On Monday, an empty coach was pulled to Air Canada and Lana del Rey went out.
Del Rey, a popular American music product, offers a mysterious atmosphere for people to consume, a marvelous manufacturing feat. Sad songwriter Elizabeth Woolridge Grant published five lush black songs, focusing on the bad romance and old Hollywood American style. Her followers adore her; this gloomy queen is a cult character blowing big.
For the charming Del Rey, this is an unrealistic feeling – a slight critical vision, a hologram of life. At a gala of Air Canada filled with young female fans, she sang songs in a calm and heartless mood, deliberately took to the stage, half-empty gaze at some of his imagination Super 8 movie camera, no doubt, from a passing slow motion. Her mundane voice fluttered occasionally to a higher position, but otherwise her resting heart rate was never threatened.
Tempos was unified; her four-band autopilot was not even a hurry. A couple of dancers occasionally behave like backup singers, but most of them do not even bother to fake.
For a song, Yayo, Del Rey submitted a Gibson Flying V guitar. She played carefully for a moment, just as unnatural as a bachelor would deal with a child. Earlier, she sang a number behind her, because – uh, just because.
Dressed in thigh boots and a leather skirt with long brown hair in a pair of hairpins, Del Rey seemed to have just walked down the doll’s valley. In her latest album Lust For Life’s title song, she sings: “Only young talent.” In her 2012 album Born to Die, Marilyn Monroe’s video tribute to Blue Jeans, starring actor James Dean, James Dean is mentioned.
Melancholia has become popular these days (although Del Rey combines all his materials together, it is far ahead). In 2017, record producer Logic, with the help of Khalid and Canadian singer-songwriter Alessia Cara, is known as the song “Suicide Prevention Hotline” at 1-800-273-8255. Julia Michaels’s question about anxiety is on Grammy at the end of the month.
But just as sad as becoming a new Negro, Del Rey has a lower fate and optimism in her new album than ever before. At the aviation center of Canada, as the world we danced during the war, she put forward a reasonable and timely question: “Is this the end of an era? Is this the end of the United States?
For Delray’s idea, the answer is no. This song is a reference to World War II, mentioning pearl, wholesale sexy corsets and old-fashioned “cut carpet” terms. However, when she sings a happy ending, it is more of a prediction than anything in the past.
So perhaps a new del Rey. In Desire for a Living, her producer adds modern rhythms and hip-hop accessories to her aesthetic. Now entering a thriving business, her concept of “living a fast, young” is getting older. Despite her fetishism, it seems unlikely that her commitment will be cut off unfortunate.
At the end of her concert, Del Rey gathered her bouquets, stepped out of the stage and waved the beautiful queen fashion goodbye. As a musician and actress, she will be back, always ready for her close-ups.