When Cypress Hill rolled into Toronto, it didn’t feel like a nostalgia act pulling up to cash in on the ‘90s. It felt like a warning siren. More than three decades after Cypress Hill and Black Sunday turned smoky basements into cultural battlegrounds, B-Real, Sen Dog, Eric Bobo, and DJ Lord still perform like men who have something to prove. And in a city like Toronto—where hip-hop crowds can be discerning, even cool to a fault—that edge matters.
From the jump, this wasn’t going to be a polite evening of head-nodding. It was going to be loud, defiant, and proudly weed-scented.
A Slow Burn Into Chaos
The lights dropped and DJ Lord took control, cutting through the darkness with a barrage of scratches and ominous samples. The “DJ Lord Intro” wasn’t filler; it was a mission statement. Thick bass rumbled through the venue while strobe lights flickered like a police chase in slow motion. Toronto’s crowd, initially reserved, began to surge forward.
Then B-Real’s unmistakable nasal snarl pierced the air, and the group launched into “The Phuncky Feel One.” Suddenly, it was 1991 again—but louder.
There’s something remarkable about Cypress Hill live: their beats, which feel laid-back and hazy on record, transform into something almost metallic in person. The low-end hits harder, the snares crack sharper, and Eric Bobo’s percussion adds a rawness that gives the music a muscular backbone.
“Hand on the Pump” followed, and it was clear the early material still carries bite. B-Real’s delivery hasn’t softened with age; if anything, it’s more controlled, more precise. Sen Dog stalked the stage like a hype man possessed, barking ad-libs and pacing like a cornered fighter.
The Classics Hit Harder
“A to the K” and “When the Shit Goes Down” kept the energy climbing. Toronto crowds can sometimes feel like they’re observing a show rather than participating in it—but not tonight. The floor bounced in unison, hands in the air, joints and phone screens glowing in equal measure.
Then came “Lowrider.”
That opening horn line is instantly recognizable, and the reaction was explosive. It’s funny how a song that once felt like a left-field left turn for the group has become one of their most enduring anthems. Live, it hits with swagger and humor. B-Real grinned through the verses while the crowd rapped half the lyrics back at him.
“Latin Lingo” and “Lick a Shot” injected some grit again, the group refusing to let the vibe get too celebratory without reminding everyone of their harder roots.
Smoke Signals and Soul
Mid-set, Cypress Hill leaned into their weed-culture legacy with “Tequila Sunrise,” “Roll It Up, Light It Up, Smoke It Up,” and the inevitable “I Wanna Get High.”
Let’s be honest—no Cypress Hill show would be complete without a haze hanging in the air thick enough to chew. Toronto delivered. The smell of cannabis drifted through the venue, mingling with the bass vibrations in a way that felt almost ritualistic.
“I Wanna Get High” was less a song and more a congregation. Lighters (and their 2026 equivalents) flickered. B-Real held the mic out and let the audience chant the hook, smiling like a preacher watching his choir hit the right note.
The mood shifted again when they dropped into “Cisco Kid,” their playful cover of the Method Man & Redman classic. It was a nod to East Coast camaraderie, and it worked. The crowd ate it up, bouncing with carefree energy.
Dr. Greenthumb and the Golden Era
“Dr. Greenthumb” might be the most quintessential Cypress Hill song ever written. The theatrical intro, the cartoonish menace, the weed-business satire—it all lands perfectly live. B-Real leaned into the character, delivering the verses with exaggerated flair.
When “Hits From the Bong” started, the venue erupted. There’s a reason this song endures. That descending piano loop is hypnotic, and hearing it live is like falling down a sonic staircase. DJ Lord extended the intro, teasing the crowd before letting the beat fully drop.
One of the night’s highlights came during the “DJ Lord + Eric Bobo Instrumental” segment. Too often DJs are reduced to transitional support in modern hip-hop shows. Not here. DJ Lord showcased technical brilliance—scratching with precision, weaving samples in and out—while Bobo layered live percussion over the top. It felt organic, almost jam-band-like, and reminded everyone that hip-hop is, at its core, a live art form.
The Second Wind
As the set pushed into its final third, Cypress Hill shifted from celebratory to confrontational.
“Illusions” added a darker emotional texture. B-Real’s voice cut through the bass with eerie clarity, and the crowd responded with a slower, more intense sway.
“Boom Biddy Bye Bye” brought things back up with its undeniable bounce, but the tension remained simmering under the surface.
Then came the knockout punches.
“I Ain’t Goin’ Out Like That” hit like a battering ram. The pit opened up, and for a moment it felt less like a rap show and more like a hardcore gig. Cypress Hill has always flirted with rock and metal aesthetics, and live, that edge is undeniable.
“How I Could Just Kill a Man” followed, and if there was any doubt about the group’s cultural weight, it vanished. This is a foundational hip-hop anthem, and hearing a Toronto crowd shout every word decades later is proof of its staying power.
Insanity and Superstars
When the iconic opening of “Insane in the Brain” blasted through the speakers, the entire venue lost its mind. That high-pitched “insane!” sample still sounds futuristic. The floor shook. Drinks spilled. Voices cracked from screaming the chorus.
It’s rare for a song to feel both nostalgic and urgent at the same time, but this one does. Cypress Hill didn’t just perform it—they attacked it.
“(Rock) Superstar” followed, leaning fully into the rap-rock crossover energy that helped define late ‘90s radio. Live guitars added heft, and the chorus soared. The song’s commentary on fame felt surprisingly reflective in this setting—veterans who’ve seen the highs and lows delivering lines about the cost of success.
And then, for the encore chaos, they launched into “Jump Around,” the classic from House of Pain. It might not be their song, but it’s part of the extended family tree. The reaction? Absolute bedlam. Toronto jumped. Literally. The floor felt like it might cave in.
The Verdict
What makes Cypress Hill compelling in 2026 isn’t just the catalog—it’s the conviction. They don’t perform these songs like relics. They perform them like weapons. The chemistry between B-Real and Sen Dog remains sharp, their voices distinct but complementary. DJ Lord adds a technical flash that elevates the live experience, and Eric Bobo’s percussion gives the show a human heartbeat.
Toronto got more than a greatest-hits set. It got a reminder of what hip-hop looked like when it was dangerous, funny, political, and unfiltered all at once.
And judging by the sweat-soaked crowd filing out into the night, ears ringing and lungs slightly abused, that reminder was exactly what the city needed.
Full Setlist – Cypress Hill, Toronto
DJ Lord Intro
The Phuncky Feel One
Hand on the Pump
A to the K
When the Shit Goes Down
Lowrider
Latin Lingo
Lick a Shot
Tequila Sunrise
Roll It Up, Light It Up, Smoke It Up
I Wanna Get High
Cisco Kid (Method Man & Redman cover)
Dr. Greenthumb
Hits From the Bong
DJ Lord + Eric Bobo Instrumental
Illusions
Boom Biddy Bye Bye
I Ain’t Goin’ Out Like That
How I Could Just Kill a Man
Insane in the Brain
(Rock) Superstar
Jump Around (House of Pain cover)
Final Grade: A
Cypress Hill didn’t just revisit their legacy in Toronto—they reignited it.