yourolllikethunder

I HAVE SO MANY THOUGHTS, normally in my Taylor Swift tradition (swiftie since ‘06) I write a mini essay immediately after first listen ecstatic about all of my new favorite songs & feeling like ‘this is the greatest thing ever’—but this time I feel overwhelmed and speechless, it’s taken me three hours to think. I love that it’s the most raw, genuine, and stream-of-consciousness that her lyrics and energy have gotten—almost like an unmasking. The standard album is so heavy and melancholic. There’s a lot of growth here even if GP won’t see it because they think it’s “Midnights 2.0” (I disagree). 
 
While there’s some sonic similarities to past work, I think there’s a new and distinct mood across this album. But beyond that, I think what’s tripping me up is that a lot of the standard album melodies are a lot different than her usual ones. They’re more wordy, sometimes without a neat pattern or catchy melody, almost like improvisation where she’s using the same melodic phrase repeatedly but with new words. I could see why she called it poetry, it feels like 75% of the album is her version of Lana’s “fingertips,” but each with a hook/chorus. This difference in melodicism from her past work I think will take a few more listens to grow on me and let my brain differentiate each track.
 
Now, on the anthology double album side…. !!! I love these tracks but I can see why she didn’t include them. They don’t fit the quietly pulsating-with-rage-and-depression energy of the standard album, which does create a dark, Victorian-aesthetic cloud in the mind of the listener. However—and I say this as a huge fan and defender of Jack and Bleachers for many years—her tracks with Aaron continue to stand out. I think because she is typically writing to track with Aaron (writing a melody over his very innovative instrumental ideas), she comes up with really unique and interesting melodies, versus what comes to mind when she’s writing with Jack, who inspires more synth-heartland inspired atmospheres. I *love* her work with Jack, I think they have a special personal and sonic relationship and have made many, many, many of my favorite songs in the world, but I would love if she did one full-out album with Aaron, leaning into the soft rock vibes of “so high school” meets her slight twang-rock of “would’ve could’ve should’ve”, for example. 
 
Overall, I think TTPD is a masterful work that will grow on me by the minute, but I don’t feel ready to pass immediate judgement on it, in the way that I’m usually ready to right away—that’s how different it feels to me. I’m proud that she was able to release something more abstract, bitter, real, and biting while she’s on top of the world and the center of attention. She commented more than she ever has before on her own mental health (as opposed to the personal-inspired, fictitious stories in folkmore) and her complicated and painful relationship with nearly two decades of fame and those who idolize her—in a way that feels so much darker, more intense, unfiltered, and diaristic than her previous efforts. I think this is a turning point more than anything, and I’m excited for what’s next.
 
upon first listen, my favorite tracks were:
fortnight
guilty as sin
WAOLOM
loml
i can do it with a broken heart
clara bow 
the albatross
so high school 
I hate it here 
the prophecy

Fortnight is one of her best songs I’m sorry for doubting the single choice Taygod

Just kidding I love ur review 

I HAVE SO MANY THOUGHTS, normally in my Taylor Swift tradition (swiftie since ‘06) I write a mini essay immediately after first listen ecstatic about all of my new favorite songs & feeling like ‘this is the greatest thing ever’—but this time I feel overwhelmed and speechless, it’s taken me three hours to think. I love that it’s the most raw, genuine, and stream-of-consciousness that her lyrics and energy have gotten—almost like an unmasking. The standard album is so heavy and melancholic. There’s a lot of growth here even if GP won’t see it because they think it’s “Midnights 2.0” (I disagree). 
 
While there’s some sonic similarities to past work, I think there’s a new and distinct mood across this album. But beyond that, I think what’s tripping me up is that a lot of the standard album melodies are a lot different than her usual ones. They’re more wordy, sometimes without a neat pattern or catchy melody, almost like improvisation where she’s using the same melodic phrase repeatedly but with new words. I could see why she called it poetry, it feels like 75% of the album is her version of Lana’s “fingertips,” but each with a hook/chorus. This difference in melodicism from her past work I think will take a few more listens to grow on me and let my brain differentiate each track.
 
Now, on the anthology double album side…. !!! I love these tracks but I can see why she didn’t include them. They don’t fit the quietly pulsating-with-rage-and-depression energy of the standard album, which does create a dark, Victorian-aesthetic cloud in the mind of the listener. However—and I say this as a huge fan and defender of Jack and Bleachers for many years—her tracks with Aaron continue to stand out. I think because she is typically writing to track with Aaron (writing a melody over his very innovative instrumental ideas), she comes up with really unique and interesting melodies, versus what comes to mind when she’s writing with Jack, who inspires more synth-heartland inspired atmospheres. I *love* her work with Jack, I think they have a special personal and sonic relationship and have made many, many, many of my favorite songs in the world, but I would love if she did one full-out album with Aaron, leaning into the soft rock vibes of “so high school” meets her slight twang-rock of “would’ve could’ve should’ve”, for example. 
 
Overall, I think TTPD is a masterful work that will grow on me by the minute, but I don’t feel ready to pass immediate judgement on it, in the way that I’m usually ready to right away—that’s how different it feels to me. I’m proud that she was able to release something more abstract, bitter, real, and biting while she’s on top of the world and the center of attention. She commented more than she ever has before on her own mental health (as opposed to the personal-inspired, fictitious stories in folkmore) and her complicated and painful relationship with nearly two decades of fame and those who idolize her—in a way that feels so much darker, more intense, unfiltered, and diaristic than her previous efforts. I think this is a turning point more than anything, and I’m excited for what’s next.
 
upon first listen, my favorite tracks were:
fortnight
guilty as sin
WAOLOM
loml
i can do it with a broken heart
clara bow 
the albatross
so high school 
I hate it here 
the prophecy

I HAVE SO MANY THOUGHTS, normally in my Taylor Swift tradition (swiftie since ‘06) I write a mini essay immediately after first listen ecstatic about all of my new favorite songs & feeling like ‘this is the greatest thing ever’—but this time I feel overwhelmed and speechless, it’s taken me three hours to think. I love that it’s the most raw, genuine, and stream-of-consciousness that her lyrics and energy have gotten—almost like an unmasking. The standard album is so heavy and melancholic. There’s a lot of growth here even if GP won’t see it because they think it’s “Midnights 2.0” (I disagree). 
 
While there’s some sonic similarities to past work, I think there’s a new and distinct mood across this album. But beyond that, I think what’s tripping me up is that a lot of the standard album melodies are a lot different than her usual ones. They’re more wordy, sometimes without a neat pattern or catchy melody, almost like improvisation where she’s using the same melodic phrase repeatedly but with new words. I could see why she called it poetry, it feels like 75% of the album is her version of Lana’s “fingertips,” but each with a hook/chorus. This difference in melodicism from her past work I think will take a few more listens to grow on me and let my brain differentiate each track.
 
Now, on the anthology double album side…. !!! I love these tracks but I can see why she didn’t include them. They don’t fit the quietly pulsating-with-rage-and-depression energy of the standard album, which does create a dark, Victorian-aesthetic cloud in the mind of the listener. However—and I say this as a huge fan and defender of Jack and Bleachers for many years—her tracks with Aaron continue to stand out. I think because she is typically writing to track with Aaron (writing a melody over his very innovative instrumental ideas), she comes up with really unique and interesting melodies, versus what comes to mind when she’s writing with Jack, who inspires more synth-heartland inspired atmospheres. I *love* her work with Jack, I think they have a special personal and sonic relationship and have made many, many, many of my favorite songs in the world, but I would love if she did one full-out album with Aaron, leaning into the soft rock vibes of “so high school” meets her slight twang-rock of “would’ve could’ve should’ve”, for example. 
 
Overall, I think TTPD is a masterful work that will grow on me by the minute, but I don’t feel ready to pass immediate judgement on it, in the way that I’m usually ready to right away—that’s how different it feels to me. I’m proud that she was able to release something more abstract, bitter, real, and biting while she’s on top of the world and the center of attention. She commented more than she ever has before on her own mental health (as opposed to the personal-inspired, fictitious stories in folkmore) and her complicated and painful relationship with nearly two decades of fame and those who idolize her—in a way that feels so much darker, more intense, unfiltered, and diaristic than her previous efforts. I think this is a turning point more than anything, and I’m excited for what’s next.
 
upon first listen, my favorite tracks were:
fortnight
guilty as sin
WAOLOM
loml
i can do it with a broken heart
clara bow 
the albatross
so high school 
I hate it here 
the prophecy

I HAVE SO MANY THOUGHTS, normally in my Taylor Swift tradition (swiftie since ‘06) I write a mini essay immediately after first listen ecstatic about all of my new favorite songs & feeling like ‘this is the greatest thing ever’—but this time I feel overwhelmed and speechless, it’s taken me three hours to think. I love that it’s the most raw, genuine, and stream-of-consciousness that her lyrics and energy have gotten—almost like an unmasking. The standard album is so heavy and melancholic. There’s a lot of growth here even if GP won’t see it because they think it’s “Midnights 2.0” (I disagree). 
 
While there’s some sonic similarities to past work, I think there’s a new and distinct mood across this album. But beyond that, I think what’s tripping me up is that a lot of the standard album melodies are a lot different than her usual ones. They’re more wordy, sometimes without a neat pattern or catchy melody, almost like improvisation where she’s using the same melodic phrase repeatedly but with new words. I could see why she called it poetry, it feels like 75% of the album is her version of Lana’s “fingertips,” but each with a hook/chorus. This difference in melodicism from her past work I think will take a few more listens to grow on me and let my brain differentiate each track.
 
Now, on the anthology double album side…. !!! I love these tracks but I can see why she didn’t include them. They don’t fit the quietly pulsating-with-rage-and-depression energy of the standard album, which does create a dark, Victorian-aesthetic cloud in the mind of the listener. However—and I say this as a huge fan and defender of Jack and Bleachers for many years—her tracks with Aaron continue to stand out. I think because she is typically writing to track with Aaron (writing a melody over his very innovative instrumental ideas), she comes up with really unique and interesting melodies, versus what comes to mind when she’s writing with Jack, who inspires more synth-heartland inspired atmospheres. I *love* her work with Jack, I think they have a special personal and sonic relationship and have made many, many, many of my favorite songs in the world, but I would love if she did one full-out album with Aaron, leaning into the soft rock vibes of “so high school” meets her slight twang-rock of “would’ve could’ve should’ve”, for example. 
 
Overall, I think TTPD is a masterful work that will grow on me by the minute, but I don’t feel ready to pass immediate judgement on it, in the way that I’m usually ready to right away—that’s how different it feels to me. I’m proud that she was able to release something more abstract, bitter, real, and biting while she’s on top of the world and the center of attention. She commented more than she ever has before on her own mental health (as opposed to the personal-inspired, fictitious stories in folkmore) and her complicated and painful relationship with nearly two decades of fame and those who idolize her—in a way that feels so much darker, more intense, unfiltered, and diaristic than her previous efforts. I think this is a turning point more than anything, and I’m excited for what’s next.
 
upon first listen, my favorite tracks were:
fortnight
guilty as sin
WAOLOM
loml
i can do it with a broken heart
clara bow 
the albatross
so high school 
I hate it here 
the prophecy

some of the bonus tracks are very folklore i like them

SO HIGH SCHOOL?????????? 

SO HIGH SCHOOL FUCK ME it’s fucking over best track on the entire anthology album truly floored she really did THAT 

am I going crazy?? “we hereby conduct this post mortem” isn’t a full sentence, right? post mortem what—investigation, meeting, etc? I thought this was the last word and either I’m st00pid or it’s not mathing 

am I going crazy?? “we hereby conduct this post mortem” isn’t a full sentence, right? post mortem what—investigation, meeting, etc? I thought this was the last word and either I’m st00pid or it’s not mathing 

I think Billboard were spot on calling her show "perplexing and profound." It was filled with symbolism and details; some were instant and shocking like the epic entrance, others were more obscure or thoughtful like a hologram. I see this show as a happy ending to the Ocean Blvd era and everything that came with it, especially its message -- mortality, fame and loneliness. Lana entered the Coachella field with a caravan of motorcycles, bikers and dolled-up dancers while unreleased "Jealous Girl" played as a trap remix. She graced the audience with her freshly auburn hair, sparkly baby blue dress and an overall elegance and glamour that only she can pull off these days. The stage design, a tall and detailed old mansion with staircases, balconies, plants and everything, was very reminiscent of the Gatsby mansion, as others have pointed out. Her ballerinas and choir singers looked straight out of a 1930s movie or spectacle, while her band members were rocking ties and smoking jackets.
 

 

 
Coincidentially, what's also from the 1930s is a tunnel under Ocean Boulevard in California. The "subway" as it was called, went all the way under Ocean Boulevard and conducted straight to the beach. It was connected to the Jergins Trust Building, a commercial building with over 60 shops, fancy restaurants, casino and theaters where music and dance events were held all the time; all of this during the Golden Age of Hollywood. It was a privileged moment and location that only lasted a few decades as the building was demolished and the tunnel sealed. As we know, on Did you know that there's a tunnel under Ocean Blvd, Lana uses this as a metaphor for her fame, beauty, fertility and even her life -- Nothing lasts forever, as she admits in many songs through her discography, but at least she tries to leave a legacy and a purpose behind. She held this big Jazz Age party on the Coachella Stage, where we were all invited to have a great time and appreciate an old-fashioned show; as @yourolllikethunderperfectly stated, "Lana is a star akin to older generations—when musicians didn’t spend months training, both physically and vocally, for a show or tour, but showed up as they were, just to sing, without all of the fanfare." It's all about the beauty and vulnerability of the moment.
 
"Without You", which Lana hasn't sung in 11 years, was chosen as an unexpected yet gorgeous opener. Describing a life of opulence yet feeling unfulfilled, Lana begins narrating the story of the show. It's followed by "West Coast", a song about having to choose between love and a normal life or pursuing a music career. She chooses the latter, proudly singing California anthem "Doin' Time" and later explores nostalgia and goodbye with "Summertime Sadness". Having to run away and following your intuition is a common theme in Lana's recent music, most particularly "Paris, Texas" from Ocean Blvd or "Bare Feet on Linoleum" from Violet Bent Backwards over the Grass. By the time we finish the first half of the show, we've gotten a great glimpse of Lana's early career, with hits and favorites from Born to Die, Ultraviolence and Lust for Life.
 
The second half of the show explored her newer LPs, Norman Fucking Rockwell!, Chemtrails Over the Country Club, Blue Banisters and Ocean Blvd. These albums describe a decaying, modern America; the music turns more stripped-back, sometimes only piano and voice, an uncommon decision for bombastic Coachella. She sings "Arcadia" with passion, a song about how fickle an artist's reputation can be and how critics and journalists can shift the public's perception on them. Special guests are always part of a big party, and Jon Batiste, Billie Eilish and Jack Antonoff joined to play and sing.
 
One of the most out-there things Lana has ever done live, she was absent from the stage during "Hope is a dangerous thing..."; instead, a holographic version of herself was shown singing and spinning, reminiscent of her infamous SNL gig back in 2012. A promotional billboard appeared outside the festival, which read the date of that TV performance as the death of Lana Del Rey. She comes back triumphant with "A&W" and closed with "Young and Beautiful", a very fitting ending to this story. ""Will you still love me when I'm no longer young and beautiful?", an iconic line that still stands to this day. "I know you will/I'm sure that you will."
 
Gatsby was murdered in the swimming pool of his opulent mansion; you could also say he died for love. Marilyn Monroe, Veronica Lake and Elizabeth Short, whose stories are paid homage to in the "Candy Necklace" music video, all faced the darkness of Hollywood and suffered tragic endings. Lana Del Rey pays homage to them and decides to escape, this time in a caravan of motorcycles, bikers and dolled-up dancers. "Burned into my brain are these stolen images," she sang 100 minutes ago during "Without You". "Nobody warns you before the fall [...] If this is it/I'm signing off," she declared in 2019's "The greatest"; she prefers to keep her memories intact and beautiful, avoiding the decay, the demolishment, the sealing. A jazz rendition of "Young and Beautiful" marks the end of the show and Lana waves the audience while brass players in tuxedos and girls with champagne bottles play and dance over a giant cake. The cherry on top was The Caretaker's "It's just a burning memory" playing the background, making the scene feel somber and thought-provoking, but also dramatic and grand like the end of a movie. The instrumental piece is part of Everywhere at the End of Time, an album about deteriorating mental health and Alzheimer; the fear of being forgotten seems to be a major cause of anxiety for Lana, and I hope she knows she's cementing herself as a legend with each move.

Some of these nasty reviews are making me so sad. To me, Lana is a star akin to older generations—when musicians didn’t spend months training, both physically and vocally, for a show or tour, but showed up as they were, just to sing, without all of the fanfare. I absolutely appreciate spectacles like the Eras tour and Beychella, etc., those are masterful feats of artistry and intense preparation, but I just don’t feel like that’s what Lana’s after. Obviously I don’t know her personally, but to me, she’s more of a songwriter and poet who probably prefers a normal, delicate, relaxed existence (exemplified by her appearing at random garden stores and coffee shops along the California coast). I think she probably still battles stage fright, and I’m really amazed and proud that she signed up to do these two shows. After writing music so different from—and changing the sound of—the industry over the past 10 years+, it’s really cool to see her finally get her flowers as the headliner and do it in her own way. Maybe a massive arena-style stage isn’t the kindest venue for her talents and unique energy, but she did it in her own way, with heart and absolute style. I’m proud to be a fan and it’s not surprising to see these reviews (ahem, Guardian) revert to their 2014 tone. 

Some of these nasty reviews are making me so sad. To me, Lana is a star akin to older generations—when musicians didn’t spend months training, both physically and vocally, for a show or tour, but showed up as they were, just to sing, without all of the fanfare. I absolutely appreciate spectacles like the Eras tour and Beychella, etc., those are masterful feats of artistry and intense preparation, but I just don’t feel like that’s what Lana’s after. Obviously I don’t know her personally, but to me, she’s more of a songwriter and poet who probably prefers a normal, delicate, relaxed existence (exemplified by her appearing at random garden stores and coffee shops along the California coast). I think she probably still battles stage fright, and I’m really amazed and proud that she signed up to do these two shows. After writing music so different from—and changing the sound of—the industry over the past 10 years+, it’s really cool to see her finally get her flowers as the headliner and do it in her own way. Maybe a massive arena-style stage isn’t the kindest venue for her talents and unique energy, but she did it in her own way, with heart and absolute style. I’m proud to be a fan and it’s not surprising to see these reviews (ahem, Guardian) revert to their 2014 tone. 

This is how I feel. 
I personally love Taylor, love the eras tour and everything about it. I appreciate Taylor’s artistry and the fact that she trains for months (maybe even years who knows) to be able to get up there and bounce around, sing, play guitar & piano etc. I appreciate the fact that there are little to no flaws and “mistakes”
but I also appreciate Lana so deeply for everything you just said. I have NEVER watched Lana live and thought it was “bad”. Not on SNL, not at Coachella this Friday. I feel like I understand what she is going for every time and to me it’s so beautiful. The little “flaws” are what make Lana live so unique and special. 
I’ve seen Lana 3 times, twice in Charlotte NC in a seat pretty far back, one being in 2015 for the endless summer tour & the 2nd this past September. That venues capacity is around 20k. The 3rd time I saw her was in the pit in West Virginia in October and that venues capacity is around 13k. 
Seeing her in the smaller 13k venue was THE BEST. She seemed so confident, comfortable & happy. I pray I get to see her like that again, I feel so lucky. She truly shines in those smaller venues. 

Some of these nasty reviews are making me so sad. To me, Lana is a star akin to older generations—when musicians didn’t spend months training, both physically and vocally, for a show or tour, but showed up as they were, just to sing, without all of the fanfare. I absolutely appreciate spectacles like the Eras tour and Beychella, etc., those are masterful feats of artistry and intense preparation, but I just don’t feel like that’s what Lana’s after. Obviously I don’t know her personally, but to me, she’s more of a songwriter and poet who probably prefers a normal, delicate, relaxed existence (exemplified by her appearing at random garden stores and coffee shops along the California coast). I think she probably still battles stage fright, and I’m really amazed and proud that she signed up to do these two shows. After writing music so different from—and changing the sound of—the industry over the past 10 years+, it’s really cool to see her finally get her flowers as the headliner and do it in her own way. Maybe a massive arena-style stage isn’t the kindest venue for her talents and unique energy, but she did it in her own way, with heart and absolute style. I’m proud to be a fan and it’s not surprising to see these reviews (ahem, Guardian) revert to their 2014 tone. 

Some of these nasty reviews are making me so sad. To me, Lana is a star akin to older generations—when musicians didn’t spend months training, both physically and vocally, for a show or tour, but showed up as they were, just to sing, without all of the fanfare. I absolutely appreciate spectacles like the Eras tour and Beychella, etc., those are masterful feats of artistry and intense preparation, but I just don’t feel like that’s what Lana’s after. Obviously I don’t know her personally, but to me, she’s more of a songwriter and poet who probably prefers a normal, delicate, relaxed existence (exemplified by her appearing at random garden stores and coffee shops along the California coast). I think she probably still battles stage fright, and I’m really amazed and proud that she signed up to do these two shows. After writing music so different from—and changing the sound of—the industry over the past 10 years+, it’s really cool to see her finally get her flowers as the headliner and do it in her own way. Maybe a massive arena-style stage isn’t the kindest venue for her talents and unique energy, but she did it in her own way, with heart and absolute style. I’m proud to be a fan and it’s not surprising to see these reviews (ahem, Guardian) revert to their 2014 tone. 

Some of these nasty reviews are making me so sad. To me, Lana is a star akin to older generations—when musicians didn’t spend months training, both physically and vocally, for a show or tour, but showed up as they were, just to sing, without all of the fanfare. I absolutely appreciate spectacles like the Eras tour and Beychella, etc., those are masterful feats of artistry and intense preparation, but I just don’t feel like that’s what Lana’s after. Obviously I don’t know her personally, but to me, she’s more of a songwriter and poet who probably prefers a normal, delicate, relaxed existence (exemplified by her appearing at random garden stores and coffee shops along the California coast). I think she probably still battles stage fright, and I’m really amazed and proud that she signed up to do these two shows. After writing music so different from—and changing the sound of—the industry over the past 10 years+, it’s really cool to see her finally get her flowers as the headliner and do it in her own way. Maybe a massive arena-style stage isn’t the kindest venue for her talents and unique energy, but she did it in her own way, with heart and absolute style. I’m proud to be a fan and it’s not surprising to see these reviews (ahem, Guardian) revert to their 2014 tone. 

Some of these nasty reviews are making me so sad. To me, Lana is a star akin to older generations—when musicians didn’t spend months training, both physically and vocally, for a show or tour, but showed up as they were, just to sing, without all of the fanfare. I absolutely appreciate spectacles like the Eras tour and Beychella, etc., those are masterful feats of artistry and intense preparation, but I just don’t feel like that’s what Lana’s after. Obviously I don’t know her personally, but to me, she’s more of a songwriter and poet who probably prefers a normal, delicate, relaxed existence (exemplified by her appearing at random garden stores and coffee shops along the California coast). I think she probably still battles stage fright, and I’m really amazed and proud that she signed up to do these two shows. After writing music so different from—and changing the sound of—the industry over the past 10 years+, it’s really cool to see her finally get her flowers as the headliner and do it in her own way. Maybe a massive arena-style stage isn’t the kindest venue for her talents and unique energy, but she did it in her own way, with heart and absolute style. I’m proud to be a fan and it’s not surprising to see these reviews (ahem, Guardian) revert to their 2014 tone. 

Some of these nasty reviews are making me so sad. To me, Lana is a star akin to older generations—when musicians didn’t spend months training, both physically and vocally, for a show or tour, but showed up as they were, just to sing, without all of the fanfare. I absolutely appreciate spectacles like the Eras tour and Beychella, etc., those are masterful feats of artistry and intense preparation, but I just don’t feel like that’s what Lana’s after. Obviously I don’t know her personally, but to me, she’s more of a songwriter and poet who probably prefers a normal, delicate, relaxed existence (exemplified by her appearing at random garden stores and coffee shops along the California coast). I think she probably still battles stage fright, and I’m really amazed and proud that she signed up to do these two shows. After writing music so different from—and changing the sound of—the industry over the past 10 years+, it’s really cool to see her finally get her flowers as the headliner and do it in her own way. Maybe a massive arena-style stage isn’t the kindest venue for her talents and unique energy, but she did it in her own way, with heart and absolute style. I’m proud to be a fan and it’s not surprising to see these reviews (ahem, Guardian) revert to their 2014 tone. 

Some of these nasty reviews are making me so sad. To me, Lana is a star akin to older generations—when musicians didn’t spend months training, both physically and vocally, for a show or tour, but showed up as they were, just to sing, without all of the fanfare. I absolutely appreciate spectacles like the Eras tour and Beychella, etc., those are masterful feats of artistry and intense preparation, but I just don’t feel like that’s what Lana’s after. Obviously I don’t know her personally, but to me, she’s more of a songwriter and poet who probably prefers a normal, delicate, relaxed existence (exemplified by her appearing at random garden stores and coffee shops along the California coast). I think she probably still battles stage fright, and I’m really amazed and proud that she signed up to do these two shows. After writing music so different from—and changing the sound of—the industry over the past 10 years+, it’s really cool to see her finally get her flowers as the headliner and do it in her own way. Maybe a massive arena-style stage isn’t the kindest venue for her talents and unique energy, but she did it in her own way, with heart and absolute style. I’m proud to be a fan and it’s not surprising to see these reviews (ahem, Guardian) revert to their 2014 tone. 

Some of these nasty reviews are making me so sad. To me, Lana is a star akin to older generations—when musicians didn’t spend months training, both physically and vocally, for a show or tour, but showed up as they were, just to sing, without all of the fanfare. I absolutely appreciate spectacles like the Eras tour and Beychella, etc., those are masterful feats of artistry and intense preparation, but I just don’t feel like that’s what Lana’s after. Obviously I don’t know her personally, but to me, she’s more of a songwriter and poet who probably prefers a normal, delicate, relaxed existence (exemplified by her appearing at random garden stores and coffee shops along the California coast). I think she probably still battles stage fright, and I’m really amazed and proud that she signed up to do these two shows. After writing music so different from—and changing the sound of—the industry over the past 10 years+, it’s really cool to see her finally get her flowers as the headliner and do it in her own way. Maybe a massive arena-style stage isn’t the kindest venue for her talents and unique energy, but she did it in her own way, with heart and absolute style. I’m proud to be a fan and it’s not surprising to see these reviews (ahem, Guardian) revert to their 2014 tone. 

Some of these nasty reviews are making me so sad. To me, Lana is a star akin to older generations—when musicians didn’t spend months training, both physically and vocally, for a show or tour, but showed up as they were, just to sing, without all of the fanfare. I absolutely appreciate spectacles like the Eras tour and Beychella, etc., those are masterful feats of artistry and intense preparation, but I just don’t feel like that’s what Lana’s after. Obviously I don’t know her personally, but to me, she’s more of a songwriter and poet who probably prefers a normal, delicate, relaxed existence (exemplified by her appearing at random garden stores and coffee shops along the California coast). I think she probably still battles stage fright, and I’m really amazed and proud that she signed up to do these two shows. After writing music so different from—and changing the sound of—the industry over the past 10 years+, it’s really cool to see her finally get her flowers as the headliner and do it in her own way. Maybe a massive arena-style stage isn’t the kindest venue for her talents and unique energy, but she did it in her own way, with heart and absolute style. I’m proud to be a fan and it’s not surprising to see these reviews (ahem, Guardian) revert to their 2014 tone. 

Some of these nasty reviews are making me so sad. To me, Lana is a star akin to older generations—when musicians didn’t spend months training, both physically and vocally, for a show or tour, but showed up as they were, just to sing, without all of the fanfare. I absolutely appreciate spectacles like the Eras tour and Beychella, etc., those are masterful feats of artistry and intense preparation, but I just don’t feel like that’s what Lana’s after. Obviously I don’t know her personally, but to me, she’s more of a songwriter and poet who probably prefers a normal, delicate, relaxed existence (exemplified by her appearing at random garden stores and coffee shops along the California coast). I think she probably still battles stage fright, and I’m really amazed and proud that she signed up to do these two shows. After writing music so different from—and changing the sound of—the industry over the past 10 years+, it’s really cool to see her finally get her flowers as the headliner and do it in her own way. Maybe a massive arena-style stage isn’t the kindest venue for her talents and unique energy, but she did it in her own way, with heart and absolute style. I’m proud to be a fan and it’s not surprising to see these reviews (ahem, Guardian) revert to their 2014 tone.