This weekend, pop icon Lorde played two shows at The Anthem in Washington, D.C., as part of the Ultrasound World Tour — and she exceeded my expectations.
I’ve been a Lorde fan for as long as I can remember, and I knew I couldn’t miss the opportunity to see her sing live. The Ultrasound World Tour is in promotion of Virgin, the most recent album by the New Zealand singer.
From running on a treadmill barefoot to walking right through the general admission crowd, Lorde’s Sunday night show displayed a passion and authenticity that was unmistakably hers.
After openers Chanel Beads and The Japanese House, the unsettling synth beat of “Hammer,” the opening track of Virgin, erupted. Lorde appeared in a red T-shirt and jeans and her distinct raspy vocals rang through the room as she sang, “There’s a heat in the pavement, my mercury’s raising.”
On every chorus of the song, white strobe lights went off as Lorde danced along. The screen behind her showed a camera view of the audience, which only added to the unbeatable atmosphere.
As Lorde welcomed the crowd, she warned everyone would be leaving “a puddle of sweat and tears,” which was met by roaring cheers and applause from the crowd. I can confirm she was absolutely right.
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Throughout the night, Lorde sang every song on her newest album Virgin, while sprinkling in her hits from past projects.
Lorde’s performance of “Supercut,” a staple track on her 2017 album Melodrama, was heart-pounding. A song I have held close to my heart since it was first released. Hearing it live was invigorating.
In the final chorus, Lorde hopped on a treadmill on the stage and walked barefoot to the beat, eventually speeding up to a run as the song closed out.
Channeling her single cover for “Man Of The Year,” Lorde performed the song in nothing but jeans and duct tape covering her chest. The track, along with Virgin as a whole, explores themes of gender fluidity, femininity and rebirth. Her clash of vulnerability and confidence perfectly encapsulated the themes of Virgin.
Lorde picked the energy back up with “Team,” a classic to fans and casual listeners alike and one of her earliest hits. The audience put their hands up on the lyrics, “I’m kind of over gettin’ told to throw my hands up in the air,” and immediately broke out into dance during the chorus.
Toward the setlist’s homestretch, security parted the crowd with a white line of tape on the ground as Lorde made her way through the venue.
Standing around the white line the entire concert, I had an up-close experience of Lorde walking through the crowd performing the emotional closing track “David” of Virgin. Roughly inspired by Michelangelo’s David sculpture, the song is an ode to rebirth and independence. Being so close to her in such a powerful moment was unforgettable and solidified Ultrasound as my new favorite concert experience.
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Lorde ended the concert at the back of the pit for a cathartic encore.
The whole crowd erupted the moment she announced she was playing “A World Alone,” a track that hasn’t been played at every show, and the energy didn’t stop until I was out the doors of The Anthem.
Seemingly every member of the audience belted in unison with Lorde: “Raise a glass, ’cause I’m not done sayin’ it / They all wanna get rough, get away with it / Let ’em talk, ’cause we’re dancing in this world alone / World alone, we’re alone.” The palpable liveliness of the pit, with everyone jumping and singing along, was unforgettable.
Free of theatrics, Lorde’s performance felt raw and unfiltered. She was down-to-earth, a rare quality from a megastar. Her performances often felt like a giant, liberating dance party, and her emotion radiated through the venue. It was a concert experience unlike any other.
