As someone who has listened to her newer, more intricate record extensively, it was disappointing – she is perhaps the only artist whose hits I don’t want to hear. Surprisingly, she gave little attention to her best work, 2019’s Norman Fucking Rockwell!, and even truncated the title track. However, while her biggest hits like “ Summertime Sadness,” “Born to Die,” and “ Blue Jeans” from her 2012 album Born to Die pleased the crowd, they felt somewhat juvenile and tired compared to her newer, more sophisticated material. Del Rey often handed the mic to the audience, acting as a choirmaster for a crowd who knew every word of her Ivor Novello-winning songwriting. “Young and Beautiful,” which first appeared on the soundtrack to Baz Luhrmann‘s The Great Gatsby, became a poignant sing-along moment, with the crowd at times overpowering the quieter parts of the song.
“It’s worth it.” Del Rey’s gall and sense of humor in addressing the fiasco are admirable – she has always been a master of cheeky self-awareness.įortunately, for more casual fans, the setlist consisted mostly of her greatest hits. “I don’t care if they cut power,” she crooned, referencing her Glastonbury show.
The bare, choral opening of “The Grants,” a pensive yet hopeful song about remembering her family after death, shimmered, and the title track of her new album (the best song of the night) showcased the foursome riffing off one another in a spectacular gospel showcase. It was when Del Rey was joined by her three backing singers – Melodye Perry, Pattie Howard, and Shikena Jones – that she truly gave it her all. Whether hitting Disney princess high notes or delivering brooding laments, she did so with effortless precision. Ballads such as “Arcadia,” a love song to LA, and “Candy Necklaces,” performed from atop a golden grand piano, showcased Del Rey’s envy-inducing vocal range. However, any doubts about her vocal abilities were put to rest last night. But at a Lana Del Rey gig, that’s a compliment – her best songs are her most despondent.Īccording to a report by .uk, when Del Rey first performed her debut single, the mega-hit “ Video Games,” on SNL in 2012, audiences questioned her voice due to her nerves, causing her vocals to sound off-kilter. It was an upbeat start to an otherwise gloomy and melancholic setlist.
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Following a haunting rendition of David Bowie‘s “ Nature Boy” from the movie version of Moulin Rouge, Del Rey, dressed in a floral dress with her hair done up in a beauty queen style, coolly entered to the hip-hop-inspired beat drop of “A&W” from her latest album, Did You Know That There‘s a Tunnel Under Ocean Blvd. The stage was adorned with gilded mirrors, candlelit tables, and flower-adorned swings – messy and unnecessary, yet deliberately so. Even her vape, which she puffed during an extended intro to “Bartender,” was met with a chorus of screams. With seven albums under her belt, Del Rey’s star has risen to stratospheric heights, as evidenced by the 65,000-strong crowd of flower-crowned fans who hung on to every note of her sugary sweet falsetto. Her lyrics about death, love, and rock ‘n’ roll, combined with a meticulously crafted aesthetic that evokes 60s Americana, have garnered her a dedicated following of Tumblr addicts and over-emotional teens. The last time Del Rey performed in London was 10 years ago at the Hammersmith Apollo, where she played to a crowd of 5,000. Yes, I timed it – my knees have only just recovered from the Worthy Farm debacle. Instead of being late for half an hour, as she was at her now infamous Glastonbury show that had her set cut short, fans at last night’s BST Hyde Park headline gig only had to wait for 17 minutes.
Lana Del Rey seems to have learned from her past mistakes.
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