Let’s talk about the “Honeymoon” and “Ultraviolence” eras. These are dark, slow, and full of strings. You’ll be tempted to check your phone, but don’t. She’ll catch you. A man near me once whispered, “Is this a funeral?” during “Brooklyn Baby.” It basically is. A beautiful, velvet, slightly ironic funeral.
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But then, bam! She’ll hit you with “Summertime Sadness” (the radio version) and the entire venue turns into a karaoke bar. Everyone knows the words. Even the security guards are lip-syncing. It’s a religious experience, except the church smells like expensive perfume and regret.
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This is where it gets spicy. Lana has a habit of pulling out rare, unreleased tracks just to flex. You might hear “Yes to Heaven” (the fan-favorite that never made an album) or “Queen of the Gas Station” (yes, that’s a real song, and it’s as weird as it sounds). If she does, scream like you’ve seen a ghost. It’s a badge of honor.
Also, a shocking fact: she sometimes sings a few lines from “National Anthem” but then stops and says, “That’s enough of that.” Nobody knows why. It’s like she’s teasing us with her own genius. Rude, but iconic.
