Supercute was first made available on 14 April 2001 at Prince’s Hit N Run Tour performance at the Atlanta Civic Center. Sold exclusively at concerts and later during the Prince: A Celebration – The Rainbow Children festival at Paisley Park in June 2001, the single was never commercially released. Both tracks later appeared on The Chocolate Invasion, but the single itself was originally intended to accompany the unreleased High album in 2000. 🟣 The Story Supercute debuted as

The Daisy Chain was first made available on 14 April 2001 at Prince’s Hit N Run Tour performance at the Atlanta Civic Center, Atlanta, Georgia. Sold alongside Peace and Prince’s Supercute, it was a tour‑only release with no commercial distribution. The single was also sold during the Celebration week‑long festival at Paisley Park Studios in 2001. Originally intended to accompany the New Power Generation’s planned 2000 album Peace (later aborted), both tracks were later offere

A high‑energy Hit N Run Tour stop at the Atlanta Civic Center, the performance showcased Prince and The New Power Generation in full 2001 form — tight musicianship, deep catalogue exploration, and a fluid blend of funk, soul, and improvisation. The show is historically notable as the first night where three exclusive CD singles were made available at merchandise stands: Peace, The Daisy Chain, and Supercute. 🟣 Event Details Date: April 14 2001 Location: Atlanta Civic Center,

Peace was first made available on 14 April 2001 at Prince’s Hit N Run Tour performance at the Atlanta Civic Center, Atlanta, Georgia. Sold exclusively at concerts alongside The Daisy Chain and Prince’s Supercute, the single was never commercially released. The title track had already appeared as an NPG Music Club download months earlier, while 2045: Radical Man had been released the previous year on the Bamboozled soundtrack, credited to Prince. Both tracks later appeared on

U Make My Sunshine is a fascinating snapshot of Prince’s early‑2000s digital experimentation — a warm, gospel‑soul duet wrapped in puzzles, fan‑driven distribution, and the chaotic freedom of open licensing. Angie Stone’s presence adds emotional depth, while the B‑side’s social commentary nods to the Staple Singers’ legacy. Though modest in chart performance, the single remains a cult favourite for its rarity, its aborted album connection, and its place in Prince’s evolving o