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Post by JenkseyArt on Jan 28, 2011 12:37:48 GMT -5
Call Her "Ms. Hill"
In addition to starting shows late, seeming disconnected from the audience, and eccentric outfits, Lauryn Hill pulled a "Diana Ross" move in Sundance demanding that everyone address her as "Ms. Hill."
L-Boogie's management warned staffers at Harry O's in Park City, Utah, that she was only to be addressed as "Ms. Hill" during her Wednesday night performance.
"Everyone sort of rolled their eyes and chuckled but promised to oblige," said a source.
Once she hit the stage, she played for two hours with an 11-piece band. And fans got their monies worth good because Harry O's Konstantine Deslis said, "She put on the best show I've seen in six years."
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chiguy2006
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Post by chiguy2006 on Feb 5, 2011 16:04:13 GMT -5
Here'a a press review and some pics from Lauryn's show last night in Montclair, NJ (the last show of the initially planned 17-date tour). Also, see below for additional dates that were recently added: The Ms. Lauryn Hill Experience South Orange star plays to a sold-out crowd at the Wellmont. By Bob Krasnermontclair.patch.com/articles/the-ms-lauryn-hill-experiencePart of the Lauryn Hill experience is waiting. Waiting for Ms. Hill is a little like waiting for Godot, although your companions are better dressed, there's some good music playing, and you can get a beer if you want to. And eventually, she does show up. The doors opened at 7 and DJ Rich Medina started spinning tunes at 9. Warm 70's grooves gave way to remakes of warm 70's grooves and then some disco and hip-hop. The DJ started to pack up around 9:45, lights started flashing and the crowd started to cheer. Then he went back to playing tunes. Finally, at 10, he gave up the spotlight to........another DJ. Lauryn Hill's man, DJ Rampage, played some harder beats, shouted out to "New Jersey," and got the fans to wave their hands. The atmosphere brightened as the air became......aromatic. Around 11:30, a group of a dozen or so young kids gathered behind the amps and had their own little dance party. Then, the arrival of midnight was followed by the arrival of some band members. By 12:15 the band was jamming with the DJ and the sold-out house was more than ready. Ms. Hill finally arrives to a roar of approval and tells the crowd how happy she is to be performing in her "backyard". She shouts out to Montclair, Maplewood, and South Orange, where she grew up and now resides. Then she tears into a frenetic version of "Forever Loving Jah", a bit like a hyperactive James Brown. She's putting everything she's got into it and so is the band. And it's quite a band: Three keyboards, three backup singers, two guitars, two basses, a drummer and the aforementioned DJ. By the second song, the band threatened to overwhelm the singer, who was in fine voice. By now it's getting close to 1 a.m. and some of the "less nocturnal" concertgoers are starting to leave. The rest are cheering and waiting to see which of their favorite Fugees songs will be rearranged and if she has anything new to share. How did it all turn out? Honestly, I just couldn't wait to find out. ![](http://www.brooklynvegan.com/img/music/laurynhill/wellmonttheater/13.jpg) ![](http://www.brooklynvegan.com/img/music/laurynhill/wellmonttheater/7.jpg) ![](http://www.brooklynvegan.com/img/music/laurynhill/wellmonttheater/9.jpg) ![](http://www.brooklynvegan.com/img/music/laurynhill/wellmonttheater/10.jpg) ![](http://www.brooklynvegan.com/img/music/laurynhill/wellmonttheater/14.jpg) ![](http://www.brooklynvegan.com/img/music/laurynhill/wellmonttheater/15.jpg) ![](http://www.brooklynvegan.com/img/music/laurynhill/wellmonttheater/16.jpg) ![](http://www.brooklynvegan.com/img/music/laurynhill/wellmonttheater/20.jpg) Additional Lauryn Hill - 2011 Tour Dates02/08/11 - Theatre of Living Arts, Philadelphia, PA 02/10/11 - Rams Head Live!, Baltimore, MD 02/12/11 - The Norva, Norfolk, VA 03/19-20 - Miami, FL at Jazz in the Gardens Festival 04/15/11 - indio, CA at Coachella 05/08-10 - New Orleans, LA New Orleans Jazz & Heritage Festival
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bigb0882
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Post by bigb0882 on Feb 5, 2011 16:45:12 GMT -5
The good thing about her appearance at the New Orleans Jazz Fest is that there will be other things to do while everyone waits 3 hours for her to show up. I am going to go but not for the day she is there, I simply will not sit in a tent for 3 hours for fear of losing my seat.
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chiguy2006
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Post by chiguy2006 on Feb 12, 2011 9:00:17 GMT -5
A concert review from someone who was in attendance at Lauryn's show in Philadelphia, PA on Feb 8th School Daze: The Re-Education of Lauryn Hill FansFriday, February 11, 2011 worldaccording2teef.blogspot.com/2011/02/school-daze-re-education-of-lauryn-hill.html“It’s like having a Ph.D teaching kindergarten” That’s how Lauryn Hill described her widening disconnect from the media, gossips, disenchanted fans and others that generally runteldat about her behavior, performances and lack of musical output over the past decade. She made the statement while addressing a capacity crowd at Philadelphia’s Theatre of Living Arts early Wednesday morning. A crowd that braved frigid temperatures, blistering winds and uneven reports of excessively late starts, shortened sets and a musical direction that has reportedly lacked direction. Two DJ’s kept an anxious crowd rocking until the lights went out around 12:15am and the scheduled 11:00pm show started with a thunderous ovation as the beloved Lauryn Hill took the stage performing a cover of Bob Marley’s “Well Be Forever Loving Jah”. Once folks started to settle after the adrenaline rush of her appearance, she informed the crowd that she was going to be performing material from her classic solo debut, “The Miseducation of Lauryn Hill”, but immediately added the disclaimer that while the intent and content of the songs were the same, the arrangements have been changed. With that said, she launched into a frenzied version of “Lost Ones” that found her spitting rapid fire lyrics and left folks around me wondering what exactly happening. Folks had made the trek that night expecting to hear familiar renditions of the songs they’d fallen in love with in another time, but instead received versions that had “evolved” to quote Ms. Hill. Wait, let me back up for a second, it seemed many of those in attendance had come to see for themselves if the rumors were true, they had come to get a first-hand look of the artist formerly known as L-Boogie. Like most others in the building that night, I wasn’t sure if I was going to get a great performance or a lecture, I didn’t know if I would be witness to the descent of one of Black America’s national treasures or see the genius that is Lauryn Hill. The truth is, for two hours, you got to see all of those things; she went on a few tangents in an attempt to explain her self-imposed exile, she seemed preoccupied with the volume levels of the microphones and her band’s instruments, she morphed into a conductor, calling out solos and improvisations by instinct and the changes in the musicality of her songs aren’t exactly contemporary. But one thing is for sure, it is all part of her genius and her love for the music which translates into her wanting to perfect the audience relationship with her live performance. The songs have be re-arranged for you to feel each key, bass lick or drum kick, along with those lyrics you loved in your dorm room, your car or after a breakup. I’m not sure if the crowd truly enjoyed “Lost Ones” or “When it Hurts So Bad”, but by the time she finished her second version of “Ex-Factor”, it was clear that she knew what she was doing. Yes, she performed her anthem of a scorned lover twice, the first a mid-tempo version specializing in melodic structure and harmony. The second and my favorite of the two, was jazzier and more reminiscent of the original, but she dispelled another rumor by sounding just as beautiful and soulful as ever. There had been whispers that she had lost the passion in her voice and her range was limited, but she seemed inspired on this night, rekindling the magic of 1999. Any artist that hasn’t performed consistently over a period as long as Ms. Hill is sure to have issues with stamina and she was not immune to that issue, taking breaks between songs, filling the space with light conversations, sips of water, an ever-present cloth to wipe perspiration and configuring the next tune with her bandmates. However, if she was tired, it didn’t show when she went into material from The Fugees’ breakthrough album “The Score”. She started with “How Many Mics”, effortlessly reciting both Pras and Wyclef’s lyrics, doing the hooks, while stalking the stage like a true B-Girl, before going into other hits from the album including “Zealots” (including an additional version of her verse that was spectacular), “Can’t Take My Eyes Off of You”, a version of “Fu-Gee-La” that tore the roof off TLA, “Ready or Not” and of course, “Killing Me Softly”. Two hours later, it was apparent that we all came there for “That Thing”, the thing about Lauryn Hill that’s kept her so beloved even through her sabbatical and quizzical appearances. It’s her genius that borders on eccentricity or insanity (depends on who’s talking), it’s the music that defined a period of our lives that we all hold sacred, it’s her greatness that was defined over a four-year period that has only been seen in glimpses in the past decade. There’s a void that Lauryn Hill left and many people cannot forgive her, but others are holding on to the hope that she’ll return to fill that hollowness, but she told the crowd “I’m coming back for you”. They cheered, were amazed, rekindled their love affair with Ms. Hill, but many were skeptical and hoping her words were true. However, on that stage, on that night, she laid the foundation and set class in session for the re-education of Lauryn Hill fans. ![](http://media.phrequency.com/images/mslaurynhill32.jpg) ![](http://media.phrequency.com/images/mslaurynhill27.jpg) ![](http://media.phrequency.com/images/mslaurynhill29.jpg)
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chiguy2006
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Post by chiguy2006 on Feb 12, 2011 9:02:35 GMT -5
Review: Lauryn Hill at Rams Head Live Feb. 10weblogs.baltimoresun.com/entertainment/midnight_sun/blog/2011/02/review_lauryn_hill_at_rams_hea.htmlLauryn Hill, the iconoclastic rapper who's considered among the most talented of her generation, performed Thursday night at Rams Head Live, a hastily organized concert that was announced just two weeks ago. Reporter John-John Williams IV was there.You never know what you are going to get with Lauryn Hill. Will the uber-talented Grammy darling show up? Or will it be her alter-ego: an excuse-making diva who was more than two hours late last August to her set at The Rock The Bells Tour at Merriweather Post Pavilion? The audience got a little of both last night during. Hill took the stage at midnight -an hour after her show was scheduled to begin. She had no opening act -just a DJ who spun a mix of reggae and old school hip hop. The slew of hits that the DJ spit out was enjoyable the first 10 minutes. But after a good half hour of songs - around midnight on a weeknight - the crowd lost some of its energy and appeared to be growing restless. Hill, who claimed to be sick (the DJ announced that she was feeling under the weather prior to her performance), coughed for a bit when she first appeared on stage. But she quickly recovered when she launched into the Bob Marley cover “Loving Jah.” The song - which is meant to honor the father of her childrens' father - includes a series of church-like call and response hooks that would be taxing on the most healthy of voices. But Hill was actually able to shine. She gently peppered the song with a series of runs that she handled with ease, giving the impression that Hill was going to give Baltimore a spotless performance. Those thoughts were quickly dashed with “Lost Ones,” which was almost unrecognizable because of the God-awful arrangement. “When It Hurts So Bad” was also problematic. Again she showed off her vocal chops as she belted out pitch-perfect riffs. Too bad her soulful sounds were pretty much incoherent. I couldn’t tell what song she was performing at parts. Hill truly hit her stride with “Everything is Everything.” She told the audience that it was her first time performing the song with her band. But you would never know. Her energy and presence on stage entranced the audience, and was the mark of a world-class performer. After singing “Ex-Factor” groups of fans were screaming: “We love you.” Hill playfully responded: “Did you practice that at home?” By 1 a.m. Hill announced that she didn’t have a lot more time on stage. (It was almost laughable given the fact that she started an hour late.) She surprised everyone by churning out another half hour worth of her biggest hits. “I Only Have Eyes for You” (The Flamingos cover, which was featured on The Fugees “Score” album) was simply fantastic. She nailed the hauntingly romantic song. By this time she had abandoned her stiff, “Holy Spirit” church-goer movements for a more fluid feel. Hill had the audience eating from her palms during “Zealots.” She nailed “Fugeela” and “Ready or Not.” “Killing Me Softly” was also a treat, which set up her finale “Doo Wop (That Thing).” By this point, Hill was leading her fans to jump in the air a la Kris Kross. She genuinely appeared to be at ease and having fun. After the song ended, I was struck by the fact that she made a point of taking on her critics. “People say we don’t appreciate our fans. That’s bull st!” she said. I appreciated the candor. It showed a sense of pride. (Heck, she showed she cared with her improved wardrobe at this concert. It was a step up from that dreadful getup she wore in August when it looked like she was channeling a grandmother in witness protection.) Hopefully, it's a sign that Hill is ready to start recording music again so that she can capture some of that magic she left behind in the 90s. John-John Williams IV is a reporter at the Baltimore Sun. He last reviewed Lauryn Hill when she performed at Rock the Bells last year. Erik Maza edited this post. ![](http://a8.sphotos.ak.fbcdn.net/hphotos-ak-ash1/182217_125960354144266_100001909069793_176970_5379816_n.jpg) ![](http://a7.sphotos.ak.fbcdn.net/hphotos-ak-ash1/182489_125961950810773_100001909069793_176981_4639423_n.jpg) ![](http://thefabempire.com/wp-content/uploads/2011/02/lhill3.jpg)
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chiguy2006
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Post by chiguy2006 on Mar 12, 2011 8:25:19 GMT -5
Lauryn Hill Announces More Moving Target Tour DatesFormer Fugees frontwoman also launches Twitter account. By James Dinh www.mtv.com/news/articles/1659754/lauyrn-hill-tour-dates-twitter.jhtmlAfter wrapping up her first outing in years, Lauryn Hill is keeping her comeback momentum going strong by announcing the second leg of her tour, Moving Target: Extended Intimate Playdate Series. Beginning Wednesday, the former Fugees frontwoman will kick off the 12-date outing in Florida before making her way to the West Coast, then wrapping up in May at the New Orleans jazz festival. More dates are expected to be announced in the coming weeks. Like the first leg of the tour, Hill is making sure to visit smaller venues to give fans a more intimate experience. "One of the benefits of playing venues smaller than the ones I'm used to allows me the opportunity to not only reconnect with my supporters but to expose them to a portion of the musical journey I've been on which the world for the most part has not had access to," the 35-year-old singer said in a statement. "I've never shied away from being musically adventurous, nor am I known for being a lightweight when it comes to lyrical content or musical exploration." The elusive singer/rapper also opened up about her hiatus from the big stage, admitting that she's still in the process of regaining all of her performance skills. "Getting back out there to perform is a lot like resuming a strenuous sport after having been away from it for a while, but eventually the muscle memory kicks in, and each day brings progressive strength. It's an exciting and real process which these audiences will get to witness," she continued. While Hill has remained shy of press in recent years, the iconic MC has launched a Twitter account to keep fans updated on the latest news and updates for the tour. The account hasn't yet been verified. Lauryn Hill's Moving Target: Extended Intimate Playdate Series tour dates: » 3/16 - Orlando, FL @ House of Blues » 3/19 - Miami, FL @ Jazz in the Gardens Festival » 3/23 - Tampa, FL @ The Ritz » 3/26 - Myrtle Beach, SC @ House of Blues » 3/30 - Atlanta, GA @ Center Stage » 4/3 - Oahu, HI @ Aloha Tower » 4/9 - Portland, OR @ Arlene Schnitzer Hall » 4/12 - San Francisco, CA @ The Warfield » 4/15 - Indio, CA @ Coachella Music and Arts Festival » 4/18 - Los Angeles, CA @ Club Nokia » 4/23 - Denver, CO @ The Fillmore » 5/7 - New Orleans, LA @ Jazz and Heritage Festival
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#LisaRinna
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Post by #LisaRinna on Mar 12, 2011 8:27:23 GMT -5
Glad she's extending the tour for a while. Hopefully performing inspires her again and improves her vocal condition with the exercise.
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KingB
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Post by KingB on Mar 13, 2011 5:25:36 GMT -5
I'm just ready for the new album.
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#LisaRinna
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Post by #LisaRinna on Mar 13, 2011 8:29:29 GMT -5
Has she performed 'Mystery Of Iniquity' on this tour?
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Post by CriminallySmooth on Mar 13, 2011 11:04:39 GMT -5
:o I HAVE to check her out in Denver. I can't wait!
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tamed09
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Post by tamed09 on Mar 18, 2011 22:26:52 GMT -5
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chiguy2006
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Post by chiguy2006 on Mar 20, 2011 12:26:09 GMT -5
Some tweets, pics, and video from Lauryn's show last night at the Sun Life Stadium in Miami, FL (this was part of the "Jazz in the Gardens" music festival):RT @kev_Campbell: Lauryn Hill just came out to So Special and the crowd erupted. RT @winner_nana Still at the jazz concert. Lauryn Hill just comin on. Made us wait an hour. She look a clown but she's still marvelous! RT @lt_BITCH lauryn hill look so pretty #jazzinthegarden RT @caribfrenchy Lauryn Hill is on stage singing the sweetest thing I know #jig2011 RT @emilydsutton @jazzinthegardenswatching Lauryn Hill. Amazing talent still! She sounds awesome! RT @truth_Spoken Damn Lauryn Hill is rippin the mic. The comeback #JIG2011 RT @caribfrenchy Waiting patiently for Zion...Lauryn Hill's voice sounds straight from my ipod! #jig2011 #laurynhill RT @karenvaughn Lauryn Hill closing out @jazzgardens day one. RT @empressiveone LAURYN "L BOOGIE" HILL!!! Di Baddest eva!!! RT @iamericroberson: Forget whatever you may have heard, Ms Hill is bringing that L-Boogie tonight!!!!! #JIG2011 *In Denver 4/23* RT @xirclebox Lauryn hill has not lost a step. Her voice is still smooth like butta #jig2011 RT @jerrell634 Saying that Ms Hill is killing it would be a understatement. #JIG2011 RT @buttapbrownin L-Boogie is getting it! #JIG2011 ![](http://blogs.miaminewtimes.com/crossfade/LaurynHillGrandCentralMiamiMarch20.jpg) "Everything is Everything" & "Sweetest Thing"
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chiguy2006
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Post by chiguy2006 on Mar 20, 2011 12:27:23 GMT -5
Lauryn Hill Announces Last-Minute Miami Show at Grand Central Tomorrow Night
By S. Pajot, Sun., Mar. 20 2011 @ 1:45AM
Just 30 minutes ago, Ms. Lauryn Hill wrapped her only officially announced Miami set of the weekend at the first night of Jazz in the Gardens music festival.
After 15 songs, including deeply reworked Fugees cuts, old solo hits like "Everything Is Everything," and even a cover of Bob Marley's "Is This Love," she closed it all out with a remarkably faithful (if amphetamine-paced) version of "Doo Wop." And then as Ms. Hill said goodbye, she dropped a bomb: "We've got another show tomorrow at a smaller venue," and pausing to get the details from one of her handlers, "Um, Grand Central Miami."
This last-minute Magic City gig will be only the third date on the recently announced second leg of Hill's Moving Target Intimate Playdate Series, following Wednesday's tour opener at Orlando's House of Blues and tonight's performance at Sun Life Stadium. When the Moving Target tour was first made public on March 11, Hill issued the following mission statement:
"One of the benefits of playing venues smaller than the ones I'm used to allows me the opportunity to not only reconnect with my supporters but to expose them to a portion of the musical journey I've been on which the world for the most part has not had access to," Hill said. "I've never shied away from being musically adventurous, nor am I known for being a lightweight when it comes to lyrical content or musical exploration."
"These more intimate playdates afford me the time to perform for listeners who haven't heard from me over the past several years or have been misinformed by the inaccuracies in some media coverage, many of which I might add, I find very amusing. Getting back out there to perform is a lot like resuming a strenuous sport after having been away from it for a while, but eventually the muscle memory kicks in, and each day brings progressive strength. It's an exciting and REAL process which these audiences will get to witness."
In all, with the addition of tomorrow night's last-minute Miami show, the series is now set to include 13 stops in cities such as Tampa, Atlanta, Los Angeles, and New Orleans.
Also, on top of plugging the Grand Central gig in the final minute of her Jazz in the Gardens set, Ms. Lauryn Hill also shouted out a hot new Twitter account: @mshillmvngtrgt.
So follow that diva and check out her full tour schedule below.
Lauryn Hill's Moving Target Extended Intimate Playdate Series, Second Leg Schedule March 16 House of Blues, Orlando, FL March 19 Jazz in the Gardens Festival at Sun Life Stadium, Miami, FL March 20 Grand Central, Miami, FL March 23 The Ritz, Tampa, FL March 26 House of Blues, Myrtle Beach, SC March 30 Center Stage, Atlanta, GA April 3 Aloha Tower, Oahu, HI April 9 Arlene Schnitzer Hall, Portland, OR April 12 The Warfield, San Francisco, CA April 15 Coachella Music and Arts Festival, Indio, CA April 18 Club Nokia, Los Angeles, CA April 23 The Fillmore, Denver, CO May 7 Jazz and Heritage Festival, New Orleans, LA
Ms. Lauryn Hill as part of her Moving Target Extended Intimate Playdate Series. Sunday, March 20. Grand Central, 697 N. Miami Ave., Miami. Tickets cost $50 via ticketfly.com. Call 305-377-2277 or visit grandcentralmiami.com.
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chiguy2006
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Post by chiguy2006 on Mar 21, 2011 10:15:44 GMT -5
Some tweets and pics from Lauryn's show last night at Grand Central in Miami, FL:@jamestrademark Lauryn Hill. I truly feel blessed to be able to experience some of the things I have #goosebumps yfrog.com/gyzsfdwj@terancethatch Just wrapped the 2nd show with Ms. Lauryn Hill in Miami and it was HOT! There's power in doing what you love. TRUST ME! #mshillmvngtrgt #mia @connectspagirl: 4hr wait for a shitty sound system, but definitely worth it..lauryn hill rocks!!! @walshyfire: To everyone who said Lauryn Hill was washed up...she just TORE grand central apaaart! @6abo sick Lauryn Hill performance! @miami_Mayhem @jammasternate @jakejefferson @grandcentralmia @grantsternjamming@grandcentralmiawlaurynhill#miami- twitpic.com/4bphvi@grantstern Lauryn hill groovin @grandcentralmia #miami ![](http://a4.sphotos.ak.fbcdn.net/hphotos-ak-ash4/200819_134197409987227_100001909069793_225262_4764025_n.jpg)
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chiguy2006
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Post by chiguy2006 on Mar 21, 2011 10:22:54 GMT -5
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chiguy2006
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Post by chiguy2006 on Mar 24, 2011 11:41:29 GMT -5
Here's a review from someone who was in attendance last night (3/24/11) at Lauryn's show in Tampa, FL at the Ritz Ybor: Taken from another Fugee/Lauryn Hill Message Boardfugeesonline.proboards.com/index.cgi?board=lauryn&action=display&thread=3680Hey everybody. I went to this show tonight and it was AMAZING. Ms. Hill sounded great. The energy was crazy. The only drawback was that she didn't do any songs from Unplugged. But here is the good news...she actually announced that she would be coming back with NEW music. Then after the show I had a rather long conversation with someone from her team while Lauryn was signing autographs and taking pics and he said that she IS really back and new music may be dropping as soon as the next couple of weeks. So we will have to be on the look out. On a personal note, I finally got to meet Ms. Hill and take a picture with her. You guys she was really warm and gracious and smiling from ear to ear. Actually she was smiling the whole night. You can tell she is really happy to be back and reconnected with her supporters. A group of us waited behind the venue for her to come out, and when she did she came over and talked to us, signed autographs, and took pictures with every single person. One young lady almost missed her but she caught Lauryn's eye and when she did Lauryn came back and took a picture with her. And after that, as she walked back to her vehicle I yelled out and asked her for a hug and she turned around, came back and gave me a hug and also confirmed that she had the letter I had given her a little earlier. It was an absolutely amazing night. Here are a few pics from last night (these were not taken by the person who gave the above review):![](http://i1215.photobucket.com/albums/cc513/chiguy2006/263248116.jpg) ![](http://a.yfrog.com/img615/9497/9ywhf.jpg) ![](http://a.yfrog.com/img615/4462/c83pg.jpg)
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chiguy2006
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Post by chiguy2006 on Mar 24, 2011 13:40:23 GMT -5
Lauryn Hill Slayed the Haters With Her Moving Target Playdate at Grand Central Last NightBy S. Pajot, Mon., Mar. 21 2011 @ 10:00AM blogs.miaminewtimes.com/crossfade/2011/03/lauryn_hill_slayed_the_haters_with_her_moving_target_playdate_at_grand_central_march_20.phpLauryn Hill's Moving Target Intimate Playdate Series Grand CentralSunday, March 20 Better Than: Hill's Saturday set at Jazz in the Gardens. At 1:45 a.m. on Sunday, Crossfade broke the news about Ms. Lauryn Hill's last-minute Moving Target playdate at Grand Central. And almost immediately, the haters were out and haunting the comments section, even though it was the middle of the freaking night. One naysayer, Pamar30, was bummed out by Hill's Jazz in the Gardens gig, writing: "I love Lauryn but I was truly disappointed with tonight's performance. So not interested in a repeat perfomance." And george added: "People left in droves ... This band is not tight... And lose the retarded wig and wardrobe for god's sake." Honestly, Crossfade can understand all the hating and complaining. But we just don't agree. When Ms. Hill hit up the University of Miami homecoming, it was awesome. In fact, one of 2010's best Miami concerts. And even Jazz in the Gardens (which we admitted in the recap wasn't Lauryn's most flawless set) still showed flashes of deep genius. Last night, though, there was absolutely nothing flawed about Ms. Lauryn Hill. She totally slayed the haters. The playdate officially started at 1:10 a.m. when Hill's deck man DJ Rampage dropped the needle on her classic 1996 collabo "If I Ruled the World (Imagine That)" with Nas. This track seems to have become the de facto signal at every show that Lauryn's ready for her people. And so, out wandered the band as Rampage cut into the snotty refrain ("You fancy, huh?") from Drake's "Fancy." A minute later, Hill strode out, dressed in a little cap, bob wig, tweed jacket, black harem pants, a blouse with a white leopard's face across the front, and tons of funky chunky jewelry. She told the crowd, "You look good tonight." And then she slipped into last night's variation on her standard setlist, beginning with "Everything Is Everything" and "Sweetest Thing." Continuing to sift though Miseducation material, Hill and her band wound out tighter and tighter takes of her old solo stuff -- "Lost Ones," "Superstar," "To Zion." The only exception was a version of "When It Hurts So Bad" that never hit any kind of real groove. Generally, though, unlike Saturday night at Sun Life Stadium, nothing fell off-balance or out-of-sync. And then the first half of the show wrapped with an ungodly strong cover of Bob Marley's "Is This Love." That's when the serious hater-slaying began with a slashing sci-fi rock reconstruction of "How Many Mics." The entire place spat and sang along with Lauryn. They pogo-ed with her. They threw hands to the sky with her. And when the riffing and raging was over, Hill and the band seemed genuinely shocked and stoked, smiling and laughing as if it was the best thing they'd ever played. Then, bleeding from a slow-burning cover of the Flamingos oldie "I Only Have Eyes for You" to "Zealots," which samples that previous song, the energy shot up even higher. Tearing through "Fu-Gee-La" and "Ready or Not," there was an intense exchange of psychic energy between Hill, her band, and the crowd. Trapped together in the dark and close quarters of a club, it was like an intense feedback loop that reached peak intensity with the set's last song, "Killing Me Softly." The club went dark. Ms. Hill disappeared backstage. But it was only a tease. If you've seen any of her recent shows, you alreaddy knew that two more songs -- "Turn the Lights Down Low" and "Doo Wop (That Thing)" - were definitely part of the plan. But like DJ Rampage was saying: "How much do you want more Ms. Lauryn Hill?" There was screaming, wild clapping, and chanting pleas. She didn't make her fans wait long. Within minutes, Hill was back at the mic, smiling, and singing another Marley tune. And then, as she does every night now, she closed her encore with "Doo Wop" and a sing-along, calling on the ladies for "Girls, you know you better watch out/Some girls, some girls are only about/That thing, that thing, that thing" and then the men for the flip of that lyric. As her band kept playing, Hill said: "Goodnight." The crowd screamed: "We love you, Lauryn." And Hill reciprocated: "I love you too, Miami," promising, "We're gonna do this again soon." It sounds like Ms. Lauryn Hill might already have a set of secret plans. Critic's Notebook The Crowd: A gathering of 400 young yet grown types who could stay out on Sunday night till 4 a.m. and not give a shit about getting up in the morning for the office. Random Detail: Hill's fingernails and toes were did up with fluorescent orange paint. The girls in the front row were fawining all over that flash. Lauryn Hill's Setlist: -"Everything Is Everything" -"Sweetest Thing" -"Lost Ones" -"When It Hurts So Bad" -"Superstar" -"To Zion" -"Is This Love" (Bob Marley cover) -"How Many Mics" -"I Only Have Eyes for You" (Flamingos cover) -"Zealots" -"Fu-Gee-La" -"Ready or Not" -"Killing Me Softly" Encore-"Turn Your Lights Down Low" (Bob Marley cover) -"Doo Wop (That Thing)"
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chiguy2006
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Post by chiguy2006 on Mar 24, 2011 22:00:43 GMT -5
Review / photos / setlist: Lauryn Hill comes back to life at the Ritz Ybor in Tampawww.tampabay.com/blogs/soundcheck/content/review-photos-setlist-lauryn-hill-comes-back-life-ritz-ybor-tampaSeeing her was like spotting a wildcat in the woods. No one knew what she would do. No one, in fact, really knew what she looked like these days, save for the few who had traced her tracks this week from Miami to Orlando to Ybor City. All anyone knew when Lauryn Hill ambled onstage at the Ritz Ybor Wednesday night was it was time to get excited, because it meant this is actually happening, right now, right here, for reals. The reclusive L.Boogie had come back to life. It was, to say the least, an unexpected appearance. Since winning an unprecedented five Grammys, including Album of the Year, for her 1998 masterwork The Miseducation of Lauryn Hill, the pressures of fame, family and identity pushed the mercurial rapper and singer into seclusion. And in the past dozen years, she has emerged only infrequently for occasional, erratic performances (see: her sharply divisive, deeply confessional live double album MTV Unplugged 2.0). At the Ritz — which, due to a hefty $65 cost of admission, drew fewer than 900 people, about 600 shy of capacity — you had to wonder if she still wanted to be seen. Hill’s figure was lost beneath a Yankee cap and thick bob, an oversized patterned coat and a loose-fitting jumpsuit that looked like it was made of crepe paper. But the fact is, no matter what fans were expecting from Wednesday’s show, Hill delivered on almost all counts. Following a 115-minute set from DJ Rampage (the opening act, the Hot 8 Brass Band, canceled), Hill held sway over the anxious crowd for 90 minutes, leading them on a tour of her personal musical history, from covers of Bob Marley and the Flamingos, to her biggest hits with the Fugees, to a huge chunk of Miseducation, an album that hasn’t aged a day. First, the bad. There were no mid-set breakdowns, or extended stretches where Hill left the stage, but from the very beginning, Hill and her band — six members, three singers and a DJ — felt just out of sync. All night, she kept rolling her arms at the group, as if to say, Come on, speed up, let’s go let’s go let’s go! For most of the night, it seemed, the band couldn’t play fast enough for Hill, who turned the incendiary Lost Ones into a borderline disco boogie. But with Lost Ones — and with all of her old hits, really — the lure of the call-and-response was too great to ignore. Oh, those blazing hooks: “You might win some, but you just lost one! You might win some, but you just lost one!” “Oooh, la la la; it’s the way that we rock when we’re doing our thing...” “Giiiirrrrls, you know you better: WATCH OUT!” Hill’s energy rose and fell with that of the crowd, especially when she stopped singing and started rapping on explosive anthems like Ex-Factor, Everything Is Everything and the thrilling, joyous Doo Wop (That Thing). She did not dip into her Unplugged songbook, nor did she play any new material. But otherwise, she performed more or less exactly what fans were probably hoping for. The room went electric when Hill launched into a five-song Fugees set, with each song topping the next — How Many Mics, Fu-Gee-La, Killing Me Softly. She brought the house lights down for the spine-tingling intro to Ready Or Not. Forget ’Clef and Pras — Hill delivered each song as if it were her own. There will be some debate as to whether this was a great concert. Was it the tightest set you’ll ever see? No. It was, in many ways, something better — it was real, palpable, at times awkward, chilling and thrilling. The room swelled with tension as fans wondered what Hill might do next, and when it was clear that she could still deliver the goods, that tension was released in harmonious positive energy. At 1 a.m., Hill stood at the front of the stage and thanked the crowd profusely. She promised new music. She promised to return. This is a good thing. The influence of Miseducation alone still reverberates across the pop music landscape, from Rihanna to Amy Winehouse to B.o.B. L.Boogie still has a few things on her mind, we’d bet on it. These were the first tentative steps of an artist regaining her footing. They were baby steps, but steps nonetheless. From Hill, we’ll take it. Ready or not, she can’t hide any longer. -- Jay Cridlin, tbt*. Photos: Luis Santana, tbt* SETLIST1. We and Dem (Bob Marley cover) 2. Everything Is Everything 3. Sweetest Thing 4. Lost Ones 5. When It Hurts So Bad 6. Superstar 7. To Zion 8. Ex-Factor 9. Is This Love (Bob Marley cover) 10. How Many Mics (Fugees) 11. I Only Have Eyes For You (Flamingos cover) 12. Zealots (Fugees) 13. Fu-Gee-La (Fugees) 14. Ready Or Not (Fugees) 15. Killing Me Softly (Fugees) ENCORE16. Turn Your Lights Down Low 17. Doo Wop (That Thing) ![](http://i1215.photobucket.com/albums/cc513/chiguy2006/laurynhill5_.jpg) ![](http://i1215.photobucket.com/albums/cc513/chiguy2006/laurynhill3_.jpg) ![](http://i1215.photobucket.com/albums/cc513/chiguy2006/laurynhill6_.jpg)
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Post by JenkseyArt on Mar 30, 2011 12:48:59 GMT -5
Lauryn Hill writes Open Letter to Atlanta concertgoers![](http://i1232.photobucket.com/albums/ff376/TonyMJen/lauryn-hill-letter.jpg)
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mikeshere
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Joined: February 2008
Posts: 2,253
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Post by mikeshere on Mar 30, 2011 17:01:04 GMT -5
LOVE that she quoted Nicki.. oh Plz Ms. Hill.. Please geace us with another perfect album and show some of these talentless bitches how to do it... Bring back the 90s bitch
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KingB
Platinum Member
Joined: September 2009
Posts: 1,355
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Post by KingB on Mar 31, 2011 7:40:06 GMT -5
wow she even performed some stuff from unplugged 2.0. last night.
from the 2 videos posted..it was fantastic
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#LisaRinna
Diamond Member
#LiteralLegender
Joined: August 2008
Posts: 42,227
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Post by #LisaRinna on Mar 31, 2011 9:15:32 GMT -5
wow she even performed some stuff from unplugged 2.0. last night. What did she perform from that album?
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Deleted
Joined: January 1970
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Post by Deleted on Mar 31, 2011 20:08:14 GMT -5
oh Plz Ms. Hill.. Please geace us with another perfect album and show some of these talentless bitches how to do it... Bring back the 90s bitch ![:-*](//storage.proboards.com/forum/images/smiley/kiss.png)
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Post by JenkseyArt on Apr 5, 2011 12:22:03 GMT -5
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chiguy2006
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Post by chiguy2006 on Apr 13, 2011 18:05:56 GMT -5
Lauryn Hill + Hot 8 Brass Band - Arlene Schnitzer Concert Hall (Portland, OR; Apr. 9, 2011)www.melophobe.com/concert-reviews/lauryn-hill-hot-8-brass-band-arlene-schnitzer-concert-hall-portland-or-apr-/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A%20melophobe%20%28melophobe%29![](http://www.melophobe.com/images/frontpage/01-lauryn-hill-arlene-schnitzer-concert-hall-portland_1.jpg) Too often, life as a musical genius destroys the best in people. The same could be said for geniuses of any kind, but it’s particularly true for musicians facing fame, constant scrutiny, and never-ending pressure, once they reach celebrity status. This generation watched it in the plight of Kurt Cobain, and continues to see it, today, with the once unstoppable Lauryn Hill. Over the past ten years, it’s been painful to witness someone who once enraptured us with her beautiful voice and angelic presence, seem to disappear into a mental breakdown. With The Fugees’ album The Score and her solo release The Miseducation of Lauryn Hill, the songstress helped create two of the most successful and critically acclaimed albums of our time, and that made it even more difficult to see her retreat from music so quickly after arriving to its upper echelon of talent. Firmly removing herself from the spotlight and choosing to exile with the family she was building with Rohan Marley, Hill seemed to be giving her fans the kiss-off. Her return with 2002’s MTV Unplugged No. 2.0 complicated things further, as she rambled incoherently throughout the live set and spoke to the crowd as if she cared nothing of their love for her. We then heard very little of Hill over the next few years, and I sadly doubted we’d ever hear or see her musical brilliance again. But then she launched a comeback into today’s musical landscape with her Moving Target: Extended Intimate Playdate Series tour, which kicked off in 2010; hope resumed. As she made stops across the U.S., news reports revealed Hill was not 100 percent back to true, original form, however. Fans at some shows waited up to four hours for her to take the stage, where she acted unhappy to be there, and excused her tardiness with announcements of, “I’m worth the wait.” Hearing this left me utterly heartbroken; I had been optimistic Hill would return with a vengeance and dispel all rumors that she had flipped a 180 from the spirited, passionate, and majestic creature of force we all loved in the ‘90s. Regardless, I wished for the best for her stop at Portland’s Soul’d Out Music Festival, feeling it could be different from all the rest; it would give her time on the road to restore her groove with music, and would be one of the last stops before her appearance at this week’s Coachella festival, a performance she’d need to nail if she expected to regain any trust or appreciation from her fans. Thankfully, Ms. Hill met my expectations at the Arlene Schnitzer Concert Hall last night, but that’s not saying she gave the incredible, mind-blowing performance we know she could have given us. It was a long overdue showcase of her greatest hits--a performance she arrived on time for, and in it, frequently displayed gratefulness to her fans--but there were plenty of hold-ups in the set that prevented it from being the mesmerizing one it could have been. First, though, mention must be made for her openers, Donald Harrison Quintet & Hot 8 Brass Band, who could not have provided a better build-up to the show’s headliner. Both groups brought a mostly instrumental mix of jazz, funk, blues, soul, R&B and reggae with them from their home of New Orleans, and it helped transform the Schnitz into a community-like event, where everyone laughed, talked and danced the night away. The Quintet played a mostly upbeat jazz jam throughout their performance, with Harrison alternating between hand drums and saxophone while the rest of the sound was rounded out with keyboard, bass and drums. It was a pretty clean set that featured a fantastic sampling of The Jackson 5’s “I Want You Back” and plenty of smooth grooves. Harrison also announced he had just turned 50, and proceeded to show us some sick dance moves to disprove beliefs that age matters. He also did some name dropping, citing he used to play with the likes of Miles Davis, and then paid homage to Charlie Parker with the song “Ode To Bird.” Hot 8 Brass Band, composed of two trombones, three trumpets, one tuba, one sax and two drums, has been featured in HBO’s “Treme,” and are regulars in weekly Second Line parades. They truly brought the music of New Orleans to Portland, and displayed the kind of brotherhood only a group of musicians from the Big Easy could evoke – a kind of marching, triumphant spirit seemed to resound in every note they played. It was, hands down, the liveliest music I’ve ever seen, and easily got people out of their seats. The trumpets, with their volume capability and frequent variation in speed and style, dominated much of the set, but every instrument made their mark. One of my favorites was the tuba player, who laid a deep and balancing layer to the rest of the sounds, and occasionally belched out a guttural roar. The Band also laid down a terrific tribute to Marvin Gaye with their cover of “Sexual Healing,” and asked the crowd – a gladly cooperative bunch – to singalong with them on it. This perfectly set the stage for the arrival of DJ Rampage, who gave us 40 minutes of rap and hip-hop hits as we bade our time for the arrival of Ms. Hill. Playing greats from such legends as A Tribe Called Quest, Biz Markie, Beastie Boys, Notorious B.I.G., Dr. Dre and Jay-Z, Rampage also added RIP shouts to Nate Dogg and Ol’ Dirty Bastard. Impatience started to swirl about the audience in anticipation of Hill’s arrival, but then her back-up band took the stage and began playing along as Rampage spun Kanye West’s “Flashing Lights,” and the crowd went wild. I gotta admit – it was exhilarating to watch the reclusive Lauryn Hill take the stage, and rightfully exclaim, “Long time, no see.” Goosebumps rippled down my skin as she opened with “Everything Is Everything,” but I quickly got annoyed with DJ Rampage’s firing off of lazer bolt sounds while Hill rapped. While he had spun a lot of great tracks in his solo time on the stage, his presence as a back-up to Hill never felt necessary, and those damn bolts of sound almost made me jump the stage to kick him off it. She had three back-up singers, two guitarists, a keyboardist, drummer and bassist with her already, and an additional beat maker wasn’t needed. As the show progressed, though, he did seem important in establishing a clean sound amidst the loose and rambling spectacle the rest of the band was putting forth. It honestly felt at times like the band had been chosen a day or two before the show, and that no one knew how to play together. This thought was amplified by Hill’s frequent flapping of her arms and hands, which seemed to be asking the band to pick up the pace and intensity of what they were doing. All of this left the music with little structure, which was both a good and bad thing – it did continue the freestylin’ theme of the night, but it also felt unreasonable. Hill should be backed by a much more cohesive group of musicians. Her music had always been so tight and often intentionally and purposefully slow, but her performance last night was the exact opposite. Most of her songs were sped up to an unsatisfactory level, and it became tough to decide if she owed us exact replications of her previously recorded sounds or not. Hill did lay out some grittily exceptional rapping in songs such as “Lost Ones,” reminding me she’s an amazing female rapper. Rapping features her voice at its best--definitely at its rawest--because it’s at a deep level that demands listening and respect. “Ex-Factor” used bluesy guitar to bring rock ‘n’ roll to the stage for the first time of the night, nicely adding to the wide variety of genres played by each group. Often there was zero break between songs, so it was great to hear Hill pause for a minute before “To Zion” and ponder how the inspiration for that tune, her then-unborn baby Zion, was now 13-years-old. Again, though, the song was too sped up, making the listener yearn for the original slow and lush recording. Hill directed her version of “Can’t Take My Eyes Off of You” to her Portland fans, then asked the crowd, “Who here loves Bob Marley?” To which I thought to myself, “Wow. Must be nice to be able to name-drop Bob Marley as somewhat of a father-in-law.” She soon wiped that idea from my head with a great rendition of “Is This Love,” and set a redirection in the show towards hits from her work with The Fugees. Considering the embattled relationships in that awesome group and the public hostility Hill once showed for the band, it felt wonderful to hear her say, “I’d like to dedicate this part of the show to the Fugees fans” and listen to her perform the hits with gusto. “How Many Mics” featured some rockin’ guitar, and it was nice to remember that The Fugees used the term “mazal tov” long before Black Eyed Peas did. “Fu-Gee-La” sounded as good as it always had, but “Ready or Not” was played way too fast and felt squished together. Then, the highly anticipated, “Killing Me Softly,” was nearly ruined by the return of DJ Rampage’s bolts of sound, but it was still performed well enough to be satisfactory. Hill offered an upbeat take on her classic tune, and the alternate version was particularly disconcerting. Hill then closed her set with “Turn Your Lights Down Low,” another Bob Marley cover, and “Doo Wop (That Thing),” which, in its rugged performance, felt much less innocent than it had when it was first released. There was annoying mic static during that last song, and it scared me into thinking Hill would finally prove the rumors correct, and lose it in front of us. But Hill kept her cool, shook the mic, and continued without further interruption. It was then I realized that she had pulled it off. Hill had just completed a set that was far from perfect, but it was one that proved she’s still got one of the most beautiful and powerful voices in the world, and that her genius for music still exists mightily . Because of Hill’s brilliant recorded works, expectations were high. Her performance left me thinking that we can forgive her the few mishaps of the night by honoring her past greatness. We could’ve bore witness to a trainwreck of a show in which she was late to, and/or disrespectful, muttering, forgetful of lyrics and very vocal about her position on things; instead, Hill put on a pretty great concert. It featured her rapping at its best, and every time her voice shrieked, or her body shook, it created an intense anticipation for what would come next. Lauryn Hill is still far from the exceptional wonder she once was, but her performance last night signals somewhat of a return and triumph. My hopes for her continued success are rising, and as she maintains a bit of musical genius about her, I only wish she uses it to provide us fans with the extraordinary music she is capable of creating.
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chiguy2006
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Post by chiguy2006 on Apr 13, 2011 18:09:44 GMT -5
Lauryn Hill + Hot 8 Brass Band - The Warfield (San Francisco, CA; Apr. 12, 2011)hip-hop.com/blog/2011/04/show-recap-and-gallery-ms-lauryn-hill/![](http://img705.imageshack.us/img705/5808/laurynsf2.jpg) An energetic Lauryn Hill thrilled fans as she performed in concert that at times seemed more like a sing-along that solo performance. Ms. Hill, who is coming back to regular performances after a long layoff, brought her Moving Target: Intimate Playdate Series tour to a sold-out Warfield Theater in Downtown San Francisco, where she was greeted by eager and enthusiastic fans, and returned the energy in a two hour set that saw Ms. Hill become more and more animated. Lauryn HillWith a live band that had two guitars, two keyboards, a drummer, base, and DJ, Lauryn Hill reinterpreted many of her past songs, most of them at least 10 years old, with a rock aesthetic that seemed to punctuate the songs with musical stabs. Even her most tender songs, like “X Factor,” for instance, had a grandness that would fill a venue much larger than the Warfield. Hill kept a tight reign over the proceedings, constantly moving her hands and signing to the band behind her without interrupting the beat. So conscious of her performance, she would often wipe her face or motion to the back and then snap herself back to the mic, keeping the beat with the urgency it deserves. Ms. Hill also manages a neat trick, starting off the show as a singer with a mic on the stand, then ramping up her enthusiasm until she effortlessly transforms into a mic-in-hand emcee toward the end, moving around the stage like an eighteen-year-old rapper she once was. Emotional and animated throughout the set, she may seem rather particular about the performance, but it’s also apparent the performance is where she finds joy. “San Francisco, shall we do this again sometime?” she asks, before the crowd responds with screams of affirmation. Hot Eight Brass BandOpening for Lauryn Hill were the Hot Eight Brass Band. The eight-piece brass band from New Orleans, celebrating their 15th anniversary, also celebrated their traditions with blue collar outfits and impeccable timing as they jammed with a seeming chaos that improbably became harmonious. Sporting weathered faces and for one a wheelchair, they performed their songs as if they were here for a good time, but their mournful brassy wails betray a worn spirit that has suffered through hard times. Yet, their wails also had a perseverance, a product of a strong will that kept the horns full and powerful. On one song, a tribute to their hometown, they sang and rapped their lyrics with rather conventional stuff about crawfish and other clichés, but when it was time to start blowing their horns again, they blasted them with a power and conviction as if New Orleans wasn’t just a city but a cause to fight for. Ms. Lauryn Hill will continue touring throughout the month and into the next, including appearances at two major music festivals. 4/15 Coachella Music and Arts Festival 4/18 Los Angeles, CA Club Nokia 4/20 Hollywood, CA El Rey Theatre 4/23 Denver, CO The Fillmore 4/27 Dallas, TX House of Blues 4/29 San Antonio, TX Josabi’s 5/1 Austin, TX Stubb’s 5/4 Houston, TX House of Blues 5/7 New Orleans Jazz and Heritage Festival 5/10 San Diego, CA Humphreys
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chiguy2006
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Post by chiguy2006 on Apr 14, 2011 9:24:29 GMT -5
Show Recap and Gallery: Ms. Lauryn Hill & Dave Chappelle ; Oakland, CA - The New Parish (4/14)hip-hop.com/blog/2011/04/show-recap-and-gallery-ms-lauryn-hill-dave-chappelle/![](http://farm6.static.flickr.com/5267/5619109598_2f7044dc3d.jpg) Something strange happens when you get a ticket to a show announced about six hours before doors open, at a small club with a lineup so star studded that you’d be willing to pay for a ticket at a C-note and still come in feeling like you just got away with highway robbery. Ms. Lauryn Hill and Dave Chappelle? On one bill? Didn’t they both at one time or another in the last five or ten years or so had their turns as the most popular black person (besides Oprah) in the country? You’d be so happy you might even cheer the cops in the room for letting the show go on way past the usual curfew. For our intrepid performers, what started as an offhand remark at the Lauryn Hill show last night in San Francisco snowballed into a show created on impulse. Dave Chappelle, who only saw Lauryn Hill live once at the taping of Dave Chappelle’s Block Party, mentioned something to a friend about how he’d love to do a show with her one day. That friend was hanging with the show’s promoter last night and told him what Dave said. Somehow the conversation morphed into something serious, people started asking why couldn’t one day be the next day, and later that night Lauryn and Dave decided the Time Is Now. Dave brought himself to the Bay in a chartered plane. Logistics didn’t get completed until around 6pm that day, when the folks at Ankh Marketing and Hip-Hop.com posted a Twitter message about a surprise show and hoped for a response. As for the venue, the small club on the edge of Oakland’s downtown called The New Parish, the band itself didn’t even finish its setup until 15 minutes after the doors were supposed to open. For some people, impulse is what happens when they buy shoes. By showtime, the show, sold out within hours thanks to that awesome and majestic power of social media, attracted a line of people halfway around the block. It was already technically the next day when doors opened, and people streamed in at a leisurely pace that suggested they must have already given up being productive the next morning. The energy definitely picked up when Dave casually strolls onto the stage with a cup of coffee in hand. But something was a bit unusual after Dave concluded his opening remarks. Chappelle, already known for his improvisational skills, couldn’t settle into a routine—the crowd won’t let him. People kept yelling little remarks at him, little non-sequiturs and pieces of absurdity at him like they were throwing softballs at a slugger in hopes he’ll swing at every one and rip them out the park. And that’s exactly what Dave did. Early on, a few people in the front shouted something about East Africa, which totally perplexed Dave who replied, “East Africa? You’re in East Bay right now!” That naturally lead to a discussion of Somalia and their piracy problems. “That’s the most gangster thing I’ve ever heard, twelve skinny Africans in a Johnny Quest boat go rob an oil tanker.” Later, after some words about the Egyptian Revolution, San Francisco Mayor Gavin Newsom going to rehab, the legality of marijuana in Oakland and more pirate jokes, someone from the balcony yelled, “Someone took my drink…This sucker took my drink,” which prompted Dave to ask, “is this the 70′s?” before going off on a stream of jive. “I should be an auctioneer,” he notes, “there so much chaos in this room I should be selling cattle.” Eventually, Dave yielded the floor, but not before prefacing the introduction with a sincere appreciation for Lauryn Hill. You could tell it was sincere because the bravado and aplomb he had while improvising jokes subtlety slipped, as if he was momentarily at a loss for words. ![](http://farm6.static.flickr.com/5186/5619102076_08748b97b5.jpg) Ms. Hill took the stage after a brief warmup period. Tonight, she performed the same set as she did at the much larger Warfield the night before, but there was a different edge to it. Last night you could tell Lauryn was thrilled by the response of the crowd, and she came to the stage tonight with plenty of leftover enthusiasm. The songs were the same, in the same order even, but that intimacy with the smaller crowd became a part of every song she performed. The band played strong, but perhaps didn’t stress their notes quite as much as they did last night. Lauryn herself almost sang out of breath every once in awhile, while displaying nearly every emotion possible on her face. For “Killing Me Softly,” the opening acapella verse was sung with a sweetness and tenderness that seemed missing when she had to sing loudly to fill a large auditorium the night before. Meanwhile, the crowd kept whistling, with encouraging woops and yells. It’s almost as if they turned this show at The New Parish into a church service. The crowd didn’t seem any less enthusiastic as the night before, but something about a smaller room is that it became a bit less than a mob and the people seemed more like people. Lauryn ended the set chanting, “Lets do it again! Let’s do it again” to the beat. ![](http://farm6.static.flickr.com/5021/5618518771_ec006d3696.jpg) Dave had the last word, following Lauryn back on stage after she left, telling the crowd to go home, which they didn’t. Actually, they resumed their softball tosses, which he obliged for awhile before deciding that the only way he’d get off the stage is if he stage dived into the crowd. Which he did, impulsively of course. For the complete gallery of high quality pics from last night's (this morning's) show, check out: www.flickr.com/photos/hip_hopdotcom/sets/72157626371304731/show/
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chiguy2006
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Post by chiguy2006 on Apr 16, 2011 5:44:00 GMT -5
Coachella 2011: Ready or not, Lauryn Hill commands the stageComments (1) (5) (10) April 15, 2011 | 10:11 pm latimesblogs.latimes.com/music_blog/2011/04/coachella-2011-.htmlFor the last 13 years since her solo debut, "The Miseducation of Lauryn Hill," the erstwhile rasta-hop goddess Lauryn Hill has been confounding her former bandmates in the Fugees, having many babies with her on-again-off-again beau Rohan (one of the Marley sons), dropping perplexing statements to the press and asking that we all address her as Ms. Hill. Today she can add another bullet-point, a clearly positive one, to her difficult resume: a comeback set on the main stage at Coachella that satiated her fans, starving for years and at the brink of losing hope. If Hill's loyal followers had been in a Facebook relationship with their beloved, it would definitely qualify as "It's complicated." To love Hill's music was to accept that its creator might never advance her musical legacy again. Today's set wasn't without its rough points. In fact, in keeping with Hill's penchant for tardiness, the main stage was silent for nearly 15 minutes after her scheduled start time. Her band came out, then she emerged in a giant sweeping striped dress and a cartoonishly huge necklace -- but it still took nearly 20 minutes for all parties involved to start a song. Hill demanded they "straighten out the energy" and squelch the frequent bursts of feedback issuing from her mike. Finally all the stage chakras aligned and her band began at a high-energy level that kept up for the entirety of Hill's stay, sometimes exhaustively so, other times thrilling the crowd of die-hards and the casually curious that constituted one of the bigger daytime crowds seen at the last couple of Coachellas. Armed with at least four horn players, two backup singers and a drummer, the band was Hill's ace, responding to her frequent calls and hand signals for them to amp it up and filling the moments in which she faltered with sheets of brass-soaked hard jamming. Sometimes their playing was so in-your-face, one wondered if it wasn't all smoke and mirrors designed to distract from a limited focal point. They also sometimes overwhelmed her at just the moment they should've backed off, like on "Lost Ones" when her staccato flow, punchy and determined, constituted perhaps her best delivery of the night. But all was forgiven when they rescued their wayward leader, as when she couldn't hit the high notes on "Ex-Factor." Tossing her arm out to the side and wiggling her fingers, one of her backup ladies supplied the requisite trill. Whatever her vocal challenges, Hill is still an arresting performer, bursting with the kind of crackling stage presence that suggests you're watching one of the great, unpredictable eccentrics of pop music. She spun her arms, reached up toward the sky and danced so that her legs made her dress balloon around her body. Her determined glare, almost hostile in its insistence, roved over her audience. If they hadn't liked her show, well, who knows what could've happened. In other words, you're not the only loose cannon in Indio this weekend, Kanye. But her audience did like it, responding with an exalted roar when she dipped into a couple of Fugees hits, including "Ready or Not." By the time she ended, coasting five minutes or so over her allotted time, with "Doo Wop (That Thing)," she knew she'd locked it in. She started having fun with the finger-wagging chorus, snapping her head to the sudden stops and starts of her band, who backed off a bit, maybe finally secure that their hero could reap what she had sown. Leaving the grounds, I heard good buzz from fans who were streaming toward other sets. Two Coachella newbies, Mauna Desai and Sabrina Talukder, told me that Hill had been one of the biggest selling points for them. For her set, they staked out places at the front of the crowd, where they saw Danny DeVito dancing. "She's an incredible performer," Desai said. "There were sound problems, but it didn't matter. Her band was amazing." "I was so scared she was going to be preachy," Talukder said, referencing Hill's dogmatic bent, in lyrics and interviews. "But she wasn't at all." ![](http://cbskits.files.wordpress.com/2011/04/dsc01922.jpg?w=600) ![](http://i.imgur.com/YpWwJ.jpg) ![](http://i.imgur.com/lnjPL.jpg) ![](http://i.imgur.com/yirnR.jpg) ![](http://i.imgur.com/6dGaQ.jpg) ![](http://i.imgur.com/JNsx4.jpg) ![](http://i.imgur.com/Sz60P.jpg) ![](http://i.imgur.com/7ZuNS.jpg) ![](http://i.imgur.com/bmxXr.jpg)
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chiguy2006
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Post by chiguy2006 on Apr 16, 2011 5:57:35 GMT -5
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Jack
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Post by Jack on Apr 16, 2011 9:34:36 GMT -5
The set was good. The vibe is amazing, the energy, the sound of the band, Lauryn doesn't miss a lick...she's slick, in control, her flow is undeniable and even in double time she doesn't miss a beat.
That said she's still SHREDDING her voice. She's not singing probably...I think her voice generally has that more gravelly texture these days, but oh man her technique is all over the place and really not helping matters. She's proved at soundchecks and stuff she can just sit there and sing, but while it might make for a great show, the voice is the weak link.
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