The Ultrasound World Tour supports Virgin, Lorde’s critically acclaimed fourth studio album. Released in June 2025, the record debuted at number one on the official album charts in New Zealand and Australia, clinched her first No. 1 album in the United Kingdom and entered the U.S. Billboard 200 at No. 2 — remarkable commercial terrain that cements her crossover from indie-pop phenomenon to international arena headliner.
This Auckland show was the first of the 2026 New Zealand leg, coming nearly three years after her Solar Power Tour circled the region. Performing in her homeland carries personal weight as well as professional significance: she’s returning to the city where her career began, in front of fans whose loyalty stretches back to her earliest breakthrough. Reviewers observed that the concert wasn’t just a stop on a tour, but a deliberate celebration of Lorde’s journey — one that honors both her roots and the bold artistic strides she’s taken since.
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| Image credit: Lorde Instagram Account |
Unlike some of her earlier tours, which felt intimate or introspective, the Auckland leg of Ultrasound impressed with its theatrical execution and powerful orchestration. Building from the atmospheric opener “Hammer” — one of the standout tracks from Virgin — through career-spanning selections including her breakthrough “Royals” and fan favorites from Melodrama, the show conveyed a departure from the shy, reserved persona of her early years. Reviewers noted a shift toward a confident, deliberate performance style that embraces both the grand scale of arena rock and the nuance of her lyricism.
The setlist was a testament to her evolution. Songs from Virgin threaded naturally with older catalog gems like “Green Light,” “Perfect Places,” and “Ribs,” foregrounding a sonic continuity that neither abandons her roots nor clings to past formulas. The inclusion of a te reo Māori waiata rendition of “Oceanic Feeling” during the Auckland show was a particularly striking moment, underscoring Lorde’s ongoing effort to integrate cultural identity with global pop sensibilities.
Critics responded with praise for how the production bridged intimacy and spectacle. Interludes of glitchy, extended instrumentals and innovative lighting design knitted the concert into a cohesive narrative rather than a mere anthology of hits. This choice was widely interpreted as a reflection of the album’s own ambitions: Virgin is not just a collection of songs, but an immersive sound world that balances maximalist textures with Lorde’s signature introspective lyricism.
For an artist defined early on by minimalist aesthetics and tightly wound alt-pop sensibilities, this moment in Auckland represents a clear expansion of her repertoire and public persona. Lorde has never been content to rest on one mode of expression or one era of sound; instead, she’s used each successive album to explore new emotional terrains and musical vocabularies. The Ultrasound run, particularly the Auckland homecoming, feels like the beginning of a new phase — one where her art continues to defy easy categorization and invites listeners into a shared experience that’s both grand in scale and deeply personal.
In a music landscape often dominated by blockbuster spectacle or Internet-driven virality, Lorde stands apart. From her early days as a teenage breakthrough artist to commanding global arenas and topping charts with a career-defining fourth album, she remains a compelling example of how an artist can grow without losing the emotional core that first captivated audiences. The Auckland show didn’t just cement the buzz around her evolving sound; it reaffirmed her place as one of pop music’s most singular voices.
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