Late start, new approach disappoint Lauryn Hill fans at Oakland concert
Lee Hildebrand, Special to The Chronicle
Friday, June 29, 2007
The public meltdown of Lauryn Hill, which has been apparent for five years, moved further into the realm of the bizarre Wednesday night during a late-starting sold-out show at Oakland's Paramount Theatre. The 32-year-old New Jersey singer-rapper's 90-minute performance mixed new, unfamiliar material with hits from a decade past, most of them rendered unrecognizable by radical new arrangements and a blaring, poorly balanced sound mix.
Aural audience response was divided between cheers and boos. Others sat and stood in silence, their mouths agape at what they were hearing and seeing.
Her hair in an unkempt rust-colored Afro, Hill wore a green-and-yellow plaid jacket that appeared to be made of wool and an ankle-length black skirt, looking not unlike a bag lady one might encounter at a taco truck on International Boulevard. She held a microphone in her right hand and a black handkerchief in her left, frequently wiping sweat from her face as she paced the stage.
At one point during the show, the singer tripped and fell, landing flat on her backside. "That's what I get for wearing high heels," she said as she rose to her feet.
Only during Hill's version of Charles Fox and Norman Gimbel's "Killing Me Softly With His Song," which she recorded with the Fugees in 1995, did her ensemble of 10 instrumentalists (all from the Bay Area), a DJ and a quartet of female harmony singers become quiet enough for her voice to cut through clearly. A raspy tone, cracked notes, clipped phrases and melismas that meandered painfully off pitch demonstrated just how badly Hill's once-commanding pipes have deteriorated.
Most of the music, including old favorites such as "Ready or Not" and "To Zion," as well as newer material recorded locally last year but reportedly rejected by Columbia Records for being too uncommercial, was treated to highly syncopated arrangements drawing on Afro-pop and reggae elements. Few featured the backbeats with which fans of her older material are most comfortable, but rather a frenetically throbbing pulse driven by a three-man percussion section that included former Tony Toni Toné drummer Brian Collier. There's nothing wrong in experimenting with new rhythms; the primary problem was in Hill's slipshod presentation.
Some concertgoers who had paid as much as $89.50 for tickets were requesting refunds even before Hill hit the stage -- two hours and 15 minutes after the concert's scheduled 7:30 start and 80 minutes after the opening act, Jupiter Rising, had finished its set. This was an improvement, however, over club shows last summer in San Francisco and Santa Cruz at which her performances began more than two hours behind schedule. Other patrons started their exits during her first song, and the trickle turned to a flow after a speech late in the show during which the vocalist attempted to explain her new musical direction.
"When you're young, gifted and black -- and female -- you have to have a lot of endurance," she said, borrowing from the title of a song made famous by Nina Simone, a singer who'd had a somewhat similar meltdown more than three decades earlier.
"I can't fit into a stereotype that makes me comfortable for you," she added. "If that makes me feel uncomfortable to you, I need to find some new company."
Hill had drawn a line in the sand. With many of the disgruntled customers now gone, she continued on to no further boos. One suspects, however, that if Hill remains on her present unprofessional path, the company with grow thinner and thinner.
http://sfgate.com/cgi-bin/article.cgi?f=/c/a/2007/06/29/HILL.TMP
This article appeared on page E - 1 of the San Francisco Chronicle
A couple of blogger's personal reviews:
http://blogs.sfweekly.com/shookdown/2007/06/damn_lauryn_hills_train_wreck.php
http://www.ibabuzz.com/concerts/category/lauryn-hill/
Lee Hildebrand, Special to The Chronicle
Friday, June 29, 2007
The public meltdown of Lauryn Hill, which has been apparent for five years, moved further into the realm of the bizarre Wednesday night during a late-starting sold-out show at Oakland's Paramount Theatre. The 32-year-old New Jersey singer-rapper's 90-minute performance mixed new, unfamiliar material with hits from a decade past, most of them rendered unrecognizable by radical new arrangements and a blaring, poorly balanced sound mix.
Aural audience response was divided between cheers and boos. Others sat and stood in silence, their mouths agape at what they were hearing and seeing.
Her hair in an unkempt rust-colored Afro, Hill wore a green-and-yellow plaid jacket that appeared to be made of wool and an ankle-length black skirt, looking not unlike a bag lady one might encounter at a taco truck on International Boulevard. She held a microphone in her right hand and a black handkerchief in her left, frequently wiping sweat from her face as she paced the stage.
At one point during the show, the singer tripped and fell, landing flat on her backside. "That's what I get for wearing high heels," she said as she rose to her feet.
Only during Hill's version of Charles Fox and Norman Gimbel's "Killing Me Softly With His Song," which she recorded with the Fugees in 1995, did her ensemble of 10 instrumentalists (all from the Bay Area), a DJ and a quartet of female harmony singers become quiet enough for her voice to cut through clearly. A raspy tone, cracked notes, clipped phrases and melismas that meandered painfully off pitch demonstrated just how badly Hill's once-commanding pipes have deteriorated.
Most of the music, including old favorites such as "Ready or Not" and "To Zion," as well as newer material recorded locally last year but reportedly rejected by Columbia Records for being too uncommercial, was treated to highly syncopated arrangements drawing on Afro-pop and reggae elements. Few featured the backbeats with which fans of her older material are most comfortable, but rather a frenetically throbbing pulse driven by a three-man percussion section that included former Tony Toni Toné drummer Brian Collier. There's nothing wrong in experimenting with new rhythms; the primary problem was in Hill's slipshod presentation.
Some concertgoers who had paid as much as $89.50 for tickets were requesting refunds even before Hill hit the stage -- two hours and 15 minutes after the concert's scheduled 7:30 start and 80 minutes after the opening act, Jupiter Rising, had finished its set. This was an improvement, however, over club shows last summer in San Francisco and Santa Cruz at which her performances began more than two hours behind schedule. Other patrons started their exits during her first song, and the trickle turned to a flow after a speech late in the show during which the vocalist attempted to explain her new musical direction.
"When you're young, gifted and black -- and female -- you have to have a lot of endurance," she said, borrowing from the title of a song made famous by Nina Simone, a singer who'd had a somewhat similar meltdown more than three decades earlier.
"I can't fit into a stereotype that makes me comfortable for you," she added. "If that makes me feel uncomfortable to you, I need to find some new company."
Hill had drawn a line in the sand. With many of the disgruntled customers now gone, she continued on to no further boos. One suspects, however, that if Hill remains on her present unprofessional path, the company with grow thinner and thinner.
http://sfgate.com/cgi-bin/article.cgi?f=/c/a/2007/06/29/HILL.TMP
This article appeared on page E - 1 of the San Francisco Chronicle
A couple of blogger's personal reviews:
http://blogs.sfweekly.com/shookdown/2007/06/damn_lauryn_hills_train_wreck.php
http://www.ibabuzz.com/concerts/category/lauryn-hill/
