Paradise Lost Competition: Challenge #4 - World Tour

[RileyThomas 349]

The Children Of The Bad Revolution:

Lana Del Rey Opens the Road in Boston

 

When I first arrived at the sold out bean town House of Blues, I could hardly believe it was the first night of Lana Del Rey's highly anticipated international Open Road tour. Such tours, as we've come to know them, are usually the stuff of arenas, or even stadiums, with girls like Gaga or Rihanna gyrating their way across huge sets with theatrical verve. But tonight would prove to be incredibly different. Before me, stood an empty stage with a simple white curtain. Projected onto this curtain were images of giant blinking ferris wheels towering in the dark over oceanside boardwalk parks, or an old car flying down a desert highway- clips that trap you on the surface of the American dream so expertly that you're somehow fantasizing about participating in it again. This is Lana Del Rey's world, and we were unknowingly about to pierce the veil into this dark and eery wonderland.

This world is due in large part, no doubt, to Lana Del Rey's strange fame. A fame brewed by internet buzz, by photogenic beauty, by breathtaking videos and by haunting music. Her debut disc sold more than 2 million copies world wide, yet tonight will not even be her tenth show in the United States since Born to Die's release. She's an underground superstar in her own country. Radio won't play her, yet she draws a large enough crowd for 6 shows back to back in her hometown of New York. She's made some kind of transition from singer to starlet without the traditional media attention. Therefore, her first US tour has a fervor around it that is usually reserved for a much more established act. It's almost surreal to think that THE Lana Del Rey will be appearing in this club tonight to perform her double platinum album.

Suddenly, the lights go down, and the crowd howls. In the moment of darkness, sharp and terrifying strings soar into the air from behind the rising curtain. It's the sinister introduction to "Lolita," a stand-out uptempo song from Born to Die. The lights go up in hues of red and white, and she appears- dressed in a short, tight red dress- singing "Would you be mine? Would you be my baby tonight?" Her question is answered by hundreds of screaming voices. Her hair hangs loose and long, hardly done up except for the metallic, black crown of thorns she wears. It's an impressive piece of head gear, but hardly overwhelming. The album's distinct drums pound through the club, but a low and growling guitar gives the song a fuller, darker sound. The crowd screams "hey Lolita, hey!" as Del Rey casts a wicked smile to the throng before her. This is a startlingly confident Del Rey- a temptress, a witch, a snarling schoolgirl. When the song is over, you realize the night has only just begun.

Before you can catch your breath, Del Rey purrs acapella "My old man is a bad man, but I can't deny the way he holds my hand and he grabs me, he has me, by my heart." It's the opening lines of "Off to the Races," and don't you know it when the full band comes in. Del Rey carries the tune with a Shirley Bassey swagger- twisting her hands in tandem with her strange vocal phrasing. The crowd is swaying to her smooth string and bass groove as she presides over them, still as stone, between two tall gambling machines, who's screens play the stock footage clips that have become an integral part of her aesthetic. As she tops off the song with the line "You are my one true love," the strings take over for an outro as she addresses the crowd for the first time. "Thank you so much for being here with me tonight," she says sweetly.

Next up is "You Can Be the Boss," a surprising but welcome addition to the set tonight. It's a song that failed to make both Born to Die and her new Paradise EP, but regardless, keeps the crowd moving. There are many in the audience who sing every word to the song, happy to hear the unreleased track performed live. It's another tune that really pulls the crowd in. At the end, almost every voice in the club screams along with her "Don't let it stop!" She laughs, girlishly, and turns away from the audience. She bends down quickly and takes a gulp from a red Coke can and as she sets it down, cues her band to launch into "Diet Mountain Dew." Again the soulful, upbeat drums beg the crowd to move. "Do you think we'll be in love forever?" she asks the crowd, and from the smiling faces, the answer is most definitely "yes."

The fifth song of the night is a Paradise cut "Gods and Monsters." The gaming machines play clips of Jim Morrison and Jimi Hendrix, a young Bob Dylan flips off the crowd, and Marilyn Monroe laughs silently as Del Rey sings "In the land of Gods and Monsters, I was an Angel, living in the Garden of Evil." The song fills up the club with it's strange, quivering samples and a new dirge-like bass line crafted for a live arrangement.

"Body Electric" comes in with roaring applause from the audience. Del Rey began performing the song at the El Rey theater earlier last year, but this arrangement is more sensual and tight. It's sounds like an exotic hymn- pagan and wild. The crowd follows Lana's lead, "dancing and grinding" to the mid-tempo song. The soaring chorus is euphoric and Lana's voice sounds godly. She's a modern Isis, getting down every friday night with Marilyn, Elvis, and Jesus.

As the crowd winds down a bit, Lana quips about how excited she is to play new songs on the tour and how happy she is with the positive feedback she's gotten for the Paradise re-release. "But we'll always be Born to Die," she says as the familiar string intro to her title track fills up the room. The crowd bellows in approval and she bends down, grabbing hands, teasing "What? Who me?!" The gambling machines play a new version of the song's spectacular video with unseen footage of tigers and tattooed model Bradley Soileau. But it's still Lana's voice that keeps the crowd's attention.

Again, without hardly any introduction to the crowd, Lana goes into her third single "Blue Jeans." The crowd listens, screaming between her vocals as Lana shows off her high register in the chorus. The gambling machines play an amalgamation of both Blue Jeans videos, some stock footage mixed with the very sleek black and white video that stars Del Rey, Soileau, and some very intimidating alligators.

The ninth song of the night is her Jaguar endorser "Burning Desire." In some ways it's the most "pop" thing she's ever done- with it's 4 on the floor dance beat and bass- but it's definitely not a raging party song. "I've got a burning desire for you baby," she sings, leaning out again into the crowd. By this point in the night, it's pretty clear that almost every love song Del Rey has ever written is just as poetic when addressed to a crowd of people.

Just before walking off stage for a short intermission, Lana performs new NSFW song "Cola," and her autobiographic promo single "Carmen." There is a frenzy for "Cola," everyone screaming the opening lines of the song "My pussy tastes like Pepsi Cola." Again, couples are grinding, there are a few girls making out with their boyfriends. Everything calms down a bit for "Carmen" though and during the last verse, the white curtain slowly lowers down as she sings "Carmen, Carmen, doesn't have a problem, lying to herself 'cause her liquor's top shelf." The club goes dark and the crowd is in a turmoil.

But the show is not over yet. Behind the curtain, the band begins to play a familiar tune. Rather stately, the strings sing back and forth to each other in a semi-Waltz. The drummer comes in as a projection flickers onto the curtain. It's footage from Lana's "National Anthem" video. Footage that hasn't been seen before. The band goes into full jam as the guitarist comes in for some improved wailing on his instrument. It's an incredibly lively take on the arrangement of the song. Suddenly, Lana appears projected on the curtain in a long, white dress standing in a garden. She delivers the heartbreaking monologue from the video, and as she says "And I still love him, I love him," the curtain begins to rise. The crowd sees Lana in the same floor-length white dress, a delicate crown of white roses sits on her head. It seems a slight modification of her heavenly Born to Die wardrobe. The band launches into a beautiful and full version of National Anthem.

At the end of the tune she announces, "This is not an encore" and goes into "American," a bubbly song from her Paradise EP. Her chorus of "Be young, be dope, be proud- like an American," echoes on everyones lips in the club. Lana seems genuinely happy, her smile is contagious and overwhelming. With the same pace as the first part of the set, Lana goes directly into "Radio" and then "Million Dollar Man," which is definitely a show stopper.

After "Million Dollar Man" ends, she whispers into the microphone, "We have just a few more for you tonight." Before exiting off stage for a quick moment, reappearing with a simple acoustic guitar over her shoulder. This is brand new. Lana hasn't performed with her guitar in years- long since the days of small cafe shows in NYC when she was just starting. "I'm so happy to do this song for you tonight," she says quietly, strumming softly. "This is called Yayo."

The statement is met with initial blood curdling screams from the crowd, as I see a young teen girl collapse in tears. But then, an eery silence overtakes the crowd. It's the quietest I've seen them all night. People mouth the words, but no one sings, except Lana who softly strums her guitar, solo, until the band comes in at the chorus. It's a twilight zone moment for this rowdy group of Bostonians. Del Rey's voice really shines. She seems even slightly taken aback by the silence of the club. Towards the end of the song, it becomes clear to everyone that she's fighting off tears. As she sings the last line, she turns from the mic, back to the crowd who launches into an uproar. They begin to chant her name "LA-NA, LA-NA."

She nods to her bandmates and they cue for "Summertime Sadness." She turns back to the crowd and giggles off her own tears, and begins the song, "Kiss me hard before you go." She sways back forth in the long dress.

Del Rey has been on stage for close to an hour and a half, almost double the length of any set she's done thus far, when she goes into her first single from Paradise, "Ride." She debuted the short film/ music video for the song last October at the Aero Theater in Santa Monica. Its an awesome song that has a big Springsteen chorus. The audience sings along, "I just ride."

"Thank you for being here tonight with me at my first show for this tour," she says to the crowd. "This is the last one of the night- I'm not doing an encore." She takes a deep breath. "This is called Video Games." Even the rare few at the show who aren't Del Rey fanatics have been waiting all night to hear this one. This is the song that started it all. Every voice in the club sings that catchy chorus. There are teary eyes all over the room- mine included. When you hear this song, you can't help but think about something good that you've lost- or the fear of losing the good things you have now. Its an impeccably sharp double edged sword- the lyrics sweetly reminisce about a simple, childlike love trapped inside that mournful and pleading melody. It's not hard to see how this single song launched Del Rey's career or how critics immediately attached the words "modern classic" to it.

As the song ends, Lana bows slightly to the adoring audience and exits the stage. The curtain goes down and the band jams an outro to Video Games. I look around and see everyone smiling, turning to their friends and loved ones, as if they've all just awoken simultaneously from a dream. Some particularly eager fans rush toward the door to go stand at the side entrance hoping to catch a glimpse of Lana as she leaves. But mostly, the crowd makes its way out of the club slowly, some laughing, some drying their eyes, but all very much in love with Lana Del Rey.

 

 

Setlist:

 

1. Lolita

2. Off to the Races

3. You Can Be the Boss

4. Diet Mountain Dew

5. Gods and Monsters

6. Body Electric

7. Born to Die

8. Blue Jeans

9. Burning Desire

10. Cola

11. Carmen

12. National Anthem

13. American

14. Radio

15. Million Dollar Man

16. Yayo

17. Summertime Sadness

18. Ride

19. Video Games

Tour Dates:

LANA DEL REY

ON THE OPEN ROAD 2013 International Tour

 

-NORTH AMERICA- 49 dates

January 1 - Boston, Massachusetts (House of Blues)

January 2 - New York, New York (Irving Plaza)

January 3 - New York, New York (Irving Plaza)

January 4 - New York, New York (Irving Plaza)

January 5 - New York, New York (Bowery Ballroom)

January 6 - New York, New York (Bowery Ballroom)

January 7 - Atlantic City, New Jersey (House of Blues)

January 8 - Jersey City, New Jersey (Asbury Park Boardwalk)

 

January 10 - Philadelphia, Pennsylvania (Union Transfer)

January 11 - Baltimore, Maryland (Rams Head Live!)

January 12 - Washington, D.C. (930 Club)

January 13 - Richmond, Virginia (The National)

January 14 - Nashville, Tennessee (Ryman Auditorium)

January 15 - Atlanta, Georgia (Center Stage Theater)

January 16 - Montgomery, Alabama (Alabama Theater)

January 17 - Augusta, Georgia (Fox Theater)

January 18 - Orlando, Florida (The Beacham)

January 19 - Miami, Florida (Gunsman Center for the Performing Arts)

 

January 27 - Jackson, Mississippi (Fire Club)

January 28 - Baton Rouge, Louisiana (Boudreaux and Thibodeaux)

January 29 - New Orleans, Louisiana (House of Blues)

January 30 - Houston, Texas (House of Blues)

January 31 - San Antonio, Texas (Majestic Theater)

 

February 10 - Detroit, Michigan (Fisher Theater)

February 11 - Chicago, Illinois (Park West)

February 12 - Indianapolis, Illinois (Radio Radio)

February 13 - Columbus, Ohio (Lincoln Theater)

February 14 - Memphis, Tennessee (The New Daisy Theater)

February 15 - St. Louis, Missouri (2720 Cherokee)

February 16 - Kansas City, Kansas (The Blue Room)

February 17 - Denver, Colorado (Ogden Theater)

February 18 - Las Vegas, Nevada (House of Blues)

February 19 - Las Vegas, Nevada (House of Blues)

February 20 - Las Vegas Nevada (House of Blues)

 

February 22 - Los Angeles (El Rey Theater)

February 23 - Los Angeles (El Rey Theater)

February 24 - Los Angeles (El Rey Theater)

February 25 - San Francisco (The Fillmore)

February 26 - Portland, Oregon (State Theatre)

February 28 - Seattle, Washington (Showbox SODO)

March 1 - Vancouver, Canada (Commodore Ballroom)

March 2- Vancouver, Canada (Commodore Ballroom)

March 3 - Winnipeg, Canada (Centennial Concert Hall)

March 4 - Toronto, Canada (Sound Academy)

March 5 - Toronto, Canada (Sound Academy)

March 6 - Montreal, Canada (Métropolis)

March 7 - Montreal, Canada (Métropolis)

March 8 - Quebec, Canada (Colisée Pepsi)

March 9 - Quebec, Canada (Colisée Pepsi)

 

-SOUTH AMERICA- 5 dates

March 20 - Mexico City, Mexico (Foro Sol)

March 21 - Mexico City, Mexico (Foro Sol)

March 22 - Mexico City, Mexico (Foro Sol)

 

March 25 - Rio De Janeiro, Brazil (Theatro Municipal Rio)

March 26 - Sao Paulo, Brazil (Theatro MunicipalSau Paulo)

 

-JAPAN- 3 dates

April 1 - Tokyo (Suntory Hall)

April 2 - Tokyo (Suntory Hall)

April 3 - Tokyo (Suntory Hall)

 

-AUSTRALIA & NEW ZEALAND- 10 dates

April 16 - Adelaide (Elder Conservatorium)

April 17 - Brisbane (Queensland Performing Arts Center)

April 18 - Canberra (Canberra School of Music)

April 19 - Melbourne (Arts Centre Melbourne)

April 20 - Pearth (Perth Concert Hall)

April 21 - Sydney (Sydney Opera House)

April 25 - Auckland, NZ (Auckland Town Hall)

April 27 - Christchurch, NZ (Christchurch Town Hall)

April 28 - Dunedin, NZ (Dunedin Town Hall)

April 29 - Wellington, NZ (Michael Fowler Centre)

 

-EUROPE- 73 dates

 

May 1st - Dublin, Ireland (O’Reilly’s Sub Lounge)

May 2nd - Dublin, Ireland (O’Reilly’s Sub Lounge)

 

May 4th - London, England (Half Moon)

May 5th - London, England (Half Moon)

May 6th - London, England (The Dublin Castle)

May 7th - Glasgow, UK (Oran Mor)

May 8th - Glasgow, UK (Oran Mor)

 

May 10th - Camden, UK (Koko)

May 11th - Camden, UK (Koko)

May 13th - Brussels, Belgium (Botanique)

May 14th - Brussels, Belgium (Botanique)

May 16th - Zurich, Switzerland (X-tra)

May 17th - Zurich, Switzerland (X-tra)

 

May 19th - Nice, France (Bar des Oiseaux)

May 20th - Nice, France (Bar des Oiseaux)

May 21st - Paris, France (Nouveau Casino)

 

May 22nd - Paris, France (Nouveau Casino)

May 23rd - Paris France (Nouveau Casino)

 

May 25th - Lyon, France (Le Transbordeur)

 

May 27th - Calais, France (Arras Theatre)

 

May 29th - Oporto, Portugal (Rivoli Theatre)

May 30th - Libson, Portugal (Incognito)

 

June 3rd - Barcelona, Spain (Sant Jordi Club)

June 4th - Barcelona, Spain (Sant Jordi Club)

June 5th - Madrid, Spain (El Junco Jazz Club)

June 6th - Madrid, Spain (El Junco Jazz Club)

 

June 9th - Rome, Italy (Init)

June 10th - Rome, Italy (Init)

June 11th - Rome, Italy (Init)

June 12th - Milan, Italy (Old Fashion)

June 13th - Milan, Italy (Old Fashion)

June 15th - Venice, Italy (McCabe’s)

 

June 17th - Athens, Greece (Iera Odos)

June 18th - Athens, Greece (Iera Odos)

June 19th - Athens, Greece (Iera Odos)

 

June 23rd - Istanbul, Turkey (Hayal Kahvesi)

June 24th - Istanbul, Turkey (Hayal Kahvesi)

 

July 6th - Sofia, Bulgaria (Yalta Club)

July 7th - Sofia, Bulgaria (Yalta Club)

 

July 9th - Bucharest, Romania (El Dictador)

July 10th - Bucharest, Romania (El Dictador)

July 11th - Bucharest, Romania (El Dictador)

 

July 13th - Budapest, Hungary (Ba Bar Lounge Cafe)

July 14th - Budapest, Hungary (Ba Bar Lounge Cafe)

 

July 16th - Vienna, Austria (WUK)

July 17th - Vienna, Austria (WUK)

July 18th - Vienna Austria (Chelsea)

 

July 20th - Berlin, Germany (Magnet Club)

July 21st - Berlin, Germany (Magnet Club)

July 22nd - Berlin, Germany (Magnet Club)

 

July 24th - Warsaw, Poland (Platinum Club)

July 25th - Warsaw, Poland (Platinum Club)

July 26th - Krakow, Poland (Mile Stone Jazz Club)

 

July 29th - Copenhagen, Denmark (Vega in Vesterbro)

July 30th - Copenhagen, Denmark (Vega in Vesterbro)

 

August 1st - Stockholm, Sweden (Stampen)

August 2nd - Stockholm, Sweden (Stampen)

August 3rd - Stockholm, Sweden (Stampen)

August 4th - Gothenburg, Sweden (Pusterviksbaren)

August 5th - Gothenburg, Sweden (Pusterviksbaren)

 

August 7th - Olso, Norway (Ryes)

August 8th - Olso, Norway (Ryes)

August 9th - Bergen, Norway (Troldhaugen)

 

August 11th - Helsinki, Finland (Helsinki Club)

August 12th - Helsinki, Finland (Helsinki Club)

August 13th - Tampere, Finland (Tullikamari Klubi)

 

August 17th - St. Petersburg, Russia (Maina)

August 18th - St. Petersburg, Russia (Maina)

August 19th - St. Petersburg, Russia (Maina)

 

August 23rd - Moscow, Russia (Forte)

August 24th - Moscow Russia (Forte)

August 25th - Moscow, Russia (Forte)

August 26th - Moscow, Russia (Propaganda)

 

 

 

 

 

 

 

Firstly, I love the title, very creative. I like how you're telling the tour from the perspective of a fan, it's very well done. I again, like the idea of projected images, and this idea of a 'Dark Paradise' wonderland type of setting. The setlist sounds very well thought out, and the way you told it! Sounds like heaven, someone take me there now then I can die happy. The story made me laugh and feel sad at times, amazing. I kind of feel like your tour dates however are a little ambitious, I feel like Lana might want to kill herself after doing all of that, and it would happen sooner if some of those venues weren't even sold out. However, the promotional poster, setlist poster, tour dates poster & ticket design make up for all of that. The ticket design is a little horror for me, and well I don't think that the blood is fitting, but a least you made one.

 

Score: 9 & 1/2 / 10.

[RileyThomas 349]

As this week's losing team, The GoGo Dancers only have 2 members left, I have decided to choose the person who will be eliminated by using random.org

 

And that is...

 

 

GaGaOopsy

 

 

Challenge #5 coming soon!

[Matt 976]

Woo! Can't wait for challenge #5

[NEAL 739]

 

 

[Sitar 22,173]

The Ride Or Die Bitches:

 

 

 

Again, love the name for same reasons as The GoGo Dancers, as well as the setting. I like the image projection idea, very Summertime Sadness music video. Like how you have a variety of packages, one upgrading from the other, and they have creative names. You have chosen a variety of cities worldwide which is good so the majority of her fans will get to see her. The only thing I don't get is why she goes to and from Europe 3 times, and from america to Europe to north america. Wouldn't it just be easier to do her Asian leg of the tour, then European leg, then South American, then North American, then maybe finish in Los Angeles, anyways that's just my logical thinking lol. I absolutely adore the idea of splitting the tour into acts. The setlist, lighting choices & outfits all fit in together perfectly. Well done.

 

Score: 9/10

 

Beginning to get the feeling that the Children of the Bad Revolution will always be a fraction ahead of us, jesus...

 

I will say that she jumps the continents a lot because that's what most world tours do--I studied a couple to determine this. But I'm safe, so I'm fine with the final score.

[Guest Maru the Cat]

Um, I fucking love The Children of the Bad Revolution for including my city in the tour. Also, the venue they chose for my city is very Lana-appropriate. :3

 

I hope this becomes a reality!