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Everything posted by BethDufreneOnTheBayouByYou
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She’s billed as “Lana Del Rey - a very special country set” on stagecoach promo. My guess is a bunch of country guest stars, duets and tributes. *Maybe* she debuts a new song but unless she promos that heavily before the show I wouldn’t get my hopes us. The most likely scenario is her usual set with duets sprinkled in.
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@fl0r1dakil0s doesn’t know anything sadly. There are no actual Lana insiders this era with verifiable facts. Their only trick is to tease vague, bland statements when they’re bored. Outside of BoZ (goat) the last good tease was 111 teasing the acronym for white dress. It’s sad no insiders want to get off their ass and work anymore.
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@SalvaWHORE you changed my previously negative perspective on the title in its simplicity, the title holds a profound depth. It’s not just about a romantic love; it’s about permanence, loyalty, and the ways in which people remain in our lives, whether physically, emotionally, or even spiritually. it’s such a beautiful follow up title to the themes she explored on Tunnel. Longing, impermanence, the fear of being forgotten (romantically, legacy, or personal identity). It’s like an answer to her pleas of “don’t forget me” and a shift from desperation to acceptance. If Tunnel was questioning who or what endures the test of time then maybe TRPWS will be about understanding that whoever truly matters never leaves
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It’s dry af so I’m going to theorize and get delusional in here . You know the theory that she ends her albums with a small hint of where she’ll go next? Whether intentional or not, you could argue that Honeymoon closes with Don’t Let Me Be Misunderstood, which leads into Lust for Life—where she starts looking outside of herself and opening up about her intentions. Then, Get Free at the end of LFL is like her modern manifesto, committing to her art and shedding everything else. The last minute of Get Free feels like drifting into the sea and the unknown, and NFR picks up right where that leaves off, with its nature and nautical themes and diary-like lyrics. Same with Blue Banisters—it ends with Sweet Carolina, a love letter to her sister and family, and then Ocean Blvd opens with The Grants, setting the stage for a deeply introspective album about her family and herself. These are my favorite examples of this theory, but because it’s such a consistent pattern, I’ve been wondering—why tack on the Venice Bitch demo to Taco Truck at the end of Ocean Blvd? I took it as her “going home” to Venice Beach, finding comfort after all the introspection on that album. In all likelihood it’s probably because she’s just ✌🏻so random✌🏻. Not saying she’s like Taylor Swift with Easter eggs, but what if that demo was a clue about an unreleased album she was working on after Ocean Blvd? She dropped Say Yes to Heaven a couple of months later, and her team even sent out polls asking fans to vote on their favorite unreleased songs. I think BoZ hinted there was more to come if SYTH did well—so if that was the plan, I wonder what changed behind the scenes. It seems like there have been a TON of projects teased or hinted at post Ocean Blvd but things are just stagnant. She spent a lot of 2024 touring so maybe there just wasn’t time or logistics on her side?
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She’s promised 2 singles twice now The first time was in an August Vogue publication when she all but said Lasso is delayed. She said we’d hear 2 songs by the end of the year “soon”. Didn’t happen. Then she promised two singles before Stagecoach in her TRPWS announcement post in November. I don’t think we will get anything, though.
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Let's get this thread back on track. She has exactly 5 weeks - 35 days - to deliver on her promise of 2 singles before Stagecoach. Highly doubtful these would be anything other than a double release. Will she wait to capitalize on the publicity of Stagecoach and release them the week of 4/25? Or will she give everyone time to learn the words before the big show?
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Where did she say that? I remember the rumor but not that she actually said it.