Danny Brown @ SWG3 Galvanizers, Glasgow, 28 May

As Danny Brown takes to the stage at SWG3 Galvanizers, clad in a black leather trench coat and sporting a pair of dark 90s shades, you would be forgiven for thinking you had accidentally walked into an open casting call for the next instalment of The Matrix. With his DJ shrouded in smoke on the decks behind him as strobe lights pulse around the claustrophobic venue, the vibe is positively cyberpunk.

It doesn’t take long for the Detroit rapper to remind his audience exactly where they are, however. This is his realm. Brown kicks off his hour-long set with the title track from latest release, Quaranta, and immediately brings the thousand odd in attendance under his thrall. Make no mistake, we are in the presence of an absolute master of the craft.

The songs come fast, with Brown running through his setlist at a relentless pace. The crowd has little chance to come up for air, and on-stage audience interaction is kept to a minimum. The first real stand-out moment of the night comes with Smokin & Drinkin, which sees the masses trading choruses back and forth with the American artist, all the while jumping and shaking the foundations of the building. He almost seems a little impressed with the effort from the Glasgow faithful.

The middle part of the set is dedicated to tracks from the Danny Brown & J-PEG Mafia collaboration, Scaring the Hoes. The intensity ramps up as Brown flies through songs like Garbage Pale Kids and Burflict!, before some light delirium takes hold of the audience with the album’s title track. As the crowd gladly claps along to the beat as the song starts, it is hard to shake the feeling you are in the presence of a truly singular artist. Who else could rap over backing tracks like this?

Brown reserves the crowd pleasers for the final section of the show, with Atrocity Exhibition cuts Really Doe and Ain’t it Funny in particular receiving an absolutely thunderous reception. It is only as the rapper prepares to launch into Grown Up, a track which follows his rise from nothing to the upper echelons of hip-hop, that he lets the Glasgow crowd know just how much he appreciates them. The sentiment is quickly and deeply reciprocated.

A brief encore follows, and in a flash 60 minutes has passed, Brown expresses his gratitude one final time, then walks off the stage. You get the sense the majority in attendance feel like it was money very well spent.