Lorde at Rod Laver Arena; Chinese New Year by Melbourne Symphony Orchestra;

MUSIC
Lorde | Ultrasound World Tour ★★★★
Rod Laver Arena, Saturday, February 21

Lorde, 29, is already in the history books. His first LP in 2013, Pure Hero — released when she was just 16 — was not only a global success, but also reset the pop template with minimalist, journalistic anthems that influenced generations of stars like Billie Eilish, Charli XCX, Gracie Abrams and more. Thirteen years and three albums later, Lorde — a.k.a. Ella Yelich-O’Connor — is now both seasoned and still figuring it out.

His new LP, Copper, is a record of separation, filled with the physicality of grief and forced metamorphosis.

This raw streak is also reflected in Saturday’s surprising DIY scene; Discarded clothes are left where they fell, his crew is filming with handheld cameras, and two dancers wander among his group half-submerged on the stage. It’s all a bit disorganized – as if they’re prepping for an arena show rather than hosting one – but you suspect that’s the point: Lorde is letting us in on her reconstruction.

An icy laser scythes the floor and Lorde emerges to open the track. Hammer. Dressed in baggy jeans (“I found these at my grandpa’s house”) and red T-shirt, he reflects the gender fluidity announced in the song’s lyric, “Some days I’m a woman, some days I’m a man.”

The first half explodes with anthemic new tracks Copperdiscussing Pure Hero classics that get the crowd going. Lorde works on props as she expertly sings into a fan, climbs a stack of speakers, lies on a treadmill, and strips down to her underwear and a view of taped breasts Man of the Year single (and was embraced by most of the crowd tonight). “It’s great to be back in one of my favorite cities,” he says. “It feels like I met half the show on Hope St Radio last night,” referring to the Collingwood bougie wine bar meet-up.

Set sags during tracks in warm 2021 Solar Energythen comes back to life with mass songs Obligation and a home stretch that ends in a praise What was that And Green light. Passing through the crowd during tears DavidLorde steps onto a small stage at the mixing desk and joyfully brings it home Rib From the middle of the stadium.

Lorde’s strength is that she’s so willing to work out her feelings publicly. Who knows, if he continues to be this outspoken about it, his best work may still be ahead of him.
Reviewed by Marcus Teague

MUSIC
Chinese New Year | 中国新年音乐会 ★★★★
Melbourne Symphony Orchestra,
Hamer Hall, Saturday, February 21

Energy, courage and endurance – some of the qualities associated with the Year of the Horse – were reflected well in the Melbourne Symphony Orchestra’s Chinese New Year celebrations this year.

Wang Xilin is getting active Torch Festival from him Yunnan Tone Poem It struck a joyful, festive note that contrasted beautifully with Chen Gang and He Zhanhao’s classical concerto Butterfly Lovers. Originally designed for violin and orchestra, this performance featured Melbourne-based guzheng (Chinese zither) master Mindy Meng Wang as an evocative musical storyteller. This rebalancing of Chinese and Western elements enriched the musical tale of star-crossed lovers.

American-born Zlatomir Fung presented Saint-Saëns’ Cello Concerto No. 1 with a subtle and deeply lyrical expression, bringing rich color and character to this well-known score. Technically confident and expressive, Fung found additional reserves of passion for the tumultuous finale. These could have been deployed even more boldly, given the size of Hamer Hall.

Given that the MSO has been performing Beethoven’s 7th Symphony regularly for the past five years, fears that the players would be on autopilot were soon allayed as conductor Li Biao created an intense synergy with the orchestra that produced finely honed dynamics and striking contrasts.

The orchestra and conductor clearly enjoyed their collaboration, spinning broad melodic arcs in the second movement and increasing the rhythmic tension in the scherzo. The exciting finale could be compared to a thoroughbred trying to reach the finish line at Flemington.

The horse analogies were not over yet. After a Gershwin-infused repetition – Joyful Festival The famous final gallop has arrived – by Chinese Australian composer Wang-Hua Chu William Tell The overture is completed with a nasty wind whinny added just before the end. It seems the Year of the Horse also brings with it a playful sense of humor.
Reviewed by Tony Way

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