Concert Review: Lorde - "The Ultrasound Tour" in Nashville, TN
- Azalea Withrow
- 6 hours ago
- 3 min read
On her fourth headlining tour, Lorde stripped down and bared herself, both literally and in her performance. Maturing publicly, Lorde released her iconic first album, Pure Heroine, at the age of only sixteen. Twelve years and three wrapped tours later, she came back fiercely with her fourth album, Virgin. Accompanied by a myriad of extraordinary opening talent, the second tour night in Nashville, Tennessee, was led by bands Chanel Beads and The Japanese House.
Lorde opened with "Hammer" / taken by my partner Avery Glenn
After Chanel Bead's sleazey shoegaze and The Japanese House's heartfelt indie pop sets, the lights went black and anticipation built before she finally stepped out on stage. Aptly opening her set with the first song on Virgin, "Hammer," Lorde entered the stage wearing grey boxers that peeked out of casual jeans and a black "baby tee" (a reference to her song GRWM), accessorized in silver glitter on her shoulders. "Hammer" is a song that builds progressively into something sonically big, mirroring perfectly the progression of the show. Following the first song was her debut hit single, "Royals," which sparked screams of recognition from the crowd. Ping-ponging from her different musical eras, Lorde demanded the audience's attention and affection.
Lorde spoke about peeling back her layers as she stepped out of her jeans, revealing herself in grey boxers. She had two back-up dancers who came out in all black, one and then another, before changing into the same grey boxers. The dancers traded off a handheld camcorder connected to the large screen onstage, getting close-up footage of Lorde performing, focusing in on her exposed stomach. In one moment, a dancer held both Lorde's microphone and the camera as she sang into it. This brought an intimate touch to the performance, amateur and fun. As the set continued, Lorde was splashed out in increasing amounts of silver glitter, reaching from her fingertips to kneecaps.
A treadmill was brought on center stage for the performance of "Supercut." Danced on and around by Lorde and her dancers, it was a display of gradually increasing energy. The lights were particularly aligned with each song, bathing the venue and attendees in color. After "Supercut," Lorde declared, "Okay now, Nashville, I want to play some random shit for you on this tour" before plunging into her sweaty and joyous 2013 single "No Better."
Lorde's energy funneled directly into the crowd, who was moving and singing alongside her. She made use of a podium at the edge of the crowd that rose up above the stage when she sang on it. Her setlist was thoughtfully curated, focusing primarily onVirgin, but sharing a perfectly balanced number of songs from previous albums Pure Heroine, Melodrama, and Solar Power. As the show came to a close, Lorde depicted the album's iconography wearing silver tape across her chest during her performance of "Man of the Year." She has been vocal about how her understanding of personal gender has evolved and expanded while working on Virgin.
Ending the intimate show by coming directly down into the audience, Lorde sang her pulsing album closer "David." She walked through the crowd, all bodies turned toward her and split down the middle as she walked across to the other side of the room. She powerfully sang the overarching lyric, "I don't belong to anyone," and the sound clung to every atom in the room. Standing on a small podium across the room from the stage, in a reflective rain jacket, Lorde closed her set with "Ribs" from Pure Heroine. I felt she was paying homage to the songs that began her journey. Blue confetti, the color of her album's ultrasound cover, burst through the air when she finished singing.
Lorde's inner self radiated through her performance, obliterating walls and facades. Attending The Ultrasound Tour has changed the way I hear her music. She drew every member of the audience in, captivating and raw. Easily, she proved herself to be one of the most natural and talented performers I have ever encountered.
Written By Azalea Withrow
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