Jack Antonoff of Bleachers, and before that Fun., produced Del Rey’s new record and came on stage to accompany her on piano for “Hope Is A Dangerous Thing For A Woman Like Me To Have - But I Have It.” A truly lovely song, it was performed with such delicacy and grace a hush descended over the Bowl.Ī final guest, Jesse Rutherford of the Neighbourhood, came out to do that band’s “Daddy Issues” (another great Del Rey topic) with her.Īnd after a run through a few more numbers - the older “Summertime Sadness” flowing into a new cover of Sublime’s “Doin’ Time” - things wrapped up with “Venice Bitch,” fireworks coloring the night with shimmering, glittering colors, as Del Rey walked barefoot off the stage. The crowd sang along with her much of the night but perhaps no more so than on “Video Games,” her first-ever single and the entry point for many fans to her music.īut it was one of the new album’s songs, played live for the first time on Thursday, that gave me the most chills. Sean Lennon came out to do “Tomorrow Never Came,” a track he recorded with her on the 2017 album “Lust For Life.” Adam Cohen showed out to play a particularly lovely take on his father Leonard Cohen’s “Chelsea Hotel #2” - more folk. “Cherry” delivered another nod to folk history, ending with a snippet of Simon & Garfunkel’s “Scarborough Fair,” but other numbers in the first half of the set such as “White Mustang” offered a heavier rock feel. “We can’t be in the middle of Hollywood and not hear the sexiest song of all time,” she told fans at the end of a song that falls squarely in Del Rey’s own melancholy sweet spot. So, of course, I felt like a genius, or a wizard, when out strolled the black-and-pink-suited Isaak himself to duet with Del Rey on his hit “Wicked Game.” “Born To Die,” the title track of her 2011 debut, had so much of that feel to it that I scribbled “Chris Isaak-y” in my notebook, reflecting how it felt like that ’60s-loving singer’s modern music. The videos on screen, too, had a vintage vibe, ranging from “found” Super 8 home movies to black-and-white effects on the live cameras that made Del Rey look like a guest singer slotted between a magician and a plate spinner on “The Ed Sullivan Show.”
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Her set at the Bowl included not just palm trees and rope-and-plank swings but white circular pedestals for her and her dancers, reminiscent of a vintage TV variety show. Of course, the ’60s remain a huge point of reference for Del Rey whether in sound - all that reverb guitar and hushed vocals - or style.
They sat on the front edge of the stage, bare feet in the shallow pool that separated them from fans a few feet away, and as they took turns on the verses and harmonized on the choruses it wouldn’t be the first time in the night that Del Rey, with studio production effects stripped away, let her love of ’60s folk singers like Joni (or Joan Baez, who joined her on stage in Berkeley a few days earlier) shine through. Her songs of sedated seduction and languid longing so often seem bittersweet and sad, but on stage, talking with the crowd between songs, she could not be lovelier.Īfter “Bartender,” the second of six songs performed from her latest studio album, the first guests of the night showed up, Del Rey’s close friends and fellow singers Zella Day and Weyes Blood, joining her to cover the Joni Mitchell song “For Free.” As always, Del Rey is a contradiction of character and reality.
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