By Cameron Lee
September 26, 2025
Lil Wayne performed “Mr. Carter,” the track from the third installment of Tha Carter series early in his set. The chorus — “Hey, Mr. Carter, tell me where have you been?” — captured the anticipation of thousands waiting for the show that started at 10:59 p.m. on Thursday night at PNC Music Pavilion.
The tour stop was meant to celebrate Tha Carter and its six albums — the latest, Tha Carter VI, having received harsh reviews from critics. Still, the show aimed to honor Wayne’s lasting influence across hip-hop. Releasing the first in Tha Carter album series in 2004 at just 21, Wayne was shedding his gritty teen rap persona from his days as a Hot Boy under Cash Money Records. That album marked the start of his commercial rise to becoming one of hip-hop’s most influential artists. With Tha Carter, he established a voice that would carry him for decades.
DJ T. Lew kicked things off with a lively mix to warm up the crowd, spinning hits both past and present, including Sheck Wes’s “Mo Bamba,” Juvenile’s “Back That Azz Up,” Bell Biv DeVoe’s “Poison,” and Sexyy Red’s “Get It Sexyy.”
Tyga hit the stage shortly after 9 p.m., delivering a medley that blended West Coast vibes with his chart-topping hits. His set included “Still Be Friends,” the summer anthem “Swish,” the Doja Cat remix of “Juicy,” his Nicki Minaj collaboration “Dip,” and tracks from his 2015 joint album with Chris Brown, Fan of a Fan. Initially met with mild applause, the crowd quickly warmed up as Tyga showcased his command of the stage — no backing track required. His flow was consistent, and fans eagerly sang along to “Rack City” and “Ayo.” Closing with “Taste” at 9:40 p.m., Tyga effectively set the tone, though the late start was already beginning to test the audience’s patience.
By 10:15 p.m., the delay had become far more noticeable. The absence of a DJ and only faint background music created an awkward lull, while LED screens flashed advertisements and PNC Music Pavilion pushed its overpriced $19 beers. The crowd — never at capacity, perhaps due to Wayne’s earlier Charlotte appearances on the Lil Weezyana Tour and at Dreamville Festival — grew restless. Murmurs, boos, and waves of impatience rippled through the audience as 10:50 p.m. approached.
When Wayne finally emerged at 10:59 p.m., the energy in the crowd shifted instantly. Sporting dark Balenciaga shades, a guitar slung across his body, and a blunt in hand, he greeted the audience with his first words: “You look fucking amazing, make some noise.” Flames erupted from the stage as Matthew Mayberry (Yayo the Drummer, OneManBand) drove the percussion, while DJ T. Lew commanded a two-story LED setup.
Wayne immediately showcased some versatility, playing guitar on tracks like “Got Money” and the Drake collaboration “I’m Goin’ In.” Performing “Mr. Carter” early in the set, the crowd clapped along in unison, offering the first true sense of an anniversary celebration. He repeatedly thanked the fans, delivering his familiar line, “I ain’t shit without you,” before removing his sunglasses for the first time to make direct, bloodshot eye contact with the crowd. He also extended his gratitude to the production crew and staff.
The set flowed seamlessly across albums — from Tha Carter V’s “Uproar” to 2004’s “Go DJ,” produced by the legendary Mannie Fresh. Wayne navigated his catalog efficiently, making up for the late start without ever feeling rushed. What may have frustrated fans even more than the delay was the amount of stage time he gave his Young Money artists. He brought out Jay Jones (featured on Tha Carter VI song “Hip-Hop”), Lucifena, whose screamo-metal track “Tyrant” jolted the crowd with its unexpected intensity, Allan Cubas, the bilingual Honduran rapper, and Domiio, whose freestyle impressed but may have tested the audience’s patience even more.
Wayne then dove into his Drake collaborations and fan favorites, performing “Love Me” and “She Will,” further showcasing the depth of his massive catalog. As midnight approached, the energy began to wane.
The show closed with a string of hits — “Lollipop,” “Bedrock,” and “Steady Mobbin’” from the 2009 compilation We Are Young Money. Wayne took his final bow with “A Milli” at 12:30 a.m. — a slightly anticlimactic ending to a long night.
While the late start dampened the full celebratory spirit for some, longtime fans experienced Wayne at his best, commanding the stage with excellent sound production and performing his biggest hits. For those frustrated by the delay, it served as a reminder of his unpredictability.
Yet his legacy still looms large, representing an era-defining dominance in hip-hop. From debuting at 17 with Tha Block Is Hot to releasing his sixteenth album at 42, maintaining relevance for 25 years is nearly unparalleled in the genre. An artist whose influence, work ethic, and enduring presence continue to shape hip-hop, Wayne may be unpredictable, but he still gives his all to the music — and for the many that waited patiently, it was worth it.
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