Festival Review: Lana Del Rey - British Summer Time Hyde Park, London // July 2023
Marking her first UK gig since Glastonbury, Lana Del Rey returned to finish what she started, delivering her strongest and most energetic performance in years.
Unpacking the beguiling mythology that surrounded Elizabeth Grant in 2011 opened a loaded Pandora’s box bursting with keyboard warriors, gatekeepers of authenticity and keen critics. Despite this her major-label debut Born To Die sold 50,000 copies in the UK on its release day in 2012. Lukewarm reviews at the time from the likes of The Observer that dubbed it “a feminist nightmare of a record”, however this tired discourse hasn’t aged well. With the opulent trip-hop production that paved the way for a new brand of pop stars such as Lorde, Halsey and Billie Eilish and a heap of retrospective glowing acclaim lauded upon it by NME, Billboard and even Pitchfork, the lasting power of the record is undeniable.
Over 11 years later, Del Rey has released eight more albums (take note, Rihanna) that have solidified her status as one of the greatest songwriters of our time. Her latest Did You Know There’s A Tunnel Under Ocean Boulevard? is her magnum opus that openly deconstructed her illustrious career with niche references to her past material littered across an ambitious collection of experimental torch songs. Fresh from a career-defining Glastonbury set that quite literally left fans yearning for more, the New-York singer has returned to (hopefully) deliver the full package. In advance of that, Hyde Park welcomed a wide selection of special guests.
Topping the bill on the Rainbow stage, The Last Dinner Party were back at Hyde Park for the second year running. Last year they supported The Rolling Stones for the festival, this time around their debut single ‘Nothing Matters’ has garnered a slew of attention drawing comparisons to Kate Bush and Warpaint. But beyond their biggest hit and anthemic follow-up ‘Sinner’, what about the unreleased material?
Lead vocalist Abigail Morris sang “I am not the girl I set out to be” brimming with uncertainty on ‘Burn Alive’. With glacial synths and atmospheric guitars, it was a winning highlight from their homecoming gig. The band has previously noted their live tracks are not necessarily going to be part of their debut record, but all the signs signal greatness.
Elsewhere, The Great Oak Stage was peppered with key collaborators that contributed to Del Rey’s latest album. Washington crooner Brian Fennell’s solo venture SYML brought tender jams and a sensual cover of 'Mr Sandman'. His final song 'Where's My Love?' was especially popular given the 'Paris/Texas' sample. Former drummer of indie veterans Fleet Foxes, Robert Tillman brought bright-eyed anthems like 'I Love You, Honeybear' and 'Nancy From Now On' as Father John Misty to an early-evening crowd.
However it was the belated arrival of the much-anticipated headliner that prompted a frenzied sea of screams. Many donned heart-shaped sunglasses, flower crowns and white shirts emblazoned with the frank statement ‘I love hot dads’, a rich bundle of bold looks lifted from various lyrical themes in her vast discography. Precisely 17 minutes later than planned, Lana Del Rey sauntered onstage clad in red, white and blue floral print sealed by a glitzy belt. Following her Worthy Farm setlist closely, slick bass slaps pointed to the trap-inflected section of 'A&W' as the epic opener. She acknowledged the infamous power cut at the festival remarking "I think this is where I got cut off last time. Sorry about that.” in the wake of 'Candy Necklace'.
Joined by a team of dancers, silver-sequined backing singers and massive screens playing her old-Hollywood sepia-tinged visuals, the production value was immense. Golden archways with shimmering white veils and rose-adorned swings were just a few of the uncommon stage props on offer. The theatrics were nudged up a notch for ‘Young and Beautiful’ where her dancers unfurled a lengthy white dress trail that bellowed behind her, a new age vision of Marilyn Munroe’s subway grate scene from the 1955 film Seven Year Itch.
As we delved into the what-could-have-been section that was cut at Worthy Farm, 'Diet Mountain Dew' was no doubt her campest moment. A Sex and the City lite number built on the shallow foundations of New York City romance, it was perhaps the best representation of her playful side onstage. Bar her egging on the extended outro of ‘Did You Know There’s A Tunnel Under Ocean Boulevard?’ where Del Rey noted “Even if you get the power cut, it’s worth it.” before perching herself on the foliage-flanked swing for the biggest singalong of the night ‘Video Games’.
Surprise addition 'Chemtrails Over The Country Club' recalled the innocent memories of the simple things in life amidst her privileged upbringing filled with red sports cars, glimmering swimming pools and country clubs. It marked the first time the track from the 2021 album of the same name has been played in the UK, where new lyrics “He got married while we were in couples therapy together” provided the biggest jaw-dropper of the night.
On the poetically poignant Lust for Life standout ‘Cherry’ she cooed "Darling I fall to pieces without you" with a spot of synchronised choreography. Rock ballad 'Pretty When You Cry' leaned into the drama further where she lay elegantly on the floor with her dancers surrounded by swirling fog. The falsetto finish decorated with cascading riffs shut down anyone who would dare to challenge her vocal range, previously thrown into question by an uneven 2012 SNL performance of ‘Blue Jeans’.
If her last UK gig offered a fleeting glimpse of her unyielding potential, this sold-out 65,000 capacity Hyde Park concert saw an established maverick overcome by her own unmistakable legacy. From her emotional nods where she stopped to let the crowd sing 'Bartender' to the beaming smile as she doubled over from the audience reaction when polishing off 'Summertime Sadness'. Forever America’s biggest romantic, a career-defining performance enshrined Lana Del Rey as the most glamorous and unique talent of this generation.
Words by Oliver Evans
Photography credit: Dave Hogan
