Lana Del Rey and the Fourth of July are a natural pairing. Unlike many pop artists of her era, Lana has thoroughly explored the waters of Americana, crafting a narrative that connects F. Scott Fitzgerald to A$AP Rocky while maintaining clarity. Currently, she is transitioning into her country phase – her forthcoming album 'Lasso' has been rebranded as 'The Right Person Will Stay', a change reflected in her live performances. With a Southern gothic melodrama aesthetic, she takes the stage in front of a rustic shed, channeling a powerful and rebellious energy.
Addison Rae serves as a fitting contrast to Lana’s artistic vision. Sonically, she breathes life into her debut album with meticulous attention, her lyrical themes resonating with some of Lana’s personal influences. Even though her debut album is just weeks old, her performance is commendable, clearly showcasing her aspirations to someday sell out arenas like this.
In reality, though, there’s only one star at a Lana Del Rey concert. Her entrance is met with roaring applause, and she kicks off the night with a sweet rendition of ‘Stars Fell On Alabama’ and a bold ‘Henry Come On’, both showcasing genuine vocal prowess and assurance. This is followed by a relaxed rendition of Tammy Wynette’s often-misinterpreted country classic ‘Stand By Your Man’, with Lana’s facial expressions both representing and challenging the song's themes.
It’s this subtlety that allows Lana to shine on stage. A master of minimalism, the stage resembles a work of art. ‘Chemtrails Over The Country Club’ and ‘Ultraviolence’ mark two early high points, while ‘Ride’ remains an impressive pop highlight.
At times, she grapples with her in-ear monitors, and an unsettled Lana semi-apologizes to the audience, expressing gratitude for their support. She then invites the crowd to join in for ‘Video Games’, and suddenly, Wembley erupts with excitement, the lights from countless phones shimmering in the night.
The setlist is short yet intricately crafted. The interludes evoke a fantasy reminiscent of Gone With The Wind transposed into contemporary times, while a few surprises – like the tour debut of ‘If You Lie Down With Me’ – keep the crowd engaged.
There’s an impression that this may not be the country-infused performance some had expected. She leans into certain tropes and toys with language, but it remains distinctly Lana. Who else would introduce a song with an extensive reading of Howl? While Allen Ginsberg’s celebration of self-reliance feels worlds away from Southern gothic storytelling, both tap into the American experience – in Lana’s interpretation, it all aligns perfectly.
It’s certainly an artistic statement, but fans ultimately come for the memorable moments. ‘Young And Beautiful’ transitions into a grand ‘Summertime Sadness’, and a flowing ‘Born To Die’ gives way to ‘Venice Bitch’. Addison Rae makes a return, with a delighted Lana Del Rey introducing a duet of Addison’s viral hit ‘Diet Pepsi’ – “I just love to sing it” – and their collaboration feels natural and effortless.
Ending with a dignified ‘Take Me Home, Country Roads’, the performance captivates attention, though it may not always be easily defined. As an expression of personal and stylistic growth, it is truly unparalleled.
Words: Robin Murray
Photography: Nicky Sims
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Lana Del Rey and the Fourth of July naturally complement each other. Like only a handful of pop artists from her era, Lana has explored the various aspects of Americana.