Lorde: from shadow to light

A priori, the names of his albums – pure heroin (2013), Melodrama (2017) and Solar energy (2021) – give a good idea of ​​the artistic trajectory, as if the New Zealander had gradually moved from shadow to light.

It stands to reason that Lorde is no longer the 15-year-old she was in 2012, when she created the song Royals that would make her famous worldwide. But after having seen her twice at festivals in Montreal (Osheaga 2014 and 2017), it was gratifying as possible to see her express her art and her creativity in a concert hall with a production worthy of the name.

Lord-of! Lord-of!

And she was expected, the one who was born Ella Marija Lani Yelich-O’Connor in Auckland, in 1996. In the minutes leading up to her arrival on stage, you could hear the crowd chanting her name or punctuating with shrill cries each volume drop. background music. To my right in row R, the three young women couldn’t wait any longer. In front of me, the spectator had come to the concert on crutches. It takes what it takes to see his favorite.

Turning off the lights at 8:42 p.m. blew up the decibel scale and the eardrum of my right ear (the three female spectators…), while the crowd of Lorde’s generation – overwhelmingly female – rose to never again sit down for more than an hour and a half.

The New Zealander made herself heard before being seen during Leader of a new regimeits silhouette being projected like a Chinese shadow through a large drum topped by a slender staircase whose shape, viewed at an angle, was reminiscent of the extremity of the lighting structures of the Place des Festivals.

Splendid staging

This duo of atypical shapes – one geometric, the other not – rested on a rotating platform which allowed Lorde a host of variants, presentation department: interpretations halfway up the staircase (Buzzcut Season), lying at the foot of the steps (California), lying on the steps (mood ring) or still others, with her musicians and singers behind her, as was the case for The path. And that’s without counting the two large fixed staircases on the sides of the stage on which took place musicians, musicians and singers. Great caliber of staging.

The show benefited from an elaborate staging.

Photo: Patrick Beaudry, SNAPePHOTO

It’s raining outside, but here you can see the sun. It is magic. You have no idea how happy I am to be heresaid the singer after a trio of songs.

The danger with any substantial production is that it sometimes risks eating out the artist. None of that here. The introverted and introspective Lorde of the beginnings gave way to a fulfilled artist who takes real pleasure in communicating her joie de vivre on stage in an environment worthy of the greats.

Those who saw the teenager almost ten years ago dancing wildly without any expression on her face could better measure the progress made. Lorde knows how to exercise restraint when the occasion calls for it, but she practically paces the stage from one end to the other during an invigorating rendition of Ribs.

From anxiety to pleasure

Visibly happy to be going on a world tour again this week – the concert in Montreal was only her third stopover – she saluted our city, which she seems to particularly appreciate, and she spoke of her relationship with the scene, sitting in the steps of his rotating staircase, during an acoustic segment that included Dominoes and Responsibility. The moment was reminiscent of Osheaga’s, this time in 2017, when she sat on stage to address the crowd in the pouring rain. Minus the rain, of course…

In the old days, it was fine on stage, but the hours before the concerts… I was terrified. This is no longer the case. The anxiety is over.

A keen observer of what is happening around her, the author-composer has long transposed bittersweet feelings into her songs, particularly on the relational level, which have attracted a young female audience who have recognized themselves in her.

On Thursday, almost all the songs – from now classics to the most recent – ​​were performed by a choir of some 3,000 voices from the floor to the depths of the final balcony of Salle Wilfrid-Pelletier. Solar energy Although it has been released since 2021, rarely do we attend a concert where new titles are so familiar.

Cut into three acts where Lorde changed clothes each time, from the casual opening outfit to a figure-hugging dress, then to a 1970s stamped pants-bustier set, the concert reached its climax with a triple punch. made up of Sober, Supercut and Perfect places. Funk lines and pulsations swept the room and the audience transformed the tall Wilfrid into a dance floor. All that was missing was the disco ball, well…

In the absence of a ball, it was the confetti that rained on the spectators in the final of Solar energy who set the table perfectly for a green light delirious where Lorde literally radiated happiness. She had kept for the reminder the essential Royals which she interpreted with a beam of light aimed at her, before concluding with another song from the first hour, Teamwhose lyrics – “ We’re on each other’s team — perfectly reflected his connection to the public.

If this concert proved to be a formidable tone in the ambient grayness, it also demonstrated that Lorde can defend on the boards a very different record from a stylistic point of view than her previous ones. And then, casually, the assumed 25-year-old woman she has become has retained the ardor of the 17-year-old teenager who had knocked us down so much in 2014.

Leave a Comment