The reunion Windy City fans had waited decades for took an unexpected turn Saturday night when Brandy Norwood abruptly left the stage during “The Boy Is Mine Tour” stop with Monica at Chicago’s United Center — and never returned.
Midway through her set, Brandy paused and told the crowd, “Give me one second, y’all, I gotta get my—,” before walking backstage. She never came back, leaving Monica to finish the concert solo. Their 1998 hit “The Boy Is Mine,” the duet that defined late ’90s R&B and inspired the tour’s name, went unperformed.
By Sunday morning, Brandy broke her silence. “After weeks of nonstop rehearsals, last night I experienced dehydration and feelings of wanting to faint,” the Grammy winner wrote in a verified Instagram post. “Everyone involved agreed that prioritizing my well-being was of the utmost importance.”
She continued, “I attempted to return to the stage but found it impossible to fully connect sonically with the production. I want to thank my fans for your overwhelming love, support, and—most importantly—your prayers. I also want to thank Monica for stepping up with such grace and professionalism.”
Brandy confirmed she received medical attention immediately after leaving the venue and was advised to rest before continuing the tour. “I’m okay now,” she said, adding that she plans to rejoin the tour this week.
The Chicago stop was the third show on Brandy and Monica’s co-headlining tour — their first in more than 25 years. The tour opened Oct. 16 in Cincinnati and continues through mid-November with stops in Atlanta, Houston and Los Angeles.
It doesn’t just start in New York — it starts with the truth.
That’s the heartbeat behind “Hip Hop Was Born Here,” a new five-part docuseries hosted, executive produced, and co-created by LL Cool J that debuted Tuesday on Paramount+. More than a nostalgic look back, the project is a cultural reckoning — a reclaiming of hip-hop’s roots, spirit, and legacy.
Produced by MTV Entertainment Studios, Rock The Bells, and Peyton Manning’s Omaha Productions, the series journeys through the boroughs and birthplaces of hip-hop. It puts a spotlight not on flashy headlines or rap beefs but on the origin stories that shaped the genre from block parties to global dominance.
“You really want to understand hip-hop?” LL said in a recent CBS interview about the show. “Then you need to understand the spirit behind it. The dreams of making it out. The messages of empowerment. That’s what this is about.”
“It’s not about who’s on the cover of Forbes,” LL says. “It’s about the art, the inspiration, the real message behind the culture.”
He brings that message to life not just as a host, but as a fan. Throughout the series, he joins guests in freestyle sessions, revisits formative neighborhoods, and seamlessly quotes verses mid-conversation. The result is something both journalistic and deeply personal — a tribute told by someone who lived it.
Viewers can expect candid moments, like Rev Run reminiscing about bringing turntables out to the front stoop or Salt talking about what first moved her to rhyme. LL COOL J connects each thread with the respect of a curator and the reverence of a student, learning new things even after decades as one of hip-hop’s most decorated icons.
“This was about going deeper — not just what happened, but why it mattered,” he told CBS. “It’s about artists tapping into who they really are, and where that energy came from.”
“Hip Hop Was Born Here” arrives just weeks after LL’s return to the charts with “The FORCE,” his 2024 Q-Tip–produced album that helped mark the 40th anniversary of Def Jam and made LL the first rapper to chart Billboard entries across five decades. He also remains the driving force behind Rock The Bells, the platform and SiriusXM channel dedicated to preserving hip-hop’s golden era.
But here, LL trades performer for documentarian. He invites audiences to reflect on the question he poses to each guest: What does legacy mean to you?
Maybe the answer lies in one of the show’s opening scenes: LL pointing to the same Bronx street corner where DJ Kool Herc once set up his speakers and changed music forever.
Or maybe it’s in the boom boxes, the basement tapes, the stripped-down hunger of a generation that refused to be silenced.
“Hip Hop Was Born Here” doesn’t just tell you where it all began — it reminds you why it still matters.
All five episodes are now streaming on Paramount+.
In one of the most potent live moments hip-hop has seen in years, Clipse returned to the stage for their NPR Tiny Desk debut—a stripped-down yet searing performance that doubled as a celebration, a eulogy, and a cultural reckoning. Backed by a hard-hitting band and driven by the same raw precision that made them legendary, Pusha T and Malice brought decades of pain, reflection, and bravado into one of the most unforgettable Tiny Desk sets in recent memory.
It had been 16 years since Clipse last stood as a duo in front of a live audience. Since 2009’s Til the Casket Drops, the brothers—born Terrence and Gene Thornton—had gone their separate ways: Pusha ascended the solo ladder as a top-tier lyricist and G.O.O.D. Music president, while Malice found spiritual clarity and changed his name to No Malice, stepping back from the limelight entirely.
But for this moment—on a modest stage that’s become a proving ground for real artists—they stood shoulder to shoulder once again. The performance opened with an audible gasp from the crowd as the eerie first notes of “Virginia” set the tone. “I’m from Virginia, where ain't [expletive] to do but cook,” Pusha rapped, his cadence as cold as ever, while Malice stood stoic, surveying the room like a preacher searching for truth.
There was no band full of jazzy reinterpretations here, as NPR’s Bobby Carter revealed. The group insisted on keeping their sound uncut, unfiltered—heavy drums, haunting synths, no smoothing out the edges. Daru Jones, a hybrid drummer known for blending acoustic and electronic elements, was brought in to match their aesthetic. It worked. So did the chemistry.
The duo slid into “Keys Open Doors” and “Momma I’m So Sorry” with surgical timing, revisiting tracks from their 2006 masterwork Hell Hath No Fury. Then came “Chains and Whips,” a fierce new track from their 2025 album Let God Sort Them Out—their first full-length together in over a decade.
But the most human moment came with “Birds Don’t Sing,” a tear-stained tribute to their late parents, who died just four months apart. Malice described it as a “documented conversation”—their final words with their mother and father woven into the verses. It was less a performance than a confessional, with the band pulling back to let every syllable breathe. Pusha’s voice cracked; Malice stared straight ahead, as if speaking to ghosts.
Then came the gut punch. The unmistakable Neptunes beat for “Grindin’”—their breakout 2002 anthem—sent the room into controlled chaos. Fans shouted every bar. And for a moment, it felt like time folded in on itself: the Coke rap kings of the Clipse era reborn in front of NPR bookshelves.
The performance wasn’t just nostalgia—it was statement. Clipse didn’t just return to the stage; they reclaimed a place in hip-hop's living history. “Let God Sort Them Out,” released earlier this summer, dives deeper into mortality, legacy, and survival than anything they’ve recorded before. And the Tiny Desk concert made it clear—they’re not here to fade into the culture’s rearview.
Living Colour performs at NPR’s Tiny Desk in Washington, D.C., in a June 2025 concert celebrating the 35th anniversary of their landmark album Time’s Up. From left: Vernon Reid, Will Calhoun, Corey Glover and Doug Wimbish. (Screengrab via YouTube)
Living Colour didn’t just play behind NPR’s Tiny Desk. They detonated it.
The pioneering Black rock band delivered a searing, soul-baring performance that honored the 35th anniversary of their landmark album "Time’s Up," shook the walls of NPR’s headquarters, and reminded the world that rock, rage, and revolution still live in Black music.
Opening with their 1988 breakout “Cult of Personality” — the Grammy-winning anthem that made political theory scream — Living Colour set the tone with Corey Glover’s full-throttle vocals, Vernon Reid’s sonic sleight of hand on guitar, and a rhythm section powered by Doug Wimbish and Will Calhoun that hit like a fist through drywall.
But this wasn’t just nostalgia. It was history, fury, and deep musicianship in tight quarters.
With every song, Living Colour layered commentary on race, identity, media, and systemic distortion. “Pride” challenged American hypocrisy, “Love Rears Its Ugly Head” dissected relationship chaos and self-destruction, and “Solace of You” offered a melodic sanctuary in a world that often seeks to erase Black voice and story. Reid shouted out D.C. legends Bad Brains before launching into a blistering “Time’s Up,” turning NPR’s quiet corner into a temple of electric urgency.
“History’s a lie that they teach you in school,” Glover sang in “Pride,” over Calhoun’s tight beat. “A peaceful land that was born and civilized was robbed of its history, freedom, and pride.” It hit like gospel wrapped in punk.
The band used every inch of the stripped-down space to deliver something bigger than volume: meaning. Even with amps turned down and stage lights off, Living Colour glowed — a reminder that Tiny Desk’s size doesn’t limit the size of its message.
During their set, Glover took a moment to reflect on Black Music Month and the losses the culture has endured. “We lost Roberta Flack, we lost so many,” he said. “This song really speaks to that.”
By the end of “Solace of You,” the room didn’t just cheer — it exhaled. For Black rock fans, it was church. For everyone else, it was a lesson in what the genre has always owed to Black artists.
Bay Area rap icon E-40 brought Vallejo flavor and hyphy energy to NPR’s Tiny Desk Concerts on Monday, kicking off Black Music Month with a spirited, career-spanning set that celebrated his legacy in hip-hop and his hometown roots.
Backed by a live band and in front of an intimate audience, the veteran MC born Earl Stevens ran through a medley of his biggest hits, including "Tell Me When to Go," "Choices (Yup)" and "U and Dat." Throughout the set, he showcased not only his signature slang and unmistakable delivery but also the cultural pride and storytelling that have made him a cornerstone of West Coast rap for over three decades.
“Tell the people that Water is back!” he declared midway through the performance, nodding to both his longtime nickname and his return to the spotlight.
The set marked E-40’s first appearance on the popular YouTube concert series, which has become a landmark platform for both emerging and legendary artists. Known for revealing raw talent in stripped-down formats, Tiny Desk has previously featured performances from artists like T-Pain, Too Short, Kehlani and LaRussell.
The band elevated the energy of each track. On "Choices (Yup)," musicians leaned into the mic to echo the iconic “yup” and “nope” ad libs, creating an organic, in-the-room feel. During "U and Dat," background vocalist and music director Bosko Kante filled in seamlessly for T-Pain’s auto-tuned hook.
E-40 also used the platform to promote his entrepreneurial ventures, sipping from a glass of his Earl Stevens Mangoscato and reminding viewers it’s available at Costco and Total Wine.
Between verses, he shouted out his longtime friends and collaborators, including a heartfelt tribute to the late Stomp Down. The performance was not only a musical celebration but a nod to the community that built him.
Despite a career that spans generations, E-40 remains culturally relevant. His music still blares from Bay Area car stereos and his impact extends beyond music, with a road named after him in Vallejo and surprise political appearances — including a surreal cameo at a Joe Biden rally.
With Monday’s set, E-40 joins a growing list of Bay Area legends who’ve brought their game to the Tiny Desk stage. The show continues to affirm the cultural weight of the Bay, one classic track at a time.
Clad in her custom “Levii’s” jean shorts, the superstar retrieves a denim shirt from the fridge while country artist Willie Jones — who also appears on “Cowboy Carter” — looks on. The spot’s soundtrack features her song “Levii’s Jeans,” a collaboration with Post Malone, weaving the campaign directly into the sound and style of Act II of her anticipated musical trilogy, which began with 2022’s “Renaissance.”
In a fitting conclusion to NPR's Black Music Month celebration, the iconic R&B group SWV delivered a captivating Tiny Desk concert. The trio, known for their harmonious vocals and enduring hits, performed at NPR's headquarters, showcasing their timeless appeal and musical prowess.
Formed in New York City, Sisters With Voices (SWV) rose to fame in the 1990s alongside popular girl groups like En Vogue, TLC and Xscape. Their unique blend of R&B, new jack swing, and hip-hop soul earned them multiple platinum records and a dedicated fanbase that remains strong today.
The Tiny Desk setlist was a nostalgic journey through SWV's biggest hits, starting with the crowd-pleasing "I'm So Into You." The audience's enthusiasm was evident, with many singing along even after the song ended. Other fan favorites like "Right Here," "You're the One," and their number-one hit "Weak" further showcased their musical prowess and enduring appeal.
Before performing "You're the One," Lelee Lyons reflected on the group's groundbreaking approach to music in the '90s, noting their willingness to push boundaries. This served as a reminder of SWV's significant impact on the music industry and their continued influence.
SWV is currently co-headlining the Queens of R&B Tour with fellow '90s hitmakers Xscape. The tour, which kicked off with a sold-out show in Concord, California, features a mix of solo and collaborative performances, offering fans a nostalgic and exciting concert experience.
Watch the entire performance below.
SET LIST "I'm So Into You" "Right Here (Human Nature Radio Mix)" "You're the One" "You're Always on My Mind" "Rain" "Weak" "Anything (Old Skool Radio Version)"
Known for her sharp lyrics and distinctive style, rapper Flo Milli took her talents to NPR's Tiny Desk concert series recently, marking her first performance with a full band. The set, released earlier today, is part of NPR's Black Music Month celebration showcasing the talent and diversity of Black women in music.
The rising star from Mobile, Alabama, opened with an energetic medley of "Conceited" and "Bed Time," setting the stage for an engaging performance. Backed by Atlanta's Band of Brothers and her backing vocalists, the Floettes, Milli showcased her versatility, transitioning smoothly into a soulful rendition of her breakout hit "Beef FloMix." The song, a fan favorite from her 2020 debut mixtape "Ho, Why Is You Here?", proved its enduring appeal in this new arrangement.
The highlight of the set came at the end, when Milli and her band switched to acoustic instruments for a stripped-down version of her single "Never Lose Me." In a special treat for the audience, she debuted a brand new verse exclusive to the Tiny Desk performance.
Milli's Tiny Desk appearance is a significant milestone in her career, which has been on a steady rise since the release of "Ho, Why Is You Here?" She followed up her debut with "You Still Here, Ho?" in 2022 and "Fine Ho, Stay" in 2023, earning a spot on the Billboard Hot 100 and critical acclaim, including recognition from Rolling Stone as "one of the most fun rappers alive."
This Tiny Desk concert, a celebrated platform for showcasing musical talent, underscores Flo Milli's growing influence in the music industry.
