Lana Del Rey sang with Billie Eilish at Coachella festival

Lors de son concert at Coachella, Lana Del Rey with Billie Eilish, Jon Batiste and Jack Antonoff.

Lana Del Rey brought her ethereal energy to the main stage at Coachella while dressing for the evening. This premiered at Coachella after 2014.

Riding a motorcycle and wearing a blue robe, Lana Del Rey is a ride to the stage with a full cortege behind her. Elle a ensuite dominé son set avec une puissance douce, quissant des motions parmi les ballerines et les danseurs aériens tout en chantant des ballades datant de ses débuts; she is assisted by trapezoids covered with flowers, a pendant which she interprets as ” Drive “, suivi from ” Born to Die ” After a micro-faulty problem, this income is in place to interpret the songs Did you know there is a tunnel under Ocean Boulevard?l’album qu’elle a sorti en mai dernier.

After interpreting the pleine d’ame de ” Norman fucking Rockwell ” Del Rey invited artist and composer Jon Batiste to play the piano pendant in an interpretation of envoûtante ” Candy necklace “from 2023. Del Rey croons the song on the piano in Doré’s line, and it comes as a result of the crisis de la foul, and this is the tour of the author d’un poteau de l’autre côte de la scene.

Billie Eilish saying Del Rey is available ” changed the music for girls » était assise en face d’elle sur un gilded balcony surplombant la scène principal. Avec l’aide de Del Rey, Eilish a chanté son Tube de 2016, « Ocean eyes ” They ont également chanté « video games “, a Del Rey chanson dated 2012, which is repeated in a community choir.

Jack Antonoff, Del Rey’s singer-songwriter, performer and collaborator, is my Del Rey piano pendant. Hope is a dangerous thing for a woman like me, but I have it. ” It slides slowly in the pendant as she sings, laissant derrière elle un hologramme d’elle-même sur scène. His physical form is the income from a bizarre interpretation of ” A&B “, avant qu’elle ne termina avec la fin evocatrice de ” Young and handsome ” 2013.

Del Rey deleted the royal manners scene in Saluant de l’arrière de la moto sur laquelle elle était arrivée. Naturally, this is a foray into the scene of the performance: fan songs, the art of art and the best ragtime for a live jazz group.

Thomas Mier, Susie Exposito

Editor’s translation