But it was when she was joined by her three backing singers – Melodye Perry, Pattie Howard and Shikena Jones – that Del Rey went at full pelt. The bare, choral opening of “The Grants”, a pensive but hopeful song about remembering her family after death, shimmered, and the title track of her new album saw the foursome riff off one another in a spectacular gospel showcase. “I don’t care if they cut power,” she crooned in just one of many references to her Glastonbury show. “It’s worth it.
Thankfully for more casual fans, the setlist was mostly a hit parade. “Young and Beautiful”, which started life on the soundtrack to Baz Luhrmann’s, was a huge singalong moment, the crowd sometimes drowning out quieter parts of the song. Often, Del Rey offered the mic to the audience, acting as choirmaster for a crowd who knew every word of her Ivor Novello-winning songwriting.
However, while undeniable crowd-pleasers, her biggest hits – “Summertime Sadness”, “Born to Die”, “Blue Jeans”, all from the 2012 album that made her famous,– felt somewhat juvenile and tired in comparison to her newer more sophisticated material. Her best work, 2019’swas given oddly little attention, the title track of which was truncated. As someone who has played her newer, more intricate record to death it was disappointing – she is perhaps the only artist I don’t want to “play the hits”.
“Thank you for making me the woman I am today,” one fan told the singer when she paused the concert to spend time taking selfies with the front row. Few of Del Rey’s peers have had the longevity that allows such a deep relationship; I saw more fans crying than I could count. It’s this inexplicable ability to communicate with her listeners, no matter how elusive she is, that makes Del Rey such a unique star.
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