CONCORD, Calif. — Before Snoop Dogg and Wiz Khalifa returned to the stage at the Toyota Pavilion for an encore on Saturday night, attendees were shown a video skit. In it, the the two rappers were called on at their high school reunion to dispatch a group of bullies who never grew up, after bothering a nerd who, apparently, also never grew beyond his nerdom. And boy do they whoop some bully butt.

The clip quickly went from a 1980s John Hughes film to “Die Hard.” Never mind that Snoop is 16 years Khalifa’s elder—an entire educational circuit ahead. It was a surreal moment for Snoop Dogg, whose live shows have long been over the top. Fans now expect the exotic dancers pole-dancing through the set (yes, they had that). But the show, which included a lineup of legends Too $hort and Warren G, as well as Berner, was also a celebration of West Coast hip-hop—and the Bay Area’s—with surprise appearances by the likes of Oakland’s Mistah F.A.B., San Francisco’s Stunnaman02, Richmond’s soul singer Jane Hancock and others.

In other words, this group of artists that had been playing relatively static sets over the last few weeks (at least) threw the game plan out the window for the occasion. The show was the penultimate night of the tour, which concludes Sunday in Southern California.

Snoop Dogg and Wiz Khalifa were the main draws for the High School Reunion Tour. Snoop had the best production of the night—four-fifths of a convertible hotrod, its headlights shining bright blue, that emerged through a video screen at center stage. It carried Snoop, who was quickly surrounded by two male dancers and two ladies dancing on the poles at both ends of the stage. Yet Snoop Dogg towered over everyone.

The first part of the set moved at lightning speed, with Dr. Dre’s “The Next Episode” running right into Eazy‐E’s “Boyz-n-the-Hood,” Dre’s “Nuthin’ but a ‘G’ Thang” and Snoop’s “Bitch Please.” “Tha Shiznit” got the full-song treatment. Then a couple songs later, Snoop Dogg started inviting guests to the stage, starting with longtime Death Row collaborator The Lady of Rage on “G Funk Intro” (she’d later return to rap “Afro Puffs”), then Warren G for “Ain’t No Fun (If the Homies Can’t Have None),” and Tray Deee and Goldie Loc, of Snoop’s sometimes trio Tha Eastsidaz, for “I Luv It.” They also returned later for “G’d Up.”

Following “Lodi Dodi,” Snoop delivered his weightiest bars of the night on “Murder Was the Case (DeathAfterVisualizingEternity),” before pivoting back to the show’s core themes of lighting up and enjoying life’s sexual pleasures. (Every time any of the performers declared that a song was for the ladies, it was more likely to be for the gentlemen).

He fired off a cash gun during a cover of Akon’s “I Wanna Love You.” Even more female dancers appeared to grind against him for “Beautiful” and “Sexual Eruption.”

Now in a fluffy full-length white coat, Snoop performed his remix of 50 Cent’s “P.I.M.P.,” Mac Dre’s “Fellin’ Myself,” Biggie’s “Hypnotize” and even Katy Perry’s “California Gurls,” which ended with the Beach Boys’ “California Girls.” The most touching moment of the night came during “2 of Amerikaz Most Wanted,” during which videos of Snoop and 2Pac played on the video screen.

He rounded out the main set with the ever-popular “Gin and Juice” before taking a break and returning with Khalifa. During the encore the two took turns rapping each other’s songs like Khalifa’s “We Dem Boyz,” “You and Your Friends” (during which they tossed red roses to the crowd) and “Don’t Text Don’t Call;” and Snoop’s “Who Am I? (What’s My Name?)” and “Drop It Like It’s Hot.”

Wiz Khalifa had his performance, in essence, split into two sections. Preceding Snoop, he made a grand entrance by hopping out of one of two phone booths set up on both sides of the stage to Phil Collins’ “In the Air Tonight” and kicked right into the anthemic “Black and Yellow,” from 2011 debut album Rolling Papers.

Many of his songs had a poppy aesthetic, down to the kaleidoscopic cover of Maroon 5’s “Payphone” and “The Thrill,” which samples Empire of the Sun’s “Walking on a Dream.” Newer song “Peace and Love” sounded like an ’80s pop banger.

He had softer moments as well, such as “You,” while other songs like “Roll Up,” “No Sleep” and set closer “So High” had elements of synth-pop baked in. On the latter song, he blew smoke into the audience with what looked like an oversize gas pump. Khalifa included just one song from his latest EP, “See Ya,” but tossed in covers of Mike WiLL Made It’s “23” and Ty Dolla $ign’s “Or Nah,” the latter while shrouded in red fog.

During “Bake Sale,” just when it crossed my mind that a live band would make the performance even more engaging, a bassist and keytarist emerged from behind the stage to rock out. A couple songs later, Wiz had labelmate Chevy Woods come out to rap on “Taylor Gang” while his crew tossed giant inflatable joints into he crowd. Too $hort also made an appearance, delivering a few bars of “On My Level.”

Too $hort got about as loud a reception as the two men above him in the lineup. The Oakland native came out in a black T-shirt with sparkly stripes, and a matching chain. Over about 30 minutes, he proclaimed his place as the Bay’s first rapper and bragged about his exploits in bed (and the car, and pretty much everywhere else).

Kicking off with the booming bass of “Ain’t Gone Do It,” he kept the pace moving briskly with crowd-pleasers “Shake That Monkey” and “Blow the Whistle.” He had the evening’s hardest-hitting bars with the likes of “Gangsters & Strippers,” and the most lascivious lines on songs like “Freaky Tales” and “I’m a Player.”

Stunnaman02 and Mistah F.A.B. made their appearances during his set; the former doing pushups as another man danced around him.

“Did you all know that Too $hort was the first rapper in the Bay? he said, addressing himself in the third person, before talking about his youth selling cassette tapes in East Oakland. “We don’t just do this for anyone in 2023,” he added, before kicking into 2006 tune “Money Maker.”

He concluded his set with with a shortened a capella version of “Dope Fiend,” inviting fans to sing along.

Warren G breezed through his set, which was highlighted by his biggest solo hit, “Regulate,” as well as fan favorite “Do You See” and covers of Nate Dogg’s “Nobody Does It Better” and Rick James’ “Mary Jane,” during which the crowd sang along without a prompt.

The bass of “What’s Next” made the amphitheater’s roof rumble. He was also joined by his collaborators the Twins, a Long Beach duo, on “Recognize,” and then took a one-song break while they performed one of their own sons, “Round & Round.”

Rapper/cannabis entrepreneur Berner took the stage early in the evening with a smoker-friendly set, mixing music with the promotion of his venture Cookies, throwing product and accessories to fans and making them promise to share it around.

“Who wants to smoke some of my shit?” he asked early on, before adding, “Can you believe we built Cookies right here in the Bay Area?”

If his hip-hop was comparable to cannabis, it would for sure be one of the mellower strains. That’s the vibe it gave off on songs like “Best Thang Smokin,” “Top Down,” “20 Joints” and “Wax Room,” which was tinged with nostalgic piano key strikes. “Pass Me the Green” had an edgier beat, but the vocals stayed airy.

Long-time hip-hop DJ and record producer DJ Drama (Tyree Simmons) opened the show and spun classic, primarily West Coast hip-hop in between sets, throwing out T-shirts and cigarette lighters.

Follow editor Roman Gokhman at Twitter.com/RomiTheWriter. Follow photographer David Jones at Instagram.com/takenbydavidelijah.