Lana Del Rey tried her image of cool ijsprinses and plastic pop-diva yet again, to pierce through, but she remained got stuck halfway.
The American pop star treated us to a trip to the beach. Plastic palm trees, neprotsen and two sun loungers with red-and-white striped bath towels zoomden the stage. About the background rolled …
The American pop star treated us to a trip to the beach. Plastic palm trees, neprotsen and two sun loungers with red-and-white striped bath towels zoomden the stage. In the background, rolled the roaring breakers, as if you were through the window of a Californian beach villa looked.
Del Rey, dressed in a white Malibu-shirt, glitterboots and matching miniskirt, dolt for years with the Hollywood glamour, and then immerse you in a noir-atmosphere of decline and decay. Nihilism is that they are always with a nod sang its praises, but now checked, the 32-year-old singer is no longer as cool ijsprinses or tormented diva by her plastic mise-en-scene. She wanted a confident pop star, of flesh and blood, as she is also on her fourth studio album, Lust for life, presented.
Pure Del Rey
‘I’ve been dying for something real’, sighed in opener ’13 beaches’, and that she tried herself to give. Her ‘sadcore’, langoureuze fiftiesballads punctured with vale synthviolen and triphopbeats, rolled then once so majestically over the stage with ‘Cherry’, her voice meandering between low and angeliek.
‘Change’, she announced that she as a sleutelsong, because the turbulent times of her country, her fatalism is pushed aside. A moment later, she thanked Cat Power, who shortly before, beautifully opened it. “She has shown me that it is okay to be different than the rest,” she said. They put on an impressive Flying V-guitar for the fragile, a solo created ‘Yayo’, a song from when she was still Lizzie Grant, was called. Pure, you got Del Rey.
A lot of dynamics there was not in the set. Del Reys songs walk slower than a ochtendfile over. But that they did without gaudy beats or requested electronic frullen, such as in the James Bond-with-a-deuksong ‘Honeymoon’, was a breath of fresh air between the garish popkleuren, exhausting choreography and fireworks of the current poplandschap.
But when she went down to selfies with her devoted fans and her setlist adapted to the preferences of the audience, seemed to be the show of the deaf. The tension was cranked up with the still sublime ‘Video games’, sung on a swing. Nicely refined, with double bass and dark piano notes, her voice with a deeper crack than before.
No political messages
Towards the end, the drums are thicker and the guitars a bit more dramatic with ‘new york’ and ‘Summertime sadness’. Del Rey fingering, incidentally, remarkably often, back to the dreary images overloaded ‘Born to die’. We’d prefer the new ‘Get free’ is heard, in which they her new freedom celebrates. Or a sigh of idealism in a new song as ” God bless America – and all the beautiful women in it.’
Well, Del Rey had no political message is needed, her biggest statement was that they are now liberated and her own story. “We’re the masters of our own fate/ We’re the captains of our own souls,” as they sang in ‘Lust for life’. She is not quite there, but the smile that she shows on her last album cover, we were in Antwerp to see.
Lana Del Rey: Seen on 17 april in the antwerp Sportpaleis, Antwerp