The Ms. Lauryn Hill and The Fugees US tour was due to begin on 9th August in Tampa, Florida. Just three days before this, all 21 dates were cancelled without explanation. Fugees member Pras would voice his frustrations publicly, telling Vulture that he was ‘surprised and not surprised’.

No smoke without fire. The trio’s 2023 reunion tour was reduced from 20 shows to 10. The planned Miseducation Anniversary Tour had already been postponed in November, with Hill citing vocal issues. Hill, who has already earned a reputation for being late or no-showing altogether, would blame poor ticket sales, and ultimately the cancellation, on media sensationalism and ‘clickbait headllines’.

All things considered, adding that Pras is now suing Hill for breach of contact, suffice to say that hopes for the Dublin date going ahead weren’t at an all time high.

However, just half an hour late and after an introduction that spliced images of cultural and social importance to black liberation and portraits of the artist as a young woman, Hill arrives on stage. Looking more like a militant civil rights activist than the reluctant Queen of Hip Hop, Hill appears in baggy tundra fatigues, eye-catching silver eye make-up and Palestinian flag themed beaded braids.

The concert’s first act focuses on Hill’s seminal album The Miseducation of Lauryn Hill, to this day her only solo album proper. In spite of Hill’s sparse discography, her influence is immeasurable, as can be seen by the all-ages crowd and the music that came in her wake. If not for her forward thinking blend of Motown, hip-hop, funk and reggae, one could argue that contemporary R&B would have no reason to be.

“I wrote this for Ireland” she declares, launching into ‘Everything Is Everything’. Right from the off, the show is incredible. Supported by a group of virtuoso sidemen and three backup singers, and a tasteful blue themed lightshow, the energy is immediate and palpable.

Make no mistake, though, this is the Ms. Hill show, and she more than proves her worthiness to her throne. Her full, rich, raspy alto voice has aged like fine wine, soaring over ‘When It Hurts So Bad’, bold and defiant during ‘Final Hour’. Fan favourite and set highlight ‘Ex-Factor’ is predictably emotive, the ‘this is crazy’ hook reverberating around the arena.

Hill would take a moments respite to allow her son, Zion Marley, a chance to shine. While his own music leaves much to be desired, he pulls off a faithful rendition of his grandfather’s classic ‘War’. He doesn’t half sound like him, either. She would regain control, however, allowing the crowd to do the heavy lifting during her greatest hit ‘Doo Wop (That Thing)’.

At this point, Hill introduces Wyclef Jean, arguably the Fugees’ de facto leader. Jean would emerge with a Stratocaster under his arm. His cool and calm demeanour would soon give way to primal energy. ‘How Many Mics’, ‘Zealots’ and ‘The Score’ would run seamlessly, almost relentlessly, the latter featuring a Jean handstand.

Each would take their turn to captivate the crowd on their own – Jean during a high tempo rendition of ‘No Woman No Cry’, Hill during her career-making effort ‘Killing Me Softly’. Her lyrical prowess and incomparable flow were on full display during ‘Ready Or Not’, elements of her game she does not get enough credit for. ‘Fu-Gee-La’ however, was the piece de resistance, with the bandmates and former lovers feeding from each other, the band, and the crowd alike.

If this is Hill’s way to stick it to her critics, she’s done it in style. The Celebration Continues tomorrow night in Cardiff. All at once enlightening and ferocious, it was a triumphant return.

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