Coachella Day One: Craziness Care of Ariel Pink and Lauryn Hill
|Laila Derakhshanian/OC Weekly|
(We wandered over to Tame Impala's set afterward, which made us think we were at Bonnarroo. Chillwave, alt-rock, prog--don't these labels all mean jam band in one sense or another?)
And then there was Lauryn Hill's hot, awesome mess. You know when you talk to a crazy person and you can have a conversation that's all over the place because they are incapable of one cohesive thought? That's what Hills' set sounded like. Hill is a champ, and we know it, and she knows it.
That's why she can get away with turning her songs---beloved by all--into unrecognizable versions, stuffed with superfluous instruments and gratuitous tempo changes that went this way and that with no discernible order.
"Lost Ones," a childhood favorite of slinky hooks and melodies, was rendered into a fast, blustery big band extravaganza, with horns blasting in at Hill's whim, and a gaggle of backup singers anticipating key shifts in Hill's voice. It was the same with "Everything is Everything" and "Fugee-La"--Hill performed with such an intense force that you forgot the reason that song was so great was because of all the time she took to let the notes hang in the air, the sweet spaces in the melodies.
Still, her band of seasoned pros funked it up at every turn, and there was no doubt that it was the highlight of everyday. You know what people say about sex? That even when it's bad, it's still good? Well, that was Lauryn Hill. Still incredibly good.