Shooting Soulja Boy’s recent concert at Trees in Deep Ellum was an experience that stood out for its energy, local talent, and the unexpected vibe that stayed throughout the night.
Trees is a well-known venue in the heart of Deep Ellum, recognized for hosting an eclectic mix of artists, from mainstream headliners to up-and-coming local talent. The intimate setting brings a certain charm, but this particular night felt different. It was clear from the moment I arrived that the local Dallas scene would be a major player in the evening’s event.
By the time I arrived around 7:00, the crowd was sparse—just about two dozen people scattered throughout the venue. It was a late-night crowd, and it wasn’t until much later that Trees started to fill. The first opener for the night, Perk Baby, brought an engaging energy, though it seemed more like a preview of what was to come rather than a fully fleshed-out performance. What struck me the most was the string of acts that followed.
The second opener, DQ Hampton, who came from Waco, Texas, and called himself a "country boy." His style added a unique flavor to the evening, even if it contrasted heavily with the overarching theme of rap and hip-hop. As the acts rolled on, the stage felt increasingly chaotic—there was an endless number of local artists, some of them almost indistinguishable from one another.
The third act, Above Ground Kollection, slowed things down with a vibe that was distinctly more laid-back. It wasn’t long before one of the performers handed the mic to a female artist named 2SweetZ.
Pretty Boy Dee came on next, and by this time, there were at least 11 people on stage. I couldn’t help but laugh at the sheer number of performers that packed themselves onto the small platform. It felt like a mini-party on stage, the kind you’d expect from a backyard barbecue rather than a professional show. But that was part of the charm—there was an authenticity to the haphazard performance style, one that you wouldn’t find in a more polished setting.
Boogie Man, a prominent figure in the pre-show, had a natural charisma that carried him through the night. His stage presence made him stand out, even among the ever-changing roster of performers. At one point, there were 13 people dancing on stage, a chaotic but entertaining attempt to get the crowd hyped before the main event.
By 8:39, there was still no sign of Soulja Boy, and the crowd’s restlessness was palpable. Openers continued to roll in with little introduction or fanfare, many of them repping local entertainment brands. The ongoing slew of performances felt almost like a concert within a concert—a showcase for Dallas’ underground scene.
The host, Big Keef, who went through at least four outfit changes, seemed to be doing his best to keep the energy up, but by 9 PM, it was clear that the crowd was growing tired. DJ Playboy came on at 9:50 with yet another opener, Albooby, whose autotuned vocals echoed across the venue. At one point, there were at least 40 people on stage. While the earlier hours had a high-energy, engaging atmosphere, the endless stream of openers between 9 and 11 PM began to wear on the audience. People were starting to sit down, some even falling asleep.
At long last, Soulja Boy made his entrance around 11 PM. The crowd, which had been dozing off minutes earlier, suddenly erupted with energy. Trees, now packed to capacity, was alive again. Soulja Boy delivered the high-energy performance that fans had been waiting for, and the atmosphere shifted into overdrive.
Despite the somewhat monotonous lighting—mostly blue and white—the simplicity worked in his favor. It matched his outfit and the general vibe of the night, complementing the music without distracting from it. The local artists who had performed earlier were now on the balcony, watching alongside the crowd they had entertained for hours. It was a fitting transition, as the night moved from a local showcase to the much-anticipated headliner.
Soulja Boy brought a level of charisma that instantly reminded the crowd why they’d waited so long. His performance was tight, energetic, and nostalgic. The audience was packed in, the space electric with excitement. While the openers had filled the night with unpredictability and chaos, Soulja Boy brought a sense of structure, even if just for an hour. His first song was ‘Turn My Swag On,” and everyone was singing at the top of their lungs. Throughout the night, he played his top hits, Pretty Boy Swag, Rick and Morty, and Crank That, which were the crowds favorites. Everyone was singing, dancing, shouting, and recording the entire night.
From the crowded stage packed with local artists to the high-energy finale with Soulja Boy, it was a night of extremes. The evening offered a glimpse into Dallas' underground talent scene and a rare, intimate performance from one of rap’s most iconic figures.
Related Posts
