It’s been quite a fortnight for Lana Del Rey. Last week, she was lauded as a “singer-songwriter laureate” and “the great American poet of the 21st century”. This week, she closed the Lollapalooza festival in the US by being physically dragged offstage.
As befits a woman who has made art out of channelling feminine archetypes, the show’s design was suitably saturated in oestrogenic imagery. The dramatic stage ejection in question was carried out while the star was recumbent on a full-length train, discarded from a wedding dress worn earlier in the set. She crooned out her first and probably still most famous hit song — the narcoleptic “Video Games” — while sitting on a giant swing covered in ribbons and flowers. Another number was sung while getting her hair and make-up fixed up onstage. There was even a scene involving a maypole. As one rapt reviewer put it: “Everything about the singer’s performance carried a delicate feminine touch that made you assured you were in safe motherly arms to feel all the emotions she conjured.”
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