REVIEW – LORDE MELODRAMA WORLD TOUR – SYDNEY OPERA HOUSE FORECOURT

Lorde kicked off the Sydney leg of her Melodrama World Tour last night to a sold out crowd packed into the Sydney Opera House Forecourt. The show opened with an old NEC television set displaying visuals of major news events with cut-in shots of the 21 year old songstress before the stage lit up with a neon light sculpture of an astronaut.

Kicking off the set with her latest single, Homemade Dynamite, the New Zealand born songstress told fans, “this is how it works Sydney. I give you everything, and you give me everything,” before playing her 2015 collaboration with Disclosure, Magnets. Then came one of her breakout hits, Tennis Court, which saw the Opera House Forecourt erupt with screams. The singer told fans to let loose and dance to their heart’s content, assuring them that, “this is a dancing show”.

Fan favourites Hard Feelings and Buzzcut Season, saw Lorde accompanied onstage by two female back up dancers, whilst also playing a glockenspiel. Although, all eyes were on the singer and her electric and contagious dance moves. A personal favourite moment during the show was her performance of Sober. Being one of my favourite tracks from the singers sophomore album, Melodrama, the crowd once again erupted, joining in during the standout line, “Jack and Jill get f****d up and possessive when they get dark,” before the singer disappeared backstage.

During the brief moments Lorde had stepped off the stage, the NEC television lit up with more visuals and a voice over of Lorde speaking about love and lost love. While this was happening the neon astronaut left the stage and was replaced with a neon garden like arch before the singer stepped back onto the stage to perform Melodrama track, The Louvre. The songstress also had a costume change, from a glittery, flare tracksuit like outfit to a sequinned bra and long embroidered flowing skirt. She then played through Pure Heroine fan favourites, 400 Lux and Ribs.

Throughout the show the singer was very interactive with fans, talking about how honoured she feels to be playing at the iconic venue and how lucky we all were to be surrounded by such an amazing landscape and view, and albeit “creepy Luna Park face”. Another guest attending the show. Before playing the emotional ballad Liability, the singer expressed to her fans how emotional playing this song is. Also what a heartwarming feeling it is to be able to connect with people all around the world, when she though no one in this world would ever be able to understand or love her. At this point she told the crowd, this is not only the dancing show but the, “crying show too”. She then congratulated the crowd referencing the recent vote in favour of marriage equality in Australia. “Congratulations on that same-sex marriage vote. I’m really proud of you,” the songstress happily said to the crowd, before a rainbow flag was thrown onto the stage which she wore throughout Liability before leading into Sober II (Melodrama). To celebrate the vote she also covered Whitney Houston’s classic hit I Wanna Dance With Somebody.

She went on to tell the crowd that playing to other crowds around the world is different to playing in New Zealand and Australia, before launching into a cover of Aussie band Hunters & Collectors track, Throw Your Arms Around Me. She likened the cover to performing on Triple J’s ‘Like A Version’ segment. And with that, once again the eclectic songstress disappeared off the stage, and another visual began to play.

Lorde re-emerged wearing a translucent green threaded jumpsuit to perform another personal favourite Melodrama track, Supercut. The neon garden had disappeared and was replaced with a neon shooting star. The songstress then launched into the song that started it all, Royals. The defining screams and chant-like singalong of the crowd was electric and anthemic. Lorde then asked the crowd, “can I take you somewhere Sydney?” Before launching into her 2017 hit, Perfect PlacesTeam, saw the songstress step off stage and run across the barriers hi-fiving all her fans, before almost jumping into the crowd to sing and connect with them.

When she emerged back onstage, Lorde told the crowd that this was the final song. She told her fans to let loose and feel any emotion associated with love lost, whether it was regret, hatred, in love, wanting to be, saying, “throw the person into the harbour so they’d get eaten by sharks”. She reminded her faithful fans that this is, “the dancing show and the crying show, so you can feel either end of that spectrum of emotions”. The songstress then launched into her hit single ‘Green Light’. The stage erupted in green, the crowd danced and sung throughout the complete duration of the song. Personally, this was the highlight of the show. The energy was fierce and contagious. I don’t think there was one person who wasn’t singing and dancing with every ounce of energy they could muster on the Opera House Forecourt. The singer then thanked the crowd and disappeared off to the side of the stage.

The show wasn’t over yet. The Grammy award winner stepped back on stage one last time to perform Loveless. This saw Lorde completely alone onstage, with only a loop pedal, previously having her band, two keyboardists and a drummer onstage. As she sang through the encore, the neon “Melodrama” sign that had been hanging above the stage was pulsating a blue and pink movement. As the song came to an end Lorde thanked her Sydney crowd one last time before stepping off stage.

Having seen Lorde perform at The Metro Theatre in 2013 and at the Hordern Pavillion in 2014, the singer has come a long way, producing a stunning and inviting show to accompany a brilliant sophomore record. You can’t help but feel proud and happy for Lorde comparing where she started playing a small crowd at The Metro to selling out the Sydney Opera House Forecourt.

 

Images © Any Other Day Photography

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