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It was a packed night at the James L. Knight Center as Rick Ross made his homecoming return for the first show of his Port of Miami 20th anniversary tour, backed by the Renaissance Orchestra and the Sainted Trap Choir.
The show was already expected to be a unique display of Ross’ elegance, bravado, and larger-than-life persona. But once inside, it became clear that this was beyond a nostalgia run. It was a full celebration of two decades of Port of Miami, two decades of Rick Ross, and two decades of Miami hip-hop history.
Ross has always been known as a lavish, slick, legendary figure, but the second the opening notes of “You Know I Got It” hit, the tone was set. The show was structured into three acts, each one highlighting a different side of his catalog and legacy.
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Act One leaned into the classics and fan favorites. Ross moved through tracks like the aforementioned Jay Z collab “FuckWithMeYouKnowIGotIt,” “I’m Not a Star,” “I’m On One,” and his freestyle over “Hard in da Paint” before arriving at the song that started it all: “Hustlin’.” That moment made the night’s purpose crystal clear: this was a victory lap for an artist who has spent 20 years building himself into one of rap’s most recognizable bosses.
After “Hustlin’,” the Sainted Trap Choir carried the show into an interlude, performing a medley of songs from artists like Young Dolph and Pop Smoke. The interludes throughout the night occasionally felt a little stretched out, but they still added something distinct to the production and helped give the show its own identity.
Act Two went straight into the bangers. “Aston Martin Music” became a sing-along moment, with Ross letting the crowd take over Drake’s verse and the chorus. From there, he moved into “Diced Pineapples,” “B.M.F.,” and “MC Hammer,” delivering the kind of hard-hitting records that reminded everyone why his catalog still rings off.
One of the night’s most touching moments came during “Here I Am,” as Ross performed in front of a slideshow honoring people he and the crowd had lost. It gave the show a sense of reflection and emotional weight, briefly pulling the night away from celebration and into remembrance.
Then came “Devil in a New Dress,” which may have been the moment when the orchestra was felt most powerfully. The song already carries an orchestral, cinematic quality, but hearing it live with the Renaissance Orchestra elevated it into something even grander. It was one of the night’s most impressive musical moments.
Act Two closed with “Rich Forever,” before the Renaissance Orchestra took over for its own interlude. With Ross stepping away for a quick break, the orchestra moved through the crowd, trombones and all, playing songs like “Pony.” It was a fun attempt to connect with the audience and keep the energy alive between acts.
Then Act Three arrived, and the night fully turned into a Florida celebration.
The second DJ Nasty took over the decks and “Imma Boss” started playing, the energy shifted, bringing some hype back to the crowd as we reminisced to those MMG days. Soon after, “All I Do Is Win” hit again, this time with DJ Khaled making an appearance. That led into more Miami and Southern rap classics, including “I’m So Hood,” which became another major moment for the crowd.
But Khaled was only the beginning. Uncle Luke came out after Ross performed his verse from “Pop That,” and the appearance felt like a true Miami hip-hop history lesson. Seeing one of the city’s original rap icons take the stage, perform classics, and show love to Ross was a spectacle in itself.
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Trina also made a quick appearance, performing a few tracks and sharing a moment of mutual respect with Ross. She gave him his flowers for 20 years in the game, while Ross praised her as one of the greatest women rappers ever.
The night also made space for newer Miami voices. Nino Breeze, from Ross’ MMG circle, came out to perform new tracks and represent a newer era of hip-hop. Ball Greezy followed with songs for fans of a more recent generation of Miami rap. Everyone who touched the stage made sure to show love to Ross, honoring him as one of the city’s biggest figures.
Ross then went on to give us a preview of his next album Set in Stone, by playing his new track “Minks in Miami” for the first time, showing us what the future of his sound is going to be.
The night closed with “Stay Schemin,” one of Ross’ signature records and a fitting walk-off moment. With its French Montana and Drake features still etched into rap history, it served as the perfect ending to a show that celebrated not just Ross’ hits, but his impact.
Rick Ross’ homecoming show was a reminder of how much he has grown as both an artist and a cultural figure. He remains as lavish and extravagant as ever, but the Renaissance Orchestra helped make the performance bigger, more cinematic, and more meaningful than expected.
During a press conference after the show, Ross spoke about wanting to work with an all-Black orchestra and choir because the idea inspired him. He also noted that he chose to work with a smaller tour promoter because he wanted to support a Black-owned business. That sense of giving back has always been part of Ross’ identity. He has consistently invested in the culture that shaped him.
When we at the New Times asked whether he sees his legacy as bigger in music or business, Ross made it clear that he will always be an artist first. Without the artist, there would be no businessman, no mogul, and no Miami icon.
And on this night, it was the artist who stood at the center of it all. Backed by an orchestra, surrounded by Miami legends, and performing a catalog that has defined two decades of rap, Rick Ross delivered a show that would have blown away any hardcore fan of his music. More importantly, it would have meant just as much to anyone who loves Miami and hip-hop culture.
