Slowly but surely, since having two landmark downtown venues purchased by promotion giant Live Nation, Riverside has seen a significant uptick in the star power and quality of performing artists making tour stops in our humble slice of SoCal. Last week, the Riverside Municipal Auditorium hosted the legendary Ms. Lauryn HIll and prodigal afrobeat bandleader and saxophonist Seun Kuti and part of Ms. Hill’s “MLH Caravan: A Diaspora Calling!” tour, presented by Live Nation and streaming platform Tidal.

In recent memory, the Riverside Municipal Auditorium has played host to relevant and hotly sought after touring acts, ranging from soul goddess Miss Sharon Jones(RIP) to Swedish satanists Ghost. Just last summer, within the span of one month, one was able to catch the tag team of Wu Tang Clan’s Raekwon and Ghostface Killah on the 20th Anniversary tour of Raekwon’s seminal debut album, “Only Built 4 Cuban Linx”, along with iconic heavy metal act Motorhead, marking what was one of frontman Lemmy Kilmister’s last live appearances before his untimely passing last December.

Along with Riverside’s live music profile recently being raised and reevaluated, so has the legacy of Ms. Lauryn Hill.  After a turbulent decade marked by lack of new material, shunning away from public life, and notoriously unpredictable live performances, Ms. Hill, although critically regarded as a magnificent talent since the 1990s, is now being received by fans and press not so much as a tragic figure, but as a trailblazer, whose impact built the way for many to follow. Just last year, “The Miseducation of Lauryn Hill” was inducted into the Library of Congress for cultural preservation. Ms. Hill also contributed six new tracks to the soundtrack for the critically-acclaimed Nina simone documentary, “What Happened, Miss Simone?”. And just this year, her “Diaspora Calling” tour has been, albeit not without typical speed bumps, a large success, with dates being added to extend the tour into next spring.

It should be clear then, that last Wednesday night was a big night for both Riverside’s live music scene, and also Ms. Hill, who gave her admirers, both longtime and new, nearly 90 minutes of heartstrung deposition making clear her importance as an artist and bravado as a performer.

On a night with such a headlining act as Ms. Lauryn HIll, it may not come as a surprise that the night’s opener may have been overlooked by many. Seun Kuti, the youngest son of legendary Nigerian Afrobeat musician Fela Kuti, has toured with his father’s expansive backing band, the Egypt 80, since his passing in 1997, when Seun was only 14 years old.  Performing a mix of original material and deep cuts from his father’s recordings, Seun Kuti & Egypt 80 pulled out all the stops. The inescapable energy, pulsating rhythms, and Kuti’s excellent performance as bandleader all felt much more of a spectacle than a typical opening band, as Kuti et al busted out groove after groove, with Kuti’s charisma and technical prowess blooming during extended solo sections. The music recalled the recent surge of Southern Californian artists and bands exploring the connections between African and Latin American music, notably Riverside’s own Quitapenas, which have toured their infectious brand of Afro-Cumbia across the United States. Kuti’s presence on the lineup was a clear indicator of the night’s theme- diaspora. As millions of peoples faced displacement, enslavement, and loss of cultural identity as a means to further the Western Imperial project, entirely new cultures, began to form, each with their own distinct traits and cultural language, but with a common root in African . Kuti, as well as Quitapenas, represent a new generation of artists renegotiating the relationship with the past, and attempting to bring about a cultural project that reassesses the importance and relevance of  the historically disenfranchised.

With that in mind, one would be hard pressed to find another artist who examines and embodies the struggles of  the diaspora more so than Ms. Lauryn HIll. Known for blending together the sounds and celebrating the lineages of Reggae, Soul, and Hip-hop, Hill’s ninety-minute plus set was a testament to her immeasurable talents as a songwriter, bandleader, and artist, as well as the legacy of her influence.

Despite keeping her audience in suspense until nearly 11PM, and with her DJ notifying the crowd, on a stage without a band, that “Ms. Hill isn’t feeling too well tonight”, which many read as an omen confirming their worst suspicions. But shortly after those fears were quelled, as Ms. Hill’s band took to the stage and tenderized the stage for Ms. Hill’s marathon set. Upon her entrance, Ms. Hill appeared striking a visage similar to a canary, an unflinching figure covered in a bold yellow sweater, with a voice to match.

I have little words to add to what has already been said about the power of Ms. Hill’s music. It’s fearless, yet vulnerable, Genre-fluid, yet grounded in tradition. Last Wednesday night, that music transported a modest concert hall into a world-class venue. Ms. Hill’s presence and command of everything that happened on her stage put her in a class of her own. From performing hits like “Ex-Factor” and a rendition of “(Doo Wop) That Thing” that left everyone playing back-up singer, to her lesser-acknowledged acoustic material, as well as covers of songs by Sade and Nina Simone, and even Fugees classics, such as “How Many Mics” and the timeless cover of Roberta Flack’s “Killing Me Softly”, Ms. Lauryn Hill and her supremely talented band brought a level of bravado and musicianship that would convince even the most fair-weather fan of the talent and iconic legacy of Ms. Lauryn Hill, a storyteller and artist of a generation, who, like many before and after her, continue to navigate and negotiate the effects of the diaspora.

Written by Wolfgang Mowrey

Last Wednesday, the Constellation Room in Santa Ana neared capacity, buzzing in anticipation for the perfect summer show.  Santa Monica based indie pop outfit, Cayucas, appeased, playing their new set of sunny, nostalgic tunes from the recently released Dancing at the Blue Lagoon. 

Seattle based Hibou (pronounced “ee-boo”), Peter Michel’s (previously of Craft Spells) solo project, opened the show with a perfect blend of Captured Tracks-like shoegaze and west coast inspired jangle pop. Any words from Michel were few and awkward, such as describing the song “In The Sun” as a song simply “about being in the sun,” with a confident nod. However, it was the scarce interactions that made the band that much more captivating. Despite the few already dedicated fans in the crowd requesting their favorite tracks, it seemed like many were being introduced to the sounds of Hibou, and loving it! The crowd bopped and swayed, under sunset hues of pink and yellow. The only chatter in between songs too sunny to be from a band whose home is infamous for its rainfall, was of praise. They played several songs, safe to assume, from the self-titled album out September 18 on Barsuk Records, in addition to the entire Dunes EP. By the end of their set, the excitement to see Cayucas was high, but it was also a set that a large proportion of the audience hated to see end.

Cayucas walked onto a tropically lit stage of blue and greens, to the sound of a single chord slammed out on a grand piano, a big movie-like opening, like opening track “Big Winter Jacket.” The band immediately jumped into their dance-worthy single “Moony Eyed Walrus.” The brothers’ previously expressed intentions to create fun evenings were clear as they played “Hella,” down to the recording of crashing waves, joking that the audience should not be confused by the word as its a NorCal thing. After a few more songs from Dancing, the quintet took you back to a poolside long ago playing favorites from their debut release, Bigfoot, under cool blue and sunny yellow lighting. The set slowed down a little as the band played the ballad “Blue Lagoon (Theme Song),” but picked back up as guitarist and bassist, Ben, requested everyone dance to “Dancing at the Blue Lagoon.” Even with the small lull, energy was high from beginning to end as crowd members of all ages (teens to 50s) twisted, cheered, and to the great surprise of the band, hopped on stage to shimmy and shake before trying to surf off into the sea of people. Cayucas brought their set to a close with songs from the second half of Dancing, including the most experimental one on the album, “Backstroke,” that Zach jokingly called their “hip-hop track.” Being only night two of their national tour, the band seemed extremely comfortable playing the new tracks, encouraged by the audience’s positive reception. However, it was the older tracks that stole the show. Having had more time to spend with the songs of Bigfoot, allowed the band to revitalize them into something quite dreamy. Fan favorites like “East Coast Girl,” “High School Lover,” and “Cayucos” remained relatively the same, but “Deep Sea” and “Will ‘The Thrill’” took on a whole new life. These songs were given denser instrumentation and somewhat melancholic nuances, allowing them to be breezier and leaving the audience dazed and swaying. By the end of the set, it was clear that the goal the brothers have expressed in previous interviews: to make an album that was fun in a live-setting, was a success!  The crowd responded through movement and shouts of approval much more than at previous Cayucas shows I have attended.

Though Hibou utilizes much more reverb and has more noticeable pop elements than Cayucas, the pairing was as sweet as Coca-Cola and ice cream, dripping with nostalgia, in the summertime. If you want to experience such sweetness for yourself, Cayucas is set to play their homecoming show August 14 at the El Rey Theatre in LA, with Hibou.

To hear more about Cayucas and Dancing at the Blue Lagoon, tune into go by the sun, Monday, July 27 between 3 and 5pm for an interview with Zach Yudin.

White Arrows played a much anticipated homecoming show, last Thursday at the Troubadour, after a string of North American shows supporting The Neighbourhood. Strange Babes and Wardell opened the night; the former, I was too late to catch. However, if their sound was like that of Wardell, the booking manager may need to reconsider the artists being put on the bills together. Quite a few audience members were very confused.

Wardell did capture the attention of those who showed up early, presumably to see Wardell, as they were squealing, cheering, swaying, and singing along. Unfortunately, for those unfamiliar with Wardell, trickling in for the main attraction, major differentiation in performance and music style left us questioning if we were at the right concert. The group is described as an indie-folk “band,” but the cohesion among the members was not apparent at all. I assumed it was the frontwoman’s (Sasha Spielberg) project and the others were simply a live band. Her dancing and constant hair tousling was unfitting for the music, and therefore, distracting. They were enthralling for those fans seemingly discovering and building their musical preferences (it was an all-ages show…), but nothing stood out as original. Musically: I was reminded of Sara Bareilles’s instrumentation mixed with the overdone, vocal tones of 90s female pop-rockers. In addition, White Arrows is blatantly indie pop (specifically, psychotropical pop, as they so cleverly self-categorize), and Wardell simply did not blend well enough, or add enough individual style to the indie pop genre to make sense as an opener. There was some pop, some folk, and a lot of confusion. This seems harsh, but I’m sure Wardell may have potential on a different bill… At least they’re enjoying themselves; as Steven Spielberg’s kids, they might as well try whatever they want! But maybe directing is in their genes…
On to White Arrows.

By the time White Arrows hit the stage, The Troubadour was packed. The band opened with a few new songs, leaving the audience holding on to the very last note of each song before erupting with applause; whether they had experienced the songs prior or not , they were clearly madly in love. Also, in traditional White Arrows style, there were visuals projected onto the wall behind the stage; however, unlike the usual abstract visuals, this was an animation of their EP cover art on loop (much like the singles/visual videos they have been releasing throughout the summer) which contributed a great deal to the audience being spellbound the first song in. Then, on the first beat of “I Can Go,” it was apparent what everyone was actually waiting for: the oldies of Dry Land is Not a Myth. The crowd started swaying and singing along immediately, leading Mickey to comment “And they say… LA doesn’t dance!” which only intensified a couple songs later with “Coming or Going” (which is impossible not to move to, in my opinion).
Overall, the set was a balanced blend of old and new songs, about two or three new to one favorite oldie, in preparation for the drop of their sophomore album, In Bardo, expected early fall.  It was evident not only in the music, but the performance style that the band is maturing; the hi-fi, animated projections, lack of Mickey’s wigs, and professional, yet very genuine expressions of gratitude made it clear that they are no longer a “baby band,” as Mickey once stated. With band maturation, comes personal maturation; and it was announced that it was Henry Church’s

Please email your memories of Bill to elliot.fong (AT) ucr (DOT) edu They will be posted here.

Photo by Rodrigo Ramos