I’ve been a Public Enemy fan ever since watching Rosie Perez dance to ‘Fight The Power’ though Spike Lee’s opening credits to Do The Right Thing way back in 1989, but it wasn’t until last night - September 14, 2010 – that I saw them in the flesh. Wanting to be completely honest, let me say that back in 1989 I was afraid of what might happen at a black hip-hop concert like others were afraid of the hardcore punk concerts I went to all the time without a second thought. The Dead Kennedys, Bad Brains, Hüsker Dü: I saw them all. Stood in their mosh pits. I knew that as long as I kept my eyes open for the skinhead in the crowd looking for a good fight and not good music, I’d be alright. I should’ve known that all I had to do was apply this logic to a Public Enemy show.

Still, it wasn’t fear of a black concert that kept me away for over twenty years. My interest in Public Enemy waned with Fear Of A Black Planet, their1990 release. It had its moments - it even had ‘Fight The Power’ – but hadn’t lived up to the moment. I wasn’t the only one. Me and my friends expected from Public Enemy what The Beatles and The Clash had given us back in the day: the defining music of the era. Instead it was just deafening and a big disappointment. I remember having conversations over it. Maybe it was the 20 tracks, maybe it was too ambitious, maybe it was the expectations, but by time Apocalypse 91…The Enemy Strikes Black was issued my interest in Public Enemy was gone.

But I read Christopher R. Weingarten’s recent book on It Takes A Nation Of Millions To Hold Us Back – the 1988 album that made Public Enemy white America’s public enemy - and enjoyed it so much that when I found out they were coming to Atlanta and playing Center Stage – one of my favorite clubs – I decided it was high time to see one of the greatest bands of my time.

The seat numbers at Center Stage were confusing and there were no ushers to be found so I settled in Section G, Row G, Seat 5 because my ticket said G5. I looked around unsure if I was taking the right seat. It didn’t look like it would matter. The place wasn’t sold out. I felt embarrassed by Atlanta my adopted hometown once again. It’s one thing to not sell out Turner even if the Braves are in a pennant race – Marta doesn’t stop at Turner Field and the traffic jams aren’t worth the trouble – but this was Public Enemy in what is known as a hip-hop capital. Even the emcee took note: “Everybody come down to the floor. We’re gonna make this an intimate night. Even you in the wheelchair. We’re gonna put you on the side of the stage.”

A few minutes later, a few minutes after ten, Public Enemy took the stage. There was DJ Lord on the turntables, The BaNNed: their three piece live band, two dancers dressed in military fatigues making military moves, Professor Griff, and then Chuck D. in his ubiquitous Pittsburgh Pirates baseball cap. They started rapping what sounded like ‘Brothers Gonna Work It Out’ and I was worried the whole night was gonna be like me driving around Atlanta: I know the streets but I don’t know the names. I know Public Enemy’s songs but I wasn’t sure if I knew the titles. Flavor Flav came out. He’s the Keith Richards of the group: you can’t take your eyes offa him. He was wearing a bright red baseball cap, matching shorts, a Flavor Flav Public Enemy t-shirt, white sneakers. ‘Brothers Gonna Work It Out’ came to its end and Chuck D. saidthat Public Enemy’s celebrating the 20th Anniversary of Fear Of A Black Planet and the set’s going to reflect that. “This is great for my review,” I thought as I’d already planned out my intro, “but can it be 20 years already?”

Chuck D. introduced everybody on the stage and then Flavor Flav took over: talking about Flavor of Love – his VH1 television series - and thanking everybody and talking to a relative to the left of the stage – I think – from New Orleans. “Wanna see them go crazy?” he says to her. “Want to see this?” Turning to the audience: “You better go fuckin’ crazy!” He pulls out his infamous big clock necklace from under his t-shirt. The place went fuckin’ crazy! Even I hooted and hollered as the band went into some “Go Flava” number/rap that I didn’t know/recognize.

Next up was a favorite: ‘Welcome To The Terrordome’. But what was great about it is it wasn’t just a carbon copy – showing my age there – of the cut: they were jammin’ on it. The BaNNed was clicking and Chuck D, and Flavor Flav let the drummer “New York” Faulkner get wicked just like it says in the lyrics. Turns out I was able to recognize most the songs by name: ‘Fear Of A Black Planet’, ‘Bring The Noise’, ‘Don’t Believe The Hype’. I know this sounds like it’s shaping up as an oldies show but it wasn’t that. These songs were still relevant, throbbing, ALIVE! It was like seeing The Rolling Stones. When you see The Stones you don’t feel like you’re at an oldies concert or seeing a band that’s playing just to pay the bills or child support like you do with The Beach Boys or The Eagles. With bands like Public Enemy when they play their old songs, they use them as a starting point for the new exploration.

Flavor Flav noted the passing of Mr. Magic, a deejay “on a radio station in New York, WBLS” who was the first deejay to play ‘Public Enemy No. 1’ from Yo! Bum Rush The Show, Public Enemy’s first album, “and he was dissing the song.” But as Weingarten writes in his recommended book: “Flavor Flav had been primed to hear his song on the radio with his tape recorder at the ready. He ended up capturing the rant, and P.E. would immortalize Magic’s ill communications on the opening of Nations of Millions track ‘Cold Lampin’ with Flavor’, which, after saying “God bless you Mister Magic but you shouldn’t have dissed me!”, the band played and tore the house down.

Chuck D. praised their former DJ Terminator X and said that for the first time in 23 years they were playing ‘Terminator X To The Edge Of Panic’, which was followed by Flavor Flav doing ‘Public Enemy No. 1’. I couldn’t hear what Mr. Magic didn’t like about it. I thought it was one of the best numbers of the night, but, then again, there wasn’t a moment when the show flagged. Even the new number ‘Say It Like It Really Is’ (available for free download at www.publicenemy.com) was good.

‘Contract On The World Contract Jam’ gave way to some spotlight for The BaNNed’s guitarist Khari Wynn who showed us some Hendrix stage tricks such as playing the guitar with his teeth and behind his back. I was hoping Public Enemy would do ‘The Long And Whining Road’ with its Hendrix sample to acknowledge the upcoming 40th anniversary of Jimi’s death but it never came. They played something I didn’t recognize – it might’ve been ‘Power To The People’ - and their current turntable master DJ Lord soloed and brought the house down again and then everyone vacated the stage to let Chuck D. rap to Flavor Flav behind the drum kit: another highpoint showcasing just how good a rapper Chuck D. was, wordsmithing potently to just a percussion accompaniment. Kurtis Blow’s deejay Davy Dee made a guest appearance on bass as Public Enemy played his early hip-hop instrumental ‘One For The Trouble’. I wondered if he was at those three Pier 84 concerts where I saw Kurtis Blow open for The Clash: Labor Day Weekend 1982. He probably was. Chuck D. and Flavor Flav ad-libbed over the former instrumental, which was one of strengths of this Public Enemy performance. It all felt organic, of the moment, not staged.

Chuck D. declared “There’s a curfew in this building.” as it neared the midnight hour. I took this to mean there would be no encore as the hits came fast and furious: ‘Can’t Truss It’, ‘Rebel Without A Pause’, the sadly relevant again ‘By The Time I Get To Arizona’. There really was so much to watch: Chuck D. resting his foot on his boom-box and rapping, Professor Griff doing one-armed push-ups, Flavor Flav matching the dancers military step for military step. Public Enemy really know how to put on a show and it ended where it all began for me: ‘Fight The Power’.

As I filed out, Flavor Flav was still on the stage thanking everybody. I could see him on the television screens in the Center Stage bar area. I felt like I had been at an event, a feeling lacking all too often at concerts nowadays. All I know is next time Public Enemy’s in town, I’m not sitting in the seats taking notes for a review. I’m getting intimate down on the floor with PE! Y’now what I’m sayin’?