DJ Square Biz made sure Southern hits poured through Ford Amphitheater at Coney Island more profusely than the boardwalk’s humidity. The no-frills Grits & Biscuits (G&B) party-goers came from all over New York and beyond to watch dirty south hip-hop icons including Jeezy, Bun B, Trick Daddy, and Juvenile do damage.

The G&B founding trio, E.Z.Mo Breezy, equipped the bouncing mosh pit below the center stage, and the rest was videophone mayhem. Take a look at some of the highlights from the jam-packed concert below.

Juvenile Turns It Up “400 Degreez” in the Already Sweltering Summer Heat

Grinning New Orleans rapper Juvenile beamed a grill brighter than the golden lettering on his black T-shirt, which read, “Hustle God.” With a thick southern drawl, he pummeled the “400 Degreez” beat, as enthusiasts rushed security guards at the performance gate. Already fervent, Juvenile’s follow-up track “Set It Off” did just that at G&B. He commanded the mass by yelling, “Wodie, keep the party going in this motherf—er.” The crowd obliged, wobbling and rapping along to his verses on “I Need A Hot Girl” and “Still Fly.”

Well-known for his outlandish showmanship, Juvenile continued on and asked the audience, “Where all my STD-free people at?” A sea of hands appeared, and laughter roared throughout the Ford Amphitheater. He ran through fan favorites “Project Bitch,” “Slow Motion” and “Back That Ass Up.” As women unwrapped their hands from around their kneecaps, the rapper concluded his performance with some inspiring words: “anything is possible.”

DJ Square Biz Disputed Spectators’ Derrières

The stage cleared and twerking commenced once the go-go rhythm dropped on E.U.’s “Da’ Butt.” DJ Square Biz announced, “I feel like some of ya’ll lie about your booty category.” Still, #LittleBootiesMatter is a trending topic, so the party thrived on. His vinyl wizardry transitioned through a mixed bag of anthems, including, “Fight Night,” “F–k Them Other N—-s” and the mob waving song, “Swag Surfin,’” prior to arguably the greatest highlight of the night.

Jeezy’s Snowman Swagger Triggered Hysteria

Sporting an impeccably folded Alexander McQueen skull-patterned scarf, Jeezy hurdled from backstage, making heads spin during his starter, “Lose My Mind.” The G&B energy peaked during the rappers’ hour-long spectacle. Smashes “SupaFreak,” “All There,” “Who Dat” and “Geeked Up,” boasted his champion-like flounce over hardcore bars. He maintained control of the pack below him — when Jeezy signaled, attendees jumped. His verse on “Dey Know” had the crowd running in place, similarly to the late MC, Shawty Lo. “If you from the dirty, dirty, make some noise,” yelled his hype man, DJ Ace, from behind his turntables.

Jeezy rolled through an interminable catalog comprised with his verse on YG’s “My N—a” and his records “Bottom of the Map,” “Bang,” “R.I.P.” and “I Love It.” Supporters were left delirious by the time he started rapping a cappella, but he continued flowing, as the mosh pit reached a raging capacity. “New York City, I don’t give a f–k where you’re from, I need ya’ll to do one thing … that’s put on for the Snowman,” yelled DJ Ace. Jeezy jigged in the spotlight when “Put On” blared, but he didn’t close there. Fanatics recited his ambitions line-for-line on “Go Getta.” “This is my last song. I gotta go all out,” shouted Jeezy. His most passionate performance was  “Soul Survivor,” a song embodying all he represents: resilience and determination.

Throwback Classics and Current Hits Collide

G&B doesn’t take breaks. Once Jeezy wrapped up, DJ Square Biz mashed the sounds of different eras. “Shout out to everyone that brought their boo to the party. You f—–d up,” he snickered. Tracks such as Luke’s “I Wanna Rock,” 2 Live Crew’s “Hoochie Mama,” and 69 Boyz’s “Tootsee Roll” created a pleasurable atmosphere — while radio hits, including, Migos’ “T-Shirt” and Drake’s “Fake Love” spun everyone toward the final act.

Bun B Puts on for Texas and Pimp C

Racing from an assembly of press backstage, the B&G headliner Bun B emerged from behind the curtains and was welcomed by sweaty invigorated fans. The surviving member of the legendary duo UGK donned a Rap-A-Lot Records vest, and kicked off his set with “Draped Up.” Spectators began screaming, “know what I’m talking ‘bout,” offering him lyrical backing. During his potent delivery of “Give Me That,” music industry collaborators flooded the wings of the stage, each hoping to get a better view of the main event.

Still, the hard-hitting beat of “Big Pimpin’” sent the night over the edge. Die-hard UGK fans became spastic when he paid homage to Pimp C by rapping his verse impeccably. With over two decades under his belt, Bun B maintained the smooth Texas strut and southern twang on “Country Shit.” And he went out like a veteran. Smoke machines burst for his rousing close “Int’l Players Anthem.” G&B gave Bun B major ovations as he thanked the crowd and vanished in a flash.

The Bash Doesn’t Stop

“If you’re on stage. I need you to participate in this spiritual,” yelled the E.Z.Mo Breezy crew. Crime Mob’s “Knuck If You Buck” began booming through the speakers immediately. And just like that, everyone continued hopping. Celebrators held a banner reading, “ G&B Est. 2010,” as a slew of trap songs continued.

Next DJ Square Biz announced, “We’re about to take you to an old-school BBQ, where your aunties were playing domino and spades.” Cameo’s “Candy” was the signal to create an “Electric Slide” on stage. Each row continued into Luther Vandross’ “Never Too Much,” seamlessly. The Ford Amphitheater showcased their best Kid N Play dance moves to Bell Biv DeVoe’s “Poison,” and Grits and Biscuits persisted like the perfect party that was never going to end.

By Bianca Alysse for 

Photo: Thaddaeus McAdams/WireImage

(Jeezy performs at Festival Pier at Penn’s Landing on June 3, 2017 in Philadelphia.)





About The Author

Bianca Alysse is a creatively driven Bronx-born writer and editor. Before becoming The Knockturnal‘s music editor she served as Latina‘s creative coordinator and was a contributor at Billboard. The Boricua scribe has a lengthy resume in the music industry and has penned for Universal Music Publishing Group, Epic Records, G.O.O.D. Music, Compound Entertainment, Artistry & Récords, and Arcade Creative Group. Her work has been seen on platforms like VIBE, mitú, TIDAL, Remezcla, and behind the scenes at New York Fashion Week. As an independent contractor, she has written for Sony Music Entertainment’s global business affairs department, Warner Music Group, and currently Roc Nation.

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