Why Lorde's 'Solar Power' Is Severely Underrated
A few summers ago, my dear friend Nia and I were playing frisbee in Brooklyn's Prospect Park. Other friends were under a tree a few feet away, sprawled across some blankets and noshing on a spread of potluck dishes. They played cards, gossiped about some mutual friends, and jammed out to my highly curated playlist called 'Pristine Park Picnic.' When a light sunburn started to appear on my upsettingly pale skin, Nia and I sought refuge in the shade. As we approached the group, Lorde's 'The Path' began playing through the speaker.
On that day, at 25 years of age and sun-soaked with my friends, I realized: I had found a sliver of happiness. I was living in the city I loved with people I loved, and found a spot of nature amid the bustle of New York. It was a rare perfect moment.
For me, that memory is frozen in time. After the brutal New York winter (full of boy drama), the sunshine made it all worth it. 'Let's hope the sun will show us the path,' a then-23-year-old Lorde sang on the track, hoping for some clarity during the first glimpses of true adulthood.
Solar Power, Lorde's third studio album, marked a departure for the singer. Previously known for her synth beats—as seen on her breakout album Pure Heroine and smash record Melodrama—this 2021 record introduced a vibe switch that became incredibly divisive among fans. It felt too acoustic, too hippie-dippy, too marijuana-infused. Even though critics applauded the album, they also likened it to 'a strange little paperbound spiritual text at a hippie bookshop' (Pitchfork) and claimed it 'stops just short of offering a full, varied range of expressions' (The New York Times).
Later, in a newsletter she sent in 2022, Lorde said, 'It took people a while to get the album—I still get emails every day from people who are just coming around to it now!—and that response was really confounding and at times painful to sit with at first.'
Even today, some die-hard Lorde fans still see the album as a stain on her discography. It earned no Grammy nominations, little praise, and a quiet No. 5 peak spot on the Billboard 200. So when she began to tease her latest album Virgin four years later, fans begged for a return to her synth-heavy style.
However, looking back, I personally see Solar Power as a moment of light.
On the album, Lorde works through some of the most profound moments of your mid-twenties. Many are just leaving college or home for the first time. They don't know who to trust, what to do with their life and career, or how to find joy and happiness.
With Solar Power, you can feel Lorde facing this reality head-on. She's dealing with the existential threat of the environment falling apart and the inaction from leaders in power ('Fallen Fruit'); she's grappling with aging and wondering when she'll be out of touch with mainstream culture ('Stoned at the Nail Salon'); and she's also struggling with a major loss, in this case, her dog, Pearl ('Big Star'). Lorde talks about diet and wellness culture in 'Mood Ring,' and has since admitted she was dealing with an eating disorder while creating and promoting the album, which adds even more depth to the song.
She also swims in nostalgia throughout the record, especially on the standout track 'Secrets from a Girl (Who's Seen It All).' Reflecting on a cursed relationship, Lorde essentially revisits her hit track, 'Ribs.' 'Couldn't wait to turn 15 / Then you blink and it's been 10 years / Growing up a little at a time then all at once / Everybody wants the best for you / But you gotta want it for yourself,' she sings, speaking to a younger version of herself who was worried about getting old and being alone. Growing up is realizing that you have to be your biggest advocate. You have to prioritize yourself. The album represents growth, maturity, and finally reveling in your own light.
Lorde and I are roughly the same age, and whenever she releases an album, I think she distills the exact feeling of that time in my life. Pure Heroine examined the heavy burden of feeling like you're running out of time when you're 16; Melodrama examined falling in love and getting heartbroken for the first time, and how, at 19, you often feel untouchable. Solar Power talks about the terrors of true freedom, learning from your past mistakes, and pursuing your dreams.
On this record, Lorde dared to let her dreams run wild—most notably on the track 'Oceanic Feeling'—hoping for a time when the world wouldn't be so messed up, praying for a lover who understands her, and wondering what her true self looked like. She wasn't afraid to look back to look forward, and to tackle the big questions. It's the perfect record for your mid-twenties, when you're creating your own island, where everything feels limitless. Thank you, Lorde, for showing us 'The Path.'
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Indianapolis Star
10 hours ago
- Indianapolis Star
Who is Jeff Bezos? Amazon founder set for lavish and controversial Italian wedding
Tech baron Jeff Bezos is set to tie the knot with fiancée Lauren Sánchez in Venice, Italy in what will likely be a star-studded event. The fourth-richest person in the world is set to have a lavish wedding in the Italian city, an event that has caused consternation online and in Venice. Reuters and The New York Times reported the three-day wedding is likely to occur between June 26 and 28. The threat of protests caused the celebrations to be moved to a less accessible part of the city, Reuters and CNN reported. The city said in a March statement that the couple did not intend to interrupt the day-to-day activities of residents with the wedding. "Only two hundred guests will have been invited and therefore it will be easy for Venice to accommodate such an event, without any disruption whatsoever to the city, its residents and visitors," the statement read. Here's what you need to know about Jeff Bezos. Bezos' net worth is estimated by Forbes to be $226.7 billion. He is currently the Executive Chair for Amazon, after stepping down as Amazon's president and CEO in 2021. Bezos is 61 years old. Bezos founded Amazon in 1994. The online bookseller has since grown into a multi-part conglomerate that includes Amazon Web Services, Whole Foods and Project Kuiper – a satellite internet project. In 2000, he founded the space technology company Blue Origin and also purchased the Washington Post in 2013 for $250 million. The Amazon founder began dating Sánchez following his split from ex-wife and author MacKenzie Scott, about six years ago.


Boston Globe
11 hours ago
- Boston Globe
Valery Panov, ballet star who fought to leave the USSR, dies at 87
The struggle of Mr. Panov, who was half Jewish, to leave the Soviet Union was taken up by Western political leaders and arts celebrities, and it served to dramatize the plight of Soviet Jews and dissidents who sought free emigration in a period of Cold War tensions. His high profile as an internationally known dancer made him a prime target of the Communist authorities. Using world tours of Russia's famous ballet companies for propaganda purposes, they diligently policed the troupes against defectors. Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up Denounced by fellow Kirov dancers for seeking to emigrate, Mr. Panov was trailed by the KGB and at one point jailed for 10 days on a charge of hooliganism, for supposedly spitting on a man who had accosted him. He also engaged in a hunger strike. Advertisement His desire for artistic and personal freedom -- and perhaps a more lucrative career in the West -- was championed by Prime Minister Harold Wilson of Britain, Senator Henry M. Jackson of Washington, and a raft of American celebrities, including Carol Channing, Harold Prince, and Tony Perkins, who held a rally for him in New York City in March 1974. Advertisement By then, after a three-week hunger strike, Mr. Panov had been told that he could leave but that his wife, Galina Ragozina, who was not Jewish, could not. Mr. Panov was emotive and given to high drama in his dancing and choreography, as well as in interviews and in his occasional writings. He refused to emigrate without his wife. 'I have a little more strength left to fight,' he told columnist Anthony Lewis of The New York Times, who in 1973 visited the couple's cramped apartment in Leningrad, where the Kirov was based. 'Then I must get out or my life is over -- there is no more me,' he added. When Mr. Panov first applied to emigrate, in March 1972, Ragozina, a principal dancer with the Kirov, was pressured to denounce her husband at a meeting of the dance company. She refused. 'Out of the theater, you traitors, Fascists, Zionists!' one ballerina, a Communist Party member, shouted at the couple, according to a timeline written by Mr. Panov that the Times published in 1974. Ragozina was demoted to the corps de ballet and soon left the company. Both dancers were finally granted exit visas to Israel in June 1974, after leading artists in Britain threatened to boycott a London visit by the Bolshoi Ballet. The Panovs, as the couple became known professionally in the West, danced soon afterward in Israel before an audience of 3,000, including Prime Minister Golda Meir. They received a thunderous 11-minute ovation. They made their first American appearance together in 1975, in Philadelphia, in a program of pas de deux at a 15,000-seat sports arena. Mr. Panov went on to have a prominent dance career, mainly in Europe, although he was never as celebrated as his fellow Russian ballet defectors Rudolf Nureyev and Mikhail Baryshnikov. Advertisement Clive Barnes, a dance critic for the Times, described Mr. Panov 'as nimble as quicksilver' in the Philadelphia performance. Regarded as one of ballet's leading performers in dramatic roles as well as a bravura technician, Mr. Panov had performed in the United States in 1959, but the Soviet authorities, fearing he was too fond of Western freedoms, refused to let him tour abroad again. After they were allowed to emigrate, the Panovs danced as guest artists in Europe and in the United States with various companies, including the San Francisco Ballet, and at a gala with Margot Fonteyn in Chicago. But they were frustrated that no major company had asked them to join it as principal dancers. Reviews of their dancing were sometimes mixed, and the word in the dance world was that the couple's celebrity had outstripped their artistry. Anna Kisselgoff of the Times pushed back, writing, 'Anyone familiar with Soviet ballet would understand that no dancer could become a principal and dance leading parts in the Kirov Ballet, as the Panovs did, without such outstanding talent.' In 1977, the couple achieved a breakthrough when they were invited to join the Berlin Opera Ballet; Mr. Panov was also hired to choreograph. The next year, Kisselgoff described Mr. Panov's dancing in his own version of Igor Stravinsky's 'The Rite of Spring' in New York as 'stupendous,' with 'goatlike leaps and snake slithers.' For the Berlin troupe, Panov created a ballet based on Fyodor Dostoyevsky's novel 'The Idiot' and performed in a production of it in 1980 with Nureyev, also a former Kirov dancer. It was their first onstage reunion in 20 years. Advertisement In 1984, Mr. Panov became director of the Royal Ballet of Flanders, the Belgian state dance company, for which he created a ballet based on Anton Chekhov's play 'The Three Sisters.' But the company fired him in 1987, accusing him of shirking the administrative duties that went along with his creative role. His ouster prompted a sit-in by dancers, who protested that he had lifted the quality of the company. He went on to become dance director for the Bonn municipal opera in Germany. His marriage to Ragozina ended in divorce. He was born Valery Shulman on March 12, 1938, in Vitebsk, Belarus. He was raised in Moscow and Vilnius, the capital of Lithuania. His father, Matvei Shulman, was an administrator of state institutions overseeing leather goods production. His mother was Elizaveta Petrovna Charitonova. Valery began ballet training in Vilnius and studied further in Moscow and Leningrad before joining the Kirov Ballet (now the Mariinsky Ballet) in 1964. From his father, who was Jewish, he absorbed a disdain for his ethnicity, internalizing the intense antisemitism of the Soviet state. Early on, he was told that the name Shulman would limit his future as a dancer. He adopted the surname of his first wife, Liya Panova. 'I took the opportunity of marriage to join my father's cowardice' about being a Jew, he wrote in a 1978 autobiography, 'To Dance,' written with George Feifer. Israel's Six-Day War in June 1967 awakened in Mr. Panov a sense of his Jewishness, at the same time that it fanned institutional discrimination against Jews in the Soviet Union, which backed Israel's Arab foes. Many Soviet Jews sought to emigrate. Advertisement In Israel, Mr. Panov and his third wife, Ilana Yellin-Panov, a former ballerina, founded the Panov Ballet Theater in Ashdod in 1998. In 2009, at 42, she jumped to her death from the couple's apartment building. According to Haaretz, the Israeli newspaper, she was suffering from depression. Mr. Panov, then 71, told the paper that he had fathered four children: a young son with Yellin-Panov; a son, who was living in Russia, from his marriage to Ragozina; a son from his first marriage who had died; and a daughter from a liaison in Europe. Information about his survivors was not immediately available. This article originally appeared in


New York Times
12 hours ago
- New York Times
‘Lowcountry' Review: A Flat-Footed First Date
There's exposition, and then there's a high-debit download like in the opening scene of 'Lowcountry,' at Atlantic Theater Company. David (Babak Tafti) is making dinner, changing into clean clothes, neatening things up around his down-at-the-heels studio apartment. All the while he is on the phone with Paul (Keith Kupferer). David is on speaker, so we hear both sides, which allows the playwright Abby Rosebrock to deliver — more or less smoothly — heaps of background information. It also lets the audience seize on the production's gist: unafraid of melodramatic turns, heavy-handed, often logic-defying. David, we learn, once had to wear an ankle monitor, is involved in a custody battle, is a sex pest and works as a line cook at a Waffle House — a Bojangles takeout bag is another hint that we're in the South. (The scenic designer Arnulfo Maldonado and the costume designer Sarah Laux do what they can to evoke a guy with more problems than dollars.) On the other end of the line, Paul is David's sponsor in a recovery program, and his purported concern and care barely hide a whiff of bossy paternalism. With only a disembodied voice, Kupferer, who was superb last year in the acclaimed film 'Ghostlight,' injects a vaguely unsettling dimension to his character's good ol' boy — or rather good ol' grandpa — persona. You can almost picture Paul, pacing by his pool on a phone, dispensing support that smells strongly of controlling judgment. Then again, he knows David better than we do. And the younger man, who's preparing for a first date with a woman he met on Tinder, is, indeed, lying to Paul: He's not actually going on a picnic — she's coming to his place for dinner. That Tally (Jodi Balfour, from the series 'Ted Lasso' and 'For All Mankind') is willing to meet a stranger at his home rather than in a neutral spot is one of several mysteries bobbing about in her wake. She looks comfortable in her own skin but also leans heavily on self-deprecating jokes that suggest fault lines. She appears forthright, but many of her answers to David's getting-to-know-you questions are vague, which of course makes them more tantalizing. Tally shares that she was into self-help to deal with the aftermath of 'Garden-variety sex stuff and workplace stuff, workplace abuse wage-theft poverty blah blah blah …' Then she coolly informs David that Bill Clinton killed her mother. Want all of The Times? Subscribe.