Lana Del Rey at Wembley Stadium
The incomparable Lana Del Rey concludes her first UK and Ireland stadium tour with two sold-out concerts at Wembley. While the singer has toured these shores before and appeared at festivals like Glastonbury and BST Hyde Park, these are by far her biggest shows to date. They affirm the continued success and popularity of a trailblazing artist who remains at the top of her game. Her output may be less commercial than that of her peers, but 13 years on from the release of her debut album, Born to Die, she’s still flourishing, with a fanbase that keeps growing.
Del Rey has also become more confident as a live performer. For devoted followers, it’s no secret she’s a songwriter and studio singer first, and a performer second. While her shows have always delivered stunning visuals, she’s faced criticism in the past for being a little low energy. But her fans understand – Lana moves to her own rhythm, stays in her lane and does everything on her own terms. It’s part of what we love about her.
Tonight, she seems truly relaxed, present, and clearly enjoying herself. Her radiant energy is, of course, reflected back by an adoring crowd.
Del Rey has been prolific over the years, with album number ten on the way. As has become typical for the star, both album titles and release dates are known to shift at the last minute. Her upcoming effort is said to carry a country flavour, and the stunning set at Wembley reflects this. A two-storey wooden house, complete with porch and rocking chair, evokes the atmosphere of a Tennessee Williams play. It’s very much on brand and in keeping with the Americana aesthetic Del Rey has cultivated throughout her career.
She arrives to thunderous applause, visibly moved by the rapturous reception. With a vast catalogue to draw from, she naturally opens with a left-field choice. Stars Fell on Alabama sets the tone, before recent single Henry, Come On showcases her stellar vocals. A cover of Tammy Wynette’s Stand by Your Man follows. The familiar strains of the whimsical Chemtrails Over the Country Club spark excitement in the crowd, while Ultraviolence has everyone singing along. The sublime Ride, with its anthemic chorus, sees the audience belting out every word – a clear highlight of the evening.
Some critics questioned Del Rey’s move to stadiums. But this was never going to be an Eras or Cowboy Carter tour. Aside from the stunning set, theatrics are minimal. It’s all about the voice and the singular vibe Del Rey so effortlessly emits. Fans may well be left wanting more from the relatively short setlist. The use of hologram for Norman Fucking Rockwell and Arcadia has understandably drawn criticism too. While the technology worked well in the lead-up to her arrival on stage, its placement mid-set feels a little redundant. There’s a sense we’ve been short-changed. So many of Lana’s tracks would have landed beautifully in a venue like this, so it’s a shame National Anthem, Thunder, Brooklyn Baby and Summer Bummer were left out.
That said, Venice Bitch is a welcome surprise that goes down well with the crowd. Diet Pepsi sees support act Addison Rae return to the stage, and 57.5 – an unreleased track reflecting Del Rey’s Spotify stats – has the audience singing along. She closes the night with a cover of John Denver’s Take Me Home, Country Roads.
This may not be the perfect stadium gig. But all quibbles aside, it’s no exaggeration to say that seeing Del Rey live feels like a true privilege. In a world awash with fleeting, formulaic songs that find momentary fame on platforms like TikTok, Lana blends old-school glamour and poetic lyricism with a modern, accessible edge.
True talent is increasingly hard to come by, but tonight we revel in its company. For those sceptical of her ability to command a stadium – especially one as vast as Wembley – this evening proves the critics wrong.
Jonathan Marshall
Photos: Gareth Cattermole
For further information and future events visit Lana Del Rey’s website here.
Watch the video for Candy Necklace ft John Batiste here:
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