Concert Review: Lauryn Hill at the Pageant (STL)

Pic by Santiago Felipe (VillageVoice.com)

Fresh.   

This is the word I would use to describe the Lauryn Hill concert in St. Louis over the MLK Day weekend.  Although she broke no new material, Hill created new arrangements for classic songs.  Not everyone in my section of the Pageant appreciated her musical choices but I did.

I overheard one concert-goer say, “I’m confused.”  Confusion may be a sentiment that everyone not standing at Hill’s concert felt as she infused rock and removed R&B in a set dominated by reggae riddims and hip hop percussion. But after releasing the classic album, Miseducation of Lauryn Hill, and without new material available what else could she do? 

Sure, she could have gone the has-been route of leading the audience in a sing-along version of her signature songs.  Songs that I prefer to remember than replay because I played them so often back in 1998 and ’99.  Perhaps she could have performed some unreleased tracks that floated online or music from her unplugged album but why? Those works are largely untested, unknown or uncelebrated; leaving Hill to wade into familiar territory, lyrically, while breaking new ground sonically.

Much of the audience stared at the stage as Hill launched into the second song of the 90 minute set, Lost Ones.  Gone was the sparse, drum-centered familiarity with well-time guitar riffs. It was guitar-gone-wild with upbeat riddims that reminded me of the third wave of ska minus the lightness (and horns).  The songs that followed were increasingly rock oriented as the guitar cut the neo soul memories of Hill’s audience into indiscernible pieces. Still, the remixes had an undeniable hip hop edge that rendered the music harder and more energetic than the songs featured on her album.

It was Hill’s third song, Ex-Factor that engaged the audience. She encouraged concert-goers to sing along and they did. At this point, I glanced at my phone to look at the set list published by Village Voice’s Rob Harvilla.  She did not deviate much except for cutting “To Zion” from her set.  I looked forward to hear what she’d do with Final Hour, since it was my least favorite track from her album.  She rocked it. It was a fuller sonic experience and quicker tempo than the original laid-back vibe of the original.

Not all of Hill’s material was rock-reggae re-imaginings.  As the set drew to a close, Hill stayed true to the original arrangements; particularly, her Fugee work.  From “Fu-Gee-La” on, the audience found a comfort zone with her set.   The only moments that seemed jarring was Hill’s constant admonishment of her band. It was as though she was checking her kids on that stage but there was no mutiny from the players. They followed her lead, which prompted a thought.  Perhaps all the recent reviews about Hill missed something her: she’s an artist who has been roughed up by the industry.

In 2001, Hill settled a $5 million dollar lawsuit with four musicians with whom she collaborated on Miseducation.  They claimed to have more input on the album and were not properly recognized for their contribution.   For good or bad, Hill made clear at the concert that she controls her music.  That’s a very different experience than in 1999 when Hill graced the Fox Theater.  She was not the hard-driving band leader that dominated the stage at the Pageant. She was the full articulation of neo-soul in 1999. But that was a different Hill and era of music. Artists like L-Boogie hardly stand still for that long.