Latest news with #Lorde
Tatler Asia
6 days ago
- Entertainment
- Tatler Asia
‘Virgin' by Lorde is the singer's sonic reckoning with identity, ego death and acceptance
In her latest studio album 'Virgin', Lorde trades polish for pain in 11 raw tracks A water bottle, duct tape and an X-ray scan. Promotional content for Virgin began with the release of its first single, What Was That . The accompanying video, filmed in Manhattan's Washington Park, shows Lorde crawling out of a New York City manhole to a crowd of gathered fans. This kind of sardonic theatricality has long been part of the singer's MO. And while a little more pared down, it reappears in her fourth album in a more subdued but still resonant form. Those who've grown up listening to Lorde will get the most thrill out of the album. It's the New Zealand singer-songwriter at her most provocative and most introspective. 'A hundred per cent written in blood,' she wrote on her official website. Even the album's artwork echoes this sentiment. The cover features an X-ray image of her pelvis, with her IUD in plain view. On the inner sleeve of Virgin's vinyl, she wears a pair of transparent trousers, leaving nothing to the imagination. It's less spectacle than invitation—a permission slip for fans to bask in her vulnerability. More from Tatler: Mid-year review: the best pop albums of 2025 There are remnants of the 16-year-old prodigy we met in 2013. But now, Lorde is in her late twenties, world-worn and heavier with experience and heartbreak. Gone is the teenage jadedness. In its place is something more threadbare. On David , the closing track, she nods to her debut with the line: 'Pure heroine mistaken for featherweight.' The callback is deliberate. Virgin reads like a summation, or even culmination, of everything she's written before. Thematically, one can draw similarities to earlier entries in her discography: the aftermath of a codependent romance ( Melodrama ), the ache of growing pains ( Pure Heroine ) and the quiet confrontation with self ( Solar Power) . But if Solar Power was escapist—slow dancing while the world burns— Virgin is scorched earth. Lorde sits in the wreckage, and there's no running away from it. Above New Zealand singer-songwriter Lorde performs onstage during Glastonbury Festival 2025 () One of the album's main thematic tentpoles is Lorde's overdue reckoning with her sexuality and gender identity. While the singer hasn't officially come out as queer, she's been candid about her evolving relationship with her own body. She references this expected turmoil in Hammer and Man of the Year . In Shapeshifter , with its fairytale references and fast-paced beat, the singer reflects on the many roles she's played throughout her life—putting on nonexistent airs, often for the sake of a partner, and masking discomfort in exchange for affection. A similar confession unfolds in Broken Glass , where she references an eating disorder and an internalised distaste for her own body, pleading with the girl in the mirror to break free from a cycle of self-destruction. The album cycles through a grocery list of emotional opposites—longing and lashing out, hunger and abstinence, self-destruction and preservation—all distilled into a brisk 35-minute runtime. David closes the record in a fade to black, ending on the question: 'Am I ever gonna love again?' See also: 7 things to know about BTS member Suga Announcing the intention behind this project, especially in the early promotional period may have not worked in her favour. But even without that context, the music stands on its own. The songs are more literal than expected, and sometimes even to its detriment. Lyrically, this may not be her sharpest work, but its rawness offers a vulnerability that feels unfiltered and direct. Sonically, Virgin leans into repetition. Beats thrum and loop in varying iterations, as if she's rocking back and forth in a fetal position, trying to soothe herself. There's no attempt to disguise the pain with even more metaphor than it's worth. Though the album does play like an open wound, it seems as if it's this polished quality that keeps her rooted in the pop charts, even as she attempts to tiptoe toward something more experimental. Lorde's remedy for grappling with heartbreak is more cough syrup than chicken soup, and listening to Virgin for the first time is probably something you need to experience in a safe and secure space, preferably wrapped in blankets. It feels like abstaining from alcohol at someone's birthday party because you've been prescribed antibiotics for a waning fever; dry-swallowing a bitter pill; a stuffy headache after crying for hours; sobering up from a tantric high. It's that awkward moment of running into a former flame at a mutual friend's get-together and the ensuing spiral into self-rumination. With Virgin , Lorde reckons with what's left of herself after the flames have gone out. And in the moment, she allows those who have followed her since the very beginning to take part in this shared catharsis. NOW READ Lost hits? Unreleased tracks that would have dominated charts The next-gen pop queens: Chappell Roan, Sabrina Carpenter and more BTS reveals new 2026 album: a look back at their journey from rookies to superstars through their studio albums
Yahoo
6 days ago
- Entertainment
- Yahoo
Music reviews: Lorde, Barbra Streisand, and Karol G
When you buy through links on our articles, Future and its syndication partners may earn a commission. 'Virgin' by Lorde ★★★ "The Lorde of yore is back and better than ever," said Chris Kelly in The Washington Post. On her fourth album, the New Zealand–born former teen wunderkind who "changed the game for alternative pop" has moved past the "easy-listening psychedelia" of 2021's Solar Power and delivered an 11-song set that "percolates with subtle club beats" and "warm-blanket" synths, but leaves "plenty of white space" for her signature phrasings. It "plays like the counterpoint to Charli XCX's Brat": a study in the messiness of young adulthood that's less a party soundtrack than a "headphone masterpiece." To my ears, Virgin is the 28-year-old's "most piecemeal work to date," said Jon Caramanica in The New York Times. It's the sound of one of our most thoughtful pop stars "futzing around with aftermarket Charli XCX-isms," finding something fresh only on two tracks. But even the weaker songs serve the album's themes, and "the fractured nature of the production mirrors the content," said Mark Richardson in The Wall Street Journal. "These songs are about looking back with regret and confronting ugly truths while embracing flaws." 'The Secret of Life: Partners, Volume Two' by Barbra Streisand ★★★ Think of the latest duets album from Barbra Streisand as "a cozy, comforting hug," said Melissa Ruggieri in USA Today. Like 2014's Partners, it assembles a panel of A-listers, this time including Mariah Carey and Ariana Grande for a trio performance that, surprisingly, is "steeped in restraint." But while it's a shame that this "holy trinity of glorious sound" was wasted on a generic ballad, "highlights are many." Even the first-ever pairing of Streisand with Bob Dylan "doesn't disappoint," largely because for their cover of 1934's "The Very Thought of You," Streisand "coaxed Dylan to actually sing." Some stars fare less well, said Helen Brown in The Telegraph (U.K.). "Neither Sting's 'Fragile' nor James Taylor's 'The Secret o' Life' gain much from being turned into two-handers." But Paul McCartney brings "easygoing affection" to a new spin on his 2011 tune "My Valentine," and Streisand adds maternal warmth to her duet with youthful crooner Laufey on "Letter to My 13 Year Old Self." In any case, "resistance is useless" against the pillowy softness of Streisand's voice. The album induces yawns, but "in the nicest possible way." 'Tropicoqueta' by Karol G ★★★★ Karol G's latest hit album is "a bright compendium of 20 songs, all pulling from different parts of Latin-pop history," said Julyssa Lopez in Rolling Stone. The Colombian star's career went "stratospheric" with 2023's chart-topping Mañana Será Bonito, and this follow-up is the 34-year-old's tribute to the music that shaped her: "baroque '80s ballads, soaring vallenatos, merengue from dance parties in family living rooms in Medellín." Keeping things "carefree and breezy," she "loads up the album with Easter eggs," including a sing-along with 1990s star Thalía and a duet with 65-year-old Marco Antonio Solís on "Coleccionando Heridas," a gorgeous ballad. "Put some respect on Karol G's name," said Tatiana Lee Rodriguez in Pitchfork. After a decade of award-winning urbano recordings, she's playing stadium tours and "even has her own Bratz doll." With Tropicoqueta, she playfully reinterprets "tropical" music, a popular catchall style that emerged in the early 1960s. Weaving a 1984 George Michael melody into "Cuando Me Muera Te Olvido" keeps faith with the tradition. She's also "right at home" on the accordion-laced "No Puedo Vivir Sin Él." Solve the daily Crossword
Yahoo
21-07-2025
- Entertainment
- Yahoo
Blood Orange Previews First Album in Six Years ‘Essex Honey' With Two New Singles
Last month, Dev Hynes returned as Blood Orange for the first time in three years with 'The Field,' a Caroline Polachek-assisted single about grief and escapism. As it turns out, the musician has been thinking a lot about these themes in the six years since his most recent studio album. The grief that comes with living, but also growing up, leaving home, and turning to music to make sense of it all works as the foundation of Essex Honey, the new album from Blood Orange, out August 29. Hynes leaned on an expansive list of collaborators across Essex Honey, including Polachek who also appears on the newly-released single 'Mind Loaded' alongside Lorde and Mustafa. Hynes recently produced tracks for Lorde's new album Virgin. He also contributed vocals on Turnstile's 'Seein' Stars,' and the band's frontman Brendan Yates will repay the favor on Essex Honey. More from Rolling Stone Justin Bieber Finally Had '100% Creative Freedom' on 'Swag' After Scooter Braun Split: Source Kid Cudi Drops New Song 'Grave' From Upcoming Album 'Free' Deftones Announce First Album in Five Years, Drop New Song 'Mind Loaded' arrives alongside 'Somewhere in Between,' a solo entry from Hynes that repeats the mournful and pleading refrain, 'Light was just for hope and it's keeps flickering/I just want to see again.' The album artwork for Essex Honey calls back to the musician's upbringing just outside of London. The image captures a young boy walking in his school uniform, striped tie blowing in the wind, while holding a basketball in one hand and a CD in another. 'Essex Honey is an album tinted with grief and loss, working towards acceptance and resolution, at a time when the culture is collectively feeling grief and loss, collectively trying to work towards resolution and acceptance,' a release about the album reads. The voice of the collective expands on the album with appearances from Daniel Caesar, Tariq Al-Sabir, the Durutti Column, and author Zadie Smith, marking the first time she has lent her singing voice to an album. Ian Isiah, Tirzah, Eva Tolkin, Wet's Kelly Zutrau, actors Naomi Scott and Amandala Stenberg, and Liam Benzvi also appear on Essex Honey. Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked Solve the daily Crossword
Yahoo
20-07-2025
- Entertainment
- Yahoo
Big names are skipping Vancouver on concert tours. Why?
Oliver Quezada attends upwards of 20 concerts a year. "I absolutely love listening to music live," he said. "Going to these concerts is just such a crazy experience because you grow with an album, you grow with an artist. And seeing it live is like, wow." But he's noticed a shift in the types of shows coming to B.C. Bigger artists, people who would play bigger arena shows, are skipping Vancouver. Lorde, Kendrick Lamar, Charli XCX, Lady Gaga, Burna Boy — the list goes on — have all overlooked Vancouver on their most recent tours. Even when Taylor Swift first announced Eras tour dates, Vancouver was initially left out. "For me personally, one of the big bummers was Kali Uchis with her 'Sincerely, Tour,'" Quezada said. When there are more than three million people in the Metro Vancouver area, and nearly six million provincewide, would-be concert-goers are left wondering why the city is getting the cold shoulder. Venues While there is growing concern about smaller venues for emerging artists in B.C., as more and more close up shop, it has the right stages for bigger acts. Pacific Coliseum in East Vancouver has more than 15,000 permanent seats and can add 2,000 seats on the floor. Rogers Arena has a capacity of up to 19,000 for concerts, according to Ticketmaster. Meanwhile, B.C. Place can seat up to 54,500 people. B.C. Place manager Chris May said more big concerts were coming to the stadium in recent years, but this year has been slow as they prepare for the FIFA World Cup in 2026. He said the venue is also mindful of how the tour cycle works. "When demand is high in Europe or Asia (as it is this year), North America often sees a surge the following year. That's already reflected in our 2026 and 2027 calendars." Expense One of the biggest reasons Vancouver is getting shunned by bigger artists is the cost, according to publicist and industry expert Eric Alper. "When consumers are paying more for groceries or rent, the artists are paying the exact same expenses," he said. That means more money on hotels, dining out, travel and event staffing. Even duty fees for bringing merch to sell in Canada can be pricey, Alper said. "These added costs are absolutely a deal breaker when it comes to artists deciding if they're gonna skip or play Canada." : Not to mention the exchange rate — most artists are looking to be paid in American dollars, which means, when the Canadian dollar is weak, the cost of putting on a show goes up for booking agents. As YVR Concerts founder Angela Vannatter pointed out, it's expensive for people who live there, too. "The cost of living in Vancouver is so high that buying a concert ticket ... is actually potentially even out of the question," she said. But that means it's also difficult to afford hotels and travel to other cities to see shows. Border crossing If the cost of travel is prohibitive for artists, you may be wondering, well, if they're playing in Seattle, it's not that difficult for them to get up to Vancouver for a show the next day. Think again, Alper said. He said there are complex visa requirements for artists every time they cross the border. Getting those visas can be expensive and time-consuming, and not worth it for the artist and their team. "Even though we are and claim to be a very, very friendly neighbour to the U.S., there's a lot of paperwork and there's a lot of added expenses on top of the usual fees of just trying to get over the border," Alper said. Border crossing might be difficult for concert-goers, too, Vannatter said, due to the tensions and uncertainty between Canada and the U.S. right now. "It's really upsetting as a fan." Support local musicians If your favourite international pop star isn't coming to an arena near you, consider seeing some local talent instead. "The one big benefit that I'm hoping [for] when there's a lack of American or U.K. artists coming here is that the Canadian music industry, all of us, will put more emphasis on Canadian artists," Alper said. Vannatter said there are lots of homegrown musicians who sound similar to big names. "Chances are, they're writing about an experience that you can relate to and understand. And having understanding amongst ourselves is the most important thing for community." Even Quezada, who loves a big show, has been trying to check out smaller gigs lately. "I've been having such a fun time, and it's definitely a different perspective on concerts," he said. But he's still feeling slighted by Kali Uchis. "The only thing is that these artists that I really do want to see are popular for a reason."
NZ Herald
19-07-2025
- Entertainment
- NZ Herald
Listener's Songs of the Week: New tracks by Blood Orange featuring Lorde, Nine Inch Nails, David Byrne, and more
Lorde's choirmaster Dev Hynes, aka Blood Orange. Photo / Michael Lavine Reviews Mind Loaded by Blood Orange, featuring Caroline Polachek, Lorde & Mustafa UK producer-songwriter-multi-instrumentalist Blood Orange (Devonté Hynes) arranges himself quite a choir on this dreamy, airy, melancholy bit of chamber pop, driven by a gently arpeggiating piano before talking a harsh left-turn with a minute to go. It's one of two advance tracks from his first solo album since 2018, Essex Honey. The Lorde vocal cameos follow Hynes' cello, bass, synth, and guitar playing on the Virgin track Favourite Daughter and him being a support act on her forthcoming Ultrasound world tour. – Russell Baillie She Explains Things to Me By David Byrne, Ghost Train Orchestra Byrne's amusing ode to male befuddlement might be partly inspired by Rebecca Solnit's 2014 book Men Explain Things to Me which popularised the phrase 'mansplaining.' But it could also be read as a sweet love song from this spry 73-year-old's coming solo album, one that sounds like it will be fun to put on the gramophone right after Talking Heads' Remain in Light at my next rest home happy hour. – Russell Baillie As Alive as You Need Me to Be by Nine Inch Nails Welcome to a brief sub-section of this week's column devoted to bands you might have once seen at a Big Day Out (younger readers, ask an uncle). Trent Reznor and Atticus Ross have had a dignified parallel career as creators of movie soundtracks since the BDO era, while Reznor has occasionally dusted off his old Nine Inch Nails band-brand. Here, under the NIN banner, they unleash the first song off the soundtrack to the new Tron film – Daft Punk did the last one – and the instantly anthemic As Alive as You Need Me to Be should have fans of Reznor's electro-goth-rock beginnings from his Pretty Hate Machine era wondering where the time has gone? – Russell Baillie My Mind is a Mountain by Deftones And now for your daily dose of angst-filled, shouty, head-crunching, decibel-abusing Californian metal from a band which played the BDO a couple of times. Claustrophobic consciousness metal? 'The storm remains and my heart's entrenched. Fate explores me now. Why do we bathe in this psyche?' It's a good, loudly delivered, question. – Graham Reid Desire by Georgia Knight Like a sensual trip-hopped Kate Bush, this steamy single from Melbourne-based expat Knight is a deep and smoky dive into interesting new territory. She tours with Folk Bitch Trio in September, and it'll be interesting to see how something like this slice of nightclub/noir art-pop plays out live. Meantime check it out. If it signals a new album let's hope she gets on with it. – Graham Reid Sundog by Babe Martin Babe Martin (Auckland's Zoe Larsen Cumming) possesses an extraordinary voice which here opens high and lonely then just keeps pushing upward as this confident piece becomes a swelling slice of something beyond folk and moves into evocative art music. If we judge people by the company they keep it's worth noting in her circle is Jazmine Mary, that's good company. Debut EP Not a Bee, but a Wasp coming soon. Definitely one to watch out for. – Graham Reid Give Into My Fears by Jamaica Moana As on previous singles Living Out West and Keep It Real, this Sydney-based, Samoan-Māori, queer artist – with links to the Hokianga and Waikato – keeps the backing stripped right back so her rap messages come through with clarity. It's about creating herself, assertion, the drive towards fame ('I've been doing this for years') and never compromising. She's convincing. Six-song debut EP Bud & Deni (named for her parents) out August 1. -- Graham Reid Death in the Family by The Sophs Who would have thought 'WEEZER-like' would become a thing? But here the LA-based alt-pop Sophs tap into a Weezerness with a song which is droll and disturbing ('I need a death in the family to turn my page') which cleaves a bit too close to Weezer to be totally satisfying. But the message of seeking redemption for past mistakes is interesting. Too soon to send flowers, and this only their second single (their previous Sweat was more convincing) so maybe that Next Big Thing description could go on hold for a while. – Graham Reid Time by Curtis Harding Vocally, American soul man Harding can deliver from the tradition of classic Motown and Stax artists (Temptations, Rufus Thomas, and other raw singers). But on this drum-driven single he initially dispenses with horns and backing vocals which means he immediately catches attention. When those other elements arrive there's tension and a sense of desperation which cleverly winds down into a moody second half. A crafted and quietly compelling notice of a new, as yet unscheduled, album. – Graham Reid Fine by Meg Washington, featuring Paul Kelly Seasoned Brisbane singer-songwriter Meg Washington ropes in wise elder Paul Kelly for a tight-harmony duet that runs a fine line between subdued country folk ballad and uplifting ode to surviving the storm. 'Everything's going to be fine,' they sing on a gentle song that snowballs into something Cohen-esque and hymn-like. Would suit a choir treatment which brings us to … – Russell Baillie Didn't It Rain by the New Zealand Youth Choir, Karen Grylls conductor We've always produced good choirs. It's not surprising – famously, more New Zealanders sing in choirs than play rugby. Our leading choirs, though, are much better than good. They proved it again recently during the NZ Youth Choir's Northern Hemisphere tour, where, under the stewardship of music director David Squire, they've won two major competitions. They took top honours at the Grand Prix of Nations at the European Choir Games in Denmark, and a few days later were named Choir of the World at the Llangollen International Musical Eisteddfod in Wales. It's not the first time they've claimed the latter title – they won in 1999, too. It's from that competition that this recording of NZ composer David Hamilton's Didn't It Rain comes. Go Kiwi. – Richard Betts Dig Deep by Fat Freddy's Drop You could spend a long time looking for a track that showed what the late Chris Faiumu brought to Fat Freddy's Drop. This, from 2021's album Wairunga and accompanying concert film (see below) shows him effortlessly busy in the electronic engine room that he built and powered the band with. – Russell Baillie
