Lorde’s ‘Ultrasound’ tour, as reported from her Ōtautahi stop, isn’t just a concert; it’s a meticulously crafted statement about performance, vulnerability, and the commodification of self. The breathless review highlights a performance steeped in symbolism – a deliberate stripping away of layers, both literal and metaphorical – that speaks to a generation grappling with authenticity in the age of hyper-curation. This isn’t simply about a pop star putting on a show; it’s about a pop star *commenting* on the act of putting on a show, and the audience’s complicity in it.
- The tour marks a stark departure from the “sun-soaked” aesthetic of ‘Solar Power’, embracing a “techno-frenzy” that signals a deliberate recalibration of her public image.
- Lorde’s use of visual and physical deconstruction – the removal of clothing, glitching visuals, and references to early Virgin Records aesthetics – is a key thematic element.
- The concert’s success hinges on a powerful sense of reciprocity between Lorde and a diverse audience, acknowledging her evolution since ‘Royals’ in 2013.
This performance feels less like a traditional tour and more like a carefully orchestrated brand exercise. The repeated references to “Virgin” – the x-ray album cover aesthetic, the water bottle talisman – aren’t accidental. They’re a knowing nod to the history of female pop stars and the often-exploitative dynamics of the music industry. Lorde isn’t simply referencing these images; she’s reclaiming them, presenting a version of vulnerability that feels controlled and intentional. The “down trou” moment, while provocative, is framed within a larger narrative of self-possession.
The choice to perform on a stage resembling a “gym,” complete with a treadmill, is particularly astute. It’s a visual metaphor for the relentless pressure to perform, to constantly “work on” oneself, and the performative nature of wellness culture. Even the seemingly offhand comment – “Guys I am fucking thirsty” – feels loaded, a subtle acknowledgement of the demands placed upon her body and image. The inclusion of the Palestinian flag during ‘Team’ is a notable political statement, demonstrating a willingness to use her platform for advocacy, a move that will undoubtedly be scrutinized by both fans and industry observers.
Lorde’s ability to connect with a diverse audience – “little girls and their parents, Gen Zs…and random guys occasionally watching rugby” – is a testament to her enduring appeal. But it’s also a strategically valuable asset. This broad demographic reach positions her for continued success and allows her to navigate the increasingly fragmented media landscape with ease. The final image – walking through the crowd during ‘David’, a “beacon of warm light” – is a classic pop star move, but one executed with a self-awareness that elevates it beyond mere spectacle. The closing sermon, “I made you God ’cause it was all / That I knew how to do,” is a darkly clever summation of the parasocial relationship at the heart of the artist-fan dynamic.
Looking ahead, this ‘Ultrasound’ tour isn’t just about selling tickets; it’s about solidifying Lorde’s position as a cultural force. Expect to see the tour’s visual language and thematic concerns heavily influencing her future projects, and a continued emphasis on controlled vulnerability as a key element of her brand. This is a pop star who understands the machinery of fame, and is determined to operate it on her own terms.
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