Indio, California — Lana Del Rey took to the Palomino tent at Stagecoach Festival on Friday, showcasing a set that defied easy categorization. Marketed as a “very special country set,” her 65-minute performance left the audience contemplating its true nature, as it was equal parts country homage and quintessential Del Rey experience.
Del Rey’s ethereal vocals and evocative melodies anchored her show, marked by nostalgia and compelling visuals. While she offered nods to country legends like Tammy Wynette and John Denver, her new material strayed from conventional interpretations of the genre. The stage featured a rustic aesthetic, with Del Rey swinging on a rope swing in front of a cabin, echoing classic country themes. Yet, her unique style remained at the forefront, melding influences that were distinctly her own.
Amidst discussions about her upcoming album and its genre classification, Del Rey embraced her individuality. She introduced a new track titled “57.5,” which humorously references fellow artist Morgan Wallen, delighting the crowd with an unexpected lyrical twist. The song’s catchy line about Wallen sparked immediate excitement and laughter from attendees, demonstrating Del Rey’s talent for blending candid autobiographical elements with playful humor.
Throughout her set, Del Rey maintained a laid-back demeanor, reminiscent of her headlining performance at Coachella the previous year. Unlike other acts that bend to the expectations of the country audience, she invited festivalgoers into her world, creating an intimate atmosphere. Fans, many adorned in pink cowboy hats, sang along passionately, underscoring the strong connection she shares with her audience.
The evening featured not only familiar favorites but also first-time presentations, including “Husband of Mine” and “Quiet in the South.” The latter began with mariachi-style horns before transitioning into a serene arrangement that blended piano and gentle guitar. Del Rey posed a rhetorical question within its lyrics, showcasing her penchant for thoughtful and evocative songwriting.
As her set progressed, a brief interlude featured a haunting orchestral piece from Bernard Herrmann’s score for “Vertigo,” enhancing the mesmerizing ambiance. Del Rey reemerged in vivid crimson, accompanied by backup dancers for a minimalistic rendition of “Summertime Sadness.” The haunting simplicity of the performance felt reminiscent of an intimate campfire gathering.
Del Rey’s set also included a collaborative moment with singer George Birge, whose rendition of “Cowboy Songs” benefitted from her vocal support. Their duet showcased her willingness to elevate emerging talent within the country genre, even as she explored her distinct sound.
While Del Rey seamlessly blended genres throughout her performance, the ending brought a delightful surprise for fans, featuring the full sting quartet as they transformed their violins into fiddles for a triumphant cover of “Country Roads.” This unexpected flourish exemplified her flexibility within the musical landscape, affirming her commitment to a hybridized creative vision.
As Lana Del Rey navigates her artistic journey, she presents a compelling narrative that invites exploration and discussion. Her blending of styles and personal storytelling continues to resonate with fans, leaving many eagerly anticipating how her forthcoming album will unfold. For now, her genre-bending approach seems to be a rewarding endeavor, despite raising more questions than answers about her musical direction. Del Rey’s journey is not just about reinterpreting a genre; it is a reflection of her artistry, and fans are along for the ride.