Imagine a Tennessee Williams play, dripping with Southern Gothic charm, directed by the Coen Brothers and starring Bobbie Gentry. Throw in Busby Berkeley, carousing in New Orleans and choreographing the whole thing, and you’ll get close to the spectacle Lana Del Rey brought to Dublin’s Aviva Stadium.
Any doubts about her music’s ability to fill a stadium, fueled by some critical English reviews, were quickly put to rest. Her stage setup was stunning, resembling a Southern mansion where a young Elizabeth Taylor might sip a mint julep to escape the humidity, complete with porch swings, candelabras, and Spanish moss draped on the trees.
To the left, a five-piece string section under an awning added a powerful layer to the performance, while the other musicians, including longtime guitarist Blake Lee, looked like they were auditioning for a Johnny Cash tribute night at the Grand Ole Opry.
The dancers ranged from tasteful pole work to swirling around Del Rey with burlesque feather fans, with one performer even striking a pose atop the ‘house’ like in an eighties shampoo commercial. The backing singers were equally impressive, especially during the gospel-infused close of
Del Rey was a captivating presence, first in a debutante dress with a bow, then in a purple evening gown for the second act. Her setlist was surprisingly bold, featuring four songs from a forthcoming, country-tinged album. If and the beautiful pedal steel of are any indication, it’ll be a strong release.
The recent single showcased her full vocal range as she sat in a rocking chair, surrounded by the swelling strings. A brief but wonderful cover of Tammy Wynette’s tied everything back to the roots.
However, the band’s performance of and without Del Rey, save for a projection in a window, felt like a misstep. The strange, yet fascinating combination of Bernard Herrmann’s with Allen Ginsberg’s Howl also left some scratching their heads.
While an hour and twenty-something minutes felt a little short for a stadium show, the performance of the big hits was met with a wave of adoration unlike anything I’ve witnessed at past stadium concerts.
The sweeping chorus of “Ride” brought tears to my 19-year-old daughter’s eyes, for whom Lana is everything. And the final hat-trick of and clearly moved Del Rey as well, visibly touched by the crowd’s ecstatic singing of every word. She ended the night with John Denver’s Consider this former skeptic converted.
