Principality Stadium, June 23, 2025: Del Rey’s country-leaning set brings Southern idyll and drama to her biggest-ever tour

When Lana Del Rey announced her first stadium headline tour last year, you would be forgiven for thinking it might not be a combination that would work. On paper, her music isn’t the most obvious fit for such cavernous venues, her material often too quiet, soft and beautiful to sound like it wouldn’t get lost trying to reach all corners. Nor does the nature of Del Rey’s output lend itself to a typical stadium production of pyrotechnics and high-octane choreography.

As she kicks off the tour in Cardiff tonight (June 23), though, Del Rey proves once again that she knows best. Throughout the set, she’s a compelling force in her own gentle way, and while there’s no actual fireworks, she brings plenty to the stage that feels just as attention-grabbing and exciting, and at times more innovative than her fellow stadium-filling peers.

The staging for this tour transforms Principality Stadium into a Southern idyll. The iron-wrought mansion of her festival run for the last two years is replaced by a modest house with a porch swing and white picket fence, a small pond out front and, down some steps and at the end of a small runway, a gently rippling moat strewn with white flowers. Trees and poles designed like lampposts flank the building, all becoming props for her dancers as they glide and twirl from rooftop to branches, porch swing to lamppost.

It’s the perfect setting for the new setlist she’s curated for this run – a country-leaning selection that would have showcased her 10th album, if its scheduled May release hadn’t been delayed. Del Rey vaguely acknowledges this after an early cover of Tammy Wynette’s ‘Stand By Your Man’, telling the audience: “We’re basically running through the new album without the album.”

Lana Del Rey
Lana Del Rey credit Joe Okpako

In reality, that means four new songs scattered among some of her most beloved work. ‘Stars Fell On Alabama’ provides an emotional opener, its lyrics refusing to let anything come between her and her “husband of mine”, leaving Del Rey in tears and briefly walking off stage to share a kiss with her partner, Jeremy Dufrene. “They’re good tears,” she assures us as she makes her way back to the middle of the stage. “It’s just actually funny to think about in front of so many people. This feels good to get that out of our system.”

‘57.5’, which got its live debut at Stagecoach earlier this year, already feels like a fan-favourite, the crowd already word perfect without an official release. But it’s ‘Quiet In The South’, which appears in the middle of a glorious run of older material, that’s the most striking. Soundtracked by swooping pedal steel and acoustic guitar, a miniature replica of the house Del Rey sits in front of is wheeled on stage, and her dancers open it up to marvel at tiny furniture.

Behind them, the singer asks, “Are you coming home tonight? / Should I turn off the light or burn down your house?”, foreshadowing her companions bringing out petrol bottles and dousing the stage, before lighting, projections and smoke make it appear as if the house – and its miniature – is ablaze, that Southern idyll of the early set crumbling in real time.

It’s part of a longing and a search for answers that pervades the whole show, save for a handful of tracks, ‘Stars Fell On Alabama’ among them. It’s there in ‘Ride’’s quest for peace and reprieve on the open road, in ‘…Ocean Blvd’’s wondering of “When’s it gonna be my turn?”, and in ‘Young And Beautiful’’s hope of still being perceived as worthy of love in decades to come. Before the latter, a hologram version of Del Rey and her dancers flickers in and out of view, adding to the feeling of searching and a life in disorder.

Earlier, a digital version of Del Rey appears in the upstairs window of the house, sitting cross-legged and looking out at the sea of people as versions of ‘Norman Fucking Rockwell’ and ‘Arcadia’ play over the PA. It’s undoubtedly inventive, but also ever-so-slightly disappointing not to get full, live renditions of two of Del Rey’s best songs.

Lana Del Rey
Lana Del Rey credit Joe Okpako
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She makes up for it later by adding a touch of spontaneity to the end of the show. “I’m just trying to think of one little thing that I could do that I didn’t plan,” she ponders before walking down to the front row of the crowd and conversing with one fan. “We were thinking maybe I’d do a little bit of ‘Salvatore’ a cappella,” she explains moments later, getting a reminder of the song’s lyrics through a crew member’s phone.

What follows perfectly sums up the Lana Del Rey stadium experience – she doesn’t need gimmicks and flash to conquer such enormous venues. All she needs is her exquisite voice and beautifully written songs, delivered with as much heart and emotion as she shares tonight. It might not have seemed obvious at first, but once you’ve witnessed it, Del Rey the stadium headliner feels like a very natural fit after all.

Lana Del Rey played:

‘Stars Fell On Alabama’
‘Henry, Come On’
‘Stand By Your Man’
‘Chemtrails Over The Country Club’
‘Ultraviolence’
‘Ride’
‘Video Games’
‘Norman Fucking Rockwell’
‘Arcadia’
‘Did You Know That There’s A Tunnel Under Ocean Blvd’
‘Quiet In The South’
‘Young And Beautiful’
‘Summertime Sadness’
‘Born To Die’
’57.5’
‘Salvatore’
‘Take Me Home, Country Roads’

Kanye West, the artist and producer now going by Ye, stepped back onto a Los Angeles stage focused purely on the music during night one of his two show run at SoFi Stadium in Inglewood, California on Wednesday, April 1. The return arrives after years filled with controversy, public scrutiny, personal struggles involving mental health, and his January apology published in The Wall Street Journal addressing his antisemitic comments. Showing unusual restraint, the outspoken performer chose not to address any of the criticism during what marked his first major U.S. performance in years.

Public backlash did little to slow the momentum of the event as thousands of supporters filled the venue floor and stands. Many arrived dressed in Kanye merchandise, avoiding controversial imagery, along with lucha style shirts fresh from the merch counters. A look at ticket prices shows Ye continues to command major revenue from his catalog despite his offstage controversies. According to Ticketmaster, general admission tickets for the April 3 show were listed at $537.80. Resale listings for upper tier seats, which offered clearer views of his half sphere inspired stage design, were also priced in the hundreds. Fans who could not attend in person were able to watch through a livestream that appeared on his Instagram just hours before the performance began.

Across a two hour performance, Ye delivered a wide ranging set filled with classic favorites, repeated tracks, and selections from his recently released twelfth album Bully. Wearing a black face covering, he walked alone across the curved stage structure designed to resemble Earth and at moments gave the impression of a solitary figure on his own world.

The crowd reflected different generations of listeners as younger fans sang along to newer tracks such as “FATHER” and the André Troutman collaboration “ALL THE LOVE.” Energy spiked when a mosh pit formed during “Blood on the Leaves.” Older millennial fans found their nostalgia during a sequence of songs spanning Kanye’s early and mid career from 2004 through 2016, from The College Dropout through The Life of Pablo. Songs like “Can’t Tell Me Nothing” and “N—-s in Paris” echoed through SoFi Stadium with the same intensity as when Graduation or the Jay Z collaboration Watch the Throne first arrived. “Say You Will” and “Heartless” from 2008’s 808s & Heartbreak brought back familiar feelings tied to heartbreak and the era when Auto Tune shaped the sound of pop and hip hop. The closing stretch featuring “All Falls Down,” “Jesus Walks,” “Through the Wire,” “Good Life,” “All of the Lights,” and the emotional finale “Runaway” sparked a sense of longing for earlier days both for fans and for the Chicago native himself.

Aside from the nostalgic song choices, technical problems occasionally interrupted Ye’s creative plans. Early performances of “KING” and “THIS A MUST,” which he later repeated, were affected by microphone and audio complications. He also stopped “Good Life” three separate times because he was unhappy with what he called the “corny” lighting setup. “Is this like an SNL skit or something?” he asked the production team. “Stop doing the vibrating Vegas lights, bro. We went over this in rehearsal.” The first SoFi Stadium show almost felt like a preparation run for the April 3 performance, which also happens to land on Good Friday. The timing also recalls the G.O.O.D. Friday song releases that led into his landmark 2010 album My Beautiful Dark Twisted Fantasy.

Despite frustrations with the production, Ye did not perform alone. Longtime collaborator Don Toliver joined him onstage for performances of “Moon” and his own track “E85.” Ye’s daughter North also appeared, bringing bright energy and her blue hair to performances of “Talking” and “PIERCING ON MY HAND.” She wore one of her father’s concert shirts during the appearance, all while it was still a school night.

As the concert continued, Ye handled the technical setbacks as they happened without turning the situation into a rant. For longtime fans, separating his unpredictable public behavior from his extensive catalog of influential songs remains complicated, especially for those who still feel connected to his earlier creative periods. At the same time, his former close collaborator Jaÿ Z is preparing for his own stadium appearances this summer, which adds another layer of reflection about what their partnership once represented. Ye may be staying quiet publicly for now, yet questions remain about whether a full redemption era could still be ahead.

Ye 2026 Set List

1. KING
2. THIS A MUST
3. FATHER
4. ALL THE LOVE
5. Father Stretch My Hands, Pt. 1
6. Can’t Tell Me Nothing
7. N—-s in Paris
8. Mercy
9. Praise God
10. Black Skinhead
11. On Sight
12. Blood on the Leaves
13. Carnival
14. Power
15. Bound 2
16. Say You Will
17. Heartless
18. Moon (with Don Toliver)
19. E85 (Don Toliver)
20. KING
22. THIS A MUST
22. FATHER
23. ALL THE LOVE
24. Talking (North West)
25. Piercing On My Hand (North West)
26. Everybody
27. All Falls Down
28. Jesus Walks
29. Through the Wire
30. Good Life
31. All of the Lights
32. Runaway

This article was originally published on VIBE.

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