Two weeks have passed and no Paris date has been registered for Lana Del Rey’s small European tour, which kicked off on Saturday 24th June at the Glastonbury Festival in England. Until one night the American singer dreamed of playing at the Olympia again. Privilege of the Divas… If the proposals of his French producer to perform in big halls like the Accor Arena or the Paris La Défense Arena this summer had remained dead letter, then an evening, Monday 10 July, in the mythical hall of the Boulevard des Capucines arranged at the last minute to please him. To the great surprise and excitement of the fans, he was stripped of his attendance since 2017 and a concert at the Lollapalooza festival, three years after an appearance at Rock en Seine, at the end of August 2014. His last indoor concert took place in April 2013 at the ‘Olympia.
The 2,000 tickets, which go on sale at 10am on Monday 3 July, sold out in four minutes. 420,000 people logged onto the online queue hoping to snag a seat (from 98 to 199 euros) for this intimate concert (the rest of the year). The European dates are split between arenas and giant festivals. This time, on Sunday 9 July, the day before the show, a real crowd of admirers lined up on the Boulevard des Capucines and stayed all the way to the Rue Scribe, hoping to be in the front row of the orchestra the next night .
Lana Del Rey owes that passion to its rarity, but above all to a career that inspires admiration. Thanks to his role as the deadly vamp of melancholy and his ability to create a visual and musical universe that blends nostalgic obsessions and contemporary disillusionment. In his way of creating a work recognizable to all, but also in renewing himself, asserting himself more and more as master of his destiny. His latest albums, like Norman fucking Rockwell! (2019) or extensively Did you know there is a tunnel under Ocean Boulevard?, came out in March and wasn’t far from being the most exciting.
Hollywood mythologies
The one who ten years ago, on the same stage, exaggerated the glamor of a starlet with a lynchish strangeness returns at 38, dressed in a long and cleverly floral dress of white, green, and yellow, the jeweled hair. Between prom queen A 1950s stage director and princess of a fairy tale, she seems to have a lot of fun directing revues, surrounded by a quartet of instrumentalists, three choristers with silver rhinestones and six dancers, also heavily inspired by the classical ballet and cabarets of Las Vegas, the shows sixties Motown as rhythmic gymnastics.
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