because, they had witnessed firsthand how vicious and violent the U.S. as a society would be to those people. She told me that she was very proud of the changes that she was seeing out of my generation and this information age that we live in where people are actually allowed to know the truth. So I think her telling me the importance of imparting that information on my daughter made me realize how important it is that I do that education for myself.

What advice do you wish your grandmother would’ve called you with the day before Acid Rap was released? I remember my grandma said this crazy prayer over me when I was working on Acid Rap where she said, “I prayed to God that everything that you do that is not like Him will fail and crumble.” And I was like, “Did you just put a curse on me? I’m trying to get on. I’m trying to make it.”

That’s some Black grandmother ish right there. Right? I think she would say the same prayer. I’m in the same boat. If I was to talk to myself ten years ago, I would just say, “I’m proud of you. Keep doing everything you’re doing the same way. You’re fearless, you’re dedicated, you’re honest, and do what you’re doing.”

This interview has been edited and condensed.

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Chance the Rapper Announces More Acid Rap 10th Anniversary Concerts

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The post Chance the Rapper Announces More Acid Rap 10th Anniversary Concerts appeared first on Consequence .

Chance the Rapper has added concerts in Brooklyn and Los Angeles to his celebration of the 10-year anniversary of his breakout mixtape, Acid Rap .

The two new shows will take place on August 26th at Brooklyn’s Barclays Center and on September 21st at Los Angeles’ Kia Forum. Chance previously announced a hometown show at Chicago’s United Center scheduled for August 19th. See his full tour schedule below.

Tickets go on sale Friday, May 5th at 10:00 a.m. local time via Ticketmaster , with a Live Nation pre-sale occurring one day earlier on Thursday, May 4th (use access code ICONIC ).

Once tickets are on sale, you can also find them at StubHub , where orders are 100% guaranteed through StubHub’s FanProtect program. StubHub is a secondary market ticketing platform, and prices may be higher or lower than face value, depending on demand.

This past weekend, Chance shared a 10th anniversary edition of Acid Rap on streaming services — complete with the original version of “Juice,” which previously wasn’t available due to sample clearance issues. Stream it below.

Get Chance the Rapper Tickets Here

Chance last released his long-awaited debut album, The Big Day , back in 2019.

Chance the Rapper 2023 Tour Dates: 06/10 – Milwaukee, WI @ Escape from Wiscansin Fest 07/30 – Napa Valley, CA @ Blue Note Jazz Festival 08/19 – Chicago, IL @ United Center 08/26 – Brooklyn, NY @ Barclays Center 09/21 – Inglewood, CA @ Kia Forum

Acid Rap (10th Anniversary) [Complete Edition] Artwork:

Acid Rap (10th Anniversary) [Complete Edition] Tracklist: 01. Good Ass Intro (feat. BJ the Chicago Kid) 02. Pusha Man (feat. Nate Fox) 03. Paranoia (feat. Lili K. and Nosaj Thing) 04. Cocoa Butter Kisses (feat. Vic Mensa and Twista) 05. Juice 06. Lost (feat. Noname) 07. Everybody’s Something (feat. Saba and BJ the Chicago Kid) 08. Interlude (That’s Love) 09. Favorite Song (feat. Childish Gambino) 10. NaNa (feat. Action Bronson) 11. Smoke Again (feat. Ab-Soul) 12. Acid Rain 13. Chain Smoker 14. Everything’s Good (Good Ass Outro)

Chance the Rapper Announces More Acid Rap 10th Anniversary Concerts Eddie Fu

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Press Releases Chance the Rapper Closes Out Epic Acid Rap 10th... All Releases

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25 September, 2023 Print

Chance the Rapper Closes Out Epic Acid Rap 10th Anniversary Celebration with Spectacular Sold-Out Concert at LA’s Kia Forum

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The release of last week's Acid Rap triggered such intense demand that it crashed both hosting site Audiomack and Windy City rap agora Fake Shore Drive.

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Rap & Hip Hop Concerts

acid Rap 10th anniversary 

Eschewing sparse electronic pop-orientated hip hop for lush retro beats and a vibrant, melodic rapping style, Chicago MC Chance The Rapper, aka Chancellor Bennett, is set to hit the stage! The tour is a celebration for the 10th anniversary of his 2013 mixtape. 'Acid Rap'. Not only that, he is currently working on his new LP 'Star Line Gallery' inspired by his 2019 album 'The Big Day'. Don't miss the chance to see him on this limited tour

Chance has stated that this mixtape reflects on his past struggles with substance abuse. The mixtape debuted at number 63 on Billboard Top R&B/Hip-Hop Albums and was listed on multiple 50 best albums including placing 26th on Rolling Stone. 

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Performance date: 26 August 2023

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The ‘Acid Rap’ Interview: Chance The Rapper Looks Back 10 Years Later

As 'Acid Rap' reaches its 10 year anniversary, Chance the Rapper reflects on the legacy and impact of the mixtape, and how the era could have led to his death.

Image via Complex Original

Acid Rap,  arguably Chance the Rapper’s best project , also represents the era that could have killed him. 

“I think if I hadn’t had my spirit tugged on, literally, and a calling to become a better version of myself, then I would’ve died,” Chance says calmly from Complex’s New York City studio, celebrating the 10-year anniversary of the pivotal mixtape. “I would just be the representative of acid, and I’m so much more.” 

With time, Chance proved to be much more than the poster child for psychedelic raps. Before the Chicago multi-hyphenate made a drastic lifestyle change and carved out a lane for himself with his gospel-leaning project  Coloring Book,  Chance was just a 20-year-old kid making music with friends in his city.  Acid Rap  captures a specific moment in time for Chicago, reflecting a new sound that was being born parallel to the Chicago drill boom from Chief Keef.

For the fans that  Acid Rap  resonates with the most, it reflects a specific period in their lives: the transformative years of self-discovery. “I feel like that’s what  Acid Rap  is,” Chance says now. “It’s a whole bunch of questions and as time goes on, you find some of those answers.”

Those questions come in the form of 14 tracks, bonded by vibrant horns, lush production, and tongue-twisting bars—a living, breathing product of the Windy City. Crafted entirely in the city, over the course of just one year, it features several beloved artists and producers from the region like Noname, Vic Mensa, Twista, Nate Fox, and Peter CottonTale.

View this photo on Instagram

While the mixtape is named Acid Rap,  despite popular belief, Chance the Rapper was not on acid during the majority of the recording process, and he stopped using the drug just a month after its release.

“I had to come to myself and realize and remember that I was not making those songs off acid,” Chance recalls, pointing out that he drew a lot of inspiration from his acid experiences (and dabbled in the drug while picking out beats) but wasn’t on acid during the bulk of the actual recording process. “I may have found some beats I liked off of acid, but it was  me  making the songs. And I think that was probably the key thing that I learned from that experience.”

These days, one of the most common narratives around the project is that fans miss “ Acid Rap  Chance,” or more specifically the style of music he was releasing at that time. Chance doesn’t blame them for that sentiment. In his mind, he recognizes that  Acid Rap  represents a specific moment in time in many of his fans’ lives, and he believes it’s the artist’s responsibility to grow out of that space more than it is theirs.

“It’s really on us,” he explains. “How much do we care about a like or a comment that says ‘This is fire,’ or a meme that says ‘I got a triple-double on a collab song.’ Fuck all that shit, you know what I’m saying? Those people do not go to sleep with you. They can’t take care of your kids. They won’t recognize you unless you’re wearing a 3 hat.”

Today, Chance is more than  Acid Rap  and the 3 hat. He is a reflection of independence and proof that it takes a village to raise a star. 

In honor of the 10-year anniversary , Chance reflects on some of his fondest memories from the making of the mixtape, why he’s happy he left acid behind (but isn’t opposed to trying it again), and why he believes  Acid Rap  to be the greatest project of all time. The conversation with Complex, lightly edited for clarity, is below.

via Chance The Rapper

How does it feel that  Acid Rap  is a decade old now? It does feel crazy. I feel it, though, because it’s been so many experiences since I dropped it. Right after that, I went on tour with Mac Miller, opened up for Eminem, and did my first headlining tour: The Social Experiment tour. And that feels so distant from where I am now. 10 years seems like less than the amount of time. Feels like it was 20 years ago for me.

You  told Zane Lowe  that you feel  Acid Rap  is the greatest project ever. Why do you feel that way? I think  Acid Rap  is what it is because of how vulnerable I was in making it, and how real the whole process was. It was a lot of people that came together to make  Acid Rap . It wasn’t just me, it was so many vocalists and producers that came together to make it. And then the features, everybody that was on it went on to do great things, like Action Bronson, Ab-Soul, Donald Glover, Noname, Saba. We were all very young and hungry 10 years ago. And not that anybody wasn’t established, but we were all hungry. I think it was just a product of people wanting to make something that they could be happy with and be vulnerable. I think Acid Rap  gave that space to all those people.

What are some of your fondest memories from those recording sessions? The night that we linked up with Noname and BJ the Chicago Kid. It was the same session that we did the backing vocals for the intro, and BJ’s also on “Everybody’s Something.” It wasn’t like, “OK, here’s this track, let’s write to it together.” It was like, “Here are all these songs that I made. Do any of these speak to you? What would you like to add?” And that same night, Fatimah [Noname] did the verse on “Lost.” It was just us three in the studio, kicking it super hard. I remember my dad came by and it was his first time hearing a lot of the songs and he was so excited.

{ "id": 132215521 } “I think  Acid Rap  is what it is because of how vulnerable I was in making it and how real the whole process was.”

But I think there are so many different phases that  Acid Rap  went through. There was the whole time that I was trying to secure beats and trying to figure out what the sound of it was going to be. I was traveling a lot. I went to SXSW for the second time and met Nate Fox who made “Juice,” “Favorite Song,” “Chain Smoker,” and “Pusha Man.” And I got a pack of beats from him and I got a beat from Jake One to make “Acid Rain.” There were all these different moments. Traveling to New York for the first time, getting called by all these labels off of the success from  10 Day , and using that free flight to bring my director pal Austin Vesely and shoot the “Juice” video in Times Square. A lot of stuff just came together. It was getting it out the mud.

Are there any songs you wish you made a music video for back then? A lot of people ask me why there’s no music video for “Coco Butter Kisses.” But I kind of like the fact that there’s not one, because it’s a testament to how some people only know that about me. I had to realize that without a video—without it being majorly distributed, without it having any Grammy nominations or famous TV performances of it—it just stands alone as a song that meant a lot to people.

I’m kind of glad that I still get offers all the time from people like, “Hey, let’s make a retroactive video for ‘Cocoa Butter Kisses.’” And I’m like, “Nah. I kind of like the way it is.” But at that time we were also very innovative with what we were shooting and how we were shooting the videos. So I feel like we could have made some dope stuff. I always wanted there to be a music video for “That’s Love.” It’s a short song but it was just cool, poetic, vulnerable raps.

I shot a video for “Paranoia” that never came out and it was really intense and really dark. It wasn’t separate from the sound of  Acid Rap , but definitely divergent from the other visuals that came out. I just never put that shit out. I think the ones that we made were so important to me. “Everybody’s Something” is my favorite video, just because I like editing and repurposing old films for new stuff. And the “Smoke Again” video was fire, too, because I remember we shot that with Ab-Soul and Mike Waxx and all the Illroots dudes. Shout out to Darnell and Mike Carson and Mike Waxx and all of them. We came out to LA and shot that video with them real quick.

View this video on YouTube

What did  Acid Rap  teach you about yourself as an artist? I think  Acid Rap  was a good example of me just trusting myself and being OK with being who I was. I don’t ever want to sound like I’m taking credit for shit, but druggie culture, like niggas rapping about doing LSD and other shit that wasn’t weed, was not happening in 2012. So in 2013, coming out with this  Acid Rap  project, niggas were calling me a weirdo and all types of shit. I had to deal with that and also realize that my projects described experiences that I had already been through. But they were not the sum of me or the whole exploration of who I am as a person. I stopped doing acid probably less than a month after the project came out.

I was like, “I’m done with this” after too many bad trips and just weird shit happening to me. But I had to deal with it for the next year and a half. Having everybody that met me trying to either offer me acid or ask me interview questions about acid and having to be basically the spokesperson for drugs. But I had to come to myself and realize and remember that I was not making those songs off acid. I may have found some beats I liked off of acid, but it was me making the songs. And I think that was probably the key thing that I learned from that experience. It was like, you could dress up something to be one thing and draw inspiration from one thing but it doesn’t necessarily mean that that’s the main ingredient to it.

Image via Timothy Hiatt/Getty for Nickelodeon

After the project dropped, I know people were coming to your shows off acid. They were treating  Acid Rap  as if it was a promotion of acid. Motherfuckers were giving us bags of a hundred tabs, or literal liquid acid, and we was like, “Just chill. It is not that serious.” But I also understand it because  Acid Rap  took me a year to finish. And it was a lot of studio sessions where I was just listening to other people’s music off acid or traveling to other places. You’re supposed to do acid either by yourself or with a group of people you trust, in a small controlled setting, and just trip and chill in that space. And I was like, shit, I’d take two or three tabs and just go downtown. This is pre-Uber too. I would just go on the train by myself and just walk around downtown Chicago or travel around with that. I was tweaking at that time. But it was all those experiences—the friendships that I made, the friendships that I possibly ruined, all the relationships in my life—that were being influenced by the way I was at the time.

I also think there was a certain hunger just around wanting to reach a deeper success than I had on  10 Day .  10 Day  was obviously the biggest thing I had done. All my other projects were only famous in my high school. So once  10 Day  dropped, I got to go on a national tour with Donald Glover. I had played SXSW and done some local Midwest stuff, and I needed my next project to be something that was going to break the mold and not just be me rapping about school or being done with school or whatever.

Did you think that this would become the tape to change your life? Because  10 Day  had a lot of momentum as well… [My mom] used to just buy CDs and she would find artists that she truly supported. She’d go catch them on tour and shit like that. And she always used to say your second album makes or breaks you. She’d be like, “An artist will come out with their debut album and they’ll get pushed to the forefront of music and be called the ‘voice of the generation’ and champion for all this stuff. And then their second album comes out and it doesn’t hit all the same high notes.” So in my head, that’s why the first song starts off with, “Even better than I was last time.” You know what I’m saying?

{ "id": 132215525 } “The funny thing that a lot of people historically don’t remember, is when Acid Rap first came out, people were not universally loving that shit.”

And, “This your favorite fucking album, I ain’t even fucking done,” I had a lot of lyrics that were leaning into that because I really didn’t want it to be less than  10 Day . The funny thing that a lot of people historically don’t remember is when  Acid Rap  first came out, people were not universally loving that shit. Especially people that had found me through rapping about being suspended from school. They like, “I’m not trying to hear you rap about drugs for a whole album, and who the fuck is Childish Gambino?” Shit like that. The same thing happened with  Coloring Book . 

I think when I was making  Acid Rap , I was thinking a lot about my own emotions, and where I wanted to be. I think I was also trying to get signed at the time, too. I was really trying to get signed to a label. You’ve got to think about the climate.  10 Day  is really around the time that [Chief] Keef blew up on YouTube, pre-Kanye co-sign. At the time in the city, that’s what everybody would compare me to. “Damn, Keef doing numbers but Chance The Rapper’s dope, too.” And so 2013, it was like, if I could just get signed to a label, I’d be good. I was so thirsty and I was traveling to New York and LA a lot to go to niggas offices and hear about four-album option deals and just terrible [deals] that I’m glad I didn’t get stuck in. But that was where my head was at. It was like, I just want to make this as good as  10 Day , and thank God it was better.

Acid Rap  and  10 Day  were coming out at the peak of Chicago drill era sound. Then here you are making music that’s sonically alternate of that. How much do you think  Acid Rap  affected the Chicago sound? I think it’s the blueprint for that Midwest sound that you still hear to this day. You’d be hard-pressed to find somebody that’s a year or two younger than me, that wasn’t influenced by  Acid Rap,  even if they weren’t from the Midwest. Like Jack Harlow, [Lil] Uzi Vert, and people that are from opposite coast and from other places still tell me what the album meant to them at that time. But if you were in Chicago, then you had the opportunity to be on the album, and work closely with helping to promote it or to help me get shows or to open for me or whatever. It was this whole ecosystem that was bred really out of a community that already existed. A lot of us went to Young Chicago Authors, a lot of us went to YOUMedia and went to different after-school programs around the arts. So we all got to learn from each other. And that’s why Mick Jenkins, Saba, Lucki, Noname, Nico Segal, Vic Mensa… We were all 14 and 15 years old doing writing exercises together as kids. So I think  Acid Rap  really gave one a lane for people that were trying to do something alternatively.

But you also have to recognize that 2012 was the peak of drill coming out and being introduced to the world. But I wouldn’t say that it was what anybody in Chicago was accustomed to as a sound yet. That came later on, as more and more artists came out, doing the same sound and having more success and getting remixed by people like [G] Herbo who supported that movement. [Lil] Dirk supported that movement. And they also have different sounds from Keef even. I feel like in 2012, Kanye West is still the biggest artist in the world. Lupe [Fiascos]’s still charting. It was still an older generation of music that didn’t sound anything like  Acid Rap  or drill music.

So I feel like me and Keef came out around the same time, both doing our own thing. Why we got so much coverage and so much support was because it was different than what you thought would be the typical Chicago sound. Now, if you’re really being honest, I would say the more recognizable Chicago sound at this time would still be drill. And there’s still a lot of fanfare and media hype around anything related to drill, whether it’s music or otherwise. But, still—within the actual city, the ecosystem, who’s doing shows—are the people that are influenced by  Acid Rap , too.

{ "id": 132215524 } “I think it’s the blueprint for that Midwest sound that you still hear to this day.”

Acid Rap  lives in such a unique place in everyone’s lives because it wasn’t common with all the other music were that they were experiencing at the time. There’s definitely nothing that sounds like  Acid Rap , if you go back to 2013. You got  Yeezus , you got  Nothing Was the Same . You got Mac Miller’s  Watch Movies with the Sound Off . You got J. Cole’s  Born Sinner . And in terms of rap, there was not another album that had a song like “Chain Smoker” on it or another album that had a song like “Everybody’s Something” on it. It was its own thing. And like you said, because it was just something you had to be in the know about to even have access to it. It became, I don’t know, like I said, it’s like a cult classic.

Image via Getty

What’s one thing you miss about the  Acid Rap  era? And what’s one thing that you’re glad was left in that time? I could tell you first, what I’m glad is left is acid. I have not done acid since 2015. And just the lack of control, man, you can’t tell if it’s because of the acid or just it’s a bad day. But I’m glad that I don’t do acid anymore. Glad that that’s left behind.

And I mean, there’s so much that I miss. I miss the relationships, just as time goes on. People grow up and we were all 19 or 20 years old—all of my friends from Chicago were around the same age. We didn’t have kids, we hadn’t moved to other cities. We hadn’t started having to deal with bills and all types of other shit. And all those things changed the relationships between everybody. So I wish that we still had that level of freedom to just up and decide to go to SXSW. And not because we have all these shows booked, but just because we’re trying to see if we could jump on a show and have fun.

I wasn’t able to play shows the way that I am now. I wasn’t able to take care of people. I was still very much so in a self-discovery time. I feel like that’s what  Acid Rap  is. It’s a whole bunch of questions, and as time goes on, you find some of those answers. So I don’t necessarily miss being confused, but I do miss… I think the best part about it was how tight me and Fatimah [Noname] were. How tight me and Austin Vesely, who directed all my videos, were. And all these people are still the loves of my life, but we live in different cities. Some of us have kids. It’s just different.

What do you think your life and career would look like if you didn’t grow beyond  Acid Rap ? I probably would’ve died, to be honest. That’s the thing: entertainment is entertainment. We like it because it’s something that’s recorded, that we could experience in that one time and then hopefully come back and listen to it and it sounds the same. But it takes away the humanity from the people who make it. The way that I was living at that time, I had everything in excess. So right after I dropped the project, I went on a few tours where I didn’t really make any money. But then I went on my first tour, my headlining on tour, where I made some money. And I went and bought a crib or rented a crib, this fat ass mansion in LA.

{ "id": 132215527 } “I think if I hadn’t had my spirit tugged on, literally, and a calling to become a better version of myself, then I would’ve died.”

This is my first time living outside of my parents’ house in another city and having money and doing a lot of drugs, you know what I’m saying? A lot of Xans, you know what I’m saying? Too many Xans. And just becoming a different person, a lesser, lesser person than I am now. I think if I hadn’t had my spirit tugged on, literally, and a calling to become a better version of myself, then I would’ve died. And then I would just be the representative of acid, and I’m so much more.

As fans, we often want artists to stay the same because they reflect moments that were important to us. I think the thing is, we always put it on the fans. Like, “The fans need to allow artists to grow.” But really, artists need to allow themselves to grow. It’s really on us. How much do we care about a like or a comment that says “This is fire,” or a meme that says “I got a triple-double on a collab song.” Fuck all that shit, you know what I’m saying? Those people do not go to sleep with you. They can’t take care of your kids. They won’t recognize you unless you’re wearing a 3 hat. Opinions are like assholes, everybody’s got one. It comes down to how much do you love your life and what do you have to live for and what do you want to see happen in your life and happen for you in your life?

You’ll never be able to control how people feel about you. Never. You could give them your all. You could give them your worst and they’ll surprise you every time. So I think it’s really up to artists to just remember that they made music before they had fans, and they loved music before they had fans. So, whether that fan loves you or hates you or says they’re not a fan anymore, if they tell you that you need to start doing drugs again, who are these niggas? They don’t matter, you know what I mean? Everybody matters in the grand scheme of humanity and being a good person, but in terms of shaping who you are, and giving you life advice, that’s one tweet out of how many that they made.

So it’s safe to say that you will not be doing acid again? You know, maybe I’ll get over it. Because I also think sometimes it could become an irrational fear around PTSD or around just instances of uncomfortability that [I] dealt with, that can become a hindrance and you’re over. But also, yeah, I don’t have any need to do acid. I think I created an aesthetic and a story, a narrative around it though, that is  Acid Rap . These are raps inspired by acid, but there was no acid around. “Everybody’s Something,” there was no acid around. “Chain Smoker,” there was no acid around.

The songs that I did acid before I made are “Favorite Song,” which I don’t necessarily love. “Juice,” which I don’t necessarily love. I love them, but those aren’t the songs that I go back and listen to. I’ll go back and sit down and listen to “Everything’s Good,” the outro of the project, I think is just so well=written. I’m so proud of that 20-year-old kid that made that shit. I’m like, this is true vulnerability, true penmanship. It has the little outro where it goes into the juke version of the song and then it brings in samples from other songs on the album. That’s ill, that’s just an ill idea.

I used to be like, damn, I tricked all these [people] into doing acid. But, yeah, I think as long as I can remember the truth of what it meant for me, what it did for my family, what it did for the city of Chicago and how it was made, and who were the people and the players that made it possible, then I’m good.

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Chance The Rapper Wants Suggestions For The Setlist For His "Acid Rap" Concert

Chance The Rapper wants to know what songs fans would like to hear at his "Acid Rap" concerts.

Chance The Rapper fielded suggestions from fans for songs to perform at the upcoming concerts he's holding in celebration of the 10th anniversary of Acid Rap . He says that he intends to run through the entirety of the iconic mixtape, but has time for a few more fan favorites from elsewhere in his discography.

"In addition to doing Acid Rap in full, I may do 3 or 4 songs at the concert that aren’t on there. Any suggestions?" One of the most liked suggestions was " Sunday Candy ," which he dropped alongside Nico Segal and The Social Experiment back in 2015 for their album, Surf . Other suggestions included "Prom Night," "Summer Friends," "Same Drugs," "Juke Jam," and more. "Way way back when I saw you in 2013 you did a cold play cover. That would be awesome again!" one fan wrote.

Read More: Chance The Rapper Adds “Acid Rap” Concerts In NYC & LA

Chance The Rapper At The BET Awards

Chance recently reflected on the making of Acid Rap during an interview with Complex . He detailed just had bad his dependency on drugs was at the time. “I probably would have died,” Chance The Rapper remarked to the publication. “Definitely, the way that I was living at that time. I had everything in excess. Right after I dropped the project, I went on a few tours where I really didn’t make any money. Then I went on my first tour, my headlining tour, where I made some money.”

“If I hadn’t had my spirit tugged on- literally- and a calling to become a better version of myself, then I would have died for sure,” Chance continued later in the interview. “Then I would just be the representative of acid and I’m so much more.”

Chance The Rapper Fields Suggestions

As for Chance's upcoming concerts, he'll be performing in Chicago, Los Angeles, and New York City at various times throughout the year. The Chicago show is set for August 19 at the United Center. The New York show will take place on August 26 at the Barclays Center. Finally, the LA show is on September 21 at the Forum.

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Chance the Rapper headlines the Blue Note Napa Jazz Festival in Napa Valley, California.

For Chance The Rapper, ‘Acid Rap’ is More Than One of the Best Blog Era Projects

Chance the rapper spoke to okayplayer about his acid rap shows, working with donald glover, and why he considers acid rap “one of the best projects to ever be made not just in hip-hop but across any genre.”.

August 19 was more than just another good, vibe-filled day of Summertime Chi. Chance the Rapper brought the whole city together at the United Center to celebrate the 10th anniversary of his groundbreaking third mixtape , Acid Rap . Greeted with complimentary Starry’s lemon-lime soda and all the free samples of Chance’s signature Ben & Jerry’s flavor (Mint Chocolate Chance) they could eat, close to 20,000 fans both new and old took to the historic stadium to see Chance perform the beloved project that turned him into one of the most beloved rappers from Chicago.

Chance’s homecoming Acid Rap show was one of the greatest displays of modern Chicago hip-hop ever. From Saba opening with favorites from The Bucket List Project and premiering brand new music produced by No I.D., to Chance, Twista, and Vic Mensa delivering a dazzling performance of “Cocoa Butter Kisses” and Noname surprising the crowd when she performed her feature on “Lost,” the show beautifully commemorated one of the most important movements in Chicago, honoring not just Chance but the fellow Chicago rappers he rose up with, too.

The performance was also a testament to how far Chance has come. As he shared in an interview with Okayplayer shortly after the show via Zoom, a highlight for him was his kids (who saw their dad perform on stage for the first time), mom, younger brother Taylor Bennett, and dad coming onstage to give him flowers after he ended his set with the emotional and cathartic “Everything’s Good,” which includes a touching voicemail from his father telling Chance how proud he is of him.

It was a full-circle moment that reflected how Ken Bennett had become his son’s greatest supporter. Initially, Bennett had kicked Chance out of their house because he didn’t have a job while trying to become a rapper. But after a traumatic incident that resulted in one of Chance’s friends being fatally stabbed occurred, Bennett came to his son’s aid, using his experience as a campaign manager and former deputy assistant to President Barack Obama to help Chance gain an organic fanbase throughout Chicago. Now, after giving his son the idea to go to schools and hand out CDs, have listening parties at streetwear store Leaders 1354, and start out on smaller local stages like Reggie’s Rock Club, here was Bennett watching his son perform a body of work loved by countless Chicagoans.

“To perform this song that I put out 10 years ago that changed all of our lives, and he came on stage with my kids and with flowers to tell me again how proud he was of me. That was one of the best moments of my life,” Chance said. “And whenever they make that Lifetime movie about me, I'm 100% sure that scene is gonna be in there.”

Ahead of his final show of the Acid Rap tour in Los Angeles at the Kia Forum, Okayplayer caught up with Chance to discuss the impact of Acid Rap , now classic Chance the Rapper songs like “Paranoia” and its significance to him, the bond between the core collective of rappers he grew up with who were all featured on the mixtape, and why he considers it “one of the best projects to ever be made not just in hip-hop but across any genre.”

This interview below has been edited and condensed for length and clarity.

One of the most important songs on Acid Rap is “Paranoia.” Using that song, could you give people an idea of what Chicago and the rap scene were like during that time?

Chance the Rapper: I was making Acid Rap in 2012, which was a crucial year for me and a lot of people because we were all a year out of high school. Chief Keef had just started to blow up. I think the “Don’t Like” remix came out that year with Ye on it, and there was this new, centered focus around Chicago and around violence. So, as much as it was an exciting new aesthetic for the rest of the world, it was becoming something more — first, I think it felt like a distorted reality, and then it just became reality. I think it wasn’t something new in terms of dealing with violence, like I have friends that have been killed and shit like that growing up. But it just became way more of a different understanding. Way more people just felt like they — for lack of better words to describe it — just needed a gun. Everybody had a gun all of a sudden. Before that, one person out of a group had a gun and that was basically everybody’s gun. That “No Lackin” shit was like a campaign. So, I started to understand or notice that more, and more of my friends were becoming paranoid. I wrote that song with the intention of putting a name and a face to this feeling.

Were you diagnosed with PTSD around this time?

I've never been diagnosed, but 2011 was when my homie Rod got killed in Chicago and I was there. I was in the fight and I witnessed the whole thing and I think from there, I was very changed. I've seen people get shot that I didn't know, and I knew of people that had died that were my friends. But seeing somebody you know pass away is definitely a different vibe. And yeah, shit fucked me up.

Did making that song help you cope with that?

I think music is always a good way to name your problems and a great space to be vulnerable. Sometimes it does backfire though, listening to trauma over and over again. I have songs that I've made that were very analytical of my own life or have my own behaviors. By the 10th listen it's like, “Damn.” I think it was helpful to me in that it gave me an opportunity to name a problem, and to address something to the nation and to a lot of people at that time who didn't really know what was going on in Chicago, and had no space for people that were in Chicago to like feel like their thoughts or their reality was being addressed. I think it was helpful to a lot of people, but it is a crazy thing making sad songs because they don't go away.

And you had that line, “Somebody get Katie Couric in here.” What do you think about the way Chicago was being portrayed by mainstream media at the time?

You know what's funny? Whenever I look at stuff like that I'm always like, “Wow, be careful what you wish for.” At that time, it wasn't as prevalent a news story that Chicago was in crisis. That was something that came around more later in 2013, 2014, 2015, and then it's been perpetuated through now. But the issue that we have with the news always focusing so much of their reporting on Chicago on the issue of violence, is that's not how it was in 2012. Like, it felt like they were trying to cover something up. You remember that line from Boyz In The Hood ? “They either don’t know, don’t show, or don’t care.” That’s how it used to feel. It used to feel like, “Damn, they’re steady talking about the Chicago that Barack Obama's from.” The Chicago that’s working on trying to get to the Olympics. The Chicago that just put up a new skyscraper. But they're not talking about the Chicago [where] this little girl just got killed in front of this house. So, at that time, that’s what the lyrics really were [about].

Acid Rap was my response to labels telling me that they would give me a non-physical, non-manufacturing deal. They weren't keen on the idea of doing a streaming-only album. That, to them, didn't make any sense because the music would never be consumed in that way. So, I put Acid Rap the way I put it out to show that it could be successful, and that was the new wave. Now, there really is no physical manufacturing or even individual sales of music anymore. Everything is streaming. I kind of wish it would go back to the old ways. You push for something and you can make something change, but that doesn't mean that it was meant to change in that exact way. So, you just got to push to change it again.

Describe how you were feeling about this process when you were making Acid Rap , compared to how you feel now because you sound a little bit jaded.

To be honest, it was the same. I think I've always been a disrupter. To be in the position that I was in 2013, me not signing a record deal was a huge disruption. I mean, it even disrupted some other people that were going to sign from Chicago. Releasing a project at that time, on the heels of 10 Day and coming off tour with Childish Gambino, I could have dropped my debut album at that point. I didn't want to because I felt like it might be a better disruption to see what I could do just off a mixtape, and I think I'm in that same boat right now.

How many festivals approached you that wanted the Acid Rap show specifically, but ultimately you turned down?

There were a few festivals that wanted the Acid Rap show, but I think that plays into what I'm trying to get away from. I don't want somebody to go see Acid Rap performed in Seoul for the 10-year anniversary at a huge festival, where there are three other acts that are performing their regular set at the same time. I want people to have a dedicated space that they can go and be in their feels and be in their memories.

Speaking of Donald Glover, he appeared on “Favorite Song” and then you popped up on “Worst Guys.” What's something that you cherish the most about that time working with Glover? Do y'all still keep in touch?

Yes, we still talk every once in a while. We talked way more back then because neither one of us had kids or anything. My favorite thing about that time was Donald was very careful with how he shepherded me, and I think that rubbed off on me in terms of how I work with other artists. I don't remember Donald ever trying to sign me, which is something I can't say about everybody that's been a mentor or big brother to me in the industry. And he would give me really important advice. He told me to hire a business manager when I just started doing shows at five grand. I was getting paid less than that by him (laughs), but when I would do my own shows I was getting booked for around five grand, and he told me to go and get a business manager. He said it was the best investment he ever made, because it kept his money organized and kept his taxes paid.

And that's just one specific instance. There's so many times that he would just give me advice. Me and Donald, we have more of a mentor/mentee relationship. I'm about 10 years younger than Donald, so when he took me out on the road that was my first time ever buying a legal drink. He took me to Canada where the drinking age is 19. The first time doing so many things and it was all like this wide-eyed, 19-year-old kid. It's my first time even really being away from home for that long without a parent. He was just very intentional about what he showed me and what he told me. So, now when I work with artists, obviously I don't try to sign anybody because I don't have a record label and I don't believe in owning other people's masters and stuff. But also, that's just how you're supposed to do it. That's how the game is supposed to be played for us, for Black folks. We're supposed to give each other the game and not try and take advantage of each other.

What is it about this core group of peers — Vic Mensa, Noname, Saba, and so many others — who were all on Acid Rap that made you all so collectively influential years later?

They're so influential because these are once-in-a-lifetime generational talents. But also, we all grew up together. I knew Saba, Noname, and Vic since we were all about 14 years old. We all used to go to an afterschool program that did poetry workshops and open mics and stuff like that. When I was making Acid Rap , what’s funny was Noname wasn't really rapping like that. That was her first feature. That was her first time getting on a track with me, and I didn’t even know her ability or take seriously her ability as a rapper until she did “Lost.” I think that’s such a deep thing that's hard for me to even speak on in an interview, but we were all kids is what I'm really trying to get across. Nobody really knew how to do it — what to do, what we wanted to do. We were following our ambition and our hearts and it worked out. But I think the reason why the bond is so tight is not just because we're talented, but because of how we grew up and the system that was put in place.

Just like how you were talking about Donald Glover and the way he was really intentional with his mentorship, the people that I was just naming all have a person in common. This guy named Mike Hawkins, Brother Mike, he's a poet and rapper from Chicago. That was our mentor. His job every day after school was to come and sit and talk to us, and he made us do those open mics. It was just moments of training that made me say, “OK, I need to just walk around rehearsing my raps to myself all day,” or “I need to make sure that I'm not cupping the mic, I need to make sure that I'm introducing new pieces to the world, I need to make sure that I'm respecting my sisters in this space, I need to make sure I’m respecting myself and my brothers and sisters in this space.” We had this man telling us this shit that no one else was telling us. We all have different relations with each other, but I know that the thing that connects us is Brother Mike.

Were there any artists that didn't make the cut for Acid Rap ?

Yeah. Joey Badass wouldn't get on “Everybody’s Something,” and I think he even had a whole verse for it. So, you know it’s a Slum Village sample. At the beginning of the song they say, “Niggas want to grip up the mic like it's a dick.” Joey called me crying laughing like, “Yo, I can't get on this song. I can't get on this song with them saying that shit.” I'm like, “G, you don't know Slum Village?” It was something that we laughed about. We still made “Wendy N Becky” together, he's on my new album, Star Line , and we've done so many things together. That's like one of my closest friends. But yeah, Joey was supposed to be on the mixtape.

Do you consider Acid Rap to be the blog era’s best mixtape? Why or why not?

I think it's one of the best projects to ever be made not just in hip-hop but across any genre, based on its vulnerability, originality, staying power, and influence. So many artists that come and tell me that Acid Rap changed their lives, have changed a lot of people's lives. There's a lot of great music that came out in the early 2010s, but Acid Rap is a whole thing within itself.

Mark P. Braboy is the sentient form of your weirdest flex who just so happens to be a music journalist and photographer based on the South Side of Chicago. He’s been published in 10 of your favorite outlets, interviewed music legends and rookies alike, and is a proud alum of Jackson State University. Also stans for cannabis equity for Black and brown people and weed songs you’re sleeping on. Follow him @Shootyourmark .

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You only have a few chances to see Chance The Rapper live this year.

As of now, the Chicago-born rapper has just three concerts on his 2023 calendar.

The trio of shows, celebrating the tenth anniversary of his mixtape “Acid Rap,” will take him to Chicago’s United Center on Saturday, Aug. 19, Brooklyn’s Barclays Center on Aug. 26 featuring Vic Mensa and Los Angeles’ Kia Forum on Sept. 21.

At the time of publication, last-minute tickets are available for the three gigs.

Based on our findings, prices start at $42 before fees on Vivid Seats.

Not bad considering you’ll likely hear classic tracks from the mixtape like “Juice,” “Favorite Song” and “NaNa” live.

Plus, who knows? Feature acts on the album like Childish Gambino, Action Bronson and NoName might show up.

All we know for sure is the best way to find out is live .

Want tickets?

Here’s everything you need to know and more.

All prices listed above are subject to fluctuation.

Chance The Rapper 2023 tour schedule

A complete calendar including all tour dates, venues and links to the cheapest tickets available for all shows can be found here:

(Note: The New York Post confirmed all above prices at the publication time. All prices are in US dollars, subject to fluctuation and include additional fees at checkout .)

Vivid Seats is a verified secondary market ticketing platform, and prices may be higher or lower than face value, depending on demand. 

They offer a 100% buyer guarantee that states your transaction will be safe and secure and your tickets will be delivered prior to the event.

About Chance the Rapper

The 30-year-old Chicago native has made a global impact with several chart-topping hits, including “Same Drugs,” “Cocoa Butter Kisses” and “No Problem.”

Over the past decade, Chance has nabbed three Grammy Awards, three BET Awards, two BET Hip Hop Awards, two iHeartRadio Music Awards and a Soul Train Music Award.

Most recently, the singer-songwriter passed along his skills to a new generation of talent on this past season of “The Voice,” alongside fellow coaches Blake Shelton, Kelly Clarkson and Niall Horan. He will not be returning for Season 24 of the hit NBC show but will take the judge chair once again for Season 25.

Hip-Hop tours in 2023

While Chance doesn’t have many shows to choose from on his 2023 tour calendar, many big-name rappers do.

Here are just five of our favorites coming up in next few months.

•  Run The Jewels

•  50 Cent with Busta Rhymes

•  LL Cool J with Big Boi, Salt-N-Pepa and more

•  Lil Baby

Plus, you won’t want to miss the star-studded Hip Hop 50th Anniversary shows at  Madison Square Garden  on Sept. 15.

Check out our list of the  52 biggest tours in 2023 here  to find out who else is on the road.

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Things To Do

Things to do | chance the rapper announces ‘acid rap’ 10-year anniversary show at united center.

Chicago’s own Chance the Rapper on Tuesday announced a big hometown concert in August: The Acid Rap Ten Year Anniversary Show.

Coming to the United Center Aug. 19, the concert will celebrate his 2013 mixtape “Acid Rap,” the Billboard-charting, 14-track mix that catapulted him to rap stardom. Tickets go on sale 10 a.m. Wednesday with an artist presale, then with public sale at 10 a.m. Friday; more at livenation.com .

The concert will be produced by Live Nation and will be Chance’s first performance at the United Center (1901 W. Madison St.) since 2019. Ticket prices have not yet been announced.

New name for Tinley Park

Also in Live Nation news, Credit Union 1 is the new naming sponsor of the venue formerly known as the Hollywood Casino Amphitheatre at Tinley Park. Effective immediately, it will now be called the Credit Union 1 Amphitheatre.

For those keeping score at home, the outdoor music venue at 19100 Ridgeland Ave. in southwest suburban Tinley Park opened in 1990 as the World Music Theatre. Then it was the New World Music Theatre, the Tweeter Center and First Midwest Bank Amphitheatre.

With a capacity of up to 28,000, this summer it is currently slated to host Janet Jackson: Together Again (May 27); Shania Twain: Queen of Me Tour (July 1); Foreigner Historic Farewell Tour (July 22); Matchbox Twenty (Aug. 6); Nickelback (Aug. 18); ZZ Top & Lynyrd Skynyrd: The Sharp Dressed Simple Man Tour (Aug. 19); Disturbed: Take Back Your Life Tour (Aug. 30); and Rob Zombie and Alice Cooper: Freaks on Parade (Sept. 1), among others.

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