Graham Reid

Our biggest singing star ponders the fabulousness of her pop-star life on a third album where the sunny vibes belie lyrics reflecting upon lost innocence, self-awareness and fame.

In 1990, 74-year-old Frank Sinatra wrote an open letter to George Michael, who had been interviewed for the Los Angeles Times where he was described as “the reluctant pop star” who “lives in hopes of reducing the strain of his celebrity status”.

“My first reaction,” Sinatra wrote, “was he should thank the good Lord every morning when he wakes up to have all that he has. And no more of that talk about ‘the tragedy of fame’. The tragedy of fame is when no one shows up and you’re singing to the cleaning lady in some empty joint.”

Sinatra might be too toughlove for current sensibilities, but Michael had a point: “I decided that the thing I really enjoy … was my songwriting. I didn’t need the celebrity.”

But in the decades since, celebrity culture emerged independent of fame and talent. And, on social media, fuelled by the anonymity it offers, derision and criticism now come with the territory.

Recently, singer Lizzo was the target of racist and abusive online trolls. “On the days when I should feel the happiest,” she said, “I feel so down. It’s like it doesn’t matter how much positive energy you put into the world, you’re still gonna have people who have something mean to say about you.”

In this climate of criticism and celeb-shaming, it’s little wonder some artists find it a compelling subject.

On her new album, the ironically titled Happier Than Ever, Billie Eilish responds to the demands of stardom, emotional isolation and her insecurities: standard complaints of those who, as with Michael, yearned for success only to find what came with it was unwelcome. But Eilish turned it into downbeat art. Sinatra would have hated it.

Lorde’s new album, Solar Power, arrives in this context and immediate online comment defined it as jaded reflections on her fame and celebrity. Although that is evident, these are lyrically opaque and ambiguous songs, delivered as measured, lightly psychedelic dream-pop and sun-kissed melodies, which, despite the joyous cover image and warmth implicit in the title, disguise autumnal shades.

There is listlessness with a frisson of pessimism (“Cause all the beautiful girls, they will fade like the roses”, on Stoned at the Nail Salon), isolation (“I used to love the party now I’m not alright, drinking in the dark”, on Big Star) and self-awareness (“When I hit that water, when it holds me, I think about my father doin’ the same thing when he was a boy”, on Oceanic Feeling). Fame’s fast lane is seen from the inside and as an observer: “With my fist full of tunes that it’s painful to play … I’ve got hundreds of gowns, I’ve got paintings in frames, and a throat that fills with panic every festival day”, on The Man with the Axe. On California, she acknowledges the pivotal moment of her 2014 Grammy wins: “Once upon a time in Hollywood when Carole [King] called my name I stood up, the room exploded, and I knew that’s it, I’ll never be the same.”

Secrets from a Girl (Who’s Seen It All) could be to her audience, but also a letter to her younger self: “Couldn’t wait to turn 15, then you blink and it’s been 10 years, growing up a little at a time … these are just secrets from a girl, who’s seen it all.”

Dominoes takes aim at “Mr Start-Again”, who lives without self-reflection, not something Lorde does as she addresses lost innocence in songs of experience.

Perhaps the album’s greatest sin for those expecting the familiar is that it doesn’t deliver hit singles or dancefloor bangers.

The title track, which drew comment about similarities with Primal Scream’s Loaded and George Michael’s Freedom! ‘90 (from the Listen Without Prejudice Vol 1 album, which he was promoting in the interview that raised Sinatra’s ire), went top 10 only in New Zealand and on Billboard’s alternative and rock airplay charts.

The album doesn’t deliver hit singles or dancefloor bangers.

This is different, mature work and, as she sings on the dreamy The Path: “If you’re looking for a saviour, well, that’s not me. You need someone to take your pain for you? Well, that’s not me.”

Lorde, who opened the door for young female artists such as Eilish, Benee, Madison Beer and many others to channel their teen angst, is leaving that field of play behind her and, at 24, entering new territory.

In that letter, Sinatra wrote, “Those who have talent must hug it, embrace it, nurture it and share it lest it be taken away from you as fast as it was loaned to you. Trust me. I’ve been there.”

Lorde has been there, embraced her talent, turned singular reflections into art, and shared it. However, the result probably isn’t what many might have expected. Or wanted. l

Lorde’s Solar Power is available now digitally and on LP.

Lorde: entering new territory.