Legendary Producers Jimmy Jam and Terry Lewis Announce ‘Nothing but Hits’ Las Vegas Run

Legendary producers Jimmy Jam, left, and Terry Lewis are shown in a promotional image for their upcoming Las Vegas residency. The duo's "Nothing But Hits" shows will debut at Voltaire at The Venetian Resort this spring, featuring special guest appearances by vocalists Ruben Studdard and Shanice Wilson to perform their massive catalog of R&B classics.

The architects behind the Minneapolis Sound are officially taking their legendary, multi-decade catalog to the Strip.

Rock & Roll Hall of Fame production duo Jimmy Jam and Terry Lewis have announced a limited-run Las Vegas residency titled "Nothing But Hits," set to debut this spring at Voltaire at The Venetian Resort. The immersive live experience will mark the first time the iconic songwriting and production team will take the stage to perform and share the stories behind their staggering catalog.

The residency is currently scheduled for six performances on April 17–18, 22, and 24–26.

"We've been fortunate to do so many incredible things in our careers," Jimmy Jam said in a statement regarding the announcement. "But we've never had the chance to perform our catalog live. Being able to share these songs — and the stories behind them — is going to be special".

With a record-breaking 42 Billboard No. 1 hits and over 100 gold, platinum, and diamond albums to their credit, Jam & Lewis aim to deliver upwards of 40 hits per night. To handle the massive vocal requirements of their discography, the duo will be backed by a live band and a rotating cast of special guest vocalists, with "American Idol" winner Ruben Studdard and "Star Search" legend Shanice already confirmed to appear.

The Las Vegas run coincides with the 40th anniversary of Janet Jackson's landmark 1986 album, "Control," a project that fundamentally shifted the landscape of R&B and pop and cemented the duo's status as super-producers. Fans can expect a heavy emphasis on their defining work with Jackson, alongside anthems they crafted for Michael Jackson, Prince, Usher, Mary J. Blige and Boyz II Men.

"The show will feel like traveling through the soundtrack of your life," Terry Lewis added. "It's not just the music — it's the memories and moments connected to it."

Michael Jordan, Jay-Z, and Now Dr. Dre: How 90s Icons Dominate the 2026 Forbes Billionaires List

Record producer and entrepreneur Dr. Dre is shown in a May 2014 file photo. Twelve years after the landmark sale of Beats Electronics to Apple — which prompted Dre to prematurely declare himself hip-hop's first billionaire — Forbes officially added the Aftermath founder to its 2026 World's Billionaires List on Tuesday. Dre is currently back in the studio producing tracks for T.I.'s upcoming final album.

Twelve years ago, in a grainy, celebratory video alongside Tyrese Gibson, Dr. Dre infamously declared
himself the first billionaire in hip-hop following Apple's massive acquisition of Beats Electronics. Forbes quickly corrected the math at the time, noting he was still a couple hundred million dollars short. But as of this morning, the financial record has finally caught up to the brag.

Dr. Dre has officially joined the three-comma club. The legendary Aftermath founder made his debut on the Forbes 2026 World's Billionaires List on Tuesday, boasting an estimated net worth of exactly $1 billion.

"Dr. Dre has become the latest hip-hop artist to join the billionaire club. On Tuesday, March 10, Forbes confirmed the veteran rapper-producer landed on its World Billionaires List for the first time. The business outlet attributes his billion-dollar fortune to the success of his Aftermath Entertainment record label... and Beats Electronics."

— Forbes 2026 Billionaires List
Source: Forbes

According to Forbes, Dre's historic wealth is still primarily driven by the foundational $3 billion sale of Beats to Apple in 2014, combined with the enduring value of his Aftermath Entertainment record label — the launching pad for generational icons like Eminem, 50 Cent, and Kendrick Lamar. Recent business ventures, including his "Gin & Juice" ready-to-drink cocktail brand with Snoop Dogg, have also padded his portfolio.

The Billionaire Class: Where Dre Ranks Among the Culture's Elite

Dre’s induction into the billionaire ranks places him in highly exclusive company, making him only the sixth musician in history to cross the threshold.

He becomes just the second hip-hop artist currently on the list, trailing his longtime peer Jay-Z, who remains the wealthiest musician in the world with an estimated net worth of $2.8 billion. Jay-Z famously became hip-hop's first viable billionaire in 2019. The two moguls are now standing alone following the financial falls of Kanye West and Sean "Diddy" Combs. West, who peaked at over $2 billion, dropped to an estimated $400 million following the termination of his Adidas partnership. Combs, previously hovering near the milestone, has seen his net worth plummet to an estimated $400 million to $800 million amid mounting legal battles and lost partnerships.

The women of the golden era are also commanding massive fortunes. Rihanna remains America’s youngest self-made billionaire, sitting at $1.4 billion thanks to her Fenty Beauty and Savage X Fenty empires. Beyoncé has also officially solidified her billionaire status, boasting an even $1 billion valuation driven by decades of record-breaking music sales and world tours.

"As of December 2025, six music artists have reached the billionaire status... Jay-Z leading the list with $2.5 billion, Taylor Swift—the richest female musician—and then Rihanna, the first female artist to become a billionaire."

— Industry Wealth Rankings

Outside of music, the sports icons beloved by the 90s and 00s crowd continue to dominate the financial rankings. Michael Jordan towers over the athlete category with an estimated net worth of $3.8 billion, fueled by his enduring Nike royalties and the sale of the Charlotte Hornets. He is followed by Magic Johnson at $1.5 billion and LeBron James at $1.2 billion, both of whom crossed the milestone through savvy real estate, sports ownership, and business investments.

Back Behind the Boards

However, the newly minted billionaire is proving he has no intention of retiring his legendary ear. As his financial status hits a historic high, Dre is stepping back behind the boards to help craft a highly anticipated farewell for another rap pioneer.

Atlanta legend T.I. recently confirmed that Dr. Dre has contributed production to his forthcoming final album, "Kill the King". During a recent interview, Tip revealed the two collaborated on a track titled "Where I'm From," which also features Grammy-winning vocalist Anderson .Paak.

Hip-Hop Heavyweights File Supreme Court Brief in Dallas Capital Murder Case

Rappers T.I., left, Lecrae, center, and Killer Mike pose on the set of the music video for their collaborative track "Headphones." T.I. and Killer Mike joined a coalition of hip-hop artists who filed an amicus brief with the U.S. Supreme Court on Monday, challenging the use of rap lyrics by Texas prosecutors to secure death penalty sentences.

The fight to protect Black art from being weaponized in the courtroom has officially reached the highest court in the land — again.

A coalition of hip-hop heavyweights — including Killer Mike, T.I., Young Thug and Travis Scott — filed an amicus curiae brief on Monday urging the U.S. Supreme Court to intervene in a Dallas County death penalty case. The artists are challenging the prosecution's use of rap lyrics to secure a capital murder sentence, arguing the practice violates constitutional protections and invites juries to make life-or-death decisions based on racial bias.

The filing centers on James Garfield Broadnax, a Black man who was sentenced to death in 2009 for a double homicide outside a Garland, Texas, music studio. During the punishment phase of the trial, prosecutors presented more than 40 pages of Broadnax's handwritten rap lyrics to a nearly all-white jury. The state argued the lyrics reflected a "master plan" for violence and proved he posed a "future danger" to society — a specific finding required by Texas law to impose the death penalty.

"In too many instances, we have the justice system blessing this practice when it comes to rap, when it would never be tolerated with any other kind of artistic expression. When prosecutors treat them as literal evidence of future violence, they invite jurors to decide a death-penalty case based on fear and stereotypes instead of the law."

— Chad Baruch, Lead Appellate Attorney
Source: Amicus Curiae Brief, Broadnax v. Texas (Docket No. 25-939)

Lead appellate attorney Chad Baruch, who authored the brief alongside leading hip-hop scholars, blasted the tactic as a direct attack on creative expression.

"Rap lyrics are creative expression," Baruch said in a statement released Monday. "When prosecutors treat them as literal evidence of future violence, they invite jurors to decide a death-penalty case based on fear and stereotypes instead of the law."

The brief points out a glaring double standard: Broadnax's lyrics were not introduced during the guilt or innocence phase of the trial, which the defense argues is a tacit admission by the state that the art had no actual relevance to the facts of the crime. Instead, the lyrics were introduced solely during sentencing to depict Broadnax as a "gangster" and secure his execution.

For the artists involved, the Supreme Court filing is the latest front in a grueling, decade-long war over the criminalization of hip-hop.

This new filing serves as a direct continuation of the landmark 2019 "Hip-Hop Brief" in the Jamal Knox case, where Killer Mike first rallied artists like Meek Mill and Chance the Rapper to explain the posturing and poetic traditions of rap to the Supreme Court. Seven years later, the justice system is still struggling to separate the art from the artist.

"The State weaponized cultural expressions common to rap to improperly portray Broadnax as dangerous and threatening... stoking racial and anti-rap bias."

— Excerpt from the Amicus Brief filed March 9, 2026
Source: Supreme Court of the United States Filing

Young Thug understands those stakes intimately. The Atlanta superstar recently spent years at the center of the massive YSL RICO trial in Georgia, where prosecutors controversially entered his own song lyrics into evidence to allege criminal conspiracy. During that ordeal, artists like Travis Scott rallied behind the "Protect Black Art" campaign, arguing that rap is the only fictional art form routinely treated as an autobiographical confession by the American justice system.

Meanwhile, Killer Mike continues to leverage his platform to protect and elevate the culture on multiple fronts. When he is not drafting briefs to the Supreme Court, the Grammy-winning MC is physically rebuilding his hometown. Just last week, it was announced that he had joined fellow Atlanta legends Usher and 2 Chainz as major celebrity investors in the sprawling $5 billion Centennial Yards redevelopment project in downtown Atlanta.

With Broadnax scheduled to be executed by lethal injection on April 30, the coalition is urging the Supreme Court to grant a stay and issue a definitive ruling on whether the First Amendment protects hip-hop from being used as a lethal weapon by the state.

"In too many instances, we have the justice system blessing this practice when it comes to rap, when it would never be tolerated with any other kind of artistic expression," Baruch stated.

Atlanta Hip-Hop Icons Back $5 Billion Overhaul of Downtown’s Historic Gulch

A rendering shows the proposed layout for Centennial Yards, an upcoming $5 billion entertainment and residential district in downtown Atlanta. The massive 50-acre redevelopment project, backed by celebrity investors including Usher, Killer Mike and 2 Chainz, aims to transform the historic rail yard known as the Gulch into a thriving cultural hub featuring a Cosm immersive theater, a Live Nation music venue and luxury housing. (Courtesy of Centennial Yards)

If you want to see the future of Atlanta, look down into the Gulch.

For decades, the 50-acre sunken rail yard in the heart of downtown has been little more than a vast concrete void shadowed by towering stadiums. But now, the royalty of Southern hip-hop and R&B are putting their money exactly where their roots are to transform that crater into the city's next crown jewel.

Usher, the diamond-certified voice behind the monumental 2004 album "Confessions," has officially joined rap veterans Killer Mike and 2 Chainz — alongside other notable celebrity investors like Shaquille O'Neal, Vince Carter, and Migos frontman Quavo— as major investors in Centennial Yards, a sprawling $5 billion redevelopment project set to completely remake downtown Atlanta.

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Led by Los Angeles-based developer CIM Group and a group headed by Atlanta Hawks principal owner Tony Ressler, the massive venture aims to replace empty parking lots with a thriving, world-class entertainment and residential district.

The heavy-hitting roster of homegrown celebrity investors was recently celebrated during a ribbon-cutting event for the district's new Hotel Phoenix. Financial literacy advocate John Hope Bryant has also joined the effort, bridging the gap between urban luxury development and community financial empowerment.

In a statement posted to its official Instagram page, the Centennial Yards team praised the artists for stepping up to physically shape the city's skyline. The developers shouted out the hometown heroes as "true leaders who love Atlanta, believe in its people, and understand both the vision and the real need for #CentennialYards."

"These are individuals who showed up with trust, purpose, and pride in Atlanta's future," the statement continued. "This is what happens when Atlanta builds for Atlanta."

For artists who spent the 1990s and 2000s building the city's cultural infrastructure, the investment represents a transition into literal city building. The Centennial Yards footprint sits perfectly between two of the city's biggest hubs: Mercedes-Benz Stadium and State Farm Arena.

Once completed, the district will boast a towering skyline of residential buildings, luxury hotels, retail spaces, and restaurants. However, the crown jewel for music fans will be the brand-new entertainment hub. The space will feature an immersive 70,000-square-foot Cosm viewing theater boasting an 87-foot LED dome, alongside a dedicated 5,300-capacity live music venue operated by Live Nation.

The development is currently operating on a massive deadline. Developers are pushing to open Cosm, the Hotel Phoenix, and a central gathering plaza by June 10, 2026 — just five days before Atlanta is set to host international fans for the first of eight matches of the 2026 FIFA World Cup. The Live Nation music venue is slated to open its doors the following year, in 2027.

Bob Power, the Studio Genius Behind the Native Tongues and Soulquarians Movements, Dies at 73

Legendary audio engineer and producer Bob Power sits at a mixing console in a recording studio. Power, whose technical mastery shaped the sound of golden-era hip-hop and neo-soul for iconic artists like A Tribe Called Quest, Erykah Badu, and D'Angelo, died on March 1 at the age of 73.

The music industry has lost the meticulous ear behind its most flawless-sounding masterpieces. Bob Power, the legendary audio engineer and producer whose technical wizardry defined the sound of the Native Tongues movement and the birth of neo-soul, died on March 1 at the age of 73.

A funeral listing in Maryland confirmed the passing of the sonic pioneer, noting that his family requested donations be made to NPR in lieu of floral tributes. No official cause of death was immediately provided.

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For purists of 90s hip-hop and R&B, Power's name in the liner notes was a guarantee of sonic excellence. Born in Chicago in 1952, he was a classically trained musician who studied at Webster College before earning a master's degree in jazz from Lone Mountain College in San Francisco. Before completely altering the sound of rap, he spent the 1970s and early 1980s composing music for PBS television shows and major commercial campaigns for brands like Coca-Cola and Intel.

Power relocated to New York City in 1982, famously taking gigs playing mafia weddings in Bensonhurst to pay the bills before landing a pivotal role as a fill-in engineer at Calliope Studios. It was there that he engineered his first major hip-hop project: Stetsasonic's 1986 debut album, "On Fire".

That session made Power the indispensable sonic translator for the emerging Native Tongues collective. He engineered and mixed foundational texts for A Tribe Called Quest, De La Soul, and the Jungle Brothers. Prior to Power's touch, hip-hop struggled to balance heavy bass lines with crisp, sample-heavy melodies without muddying the track.

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"Bob was the KING of the Low End," The Roots' frontman Questlove wrote in a social media tribute. "Drums Crispy & Loud... but the BASS is FULL... before him? Hip Hop was chaotic & muddy... Bob was our training wheels for how to present music".

Beyond his alternative hip-hop foundation, Power was equally responsible for engineering the R&B revolution of the mid-1990s as a trusted engineer for the Soulquarians collective. He mixed the blueprints of the neo-soul movement, including D'Angelo's "Brown Sugar," Erykah Badu's "Baduizm," and Common's "Like Water for Chocolate".

Following the news of his death, Badu openly mourned her mentor online. "What a great loss for the music community today," Badu shared, noting his immense influence on her sound. "'Baduizm' is thee most bass heavy singing album in history. You mixed like a TRIBE album!".

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Legendary producer DJ Premier also paid his respects, writing, "R.I.P. to one of the iLLest Engineers of all time... Thank you for your various pointers in recording from D'Angelo to ATCQ'S 'Low End Theory,' Erykah Badu's 'Baduizm' and so on!".

Later in life, Power became an Arts Professor at New York University's Clive Davis Institute of Recorded Music, ensuring his technical mastery and philosophy would be passed down to the next generation of audio engineers.

In an era where producers and MCs rightfully received the lion's share of the glory, Bob Power remained the quiet genius behind the boards. He did not invent the culture, but he built the acoustic architecture that allowed it to stand the test of time.

‘All Eyez on Me’ To ‘Atliens’: Inside the 30th Anniversary of Hip-Hop’s Golden Year

If you want to measure the passage of time for a golden-era hip-hop purist, just point to the calendar: The Class of 1996 is officially 30 years old.

As 2026 unfolds, the culture is bracing for a relentless wave of retrospectives honoring a 12-month span widely considered the genre's zenith. The sheer volume of watershed albums released in 1996 remains a staggering anomaly, their sonic architecture still firmly woven into the fabric of contemporary music.

The anniversary marathon commenced with a massive milestone in February. On Feb. 13, 1996, record store shelves absorbed two culture-shifting releases simultaneously: The Fugees' inescapable global juggernaut "The Score" and 2Pac's sprawling, diamond-certified double album "All Eyez on Me." Both projects pulverized the commercial ceiling for rap, proving the art form could dominate pop radio and command global attention without compromising its street-level authenticity.

As the summer approaches, the historical gravity only intensifies. June marks three decades of Jay-Z's mafioso-rap blueprint "Reasonable Doubt," followed swiftly by Nas' cinematic sophomore effort, "It Was Written," in July. That summer proved existential for New York hip-hop, reaffirming the East Coast's lyrical supremacy and commercial viability amid heavily publicized regional rivalries.

Down South, the celebratory wave will crash over Atlanta in August when OutKast's atmospheric masterwork "ATLiens" turns 30. Fulfilling Andre 3000's prophetic 1995 Source Awards declaration that the South had something to say, the album offered undeniable proof. It anchored the region's place in the hip-hop pantheon, submerging listeners in the futuristic, funk-laden soundscapes of Organized Noize.

Concurrently, R&B experienced a permanent metamorphosis. The genre's topography shifted unequivocally with the August release of Aaliyah's "One in a Million." Galvanized by the erratic, syncopated production of Timbaland and the sharp penmanship of Missy Elliott, the album decisively closed the curtain on the new jack swing era, laying a futuristic foundation for the new millennium. Months prior, Maxwell’s April debut, "Maxwell's Urban Hang Suite," executed a similar pivot, helping to birth the neo-soul movement.

Three decades removed, the Class of 1996 defies categorization as mere nostalgic trivia. Contemporary vocalists continue to borrow these cadences, producers still scavenge for the analog warmth of these drum breaks, and ascending MCs perpetually dissect these flows. Nineteen ninety-six wasn't just a prolific calendar year; it was the seismic event that permanently realigned the tectonic plates of Black music, pouring the concrete foundation upon which the entire modern industry is built.

Upcoming 1996 30th Anniversaries to Watch

Busta Rhymes, "The Coming"

March

Maxwell, "Maxwell's Urban Hang Suite"

April

Jay-Z, "Reasonable Doubt"

June

Nas, "It Was Written"

July

Aaliyah, "One in a Million"

August

OutKast, "ATLiens"

August

Ghostface Killah, "Ironman"

October

Lil' Kim, "Hard Core"

November

Honorable Mentions: The Underground & Cult Classics of '96

De La Soul, "Stakes Is High"

July

A crucial, boom-bap rejection of the era's growing commercialism.

The Roots, "Illadelph Halflife"

September

The live-band pioneers establishing their heavier, uncompromised sound.

Makaveli, "The Don Killuminati: The 7 Day Theory"

November

2Pac's posthumous, darkly prophetic masterpiece.

Mobb Deep, "Hell on Earth"

November

The grimy, cinematic follow-up that cemented Queensbridge royalty.

Redman, "Muddy Waters"

December

A masterclass in funk-sampled, blunt-fueled lyricism.

Watch: De la Soul’s Triumphant, Bittersweet Tiny Desk Concert Tribute to Trugoy the Dove

Kelvin "Posdnuos" Mercer, center left, and Vincent "Maseo" Mason, center right, of the pioneering hip-hop group De La Soul perform during their NPR Tiny Desk Concert in Washington on Tuesday, March 3. Backed by a nine-piece live band featuring drummer Daru Jones, back left, the duo celebrated their newly independent catalog and paid tribute to late co-founder David "Trugoy the Dove" Jolicoeur. Jolicoeur's memory was honored throughout the set, including a "Dave" nameplate resting on the desk. (Screensgrab via NPR Music)

"Ladies and gentlemen, we're a new group called De La Soul."

When DJ Maseo delivered that deadpan introduction to the crowd gathered at the NPR offices on Tuesday it drew a laugh. Humor has always been the foundational glue of the legendary Long Island trio. But behind the turntable, the joke carried a heavy, undeniable truth: the duties have been reassessed, the focus has shifted, and the architects of the D.A.I.S.Y. Age are navigating a new reality.

The highly anticipated NPR Tiny Desk concert premiered on what fans officially recognize as De La Soul Day. It was billed as a celebration of milestones, primarily marking year three of the group's classic catalog finally returning to their control and hitting streaming services after a decades-long legal battle. It also served as a showcase for their 2025 music album, "Cabin in the Sky."

But hovering above the soaring live instrumentation was the profound absence of David Jolicoeur  —known to the culture as Trugoy the Dove, or Plug Two — who passed away in February 2023 just weeks before the group's masters were finally liberated.

According to NPR's Bobby Carter, surviving members Kelvin "Posdnuos" Mercer and Vincent "Maseo" Mason were highly intentional during the planning process, openly discussing what their late brother would and would not approve of creatively. The result was a setlist that masterfully balanced raucous joy with open grief.

"Cindy said if y'all stop, then Dave stopped, and that wouldn't be the show," Posdnuos rapped early in the set, making it clear that their continued forward motion is the ultimate tribute to Jolicoeur's legacy. Throughout the room, the mantra was simple and repeated: "Dave always."

Backed by a sprawling, nine-piece live band directed by powerhouse drummer Daru Jones, the newly minted duo completely reimagined their sample-heavy catalog. With the addition of a horn section, a viola, and phenomenal background vocalists Yummy Bingham and Gina Loring, the group breathed expansive new life into 90s foundational texts.

The crowd was fully engaged during a towering rendition of "Stakes Is High," with Posdnuos leading the room in a call-and-response, urging the audience to shout "vibration" against the track's iconic, thumping beat. Later, Loring took center stage for a transcendent vocal performance on "Different World," cementing the live band's incredible chemistry.

Yet, amid the massive musical arrangements, the group still found time for the intimate, off-the-cuff humor that made them famous. Before launching into a heartfelt new track titled "A Quick 16 for Mama," Maseo and Pos joked about their current side hustles, with Maseo claiming he was driving Uber XL and Pos quipping that he was doing DoorDash. "Got to get it how you live," Pos laughed, before the band settled into a smooth, nostalgic groove that Maseo noted reminded him of the beats his mother used to play.

The emotional climax of the set arrived during the closing performance of their 1989 breakout hit, "Me Myself and I." As the familiar, infectious bassline rolled through the NPR offices, the lyrics took on a poignant new weight. The group demanded the audience sing along, eventually stripping the beat away to let the room chant the chorus a cappella.

Before the final notes rang out, Maseo took to the microphone to issue one last, simple instruction to the room: "Let me hear you say thank you, Dave."

Watch the full De La Soul Tiny Desk performance below.  

De la Soul Brings Classics, New Tracks to NPR Tiny Desk Concert in Honor of Trugoy the Dove

The album artwork for De La Soul's landmark 1989 debut, "3 Feet High and Rising," features group members Kelvin "Posdnuos" Mercer, bottom left, Vincent "Maseo" Mason, top, and the late David "Trugoy the Dove" Jolicoeur, right. The pioneering hip-hop group is set to perform an NPR Tiny Desk Concert on Tuesday, March 3, honoring Jolicoeur's legacy. (Courtesy of Chrysalis Records)

Legendary hip-hop trio De La Soul is set to take over the NPR offices for a highly anticipated Tiny Desk
Concert on Tuesday, March 3, promising a setlist that bridges their foundational 90s classics with their modern, grief-tinged renaissance.

NPR Music officially announced the performance on social media, noting that the set will honor the group’s decades-long legacy while paying special tribute to late founding member David "Trugoy the Dove" Jolicoeur.

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Jolicoeur, who was instrumental in defining the group's intricate, off-kilter lyrical style, passed away in February 2023 at the age of 54 following a battle with congestive heart failure.

According to the announcement, the performance will feature a mix of the group's foundational hits alongside brand-new material. De La Soul — now operating as a duo with Kelvin "Posdnuos" Mercer and Vincent "Maseo" Mason — recently released "Cabin in the Sky" in late 2025. The critically acclaimed project marked their latest studio music album and their first since Trugoy's passing.

However, Trugoy's presence was heavily felt on "Cabin in the Sky," with the group utilizing his previously recorded vocals and production to ensure his spirit remained central to their sound.

"This album is therapy and celebration at the same time," Posdnuos said in a statement preceding the album's release. "There's a vulnerability in these songs, because everything we've been through has brought us to this moment, to this album, honoring what we've lost and lifting up what still remains. That duality. That's life, and that's De La."

The Tiny Desk appearance marks another significant milestone in what has been an emotional few years for the pioneering Long Island group. In March 2023, just weeks after Trugoy's passing, De La Soul's first six classic albums — including their 1989 masterpiece "3 Feet High and Rising" and 1991's "De La Soul Is Dead" — finally arrived on digital streaming platforms. The release ended a years-long, highly publicized legal battle regarding sample clearances and label disputes, finally making their music accessible to a new generation.

Fans can catch the Tiny Desk performance when it premieres on Tuesday directly on NPR.org and via the official NPR Music YouTube channel.