Kenny: Great production without direction

Great show, lots of dancers and a bit confusing concept

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Kenny: Great production without direction

It looked like something big. Something thought. Something with staircase, message and dancers and Orange Scene. But when the confetti had settled, I was left with a feeling of... wait, what exactly was it that I had just seen?

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Disclaimer: Apropos Magazine received access or a review copy. As always, we share our own impressions — unfiltered.

Six stars

First of all: Who is Kenny really? It is not a solo artist, but the duo consisting of Benny Jamz and Gilli — two of the most dominant voices in Danish hip hop right now. They released the concept album KENNY on June 20, 2024, which with its 14 tracks and 38 minutes of intensive rap became a banger on the charts. The title plays both on their names (Kian + Benny) — and on Kenny from South Park, which has also inspired cover-art and streetwear joint ventures.

So expectations were towering — also because the B.O.C. roots (Bombs above center) have generated nostalgic young-star success over the past few years. On stage, it was evident: they had dressed for an Orange Stage party with attitude. They themselves mentioned the Orange Scene several times — and created a 'here we' mindset from the first beat.

The show was packed with features -- as expected from the crew's network. Kesi appeared for “Hagen City”, and Noah Carter came on under “Denim”. It gave the concert small highlights and a sense of B.O.C. nostalgia, but the overall expression also became a little uneven. Who really drew attention? Was it Kenny or the guests you were most excited to see? The whole thing took on the character of a budget friend step — more impressive than surprising.

Scenography and direction were definitely in place. A massive black staircase under the iconic Orange tab, flanked by dancers and a live band that kept the sound tight. Visually, the show was constant: light, ink-shadow, and the graphic idea of the descending staircase was beautifully executed. You could really feel that the ambition wasn't down to save on retouch and drama.

But in the midst of the great stage show, I missed something to hold on to; what was the concert really trying to say? Was it just a party? A message? Something personal? It all seemed a bit disjointed -- like they had a lot of ideas, but not one clear direction. And even the name “KENNY” was never really explained, other than that it was a composite of their own names and perhaps a reference to the figure from South Park.

Still: visuals worked -- especially The Cartman Segment. A sharp, surreal pause in the middle of the show, with the universe suddenly cutting through and giving the party edge. It was the moment when one doubted whether the show was about the crew or the concept, and where balance was refound.

Soundwise it was solid — the band kept flowing, the drums were punchy, and the sound curve hit punch‑wise, as you'd expect on the Orange Scene. But again: energy is one thing, narrative is another. The audience jumped -- and wanted to jump -- but they never got a narrative to jump to.

The audience reaction was... ambivalent. There was singing along, but the party was tense. There was no upswing like a clear, nostalgic classic or an ultimate breakout moment. There was only good energy, and the way the sound tore through muddied a bit along with choreography and features without narrative composing.

After the show, people weren't spiceət, but they weren't flopəpet either. They went home with respect -- but lacked anything to reflect on. There were selfies and content—value, but not a reverberation.

Reflection:

Kenny proved they can deliver a professional, accomplished visual and aural show. But that's not enough on the Orange Stage. Instead of being left with the feeling of a clear narrative of whomever Kenny is, and why album and duo emerged, we got a nice picture show with no soul or statement. They had the stairs, the dancers, the light show -- but lacked the core narrative.

The show did it, but it never became lived. In retreating, one asks: Why does this show exist? They had stories, but served them up fragmentary. And in the end, it left a strange aftertaste: the respect was there, but the feeling had gone.

Peter Milo

Editor

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