lauryn hill us tour

Ms. Lauryn Hill Is Hitting the Road With Fugees — Here’s How to Score Last-Minute Tickets

By John Lonsdale

John Lonsdale

Ms. Lauryn Hill released one of the best albums of all time nearly 25 years ago this year with The Miseducation of Lauryn Hill , and now the Grammy winner has taken her 1998 solo project’s songs on the road — along with a Fugees reunion — for a multi-city trek that kicked off in September. Following the tour announcement, Hill announced another run of new dates that would extend through December, with stops in Vancouver, Detroit, Atlanta, and Boston.

“ The Miseducation of Lauryn Hill is and was a love song to my parents, my family, my people, my musical and cultural forebears, my teachers, my loves, my Creator,” Hill shared in a statement. “I wrote love songs and protest songs — (still love songs) about the subjects and interests that inspired and moved me. I was confident that what inspired me would resonate with an audience that had been led to believe that songs of that kind could only live in the past.”

The answer: Get Ms. Lauryn Hill and Fugees tickets on Ticketmaster , StubHub , Vivid Seats , TicketNetwork , and SeatGeek .

How to Buy Ms. Lauryn Hill & Fugees Tickets Online + Discount Codes

Want to hear “Ready or Not,” “Killing Me Softly,” “Doo Wop (That Thing),” and more live? While some dates have already sold out, here’s where you still can find tickets to see Hill and the Fugees on the road for the Miseducation 25th Anniversary Tour .

Find Ms. Lauryn Hill + Fugees Tickets on Ticketmaster

Both standard and verified resale tickets are still available to buy on Ticketmaster for all upcoming dates, including newly added shows for the remainder of the reunion tour.

Find Ms. Lauryn Hill + Fugees Tickets on StubHub

One of our go-to places for buying sold-out concert tickets is through resale site StubHub . All of Hill’s upcoming dates with the Fugees are available to buy on its website at the time of writing. We’ve spotted tickets for as little as $66 each for the November stop at the Kia Forum, and $74 each for her final stop in Boston in December.

Find Ms. Lauryn Hill + Fugees Tickets on Vivid Seats

If you’re shopping for Ms. Lauryn Hill and Fugees tickets on Vivid Seats , you can use our Rolling Stone promo code RS2023 to save $20 on your $200+ order at checkout.

Find Ms. Lauryn Hill + Fugees Tickets on SeatGeek

SeatGeek also has a large selection of tickets left to see the Fugees this season. Live music fans can use the promo code ROLLINGSTONE10 to save $10 on your first order over $250 at checkout.

When Do Ms. Lauryn Hill Tickets Go on Sale?

All tickets are currently on sale for the upcoming Ms. Lauryn Hill and Fugees run. Public on-sale tickets for the Miseducation of Lauryn Hill 25th Anniversary Tour went on sale at 10 a.m. ET on Ticketmaster on Aug. 25, and the week of Oct. 5 for another round of dates.

Ms. Lauryn Hill & Fugees 2023 Tour Schedule

Taking the number 10 spot on our list of the 500 Greatest Albums of All Time , Rolling Stone wrote of Hill’s solo classic: “ Miseducation ’s musical legacy is just as deep; at a time when pop was becoming increasingly slick and digitized in the go-go Nineties, here was an album that showed the commercial appeal of a rawer sound; ‘I wanna hear that thickness of sound,’ Hill said. ‘You can’t get that from a computer, because a computer’s too perfect. But that human element, that’s what makes the hair on the back of my neck stand up. I love that.'”

Ready to hear your favorite Miseducation and Fugees tracks live? Here’s the complete 2023 schedule for Hill’s remaining concert dates , including newly added shows with the Fugees.

* Dates bolded below are newly added shows

• Oct. 28 – Chicago, IL @ United Center (w/ Fugees)
• Oct. 30 – Fort Worth, TX @ Dickies Arena (w/ Fugees)
• Nov. 2 – Denver, CO – Ball Arena (w/ Fugees)
• Nov. 4 – Los Angeles, CA @ Kia Forum (w/ Fugees)
• Nov. 5 – Los Angeles, CA @ Kia Forum (w/ Fugees)
• Nov. 7 Oakland, CA @ Oakland Arena (w/ Fugees)
• Nov. 9 – Seattle, WA @ Climate Pledge Arena (w/ Fugees)
• Nov. 10 – Portland, OR @ MODA
• Nov. 12 – Vancouver, BC @ Rogers Arena (w/ Fugees)
• Nov. 17 – San Francisco, CA @ Chase Center (w/ Fugees)
• Nov. 21 – Detroit, MI @ Little Caesars Arena (w/ Fugees)
• Nov. 25 – Philadelphia, PA @ Wells Fargo Center (w/ Fugees)
• Nov. 27 – Atlanta, GA @ State Farm Arena (w/ Fugees)
• Nov. 29 – Nashville, TN @ Bridgestone Arena (w/ Fugees)
• Dec. 1 – Charlotte, NC @ Spectrum Center (w/ Fugees)
• Dec. 6 – Huntsville, AL @ Orion Amphitheatre
• Dec. 8 – Tampa, FL @ Amalie Arena (w/ Fugees)
• Dec. 10 – Miami, FL @ Kaseya Center (w/ Fugees)
• Dec. 13 – Boston, MA @ TD Garden (w/ Fugees)

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Lauryn Hill announces 25th anniversary tour for solo album

The singer will celebrate The Miseducation of Lauryn Hill with a global 17-date tour that will also include Fugees members in the US and Canada

Lauryn Hill is set to embark on a global tour to celebrate the 25th anniversary of her acclaimed solo album The Miseducation of Lauryn Hill .

The singer and rapper will perform the entirety of her Grammy-winning album across 17 dates in the US and Canada as well as in Australia and New Zealand. She will also be reunited by fellow Fugees members for her dates in the US and Canada.

Hill’s US dates include Chicago’s United Center, Brooklyn’s Barclays Center and the Kia Forum in Los Angeles. Her first date is on 8 September in Minneapolis.

“The Miseducation of Lauryn Hill is and was a love song to my parents, my family, my people, my musical and cultural forebears, my teachers, my loves, my Creator,” Hill said in a statement. “I wrote love songs and protest songs – (still love songs) about the subjects and interests that inspired and moved me. I was confident that what inspired me would resonate with an audience that had been led to believe that songs of that kind could only live in the past.”

The tour comes after the Fugees were forced to cancel their reunion tour as a result of Covid. Originally announced in 2021 to celebrate the anniversary of Grammy-winning album The Score, it was later cancelled in 2022.

In September 2021, the trio reunited on stage in New York for their first gig in 15 years after keeping fans waiting for three and a half hours.

Hill has made a number of appearances this year already to celebrate the anniversary including at the hip-hop 50th anniversary celebrations in New York City appearing alongside Nas as well as headlining the Roots Picnic festival alongside fellow Fugees.

The Miseducation of Lauryn Hill, featuring hits such as Doo Wop (That Thing), Ex-Factor and Everything Is Everything, debuted at No 1 in the US in 1998, selling 422,000 copies in its first week, a record for a female solo artist.

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The album went on to win five Grammy awards, including album of the year.

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Ms. Lauryn Hill  

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New Jersey local Lauryn Hill (born 26 May 1975), is a solo artist, singer-songwriter, rapper, producer and former member of Hip-Hop group The Fugees.

Before her musical talents were unleashed onto the world, Lauryn Hill found moderate success as a young actress, starting alongside Whoopi Goldberg in the feature film “Sister Act 2: Back In The Habit”. However her career changed whilst attending Columbia High School, where she formed a hip-hop group with fellow student, Pras Michel, and his cousin Wyclef Jean, called “Tranzlator Crew” in 1992.

After gaining record label attention through live gigs and demo’s, the group was picked up by Columbia Records. They eventually released their debut album “Blunted On Reality” in 1994 under the now famous moniker of “The Fugees” (in reference to Michel and Jean’s Haitian heritage” Whilst the album struggled commercially and critically due to its “gangsta rap” direction, Hill, under her “L.Boogie” persona caught the attention of critics and fans alike.

When the group was given a second change by label execs, they did not disappoint, and their second album “The Score” was a smash hit, reaching number one on charts around the world, and certified six times platinum, whilst receiving the adulation of music critics for its alternative hip hop sound and politically charged focus. At the center of the groups success was Hill, with her smooth and recognizable singing voice and sharp rap lyrics often standing out on hit tracks such as “Ready or Not” or the Grammy winning “Killing me Softly”.

Following on from the breakout success of the Fugees, all the members decided to take a solo path. Lauryn finally gave the fans what they wanted with the release of her debut solo album “The Miseducation of Lauryn Hill” in 1998 an R&B project which featured tracks such as “Doo Wop (That Thing)” which touched on personal subjects such as her failed personal relationship with Wyclef Jean and the pressures of being a young single mother. The album made Hill a superstar, as it received universal acclaim, exceptionally high sales figures and an incredible five Grammy’s including “Best Album”, unprecedented for a Hip-Hop album in the 90’s.

Since her success and the international tour that followed, Hill has kept herself out of the public eye, citing the stress of being a celebrity too much to handle, and has instead focused on raising her six children. Despite her decision, many music fans around the world are hopeful for her much awaited comeback.

Live reviews

After a break in music due to motherhood and imprisonment, former Fugees songstress Lauryn Hill is back on the scene proving that she still has that thing. Ms. Hill's return to the stage has been like a box of chocolates -you never know what you're going to get- but one thing you're always guaranteed is that beautiful, rasping growl that made her the Soul Queen of the 90's.

Ms. Hill has an effortless way of sending you on the most intense roller coaster of emotions. She takes command of the stage and knows exactly which buttons to press to send the crowd's hearts into their throats. We begin our ride with the agonising beauty of "Killing Me Softly," we ascend into the unknown with a cover of The Doors' "Light My Fire," and then we're hurtled into space with Miseducation's "I Used To Love Him" and taken through a loop of Reggae righteousness with "Please Don't Rock My Boat."

Hill finishes the set off with Fugees favourites "Fu-Gee-La," the ultimate crowd-pleaser "Ready or Not" and brings us back to the start with another rendition of "Killing Me Softly." Ms. Hill's live show is one helluva ride that you can't (and don't want to) get off of.

Seeing Ms.Hill live at the Indig02 is like a spicy and complex chicken soup for the soul. She definitely still has that thing on stage and while there's no doubt as to how she earned her place in history, there is doubt as to whether she will be sending us on roller coasters in the future. The only way to listen to Hill is live, no show is ever the same and when she's stripped down to the bare minimum with just a guitar - well, you best hold onto your socks.

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Really disappointing concert.

Our ticket said the concert would start at 20h00. Ms Lauryn Hill was on the stage at 22h30.

The warm up acts included two different bands, two stand up comedians and a DJ. The sound cut out for the DJ at one point.

Those standing had their arms up in a cross to protest the lengthy warm up... It was tooooo much. We just wanted to hear Lauryn Hill.

When she finally came on most of the audience booed. People were leaving before the end of her set- no doubt having a long commute home.

During her last song the house lights went up. Then the microphones were cut. She was left talking until her mic was also cut. She hadn't had enough time to finish her set.

Totally bizarre and disappointing. The tickets were expensive - and we got half of a Lauryn Hill concert.

At one point she was talking about "authenticity and respect". Again the audience booed.

I think she is an amazingly talented artist who is unfortunately out of touch with the fact that her fans lead normal lives; including commutes on public transport, babysitting costs, and work the next day. Boring "authentic" facts about everyday life that Ms Lauryn Hill seems to have forgotten.

Her first song had the lyrics "You might have won some but you just lost one..."

I think she might have lost more than one.

Happy childhood memories listening to her work but I would hesitate about going to see her at anything other than a music festival - unless I had no work the next day!!

Lauryn Hill's show (her show only) was fantastic, musically and sound wise it was 9.5 out of 10. The reason why it's not a 10 is because all of the songs were remixed and I would have loved to listen to at least one of the classic versions from beginning till end, not just the chorus.

HOWEVER, I must complain about how long we had to wait to see her perform. 4 hours. 4 FREAKING HOURS. REALLY? when I bought the tickets, I didn't expect to see a festival of 4 different opening acts for 4 hours. It was nowhere in the description, and except for Chakra Kahn, the genre of music of the other bands was completely different. I understand maybe the roots of RnB and Hip Hop could have come all the way from African beats, and I have nothing against African music, but I was not expecting it, and I thought it was really unrelated and out of place. I really didn't like the fact they kept teasing the audience by saying Lauryn was coming out after their song, this happened repeatedly. People were pissed! some were booing, girls were taking their heels off from standing for so long. And it was a Thursday, so some people had to work the next day. The concert ended at 1:30am!

I don't think I'll attend another of her concerts again as much as a fan of The Fugees and Lauryn Hill that I am...I mean I really liked her show separate from all of the factors working against her, I love her music and what she does, but I can only tolerate so much.

“Before I work with Lauryn Hill again, you will have a better chance of seeing Osama Bin Laden and Bush in Starbucks having a latte, discussing foreign policy.” Granted, Pras Michel said that before Bin Laden died, but you get his point; only the most committed optimist would have any real expectation of the Fugees working together again. Instead, fans would be better advised to turn their attentions to Hill’s solo career, under the new moniker of ‘Ms.’ Lauryn Hill (allegedly, her insistence on being addressed as such was one of the contributing factors to the group’s demise.) Whether or not we’ll ever get a proper follow-up to the genre-defining 'The Miseducation of Lauryn Hill' remains up in the air; for now, file it alongside D’Angelo’s 'James River' as an R&B record that might never see the light of day. Instead, Hill is focusing on touring, having ironed out some of the difficulties that marred her initial return to the stage in 2007. She’s no longer rushing through her sets at breakneck pace, but continues to reconfigure the classics; check out a haunting new arrangement of ‘Ex-Factor’ on YouTube for proof. With a recent jail term for tax evasion out of the way, she’s lined up her first UK tour in a long, long time for September; recent evidence suggests she’s somewhere close to top form.

On Christmas morning when Lauryn Hill was announced to perform on New Years day I was thrilled. I called all of my friends and we secured VIP table seats and planned an amazing evening.

Our evening was great, but the warning signs about Ms. Hill were there. 1. The negative reviews she's received. 2. The fact that the concert time was pushed back an hour days before she was to perform.

Well, I should have listened to the signs. She was still late! It was almost 11 pm by time she took the stage and when she finally did she didn't great the audience, no Happy New Year, sorry I'm late- nothing! Instead she was directing the band the entire night and came off as completely unprofessional. I felt like we were at a sound check rather than a concert. I was really disappointed.

Of course, she opened with some new songs that no one has heard of, but when she finally performed her classics, she hyped everyone up only to let the mood right back down by performing these buzz kill songs, one was in French, but we couldn't understand what she was saying anyways.

In summary, I won't see her again. She still has all the talent in the world, but her lack of professionalism really killed it for me.

Dallas Show: Was supposed to start at 6:30PM. Opening act started a 7:00, not sure who he was but it was truly boring. DJ can on for about 20 minutes and then a African Band. They sounded pretty good, just was familiar with their music and that was not who came to see. So from ~8:15 we waited and waited and waited while the DJ played music until 10:05PM before Lauren Hill came on..... man this concert was a dud. She only stayed on stage one hour, she ended at 11:05. During they show she is constantly giving instructions to the sound man to make adjustments. Her voice has changed. Her tone is different and didn't hear the vibrato that made her voice especially unique. I would not recommend this concert if you don't already have tickets. I am hearing that this has been the pattern at many stops. Terrible to make us wait for such a short show, many complaints leaving the venue.

An epic night full of good music, good fun & an excellent no nonsense crowd!

The female DJ was phenomenal and she rocked us all, start to finish. It was one big party.

The openers were amazing in their on right and good to hear NY in the house.

Ms Lauryn Hill was strong, powerful & on point all night and took control! She looked simply beautiful! The songs choices and words she had for us all were perfect!

The band and background singers kept it real! Never missing a beat!

Shout out to her guitarist & horn player..both Berklee alumni! We see u!

The visuals & stories projected were soul stirring behind Ms Hill! Thank you!

Thank you for the entire experience!

A night to be remembered forever!

Red Rocks in Colorado is a one of a kind venue.

Every part of the show was sign languaged, which was amazing to watch and so thoughtful!

Best show of my year!

I saw Ms. Lauryn Hill in the Forum koncert hall in Copenhagen, Denmark on her 20-year celebration of her solo album. The sound at the concert were awful, but apart from that, I was happy to hear that she still has a wonderful voice and a unique feel for music and rhythm. Her voice was a little darker than on the album, but still quite amazing; And she compensated by including three amazing support singers.

She lacked a bit of energy on the stage, but still managed to connect with the audience.

One thing I really did not appreciate was how late she showed up and that her second warm up act, DJ Reborn, played party music, that didn't match the atmosphere of Ms. Lauryn Hills music and did so with lacking DJ'ing skills (questionable track transitions etc.). In contrast, the first warm up act, IAMDBB, was great! Great singer and a real charmer!

An upbeat funk band and an on-point nostalgia-inspired Brooklyn DJ were ideal supports before the much-anticipated Lauryn Hill. Upon arrival she created a brilliant atmosphere in The o2 Arena and engaged a sell out crowd with a performance celebrating one of the best albums of all time. Despite changing melodies for several key songs too early in their start, she still retained the powerful messages famously portrayed. Differences to the album were expected from an artist who has essentially played one album for her 20 year solo career, but they never improved on the original recorded songs. She engaged the crowd well with thankful words and her emotion was felt. Spoiler! A beautiful Fugees rendition welcomingly closed a set full of soul, hip hop, positive messages, warmth and nostalgia.

The show started almost 3 hours later than expected and Ms. Lauryn Hill was not in her best shape in the first part of the show. The first tracks she played from The Miseducation of Lauryn Hill were disconstructed and her and the band seemed a bit uncomfortable with the versions of the tracks they were delivering. Ms. Lauryn Hill seemed to be stucked in her head and found difficult to connect with the audience which started to leave the venue right after the first break. However, after Doo woop and her, apparently, deserved break, she returned more inspired and connecting with the audience who returned the energy singing together Zion and some Fugges’ tracks. I will clap forever for her version of “Ready or Not”.

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Find out more about Ms. Lauryn Hill tour dates & tickets 2024-2025

Want to see Ms. Lauryn Hill in concert? Find information on all of Ms. Lauryn Hill’s upcoming concerts, tour dates and ticket information for 2024-2025.

Unfortunately there are no concert dates for Ms. Lauryn Hill scheduled in 2024.

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Hip-Hop’s most elusive star is returning to the spotlight.

Lauryn Hill just announced she’s embarking on ‘The Miseducation of Lauryn Hill 25th Anniversary Tour’ this fall.

That includes stops at New York City’s Global Citizen Festival on Saturday, Sept. 23, Newark, NJ’s Prudential Center on Tuesday, Oct. 17 and Brooklyn’s Barclays Center on Thursday, Oct. 19.

Hill isn’t going it alone either.

The five-time Grammy winner will be bringing her group Fugees to open all U.S. dates on the run from September through November.

No word on whether or not they’ll be performing with her at the Global Citizen Festival .

Want to hear “Everything Is Everything,” “Doo Wop (That Thing),” “I Used To Love Him” and so many more timeless classics live?

You can grab tickets for the highly-anticipated anniversary tour as soon as today.

Although inventory isn’t available on Ticketmaster until Friday, Aug. 25, fans who want to ensure they have tickets ahead of time can purchase on sites like Vivid Seats before tickets are officially on sale.

Vivid Seats is a secondary market ticketing platform, and prices may be higher or lower than face value, depending on demand.

They have a 100% buyer guarantee that states your transaction will be safe and secure and will be delivered before the event.

Lauryn Hill 2023 tour schedule

A complete calendar including all tour dates, venues and links to buy tickets can be found here:

Global Citizen Festival

On Saturday, Sept. 23, Central Park will be the epicenter of the music world when the Global Citizen Festival drops into midtown Manhattan.

Hill is set to headline along with major stars like Red Hot Chili Peppers , Megan Thee Stallion , Stray Kids and Conan Gray.

If you need tickets to the one-day extravaganza, you can scoop them up here .

Lauryn Hill set list

Wondering what Hill will play live?

While we can’t guarantee anything — although it’s likely she’ll perform at least a few tracks from “The Miseducation of Lauryn Hill” — here’s an educated guess based on what she played at a recent show:

01.) “Everything Is Everything” 02.) “Superstar” 03.) “When It Hurts So Bad” 04.) “Final Hour” 05.) “Lost Ones” 06.) “Every Ghetto, Every City” 07.) “Ex-Factor” 08.) “To Zion” 09.) “Nothing Even Matters” 10.) “Forgive Them Father” 11.) “Can’t Take My Eyes Off You” (Frankie Valli cover) 12.) “I Used to Love Him” 13.) “Tell Him” 14.) “The Miseducation of Lauryn Hill” 15.) “Doo Wop (That Thing)”

The above set list comes courtesy of Set List FM .

At all U.S. concerts, Wyclef Jean and Pras Michel will co-headline with Hill.

According to Variety , it’s likely they won’t be touring internationally “presumably because of member Pras Michel’s legal challenges stemming from his recent conviction on international conspiracy charges.”

In September 2021, the South Orange, NJ natives announced a 25th anniversary tour celebrating their album “The Score” but canceled a few months later due to COVID concerns.

Hip-Hop stars on tour in 2023

Hill isn’t the only iconic act back on the road this year.

Here are just five of our favorite rappers from yesteryear performing live these next few months.

•  50 Cent with Busta Rhymes

• Snoop Dogg with Wiz Khalifa

• Wu-Tang Clan with Nas

Plus, on Sept. 15, Mariah Carey, Mary J. Blige and Wu-Tang Clan will headline at NYC’s Madison Square Garden.

Get tickets here .

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Ms. Lauryn Hill & Fugees Miseducation of Lauryn Hill 25th Anniversary Tour

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Take the Orange, Green, Purple, or Brown lines to Madison. Take #20 Madison buses west.

To the United Center : The #19 United Center Express Bus runs on game days. Service begins 90 minutes prior to game time, runs every 10 minutes until 30 minutes until start of game. Board at stops starting southbound on Michigan and Randolph. Connections are made with Metra trains at Millennium Station, Ogilvie Center and Union Station. The #20 Madison Bus travels west on Madison Street, starting downtown at Wabash Street and runs every few minutes, making all stops to the United Center.

From the United Center : The #19 United Center Express and the #20 Madison buses run every few minutes, departing from the eastbound side of Madison Street. Buses make all stops.

General Parking

PLEASE NOTE: Parking lots and Uber lot open to public two and a half hours prior to event time.

All prices are subject to change without advance notice.

All major credit cards accepted. The United Center offers free parking for select family shows in all official United Center parking lots. All Parking Policies outlined below remain in effect.

Purchase parking via Ticketmaster in advance HERE .

For details on handicap parking, please see the United Center Accessibility Guide .

EV Charging Stations EV Charging Stations are available in Lot H and Lot K. Charging is free. Please be courteous and maintain parking/charging for the posted time limits. 

Parking Policies No in/out privileges. No overnight parking unless related to event activites and approved in advance. No solicitation allowed. No consumption of alcoholic beverages on lot or in parked vehicles. No tailgating or similar activities.

BOOK PARKING IN ADVANCE

Book parking in advance.

SpotHero We recommend booking convenient and affordable parking in advance through SpotHero, the nation's leading parking reservations app. To reserve your parking spot, visit the United Center SpotHero Parking Page .

Fans visiting the United Center can also reserve their parking in advance via  Ticketmaster .

Suites Parking

Two reserved parking passes will be valid in lots C and K. The other two reserved parking passes will be for parking in lots A, B, D, or L. Holders of these passes will be directed to A, B, D, or L lots by traffic police and parking attendants based on traffic conditions. Parking passes are good for one space each. All parking passes are mobile entry only.

For all special events, each Executive Suite Holder will receive two complimentary parking passes per event ordered. These two passes will be for reserved parking located in lots C and K. In addition, Executive Suite Holders will also receive the option to purchase four additional parking passes in lots C and K for special events.

Suite Holder parking passes are also valid for buses or limousines under specific guidelines.

Lexus Club Parking

Lexus Club Seat members have reserved parking in fenced, well-lit and clearly marked parking lots adjacent to the United Center for all Blackhawks or Bulls preseason, regular season and playoff games. All Lexus Club members who purchase tickets to other events may also purchase one preferred parking pass (in lot C or K) for such events. Details on how to obtain parking for other events are included with the fax transmission announcing each event.

Lexus Club Seat members with two to four tickets receive a complimentary, reserved parking space in a closed-in, paved lot for all Blackhawks or Bulls preseason, regular season and playoff games. Lexus Club Seat members with five seats or more will be provided with two parking passes.

Rideshare/UberZone

UBER ZONE FAQs:

What is the Uber Zone (Lot E) at the United Center? To increase and streamline the fan experience for guests who take Uber to and from the United Center, the new Uber Zone is located at the corner of Madison Street and Wood Street (Lot E) and will combine the three former Uber locations around the arena. Traffic leading to the three prior Uber pickup locations 1) Zone A, previously located on Wood Street & Washington Blvd. near Lot A, 2) Zone D, previously located on Monroe Street & S. Paulina Street near Lot D and 3) Zone F, previously located on Monroe Street & Seeley Ave. near Lot F will now be directed towards the one new Uber Zone in Lot E.

What is the location of the Uber Zone? The new Uber Zone at the United Center is located on the corner of Madison Street and Wood Street. Fans will enter and exit through the sidewalk entrance located on Madison Street and cars will enter the lot by turning into the Uber Zone from Madison Street. Cars will exit on Warren Blvd.

What are the hours of operation? On event days, the Uber Zone is open two hours prior to games, concerts and events and will remain open up to one hour after each event. On non-event days, the Uber Zone will be closed and Uber rides will be dropped off near the corner of Madison Street and Wood Street outside of the Uber Zone.

What is the pickup process for fans?

• Using the Uber app, fans inside the United Center will call an Uber ride.
• Guests will then head to the new Uber Zone located at the corner of Madison Street and Wood Street in front of the United Center.
• When arriving, fans will show the Uber attendant the lane number their driver is in.
• Fans will be shown the location where their Uber vehicle is located to start their next journey.

What is the dropoff process for fans? When Uber drivers arrive with guests at the United Center, they will be instructed to pull into the Uber Zone from the Madison Street side to drop off fans. Once exiting the vehicle, guests will walk out of the main entrance located on the corner of Madison Street and Wood Street. Guests can cross the street to the United Center and are encouraged to enter through the East Atrium.

Ms. Lauryn Hill Extends ‘Miseducation’ 25th Anniversary Tour

After a triumphant headline set at the Global Citizen Festival with a surprise appearance by the Fugees, 5-time Grammy winner Lauryn Hill is extending her The Miseducation of Lauryn Hill 25th Anniversary Tour due to overwhelming demand. New dates added to the tour include Vancouver, San Francisco, Detroit, St. Louis, Atlanta, Nashville, Charlotte, Tampa, Miami, and Boston. Meanwhile, the Brooklyn, Washington DC, Chicago, LA Kia Forum, Oakland, and Seattle shows are already sold out.

“I’ve almost felt compelled to carry a torch or to keep a light shining regarding the continual performance of the Miseducation album. I believe there’s been a reason for that—and the Fugees coming back together for performances too feels like unfinished business we’re destined to handle. The connections are real and uncanny, and the magic and synergy between us has not been deterred by time. I believe the messages that we and the art we made embody something moving, meaningful and important for us and for the world. We gave voice and image to possibilities that emblazoned so many musical directions after us. As we were inspired, we also inspired countless artists who have shown up to express themselves in this musical space. Both the Miseducation and the Fugees’ material challenged and expanded convention, by paying homage to the past, while richly embracing the present, and emblazoning the trail for the future. We represent not just ourselves but our influences and our peers who took art, culture and inspiration very seriously—- who reshaped the landscape for ourselves and for those who would follow after us. I’m grateful to be able to celebrate this classic material and re-present it to an audience in this time.” – Ms. Lauryn Hill

All North American dates will feature co-headlining performances by the Fugees. Tickets for the newly added shows go on sale this Friday, October 6th, at 10:00 a.m. local time.

The Miseducation of Lauryn Hill profoundly impacted music, fashion, and culture. It was inducted into the Library of Congress in 2015, marking several historical milestones. The album was the first hip-hop album to receive a Grammy Award for Album of the Year, Lauryn Hill became the first woman to be nominated for 10 Grammy awards in a year, and she was the first woman to win 5 Grammys in a single night. This tour continues to celebrate the enduring influence of the album and the Fugees on the world’s biggest artists.

UPCOMING LIVE DATES

Purchase tickets here:  https://mslaurynhill.com/  

10/3 – Melbourne , AUS @ Rod Laver Arena (with Sampa The Great)

10/5 – Sydney, AUS @ Kudos Banks Arena (with Show Dem Camp)

10/7 – Auckland, NZ @ Eden Festival

10/13 – Uncasville, CT @ Mohegan Sun Arena (solo) 

10/17 – Newark, NJ @ Prudential Center (with Fugees)

10/19 – Brooklyn, NY @ Barclays (with Fugees)  SOLD OUT

10/21 – Washington, DC @ Capital One Arena (with Fugees)  SOLD OUT

10/23 – Philadelphia, PA @ Wells Fargo Arena (with Fugees)

10/26 – Toronto, ON – Scotia (with Fugees)  SOLD OUT

10/28 – Chicago, IL @ United Center (with Fugees)  SOLD OUT

10/30 – Fort Worth, TX @ Dickies Arena (with Fugees)

11/2 – Denver, CO – Ball Arena (with Fugees)

11/4 – Los Angeles, CA @ Crypto.com Arena (with Fugees) 

11/5 – Los Angeles, CA @ Kia Forum (with Fugees)  SOLD OUT

11/7 Oakland, CA @ Oakland Arena (with Fugees)  SOLD OUT

11/9 – Seattle, WA @ Climate Pledge Arena (with Fugees)  SOLD OUT

11/12 – Vancouver, BC @ Rogers Arena  NEWLY ADDED

11/17 – San Francisco, CA @ Chase Center   NEWLY ADDED

11/21 – Detroit, MI @ Little Caesars Arena   NEWLY ADDED

11/25 – St. Louis, MO @  Enterprise Center   NEWLY ADDED

11/27 – Atlanta, GA @ State Farm Arena   NEWLY ADDED

11/29 – Nashville, TN @ Bridgestone Arena   NEWLY ADDED

12/1 – Charlotte, NC @ Spectrum Arena   NEWLY ADDED

12/8 – Tampa, FL @ Amalie Arena   NEWLY ADDED

12/10 – Miami, FL @ Kaseya Center   NEWLY ADDED

12/13 – Boston, MA @ TD Garden   NEWLY ADDED

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• April 14, 2024 Setlist

YG Marley Setlist at Empire Polo Club, Indio, CA, USA

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• opening jam Play Video
• Marching to Freedom Play Video
• Running to a Solution ( Live debut ) Play Video
• Ex-Factor ( Lauryn Hill  cover) (with Lauryn Hill ) Play Video
• Lost Ones ( Lauryn Hill  cover) (with Lauryn Hill ) Play Video
• Killing Me Softly With His Song ( Lori Lieberman  cover) (with Lauryn Hill ) Play Video
• Fu-Gee-La ( Fugees  cover) (with Lauryn Hill ) Play Video
• Put Your Hands Where My Eyes Could See ( Busta Rhymes  cover) (with Busta Rhymes ) Play Video
• Look at Me Now ( Chris Brown  cover) (with Busta Rhymes ) Play Video
• One Love / People Get Ready ( Bob Marley & The Wailers  cover) (with Lauryn Hill ) Play Video
• Exodus ( Bob Marley & The Wailers  cover) (with Lauryn Hill ) Play Video
• Ready or Not ( Fugees  cover) (with Lauryn Hill ) Play Video
• Is This Love ( Bob Marley & The Wailers  cover) (with Lauryn Hill ) Play Video
• Praise Jah in the Moonlight (with Lauryn Hill ) Play Video

Edits and Comments

19 activities (last edit by busblog , 15 Apr 2024, 10:33 Etc/UTC )

Songs on Albums

• Ex-Factor by Lauryn Hill
• Exodus by Bob Marley & The Wailers
• Fu-Gee-La by Fugees
• Is This Love by Bob Marley & The Wailers
• Killing Me Softly With His Song by Lori Lieberman
• Look at Me Now by Chris Brown
• Lost Ones by Lauryn Hill
• One Love / People Get Ready by Bob Marley & The Wailers
• Put Your Hands Where My Eyes Could See by Busta Rhymes
• Ready or Not by Fugees
• Marching to Freedom
• Praise Jah in the Moonlight
• Running to a Solution
• opening jam

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[url=https://www.setlist.fm/setlist/yg-marley/2024/empire-polo-club-indio-ca-3ba8ac58.html][img]https://www.setlist.fm/widgets/setlist-image-v1?id=3ba8ac58[/img][/url] [url=https://www.setlist.fm/edit?setlist=3ba8ac58&amp;step=song]Edit this setlist[/url] | [url=https://www.setlist.fm/setlists/yg-marley-3be7081c.html]More YG Marley setlists[/url]

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Critic’s Notebook

In Praise of the Ever-Evolving Lauryn Hill

Celebrating the 25th anniversary of “The Miseducation of Lauryn Hill,” as well as her legacy with the Fugees, the singer and rapper reveled in the power of reinvention.

By Salamishah Tillet

Reporting from Newark

“She is having so much fun onstage” was the surprised thought that ran through my mind as Lauryn Hill kicked off her Ms. Lauryn Hill & Fugees: “Miseducation of Lauryn Hill” 25th Anniversary Tour at the Prudential Center in downtown Newark on Tuesday night.

Having grown up in nearby South Orange, N.J., her joy was partly because she was at home, and partly because we were all there to celebrate that a quarter of a century ago, she made history with her 10-times-platinum multigenre album “The Miseducation of Lauryn Hill.” Its 10 Grammy nominations yielded five wins, which was a record for a female artist, and “Miseducation” became the first hip-hop LP to take home album of the year.

Perhaps Hill was also amped by the high stakes of the performance. Earlier this year, her Fugees group mate Pras was found guilty for an illegal foreign influence scheme, leading some to predict that this full reconciliation of Pras, Hill and Wyclef Jean would be their final tour as a trio.

Or maybe, I was projecting glee back onto her since this was the first of her concerts at which I’ve felt fully at ease since attending her initial solo tour back in 1999. Every time since — including when I bought tickets to her performance at the Montreux Jazz Festival in Switzerland in 2009, only for her entire European tour abruptly canceled — I’ve been disappointed by her inconsistency.

Most of those shows came after Hill settled a suit with four musicians, known collectively as New Ark, who said she hadn’t properly credited them for their contributions to the sound and success of “Miseducation.” With the exception of the taping and release of “MTV Unplugged” in 2001, she had gone into a self-exile. “I had to step away when I realized that for the sake of the machine,” she later told Essence magazine, “I was being way too compromised.”

When she returned to the stage a few years later, she had so radically rearranged the songs from the beloved “Miseducation,” they were often unrecognizable.

The revisions stung fans hard because the music had spoken so directly to so many — including me. “Miseducation” was released on my 23rd birthday on Aug. 25, 1998, and because of that simple calendar fact, I thought the album was all mine. Back then, I was in transition — between a relationship with my college boyfriend and the young man who would become my life partner. I was obsessed with her B-side cuts “When It Hurts So Bad” and “I Used to Love Him” with Mary J. Blige, since these breakup songs captured my range of emotions: “What you need ironically/Will turn out what you want to be” became my mantra as I moved from heartache to hopefulness.

The album was so tied up with a younger version of myself that I understood it only through nostalgia, failing to appreciate who Hill was becoming in the present. A more mature way of experiencing her live was to let go of my expectations and recognize that she was innovating, recreating and disproving past accusations of unoriginality. “There’s no way I could continue to play the same songs over and over as long as I’ve been performing them without some variation and exploration,” she wrote in 2018 . “I’m not a robot. If I’d had additional music out, perhaps I would have kept them as they were.”

In Newark this week, as Hill appeared onstage in a bright red ruffled corseted gilet, bedazzled sunglasses and a jeweled kufi, she entranced the crowd, reminding us that she was one of our generation’s definitive preachers and now prodigal daughters. She opened each song in its familiar arrangement, and then quickly switched up its tempo, genre or melody.

The soulful “Final Hour” was remixed with the beat of “Money, Power & Respect,” the Lox’s collaboration with DMX and Lil’ Kim; the marching band from Hill’s alma mater Columbia High School joined her live band onstage for “Doo Wop (That Thing)”; Latin jazz beats were interspersed throughout the tender “To Zion,” a song for her oldest son that was not merely a tribute, but a complete triumph.

The music was set to a backdrop of images that featured quotes from Frantz Fanon and Marcus Garvey, Hill’s personal home videos, and a montage of Black artists and activists including Josephine Baker and Angela Davis. My favorites showed Hill over time, which seemed in direct conversation with the beautiful black-and-white photographs of the musician looking into a mirror from the liner notes of “Miseducation” itself.

For those unaccustomed to Hill’s latest style, her musical digressions often sound dissonant. In a way, they are right. The remixes can be disinviting, and many fans near me in the crowd found it hard to keep up with her changes. Whereas Taylor Swift’s note-for-note versions of her old albums are celebrated, I am increasingly intrigued by Hill’s appetite for revolutionizing her older material.

Hearing these songs rearranged not only forced me to pay closer attention to her powerfully packed lyrics and melodic rhyme flow, but also reactivated my sense of curiosity, anticipation and admiration for her.

In a genre like hip-hop, where remixing, sampling and turning older music into the new is a core artistic principle and central practice, Hill’s experimentation is not that surprising. But as a female rapper, she has often been held to a double standard and has had to play by different rules. Onstage, she isn’t merely entertaining us; she’s showing us what it means to have to reclaim this album as fully hers, while pushing her artistry into the future.

It is a big ask from an artist with only one full album. And it’s a meaningful challenge to the very notion of the “great” album, which has a timelessness that is as dependent on its spirit of innovation and production value as well as our personal connections to it — how much we loved it, and the vision of ourselves that it projected back onto us when we heard it for the first time. As we celebrate the 50th anniversary of hip-hop , is it possible to both champion Hill’s groundbreaking contributions to the genre while also allowing the album itself to grow up as much as we have?

An answer of sorts came during another part of the show. When Pras and Wyclef finally joined Hill for the second set, their reunion relied on our familiarity with the Fugees’ catalog — “Vocab,” “Zealots,” “The Mask” — and at one point, there were more than eight people onstage with mics, including guests such as John Forte, Outsidaz and Rah Digga, for a roaring rendition of “Cowboys.” It was a joy to see the three intact and their playful competitiveness and musical chemistry restored. While being flanked by so many of her male peers, Hill still commanded the space as she always did, proving her mettle as one of our greatest M.C.s.

But as the Fugees set wore on, I began to long for the “Miseducation” one. Suddenly, I wanted to linger in the unpredictability of Hill’s arrangements, her constant improvising, her seamless movement between singing and rapping.

By finally accepting Hill’s ability to change, I realized that I had misread so much before. Here was an artist — once again, and on tour — rewriting the rules of hip-hop, and American popular music at large. She was not just teaching us how to hear “Miseducation” differently, but showing us what it looks like for a musician to truly evolve and redefine what we call a classic as something brand-new.

An earlier version of this article misstated one of the guests onstage with the Fugees at the Prudential Center. Rah Digga joined the group, not Remy Ma.

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Salamishah Tillet is a contributing critic at large for The Times and a professor at Rutgers University. She won the Pulitzer Prize for criticism in 2022, for columns examining race and Black perspectives as the arts and entertainment world responded to the Black Lives Matter moment with new works. More about Salamishah Tillet

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Ms. Lauryn Hill & Fugees: Miseducation of Lauryn Hill 25th Anniversary Tour

• Date Nov 16 , 2023
• Event Starts TBA
• Doors Open 6:30 PM
• On Sale On Sale Now

$25 General

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Event Details

Headliner: Ms. Lauryn Hill & Fugees: Miseducation of Lauryn Hill 25th Anniversary Tour

Due to unforeseen circumstances, the show has been postponed. A new rescheduled date will be announced soon. Tickets purchased for the November 16, 2023 concert will be honored for the new date.

WELCOME TO THE FAMILY! Please check your email for confirmation from us.

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Lauryn Hill, Wyclef Jean reunite during YG Marley’s Coachella set

Hill took to the stage during her son's set at Coachella over the weekend.

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Fugees fans, rejoice! Lauryn Hill and Wyclef Jean reunited at Coachella over the weekend, taking to the stage during Hill’s son YG Marley’s set at the major music festival.

As Variety reported , Hill graced her son’s stage about 15 minutes into his set. The two ran through some of her hit songs in front of the Coachella audience, including “Ex-Factor” and “Lost Ones,” before bringing out Jean for what became a Fugees partial reunion. While Pras was not in attendance, Jean and Hill performed their hit “Killing Me Softly.”

They also performed their hit song “Fu-Gee-La,” while bringing out Busta Rhymes alongside Spliff Star. Rhymes performed his hit “Put Your Hands Where My Eyes Could See” and also did his verse from “Look at Me Now” by Chris Brown.

Marley filled in for Pras during another Fugees hit, “Ready or Not.” Jean told the audience, “When you put YG Marley and the Fugees together, this is what it sound like.”

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Variety reports the trio paid tribute to Marley’s grandfather, Bob Marley, during the set, playing portions of his songs “One Love” and “Exodus.” YG also covered “Is This Love.” While Marley’s “War” played, Jean reportedly told the crowd, “Coachella, if you don’t want no more war in the world, put your hands in the air.”

Check out a clip of Hill performing “Ex-Factor,” here .

The performance comes at an exciting time for Hill, who spent the last year celebrating the 25th anniversary of her acclaimed album “The Miseducation of Lauryn Hill.” The Grammy Award-winning album was recently announced as an inductee for the inaugural Grammy Hall of Fame gala, set to be held this fall.

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Ms. Lauryn Hill Pushes Remaining ‘Miseducation’ U.S. Dates to 2024 Over Vocal Issues: ‘I Need to Take Time Off’

Hill said she needs to pause to allow time for "real vocal recovery."

By Gil Kaufman

Gil Kaufman

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Ms. Lauryn Hill has had to push back the 25th anniversary tour celebrating her landmark Grammy-winning The Miseducation of Lauryn Hill album once again. The singer told fans in a statement on Tuesday (Nov. 21) that her ongoing issues with a severe vocal strain mean that she has to push the remaining dates on the outing into 2024.

Lauryn Hill Starts Late in Los Angeles, Tells Fans, ‘Y’all Lucky I Make It on This… Stage…

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Hill addressed those unintended consequences in the post. “As many of you may know, I’ve been battling serious vocal strain for the past month. I made it through each show by taking prescribed prednisone, but this can be detrimental to the body when taken in large amounts over long periods of time,” she wrote. “In order to prevent any long term negative affect on my voice and my body, I need to take time off to allow for real vocal recovery so that I can discontinue the medication completely.”

Last month, Hill postponed a run of shows to “heal and rest” her voice, including a gig in Philadelphia that was originally slated to take place early in the run of shows that also find her reuniting on stage with her Fugees bandmates Wyclef Jean and Pras. She paid tribute to the pair in Tuesday’s note about the tour postponement.

The note ended with Hill breaking the news that the remainder of this year’s scheduled gigs — including shows in Atlanta, Nashville, Charlotte, Huntsville, Tampa, Miami and Boston — will be pushed to next year. The exception is Saturday night’s (Nov. 25) already rescheduled gig at the Wells Fargo Center in Philadelphia.

“The shows that were cancelled this year will be rescheduled for early 2024 AND because of the overwhelming response, we’ll be adding new cities to the tour, including overseas,” Hill added, noting that her team is working on a new calendar of dates that they plan to announce soon.

Check out Hill’s post below.

View this post on Instagram A post shared by Ms. Lauryn Hill (@mslaurynhill)

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Lauryn Hill Addresses Being Notoriously Late to Her Shows: ‘Y’all Lucky I Make It on This Stage’

Nothing can be said to be certain, except death and taxes — and that a Ms. Lauryn Hill concert will never start on time.

In recent years, Hill, 48, has developed a reputation for being chronically late to her concerts. The Atlanta Black Star even published a story in October with the headline “Fans Are Surprised Lauryn Hill Only Showed Up Two Hours Late for New Jersey Concert, Some Say It’s ‘Growth.’”

Hill spoke up about this issue during her Saturday, November 4, show at Los Angeles’ Crypto.com Arena. “They say, ‘She’s late a lot,’” remarked the Fugees alum. “Yo, y’all lucky I make it on this stage every night.”

“I don’t do it because they let me do it,” she continued, according to footage captured by VIBE’s Mya Abraham . “I do it because I stand here in the name of God. God is the one who allows me to do it, who surrounded me with family and community when there was no support, when the album [1998’s The Miseducation of Lauryn Hill ] sold so many records and no one showed up and said, ‘Hey, would you like to make another one?’”

Related: Band Members Who Have Dated Each Other: Paramore, Fleetwood Mac and More

Hill concluded: “So I went around the world, and I played the same album over and over and over and over again. Because we’re the survivors. We’re not just the survivors; we’re the thrivers.”

Hill released her critically acclaimed and award-winning debut album in 1998. In 2002, she released MTV Unplugged No. 2.0 , a live album from her MTV Unplugged special. Critics gave it poor reviews at the time. Since then, Hill hasn’t released a new album, which she told Rolling Stone has been due to “scores of tentacled obstructionists, politics, repressing agendas, unrealistic expectations and saboteurs everywhere.”

Fans in Los Angeles were actually lucky that Hill’s concert happened since she’s postponed a handful of recent shows due to ongoing vocal strain. “I fought through the last couple [of] shows pushing my voice and masking the injury with medication,” she shared via Instagram on October 30 when announcing her show that night in Fort Worth, Texas, would be rescheduled. “This isn’t safe or sustainable.”

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Hill told fans that she was “hoping to have enough voice to get through” the concert but could “barely talk, let alone sing or rap.” She added she needed to “heal and rest” to finish the tour and that she would make up the Texas date soon.

Related: Shocking Band Exits Through the Years

In 2016, Hill wrote about her ongoing issues with starting her concerts on time. “I don’t show up late to shows because I don’t care,” she wrote via Facebook . “And I have nothing but Love and respect for my fans. The challenge is aligning my energy with the time, taking something that isn’t easily classified or contained, and trying to make it available for others. I don’t have an on/off switch. I am at my best when I am open, rested, sensitive and liberated to express myself as truthfully as possible.”

She explained, “For every performance that I’ve arrived to late, there have been countless others where I’ve performed in excess of two hours, beyond what I am contracted to do, pouring everything out on the stage,” adding, “Our challenge is to figure out the best way to accommodate the vitality, spontaneity, and spirit that make the performances worthwhile and special to begin with, while also making that experience available and accessible to others.”

In this article

Lauryn hill, more stories.

Coachella 2024: Doja Cat brings us dancing Yetis and mud wrestling on a strangely satisfying Day 3 finale

T he 2024 Coachella Valley Music and Arts Festival wraps its first weekend on Sunday, April 14, with Doja Cat's return to the desert for her first time headlining the event.

Other artists include Victoria Monét , Reneé Rapp , J Balvin and Bebe Rexha.

It has been a big weekend of music in the desert. Tyler, the Creator, had a guest-filled spectacle that included a bighorn sheep to top Saturday night after No Doubt performed a set of its biggest hits for the first time in nine years with a little help from Olivia Rodrigo.

Taylor Swift didn't join Bleachers on stage, but she was watching from the side with Travis Kelce on Saturday evening and Billie Eilish showed up for a surprise in the Do Lab.

And that was after big sets from Lana Del Rey and Peso Pluma on Friday .

Follow along with The Times' August Brown, Danielle Dorsey, Vanessa Franko and Mikael Wood, who are on the ground in Indio for the final day of the fest's first weekend.

1:30 p.m. The Do Lab is often described as the festival within the festival at Coachella. In its early years, it was located smack in the middle of the grounds, a beaconing festival-goers with beats, cirque performances and the all-important misters.

The Do Lab’s popularity has grown substantially since it first debuted at Coachella in 2004 and now has its own dedicated area to accommodate 15,000 fans at any given point during the festival.

That space is also known for hosting an impressive list of surprise guests, and this year is no exception. Among those who dropped in this year were DJ Pee .Wee (Anderson .Paak) and Sofi Tukker on Friday and 2022 headliner Billie Eilish on Saturday.

The brothers behind the Do Lab, L.A.-based Dede, Jesse, and Josh Flemming, work together to design a whimsical space with an ever-improving concert experience that also provides a respite from the sun.

“We focus on shade primarily and water and misting. We have to pay attention to lighting and sound,” Josh Flemming said.

Even with those practical elements, what makes Do Lab special is the colorful stage build. This year, there are structures covered by fabric in shades of blue, orange, yellow and red that Josh Flemming described as “10 massive mushrooms.”

“We are the most colorful thing out there. We want people to feel like they almost went through a portal,” Jesse Flemming said.

And if you can’t get enough of the Do Lab vibes at Coachella, check out Lightning in a Bottle, the Do Lab’s own festival, which returns to Buena Vista Lake in Kern County May 22-27. —Vanessa Franko

2 p.m. It’s DJ Will Clarke’s first time as a bonafide Coachella performer, though he’s graced the Do Lab stage in past years. The U.K- and Detroit-based DJ who also runs a food-focused Instagram played in the Yuma tent on Saturday, but we met up early Sunday afternoon to take a tour through Postmates’ Sauce Bar in the 12 Peaks VIP Area. The yellow-and-orange shaded structure feels like stepping into the sun and felt at least 10 degrees hotter than our perfect mid-70s reality.

Diners can choose between fries, tots or a combination of both before adding on sauces that pull from some of L.A.’s most iconic eateries, such as BBQ sauce from Bludso’s and a collaboration ghost chile sriracha with producer Benny Blanco. Blanco’s dip turned out to be our favorite of the five options, with the honey mustard coming in second. The real pro move is to dip your fries or tots into the sriracha followed by the honey mustard to slightly temper the heat. We both agreed that Blanco’s sriracha sauce would be ideal with hot wings. Maybe Postmates will incorporate our feedback before coming back for Weekend 2. —Danielle Dorsey

4:18 p.m. Since Friday afternoon, I’ve been keeping track of the number of shaven chests vs. the number of unshaven chests among the men at Coachella. Current totals are:

28,987 shaven

27,674 unshaven 

It’s a close race; eager to see which side wins at the end of the night. — M.W.

5 p.m. YG Marley is beaming as he enters the Coachella Stage under the high afternoon sun. Complete with an echoing hype man who waves a massive Jamaican flag, he starts with his single “Marching for Freedom,” stomping his feet and urging audience participation. Freedom, peace and love are recurrent themes throughout the set, and a message that collides with that of his late grandfather, Bob Marley.

It’s not surprising that YG Marley brought his mother, Ms. Lauryn Hill, to join him on stage, but the addition of Wyclef Jean and a handful of Fugees hits that follow create a frenzy among the crowd, who effortlessly recite every word of “Killing Me Softly,” “Ready or Not” and “No Woman, No Cry.”

Just when I think the energy can’t crescendo any higher, Busta Rhymes skips onto stage to his 1997 single “Put Your Hands Where My Eyes Could See.” After a quick detour through Flipmode Squad’s catalog, the ensemble brings it back to Bob Marley hits and Wyclef asks the audience to raise both hands if they want wars across the world to end.

“Put your hands up for peace!” the hype man chants and the crowd happily obliges, hooting in agreement.

Wyclef segues into “One Love,” before queueing up YG Marley to bring it home with “Is This Love.” The Jamaican flag that’s emblazoned across the triple-screen behind the stage gets traded for vintage Bob Marley photos, with YG Marley’s live performance framed in a six-point star. As the music winds down, I find myself caught in a contact-high, not just from the heavy cannabis smoke that wafts across the grounds, but the performance itself. Yes, I think, this is love that I’m feeling. —D.D.

5:03 p.m. Before Taking Back Sunday took the stage in the Mojave Tent Sunday afternoon, the crowd started chanting “TBS! TBS! TBS!” Yes, the emo kids who crowded into basement shows over the decades had found their people. I know because I am one of them.

The band may wear suits on stage now, but they’re just as electric as they were when we were all in our 20s. Adam Lazzara can still swing a microphone around with the best of them.

Highlights of the band’s 45-minute set included opener “A Decade Under the Influence,” and classics “You’re So Last Summer” and “Cute Without the E (Cut From the Team).”

As I predicted, it was a big cathartic emo sing-along for those of us for whom it was never a phase, culminating in set-closer “MakeDamnSure.” —V.F.

6:05 p.m. Calling her guest “the hottest person in the world,” Reneé Rapp brought out Kesha at the Outdoor Theatre to perform her 2009 electro-pop smash “Tik Tok” — an opportunity Kesha took to change the opening lyric of her song from “Wake up in the morning feeling like P Diddy” to “Wake up in the morning saying, ‘F— P Diddy,’” following recent allegations of sexual abuse against the hip-hop mogul. Rapp — a big-voiced singer and actor known to audiences for her roles in Broadway’s “Mean Girls” and its big-screen adaptation — was introduced by several cast members of TV’s “The L Word” and sang flirty but sneering pop-soul tunes about her love of pretty girls and her disgust with annoying ones. Her song “Colorado,” she said, was inspired by the experience of “white people winter”— “the only thing we did right.” — M.W.

7:51 p.m. In 2023, Heather Shaw spoke on a panel at SXSW about augmented reality and the future of stage design and production.

The founder and CEO of L.A.-based Vita Motus Design Studio was so inspired from the conversation she created a presentation for a future stage at Coachella.

Shaw, whose many credits include working on the design of the Do Lab going back to 2006, ultimately didn’t present the deck to the festival’s team but it came to pass anyway, as Coachella sought out a new stage.

The Quasar stage, which was designed for longer DJ sets, sits in the former home of the Sahara on the southern side of the festival grounds, and made its debut at Coachella Friday evening.

Quasar is 55 feet tall, 235 feet wide and its screens have 660 LED panels.

There are two angled screens that bear a resemblance to the shape of Nevada, flanking a pyramid-esque nerve center where the DJs play. There are mirrors around the edges of the screens. And along each side of the stage are four large angled slat-like pieces jutting like stalagmites from the sides of the stage.

Shaw’s goal with the stage design is for festival-goers to “feel like they’re taken to another dimension or another world” when they come to watch a set.

What makes it unique beyond its shape is that the technology of the stage allows for real-time visuals that can react to beats per minute.

“It feels more realistic or in-depth and three-dimensional,” Shaw said. She sees it as a step of using augmented reality for inspiration.

On Saturday night, London DJ Michael Bibi, who recently entered remission after being diagnosed with CNS Lymphoma a year ago took over the stage for a few hours. Late in his set, the screens looked like kaleidoscopic insect wings as he dropped Nirvana’s “Smells Like Teen Spirit.” Later they morphed into a beautiful stained glass pattern that was almost church-like, but still pulsing to the beat.

“I’m hopeful too that we can eventually build on it and make it more of a three-dimensional immersive space,” Shaw said. –V.F.

8 p.m. Big star turn tonight in the Mojave tent by Victoria Monét, who was already riding high with her best new artist win at February’s Grammy Awards. A longtime songwriter for the likes of Ariana Grande and Fifth Harmony, the 34-year-old singer broke out on her own with last year’s “Jaguar II,” a funny and funky retro-R&B disc that showcased her extensive knowledge of Black music history; here, backed by a crack band that included her producer, D’Mile, she threaded bits of tunes by Usher, Outkast and the Supremes into her own material, deepening that scholarly impulse. (In “Stop (Askin’ Me 4 S—)” she also demanded, “Stop this genocide” to a huge round of cheers.) Yet Monét was no less a thrill to watch as she executed complicated choreography while flanked by a small crew of dancers. At one point, her delightfully raunchy moves so moved one guy near the stage that he threw a fistful of dollars her way. — M.W.

8:10 p.m. Whoever threw that phone at Bebe Rexha probably feels like a true dingus now.

In the war eternal to be the Main Pop Girl, we have a new champion today in Rexha, a songwriting industry lifer who has always been *this close* to a breakthrough as an artist. After her decadently performed, expertly delivered Main Stage set, it’s safe to say the day has arrived.

Rexha has long been an insider’s pop artist - sort of an oxymoron, but a consistent fount of singles smarter and stickier than most, and sung with real power and panache. It’s either a delight or an irony that she got her smash hit with a virtuosically dumb cover of Eiffel 65’s Euro-rave chestnut “Blue” with David Guetta.

But given the chance to finally control a huge stage on her own, she wrung it for all it was worth.

Flanked by a few very limber and spicily-posed dancers in jet black, Rexha sung the hell out of singles like “Me, Myself & I” and “I’m the Drama,” with precision-point vocals cutting through artfully disjointed club pop. On “Bad Bitch,” one of her standouts, she almost dared the audience to get onboard with her chaos or gtfo.

Dua Lipa has the fitness girlies, Charli XCX has the poppers crowd. For today though, the People have spoken, and they said it’s Bebe Rexha.

“I always thought I wasn’t cool enough for Coachella,” said Rexha, as she wound down her exultant set on the main stage. No one could deny her this - “I’m cool now.” —AB

8:45 p.m. Sunday was a big day for fans of incendiary desert-blues guitar work. Early on, the Tuareg guitarist-singer Mdou Moctar led a master class in what his instrument was capable of, thrashing out Tuareg psych-blues licks and layering them with melancholic, keening vocals. Other groups like Tinariwen built global audiences on similar traditions, but Moctar has his own regal charisma as a frontman with a super-tight backing band lending miles of groove to roam around in. A new album, “Funeral for Justice” is due out in May, but this band truly deserves to be seen live.

As dusk settled, the Texas trio Khruangbin took a similar instrumental template in a far off direction - using funk and the loop-driven riffing of hip-hop as grounding points for long-form jams. The band has become unexpected arena stars - a hard hill to climb for a largely instrumental guitar-bass-drums combo - but their impeccable moods and commanding stage presence travel even wider in today’s vibe-based aesthetic times. On rare moments with vocals, like “Lady and Man,” bassist Laura Lee Ochoa deadpanned to great affect, while drummer DJ Johnson kept impeccable time and guitarist Mark Speer found new winding paths for his relentless riffing to follow. Their new album “A La Sala” deepens one of the most instantly-transportive catalogs in music, but if you can’t see them in their natural habitat (outdoor festivals with a few pulls of a joint in you), check out their recent great run of one-off live collaboration records too. —A.B.

9 p.m. What could make J Balvin’s intergalactic set full of neon lasers, alien heads and chrome spaceships feel even more out of this world? How about a cameo from Will Smith coming out to rap along to the song “Men In Black” like it’s 1997? In a day full of big time guests, Smith’s appearance in the midst of Balvin’s hip-shaking reggaeton might sound strange. But in a fest full of nostalgia, Smith’s smooth dances moves lifted out of the music video for the self-titled soundtrack classic seemed to hit Balvin (and us) right in the feels as he mimicked the moves almost out of sheer childhood muscle memory. After blowing the our minds, Smith then tried to erase them by holding up the trademark MIB red laser to the crowd's eyes. Nice try Will, you might be able to give us amnesia, but Twitter never forgets. —Nate Jackson

12:45 a.m. Amid all the hand-wringing over Coachella’s relatively soft ticket sales this year, one question that arose was whether Doja Cat is a big enough star to headline the festival’s closing night. Performing late Sunday evening, the rapper and singer showed that’s the wrong way to think about what she’d been asked to do — what turned out to matter is that she’s a weird enough star to capture the attention necessary for the role.

Doja Cat’s set began with her in a hazmat suit rapping furiously over a sample of 10cc’s soft-rock classic “I’m Not in Love” and it had her dancing in an extremely long blond wig amid a tribe of Yetis; it featured a giant dinosaur skeleton operated by puppeteers and it climaxed with her mud-wrestling with a troupe of female dancers wearing safety goggles as she rapped her song “Wet Vagina” in the finale where you might’ve expected her breakthrough pop hit “Say So” (which she never actually did).

This had to go down among the strangest sets ever to happen at Coachella — and that’s including last year’s Frank Ocean meta-spectacle.

Indeed, one aspect of Doja Cat’s performance that linked it to Ocean’s was her determination to reveal the seams of a show like this, as when we saw technicians visibly moving pieces of scenery into place or a costume change illuminated in silhouette against a billowing piece of fabric. Yet glimpsing what went into it hardly took away from how singular a presence Doja Cat is in today’s pop scene: a fierce battle rapper capable of making candied pop songs that still make unsettling points about power and desirability.

Doja Cat played songs from last year’s “Scarlet” album — including “Demons,” “Attention” and “F— the Girls (FTG),” remade here as a snarling nü-metal jam — as well as oldies like “Tia Tamera” and “Need to Know.” She brought out 21 Savage to do “N.H.I.E.”; Teezo Touchdown to do her brand new single, “Masc”; and ASAP Rocky to do “Urrrge!!!!!!!!!!,” from her just-released deluxe edition of “Scarlet.”

One highlight of the performance was “Agora Hills,” Doja Cat’s chilling song about the threat of violence lurking inside the material satisfaction of celebrity. She rapped it while standing on a bridge suspended over the stage — a true pop oddball surveying her unlikely domain. — M.W.

This story originally appeared in Los Angeles Times .

Billy Joel ‘Madison Square Garden’ Special to Re-Air on CBS After Broadcast Is Cut Short Midway Through ‘Piano Man’

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

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Billy Joel fans will get to find out whether Davy is still in the Navy after all. A broadcast special of the singer in performance at Madison Square Garden was cut off abruptly in most time zones Sunday night during his climactic rendition of the signature hit “Piano Man,” and after considerable public outrage, CBS has committed to re-airing the entire program on Friday night.

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The show started a half-hour behind schedule in the eastern and central time zones because it followed a broadcast of the Masters Tournament that went past its expected end time. CBS has not explained exactly what transpired to have the Joel special get so close to its finish time before the abrupt cutaway. But with some local affiliates upset that the lateness of the Joel special was cutting into their local news time, it would seem that someone made the fateful decision that no one would miss it if they never got to the part of “Piano Man” about how “the microphone smells like a beer, and they sit at the bar and put bread in my jar.”

Wrong, on that score, as even some local newscasters found themselves in the position of apologizing to Joel fans upset to see their faces instead of the singer’s, which was definitely not an instance where they “got us feelin’ alright.”

And west coast viewers, meanwhile, will get a chance to see Joel stick the landing twice.

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