Flashback to 2013 — I was eight years old, sitting in the back of my parents’ blue Toyota Sienna Minivan, most likely on the way to my elementary school. As was the nature of the time, the radio station was turned on, and “today’s top hits” were blasting.
“Royals” started playing. That was the first time I ever heard a Lorde song, and, subsequently, she’s been in my rotation since then.
Hailing from New Zealand, Ella Lani Yelich-O’Connor — stage name Lorde — began her musical career in 2009. After winning her school’s talent show, Lorde and a friend were invited to sing covers at a local radio show. Soon after, Lorde was signed to Universal Music Group and began recording.
Releasing “The Love Club EP” in 2013, and then releasing the iconic “Pure Heroine” later that year, Lorde quickly became an internationally recognized artist both sonically and lyrically. At just 16, Lorde changed the pop music genre.
Early 2010s pop music was driven by high-energy electropop, dancepop and the now iconic 2010s glitz, glamor and party lifestyle. Kesha, Lady Gaga, Taio Cruz, Maroon 5 — there was a definite mainstream pop sound and lyric defining this era of music.
The sound of “Pure Heroine” changed the pop music game. Utilizing more alternative, synth-heavy production paired with introspective and emotionally raw lyrics, Lorde subverted the mainstream sound of pop, shifting the genre forever.
“Royals” is cited as “Pure Heroine’s” most popular track, winning two Grammys in 2014. Other tracks have also gained immense amounts of traction — my favorite being the bitter, nostalgic vibe that is “Ribs.”
Her most popular song, according to Spotify rankings, “Ribs,” features minimalist droning synths and rhythmic percussion all layered under melancholic, coming-of-age lyrics. The song is hard hitting reminiscence packed into 4 minutes and 18 seconds.
“You’re the only friend I need (You’re the only friend I need) / Sharing beds like little kids (Sharing beds like little kids) / And laughing till our ribs get tough (Laughing till our ribs get tough).”
After the immense global success of “Pure Heroine,” Lorde withdrew from the public eye, entering a hiatus. That is, until 2017, with the release of her sophomore album “Melodrama’s” lead single, “Green Light.”
Still keeping that synth-heavy production, this time paired with maximalist production that is reminiscent of a raging house party, “Melodrama” is still to this day my favorite Lorde album.
What makes this album great is the fact that it is widely considered to be a concept album of sorts, with many saying the whole album — front to back — resembles the feelings, emotions and activities of a house party.
The best track, in my opinion, is the dualistic and lyrical “Hard Feelings/Loveless.”
Although one track on digital, the song is indeed two different songs combined into one. Sonically and emotionally different, there’s a distinct difference between “Hard Feelings” and “Loveless.” This is further cemented by the fact that on vinyl, “Hard Feelings” ends side A and “Loveless” ends side B.
If I had to have a preference between the two songs in the one, I would have to pick “Hard Feelings.”
“Now I’ll fake it every single day / ‘Til I don’t need fantasy, ’til I feel you leave / But I still remember everything / How we’d drift buying groceries, how you’d dance for me / I’ll start letting go of little things / ‘Til I’m so far away from you.”
Taking another four-year hiatus, Lorde came back with a very different, more whimsical sound with the lead single to her third album “Solar Power,” with its namesake lead single.
Far more indie-pop and folk-pop sonically and lyrically, “Solar Power” was met with incredibly mixed reviews. Given the sound was so distant from her previous works, many fans were upset and confused over this new sound.
“Solar Power” is extremely underrated, in my opinion. This album shows once again that Lorde is not afraid to break away from and subvert mainstream conventions. This new indie, string-heavy sound was exactly what I needed for my pandemic days.
“Stoned at the Nail Salon” is a track of hopeful gloom, and one that I often find myself coming back to during the liminal period in between winter and spring. There’s a murmuring guitar line playing throughout the song, one that waves in calm introspection.
“Spend all the evenings you can with the people who raised you / ‘Cause all the times they will change, it’ll all come around / I don’t know / Maybe I’m just stoned at the nail salon.”
Following yet another four-year hiatus (there seems to be a common theme here), Lorde returned with another synth-heavy production — albeit far more electronic than previous works — with 2025’s “Virgin.”
Fluid and authentic, “Virgin” is the most real and raw Lorde has ever been. The whole album feels gritty and tender all at once, showcasing the multitude of transformative experiences Lorde has had.
Several tracks on this album draw me in, one of them being “Shapeshifter.”
Featuring jumping synths and production, the lyrics of the track are extremely introspective, with Lorde discussing all the roles she played in relationships from the past. These production and lyrical qualities are backed by melodic strings that feel sharp yet soothing.
“All the metal that I’ve messaged / If I’m fine without it, why can’t I stop? / Everything I want speeding up my pulse / I don’t sleep, don’t dream at all / Give ’em nothing personal / So I’m not affected.”
Given that “Virgin” came out last year, and given Lorde’s pattern of four years that has remained pretty consistent, I’m excited to see what might be in store for listeners in 2029.
Hirata can be reached at [email protected].
