This set the tone for the most idiosyncratic of stadium shows, which was as enchanting as it was odd. Del Rey has reached a level of success – over 40 million album sales, 58 billion streams – with a singular vision that pays no heed to modern pop trends. Her troubled languid ballads about being beautiful and lovelorn aren’t normally the kind of songs that fill stadiums. But the more introspective Del Rey gets, the more popular she seems to become. Del Rey recently turned 40 but her audience seem to be getting younger: Cardiff city centre had been overrun all afternoon with a sea of teenage Mini-Lanas in full regalia (white dresses, cowboy boots, flower crowns). This is a superstar in whom fans are personally invested.
The staging centred on a blue house (Photo: Joe Okpako via Rob Charlton)A lot of the show was classily executed, suiting a mood that, for better and worse, barely broke beyond stately, hypnotic and slightly doomed: for breakthrough hit “Video Games” she sat nonchalantly on a swing, to mass frenzy. At the climax of new song “Quiet in the South” the dancers appeared with gas canisters and appeared to pour petrol over the house. It was a very Del Rey concession to stadium theatrics: no actual fire, but instead slowly rising electronic flames projected onto the house.
Lana largely stayed still while her dancers moved around her (Photo: Joe Okpako via Rob Charlton) square MUSIC Brandi Carlile was rousing and emotional - her apparent nerves never showed
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In an age of super slick choreographed pop shows, there is something admirable about her approach, even if not everything landed. As ever, Del Rey did it her way.
Lana Del Rey tours the UK and Ireland until 4 July
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