Lorde’s 2025 Ultrasound tour officially kicked off its European leg last month, beginning its 4 UK dates at Manchester’s AO Arena. With the release of her fourth studio album Virgin earlier this year, and after watching her Glastonbury set from home during the summer, this concert was highly anticipated for me.

Entering, we were immediately immersed in performance, with the whole arena lit up in blue to set the Ultrasound atmosphere. After a DJ set by Jim-E Stack, Blood Orange opened, capturing the crowd’s undivided attention, unlike what I have previously seen. They instantly set the energetic and thoughtful tones for the evening as we waited for Lorde to take to the stage.

Although in an arena of 21,000, this was a personal concert, giving the audience an introspective look into the singer’s experience as an artist, performer, and as a woman. There is a relatability about every word she sings, and live, this feeling is strengthened.  Authenticity was embodied in the performance. The interpretive backing dancers humming in the background of every song, as well as Lorde’s own sporadic, unchoreographed dance, gave a glimpse into the teenage experience, reminiscent of the feeling of dancing alone in your bedroom. However, along with the girlish charm of the concert, there was also insight and true meaning, displayed in the unique use of lighting. Light acted as a poetically symbolic motif throughout, interestingly creating somewhat of a narrative to accompany the music. A singular beam was a focal point throughout the show, sustaining this honest and vulnerable feeling of exposure with the harsh white light. 

Lorde is incredibly clever in her staging, including props and set that aid in her expression. Starting simply with an apple as she sings ‘Broken Glass’, there is a biblical significance of feeling fallen and self-destructive, giving an insightful look into her struggles with self-consciousness and insecurity. Later, whilst Lorde candidly sang about the struggles of idealism and expectation in the song ‘Supercut’, the infamous treadmill was brought on stage, allowing the artist to run whilst simultaneously singing. It further expressed the painful effort of simple existence that again felt very recognisable and pertinent. These feelings were enhanced with the interesting use of the handheld camera during the performance of ‘GRWM’, tracking Lorde herself at close and intimate angles, really engrossing us in the vulnerability and complexities of adolescence and adulthood. This also acted to strip back the dramatic, grand display of visuals, grounding the audience at the mid-point of the concert, and again reiterating the genuineness of the performance.

A moment of calm was brought before singing ‘Liability’ as Lorde gave a speech. She spoke of being “starstruck” at the incomprehensibility of the tour: its scale and its popularity. There was an appreciation for the UK here, talking about the influences and aspirations that she has found in British music. However, the biggest takeaway from this speech was, in Lorde’s words, “you just stay on the path, and it all comes together”, bringing a sincere rawness of emotion and comfort for the crowd. 

Manchester’s audience were offered a change, deviating from the previous setlist of the North American leg of the tour, with the swap of ‘No Better’ in favour of ‘400 Lux’. Although some may be disappointed at this change, I was thrilled, as a big fan of the Pure Heroine album. The siren-like synths began with screams of excitement matching its intensity, displaying the powerful emotions this concert evoked. 

Nearing the end of the concert, as Lorde walked through the crowds to the B-stage singing ‘David’, a profound sense of nostalgia was captured as the screens behind flickered between a live feed and her own past performances. 

The standout of the night, for me, was of course the encore with the final song, ‘Ribs’. The whole arena was filled with energy and emotion as we were all encouraged to jump along to the beat. Performing at the centre of the arena, there was a real sense of closeness between the crowd and Lorde herself. Dancing along with my best friend was the best way to experience the concert, and looking around, it seemed as though many thought the same, with everyone around me holding onto their friends singing along with the lyrics, “you’re the only friend I need”, passionately and with a deep sense of resonance.

Finally, as the lights went up, the singer gave her final bows and ran off stage. Nonetheless, the dancing continued as people stayed behind to the post-performance playlist, showing how deeply this concert was felt with its lingering effects of joy and connection. In that moment there was very little that seemed to matter but the concert itself; Lorde has this effect, and brings reassurance in her music by directly confronting the human condition.

It was a “wild and fluorescent” night that was truly fan focused, not only serving as entertainment, but also as a viscerally poignant, transient experience. Lorde shows no sign of slowing, lining up 2026 festival performances at All Points East and NOS Alive, continuing to bring her connection and presence to the stage. Ultimately here she conveys the reminder that life, for everyone, is simply a performance that we slowly overcome with age, realising true authenticity and self-worth. 

Enjoyed reading this? You might also like:

Live Review: Nell Mescal

Album Review: Dave – The Boy Who Played the Harp

Redbrick Meets: Jez Collins