Review: clipping. at The Rechabite

clipping. at The Rechabite
w/ Cooling Prongs
Sunday, June 7, 2026

More than a decade after releasing their breakthrough self-titled album, clipping. finally made their long-awaited Australian debut. The experimental hip-hop trio built their reputation on dystopian storytelling, blending horror, science fiction, and abrasive electronic production with Daveed Diggs’ astonishing vocal delivery. Perth’s Rechabite proved an ideal setting for the occasion, its industrial atmosphere complementing the group’s dark sonic landscape.

Opening the night was Cooling Prongs, the project of field recording artist Christopher Fleeger. Describing the performance was no easy task. Dressed in a sparkling western shirt and sequinned shorts, Fleeger presented a bizarre mix of manipulated recordings, spoken-word passages, and surreal comedy. The set’s most memorable moment involved what appeared to be colonoscopy footage projected on screen while Fleeger discussed healthcare and preventative screenings. Whether genuine or part of an elaborate stage illusion remained unclear, but the audience appeared thoroughly entertained by the sheer absurdity of it all. Musically, it was unconventional, but it succeeded in capturing attention and sparking conversation.

When clipping. finally took the stage, the anticipation in the room was unmistakable. Diggs was joined by producers William Hutson and Jonathan Snipes, alongside special guest Sharon Udoh on keyboards and vocals. Following a brief a cappella introduction, the group launched into Run It, immediately establishing the intensity that would define the next 90 minutes.

Diggs briefly stumbled over his opening verse, joking about the effects of a long flight before quickly finding his footing. From that point onward, his performance was remarkable. At a time when many rappers relied heavily on backing tracks, Diggs delivered clipping.’s dense and demanding lyrics entirely live. The sheer volume of material he navigated throughout the set proved impressive, while his breath control, clarity, and speed consistently drew visible reactions from the crowd.

Much of clipping.’s appeal came from the contrast between Diggs’ precise delivery and the chaos unfolding around him. Hutson and Snipes built tension through layers of noise and industrial textures before unleashing explosive beat switches and frantic rhythms. This dynamic was particularly effective on Change the Channel, which transformed the venue into a dance floor while showcasing the group’s ability to balance accessibility with experimentation.

A change of pace arrived with Say the Name. Although slower and more atmospheric, the song maintained the uneasy tension that ran through much of clipping.’s catalogue. Udoh then provided an unexpected moment of levity by weaving a brief rendition of Destiny’s Child’s Say My Name into the outro, earning laughs and cheers from the audience.

One of the evening’s standout moments arrived during Udoh’s solo performance of Long Way Away from Splendor & Misery. After an extended run of intense, high-energy material, the venue fell silent as she delivered the gospel-inspired ballad with emotional weight. Her contribution throughout the night added warmth and depth to clipping.’s often harsh soundscapes. “Her name is Sharon Udoh. Don’t you fucking forget it.” Diggs shouts as the crowd erupts in applause.

When the rest of the group returned, Daveed briefly veered off to mention that he had attended his first live AFL match the night before (West Coast Eagles vs Port Adelaide). He admitted he was still coming to grips with the rules and joked about some of them being “unenforceable”, including the 15-metre bounce rule. Even so, he clearly enjoyed the experience, saying, “We had a really good time and can’t wait to go back.”

Audience participation remained strong throughout the performance. During Keep Pushing, concertgoers enthusiastically sang along to the chorus, dispelling any concerns about a subdued Perth audience. The response remained energetic across the set, with fans matching the intensity coming from the stage.

The latter half of the performance maintained a relentless pace, moving between favourites such as Shooter and Body & Blood. Hutson and Snipes frequently extended transitions with glitch-heavy electronic interludes, helping sustain momentum between songs. Not every setlist decision proved equally effective, however. All in Your Head, while well executed, briefly disrupted the flow established by the surrounding material.

The encore featured one of the night’s most memorable moments with Work Work. Before performing the song, Diggs thanked Australian audiences for supporting clipping. early in their career, noting that the group had received radio attention in Australia long before finding broader recognition at home. It was a fitting acknowledgement during their long-awaited first Australian tour.

The evening concluded with Enlacing, a haunting closer that encapsulated much of what made clipping. unique. While a handful of sequencing choices occasionally slowed the momentum, those minor issues were easy to overlook in what was otherwise a captivating showcase of the trio’s catalogue.

clipping.’s music rarely offered an optimistic vision of the future, but that tension remained central to its appeal. Even while exploring themes of collapse, violence, and uncertainty, the group somehow made it impossible for audiences to stand still. Daveed’s abilities on the mic were a sight to behold in person, a rare hip-hop artist capable of putting constant shocked expressions on the audience’s faces. Their first Australian performance ultimately proved well worth the wait.

JORDAN SWINDELLS 

Photos by Linda Dunjey