There is something absolutely special about seeing a performer at their absolute peak in every way - commercially, culturally, critically and musically - performing in front of you. No matter how vapid the genre they entail may be, they can breathe new life into everything they do.

Kanye’s three-act touring opera, based solely around traditional theatrics, ancient mythology, ballet and him, almost seems like the rebellious reclaiming of the Great Showman tropes from all those who dared use it against him, from fellow rappers to the most vile of all showman, Hitler. Here, the exact person the Aryans 70 years ago would have torn down is placed on a raised pedestal in front of the adoring crowd, to a fanfare so well staged you wonder if everyone involved was born to do it. He believes he is a God amongst men, and part of the reason we follow him is because he’s willing to take down everyone else, good and bad, who made that same promise.

Detractors say that Kanye is self-indulgent, self-important, arrogant and out-of-touch. They forget that those are the exact reasons he fits the mould of greatest living performer: he is so outside of the realms of irony, self-deprecation, and even reality at times that everything is played straight-laced. 10-minute autotune solos are given the same level of importance as crowdbaiting singalongs. He creates a suspension of disbelief few other musicians can around his performance, one that fits every facet of his life to a T and carried a crowd larger than any other at the festival with him.

One technical problem with the show, however, is that the touring DJ is no A-Trak - he is jumpy, forgetful and disobedient. But the subtle arguing between West and his DJ only furthers the complex narrative that is The Kanye Story: A Man’s Journey.

But the above isn’t the main reason why we see Kanye above all else. Certain musicians will be remembered as existing not for a year or a generation but as the pinpoint of an exact time; the literal checkpoints of culture’s growth via popular music. Whilst his homeland faces some of its most uncertain times in recent memory both socially and economically, West’s belief in himself, in his music and his cultural stance has led to a sense of stability few banks, governments or corporations could have ever predicted. It’s a stability that, while temporary, can drive 30000 young Australians to scream “we want pre-Nup” in unison, despite the real financial woes we live in. It’s a stability we can trust.