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Pure Heroine Tour
The Pure Heroine Tour was the inaugural concert tour by New Zealand singer-songwriter Lorde, in support of her debut studio album, Pure Heroine (2013). Her first performance was at the Splendour in the Grass music festival as a last-minute replacement for Frank Ocean. Before the tour, Lorde performed at small nightclubs and bars around New Zealand and Australia. North American shows were announced in August 2013, followed by a series of dates in Oceania. Dates in Europe and South America soon followed.
The show consisted of three segments and three costume changes. With the exception of a couple of covers, the set list included only songs from her debut album. Typically, Lorde appeared on stage hidden from the crowd, visible only in silhouette. She also premiered an unreleased song called "Good Fights". An alternate set list with minor changes was performed after the first North American leg of the tour. The show was met with critical acclaim, with critics complimenting the singer's vocal clarity and stage presence, as well as the minimalist stage setting.
Lorde's first major show was at Splendour in the Grass on 28 July 2013, where she served as a last-minute replacement for Frank Ocean, who had to cancel his appearance at the Australian music festival. Before this show, Lorde had performed only five public shows in small nightclubs and bars in New Zealand and Australia. On 7 August 2013, Lorde announced North American tour dates to support her debut album Pure Heroine (2013); Australian dates were announced two weeks later. Lorde premiered an unreleased song called "Good Fights" at a limited number of shows.
In an interview with Fuse, Lorde described the tour as "beautiful" and "stylized" with several costume changes. She declined an opening act spot for Katy Perry, saying it is important for an artist to establish themselves. "I'm just basically really stubborn and I want to be really independent. So I want to be headlining my own shows instead of supporting someone else."
Lorde prepared three segments of her show, demonstrating to American audiences the areas where she grew up, saying:
I had this idea I wanted it to be divided into three parts. The first part would be kind of my home and my life before everything happened to me, and be really suburban-feeling. I have these street lamps that are on stage with me, I very much wanted to anchor it in that world. And we went around and filmed in my town, and the jetty where I sit every day in summer, and the white tunnel you drive through going from Auckland to the Shore ... I got them to film in that tunnel, I wanted it to be of my world. And to be showing these American audiences, this is actually my spot. ... And then the concept ... goes into my head and dreams, and all the kind of abstract emotions you have when you are embarking on something like this. And the third section is the present day ... It's three quite clear acts. And that first one was all about home.
In an interview with Christopher Holder of AudioTechnology, James Mac, a keyboardist for Lorde, mentioned that he used two MacBook Pros installed with music software Ableton Live as part of the sound stage. Joel Little also arranged samples that were programmed with two Novation 61-key impulses. The pads on the impulse control "vocal samples, sirens, etc." while the keys play "drum racks on Ableton, or soft synths from the Arturia synth pack, or NI Massive." Mac also operated a mini keyboard which was used for loops during "[breaks] between songs."
When asked what front of house sound Lorde wanted on stage, Philip Harvey mentioned that she opted to have "big, loud and dynamic" audio for her set. Drummer Ben Barter was responsible for activating samples on a Roland SPD, an electronic drum percussion instrument. His set included a variety of microphones such as the Shure SM52A, a Sennheiser e904, two overhead AKG C414 microphones, a Shure SM81 microphone for hi-hat drums as well as a Shure SM57 for snare drums. The public address system (PAS) uses the JBL Vertec VT4889, 18 floor-stacked subwoofers, a Shure UR Wireless Microphone System, a Sennheiser G3 IEM as well as Dolby Lake Processors. Harvey also mentioned that the use of auxiliary send through various instruments at low information helped to modify the aux master for each song.
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Pure Heroine Tour
The Pure Heroine Tour was the inaugural concert tour by New Zealand singer-songwriter Lorde, in support of her debut studio album, Pure Heroine (2013). Her first performance was at the Splendour in the Grass music festival as a last-minute replacement for Frank Ocean. Before the tour, Lorde performed at small nightclubs and bars around New Zealand and Australia. North American shows were announced in August 2013, followed by a series of dates in Oceania. Dates in Europe and South America soon followed.
The show consisted of three segments and three costume changes. With the exception of a couple of covers, the set list included only songs from her debut album. Typically, Lorde appeared on stage hidden from the crowd, visible only in silhouette. She also premiered an unreleased song called "Good Fights". An alternate set list with minor changes was performed after the first North American leg of the tour. The show was met with critical acclaim, with critics complimenting the singer's vocal clarity and stage presence, as well as the minimalist stage setting.
Lorde's first major show was at Splendour in the Grass on 28 July 2013, where she served as a last-minute replacement for Frank Ocean, who had to cancel his appearance at the Australian music festival. Before this show, Lorde had performed only five public shows in small nightclubs and bars in New Zealand and Australia. On 7 August 2013, Lorde announced North American tour dates to support her debut album Pure Heroine (2013); Australian dates were announced two weeks later. Lorde premiered an unreleased song called "Good Fights" at a limited number of shows.
In an interview with Fuse, Lorde described the tour as "beautiful" and "stylized" with several costume changes. She declined an opening act spot for Katy Perry, saying it is important for an artist to establish themselves. "I'm just basically really stubborn and I want to be really independent. So I want to be headlining my own shows instead of supporting someone else."
Lorde prepared three segments of her show, demonstrating to American audiences the areas where she grew up, saying:
I had this idea I wanted it to be divided into three parts. The first part would be kind of my home and my life before everything happened to me, and be really suburban-feeling. I have these street lamps that are on stage with me, I very much wanted to anchor it in that world. And we went around and filmed in my town, and the jetty where I sit every day in summer, and the white tunnel you drive through going from Auckland to the Shore ... I got them to film in that tunnel, I wanted it to be of my world. And to be showing these American audiences, this is actually my spot. ... And then the concept ... goes into my head and dreams, and all the kind of abstract emotions you have when you are embarking on something like this. And the third section is the present day ... It's three quite clear acts. And that first one was all about home.
In an interview with Christopher Holder of AudioTechnology, James Mac, a keyboardist for Lorde, mentioned that he used two MacBook Pros installed with music software Ableton Live as part of the sound stage. Joel Little also arranged samples that were programmed with two Novation 61-key impulses. The pads on the impulse control "vocal samples, sirens, etc." while the keys play "drum racks on Ableton, or soft synths from the Arturia synth pack, or NI Massive." Mac also operated a mini keyboard which was used for loops during "[breaks] between songs."
When asked what front of house sound Lorde wanted on stage, Philip Harvey mentioned that she opted to have "big, loud and dynamic" audio for her set. Drummer Ben Barter was responsible for activating samples on a Roland SPD, an electronic drum percussion instrument. His set included a variety of microphones such as the Shure SM52A, a Sennheiser e904, two overhead AKG C414 microphones, a Shure SM81 microphone for hi-hat drums as well as a Shure SM57 for snare drums. The public address system (PAS) uses the JBL Vertec VT4889, 18 floor-stacked subwoofers, a Shure UR Wireless Microphone System, a Sennheiser G3 IEM as well as Dolby Lake Processors. Harvey also mentioned that the use of auxiliary send through various instruments at low information helped to modify the aux master for each song.