After the death of their “First Friday” events in 2014, the MCA adopted a new style of event called Prime Time which would occur a few times a year and be more expansive and high profile than their monthly events.

In November, the MCA partnered with Pitchfork to put on Prime Time: Ascend, which featured local Chicago artists Jamila Woods (pronounced Juh-MEE-Luh as she’s wont to tell you, it’s also the first thing you see when you open her website) and Noname. Both have made a name for themselves in the Chicago hip-hop scene on the coattails of Chance the Rapper, but do not let that make you believe they do not deserve the same prominence. Both are not only enormously talented, but both are closely linked through the Chicago slam poetry competition Louder Than a Bomb.

Woods, a poet herself, is the Associate Artistic Director of the Young Chicago Authors, a non-profit that produces LTAB which often draws contestants from the YOUmedia project, which sparked the career of a young Chance the Rapper. Noname got her start in the Chicago poetry scene with YOUmedia and by competing in Louder than a Bomb in which she took home 3rd place out of more than 70 teams.

The night itself was a celebration both of the duo of Chicago women as well as “growth, renewal, ritual, and harmony.” The night showcased the best of Chicago talent to a diverse crowd who, during the intermissions, had the opportunity to explore the exhibits and sample essential oils from local herbalist shop Asrai Gardens.

The whole evening mixed spectacle, performance, and performance art in a way that few other venues would be able. Besides the pop-up exhibits, attendees were also able to take a peek at the current exhibitions like Camille Henrot’s Grosse Fatigue (my favorite exhibit currently at the MCA), and Diana Thater’s The Sympathetic Imagination, all while smelling like tea tree oil and lemongrass. It was truly a joyful event and you could see it on the faces of the audience, which grew even more joyous as Jamila Woods floated on stage.

Woods asked if anyone had heard her new LP which is currently streaming on SoundCloud and a thunderous crowd verified. She then began her set, which consisted of a melancholy painting of the present and a hopeful view of the future. This is most present in her song “VRY BLK” which is structured like the nursury rhyme Ms. Mary Mack and contrasts joyful black culture with the violence of police brutality. She then transitioned to a song entitled LSD (Lake Shore Drive), an ode to Chicago which featured wonderful harmonies with her backup singers, crooning the hook, “You better love me like I love the lake.” It also has my favorite Chance the Rapper verse of 2016 and I was a little disappointed that he was not present to perform, but this was Jamila’s night after all.

Jamila delivered an almost perfect set, it was too short. Granted she was an opener, but the last time I saw her perform she delivered 9 or so songs and this time it was only 6. Not exactly harsh criticism, but she is the best of the almost wholly phenomenal emerging generation of Chicago soul and hip-hop.

When Woods finished her set, the audience was free once more to peruse the museum or refresh with their excellent, if overpriced, food and drink offerings. We strolled through The Sympathetic Imagination before returning to the 1st floor lobby for Noname’s set.

Noname’s first mixtape, which came out this summer, was a more somber affair. While tackling many of the same subjects as Woods, Noname did so with her characteristic monotone. The beauty of the record comes from the pairing of her melancholy vocals with jazzy production featuring soulful backup vocals, spritey percussion, and warm piano and guitar contrasting the dark subject matter.

In Casket Pretty, Noname discusses the fear of dying at the hands of the police to a piano and guitar lullaby. The whole crowd was quiet after the line, “I am afraid of the dark, blue and the white//Badges and pistols rejoice in the night//And we watch the news and we see him die tonight…” her lyrics cut deep in a crowd whose city has been one of the absolute worst affected by excessive police force.

Noname also knew when to add energy to a set that could seem overladen with melancholy. She performed her verse from Lost, the song off Chance the Rapper’s breakout mixtape Acid Rap that was in turn Noname’s break into the mainstream. She also covered fellow conscious Chicago rapper Mick Jenkins’ track Comfortable, rapping both her and Mick’s verses to uproarious applause.

The MCA put on a show that could brought together one of the more diverse crowds I’ve seen at a hip hop show in Chicago and one of the most bizarre and vibrant performance spaces imaginable. It felt like an indoor festival that just happened to be surrounded by incredible pieces of contemporary art. There are too few of these a year.