As the lights dimmed and the performance commenced, a striking Buick Grand National Experimental (also known as Buick GNX) dramatically ascended from beneath the stage. Kendrick, partially obscured by the tinted windows, delivered the opening track “Wacced Out Murals” while seated at the wheel. Just before the performance started, the venue played Anita Baker, aligning with the song’s themes. Upon exiting the car, Kendrick ignited the audience with a passionate rendition of “Squabble Up.” When he reached the lyric, “I feel good, get the f–k out my face,” the crowd erupted, fully engaged and energized.

During the performance of “Euphoria,” Kendrick passionately expressed his grievances against Drake while skillfully maneuvering around a circular catwalk that extended into the audience. His delivery was infused with fervor, yet he maintained a composed demeanor that avoided inciting unnecessary chaos among the crowd. Addressing themes of hatred without succumbing to its toxicity is a delicate balance, and Kendrick’s interpretation of “Euphoria” during the show exemplified his acute awareness of this intricate dynamic.

While Kendrick began the evening behind the wheel of the GNX on an otherwise bare stage, SZA’s entrance was marked by the same GNX draped in lush vines and surrounded by dancers adorned in eclectic outfits, showcasing fluid, balletic movements that contrasted with Kendrick’s dancers, who displayed synchronized and militaristic choreography. With her earthy, natural tones contrasting sharply with Kendrick’s urban aesthetics, SZA instantly brightened the stage—along with Kendrick—during their spirited performance of “30 for 30.”

When good kid, m.A.A.d city was released, Kendrick was already an impressive stage performer, but his visuals have evolved significantly since then. “Reincarnated” stood out particularly, featuring Kendrick rapping under a dim streetlamp, while his dancers artfully moved on a staircase, synchronized with the song’s cascading piano notes. The entire performance was enveloped in a grey hue, reminiscent of a hazy film noir, creating an intimate atmosphere within the vast arena. Additionally, a clever visual moment featured his dancers in color on the screens, while Kendrick’s close-up was presented in black and white, enhancing the emotional depth of the performance.

SZA’s second set was a whimsical and enchanting forest fantasy, where she engaged with a variety of insect-themed dancers. “F2F” allowed her to embrace her rock star dreams, while “Garden (Say It Like Dat)” featured her hitting a powerful vocal note on her back, surrounded by performers dressed as praying mantises on stilts, creating a visually stunning spectacle. In “Kitchen,” she rode a giant ant as if it were a mechanical bull, showcasing her adventurous spirit and creativity. Perhaps her next cinematic venture could be titled Honey, I Shrunk the SZA.

While “Doves In the Wind” was an unexpected joint performance for Lamar and SZA on this tour, it was anticipated that “All the Stars” would feature prominently in the setlist. When it was performed, it became a pivotal moment, enhanced by strategic staging. Positioned on opposite ends of the circular runway, it felt as if they were star-crossed lovers serenading each other. This dramatic effect was intensified when the platforms beneath them began to ascend, elevating them toward the sky, yet separating them physically, adding depth to the performance.

When SZA performed “Kill Bill,” the recurring praying mantis imagery throughout her set became particularly relevant. Even for those unfamiliar with entomology, the symbolism is clear: female praying mantises are known to sometimes consume the male post-mating. As SZA sweetly delivered her hit single about avenging a failed relationship, visuals of a female mantis severing a male’s head played on the screen behind her, creating a powerful and haunting connection to the song’s narrative.

SZA’s insect-themed segment reached a stunning climax during “Saturn,” an innovatively executed performance where she rose into the air on a pair of butterfly wings, while an exceedingly long dress unfolded beneath her, resembling the gooey substance a pupa resides in during transformation. Despite her elevation above the stage, SZA’s powerful and confident vocals remained grounded and authentic, captivating the audience throughout the performance.

Considering that this tour features not just one but three diss tracks aimed at Drake, it’s fascinating that the setlist also includes two collaborations with him, albeit with his verses omitted. Kendrick performed “Poetic Justice,” a track created before their feud, while SZA delivered a lively, twerk-filled rendition of “Rich Baby Daddy,” a song that is primarily recognized as a Drake track. Whether it was a playful jab, a tribute, or an olive branch, the performance of “Rich Baby Daddy” was well-received, generating excitement and intrigue among fans.

By the time SZA reached “BMF,” it was evident that she was delivering an outstanding performance, exuding a carefree, vibrant energy as she and her dancers playfully navigated the stage. Next, SZA transitioned into a portion of “Kiss Me More,” her collaboration with Doja Cat, which included a delightful tribute to Prince: before the song concluded, the unmistakable guitar riff from “Kiss” echoed through the venue, accompanied by a burst of purple light, evoking nostalgia and excitement among the audience.

The decision to split “TV Off” into two parts was a stroke of genius. The GNX highlight appeared early in the lineup, albeit in a truncated version that ended before the much-loved “Mustaaaaard” scream. Audience members expressed slight disappointment at missing this viral moment in real life. However, when Kendrick revisited “TV Off” towards the end of the performance—bringing Mustard on stage for his renowned shout-out—the crowd erupted in excitement, showcasing their deep appreciation for the track.

Opening with the line, “psst, I see dead people,” “Not Like Us” proved to be a vibrant anthem that enlivened the entire audience. While Kendrick’s color scheme during most of the night leaned towards muted greys, he brought the Mustard-produced smash to life with vivid colors, backed by a stunning collage of Black artistry spanning history—from ancient Africa to modern America, featuring everything from pharaohs to Funkadelic. Though the song is fundamentally a diss track, the accompanying visuals transformed it into a celebration of Black excellence rather than merely a critique of a rival.

Following an electrifying night filled with nonstop performances, the powerful finale of “Luther” and “Gloria” served as a heartfelt victory lap for both artists. They took a moment to soak in the crowd’s energy, with Kendrick stating, “This might be one of my favorite songs” before “Gloria,” to which SZA replied, “It makes me wanna cry a tiny bit.” As a fitting conclusion, Kendrick and SZA climbed into the GNX after their final song, with Kendrick graciously holding the door open for her as they descended beneath the stage, closing the show on a high note.