Lorde took to the headlining stage yesterday evening carrying a large, black umbrella — a triumphant gesture after her Chicago set at Lollapolooza was cancelled due to rain just the night before. Launching immediately into "Tennis Court" off her debut Pure Heroine, while fittingly wearing white tennis shoes and a white dress, the pop wunderkind was full of raw energy that extended well into the night and through the downpour.
As she moved into the Disclosure-produced track "Magnets," two dancers took to the stage dressed in head-to-toe navy, performing a choreographed routine as images of women in a cab, smoking, drinking and scrolling through their phones, were projected on the screen behind. Followed by "400 Lux," and with the addition of three more dancers to the stage, it became clear that Lorde was trying to incorporate an element of pseudo-performance art: a component that seemed to dilute rather than elevate a set that was already primed to be excellent.
After bringing out Tove Lo to perform "Homemade Dynamite," she seemed to switch gears. Chatting to the audience at length and expressing her pure pleasure to be back at Osheaga after three years, Lorde and her band moved into "Ribs," "Sober" and the "Louvre"; Lorde danced from end to end of the stage with a now trademark sense of abandon.
Bringing her guitarist Ray to the front of the stage, she eased her way into a cover of Martha Wainwright's "Bloody Mother Fucking Asshole," an ode to Montreal that could easily have made its way onto her latest album Melodrama.
As the rain came down harder, Lorde decided to sit at the edge of the stage, in the rain, and sing "Liability," a move so sweet and pure, that it will undoubtedly go down in Osheaga history as a shining moment. Drenched from head to toe, Lorde continued on, performing "Supercut," "Royals," "Perfect Places" and more into the night and well beyond her time slot. She's 20, and she's on fire.
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