On a crisp October weekend in 2025, Lorde, the enigmatic New Zealand singer-songwriter, electrified audiences across the United States with her Ultrasound World Tour, a sweeping celebration of her latest album, Virgin. From the packed halls of The Anthem in Washington, D.C., to the roaring crowd at Pittsburgh’s Petersen Events Center, Lorde’s performances were a testament to her evolution as an artist—and her willingness to court both artistic and political controversy.
Fans, some of whom had waited years to see her live, were treated to a show that was as emotionally raw as it was visually dazzling. According to The Pitt News, Lorde’s Pittsburgh concert on October 3 kicked off with opening acts Chanel Beads and The Japanese House, setting a mood that ranged from melancholic to defiant. The Japanese House’s Amber Bain didn’t shy away from activism, declaring, “Trans rights are human rights,” a message that resonated with the diverse audience.
But it was Lorde herself who stole the show, emerging to the jarring synths of “Hammer,” the opening track from Virgin. Dressed simply in a red T-shirt and jeans, she sang, “There’s a heat in the pavement, my mercury’s raising,” as white strobe lights pulsed and a camera feed of the crowd played behind her. This wasn’t just a concert—it felt like a communal catharsis. As reported by The Eagle, Lorde warned the D.C. crowd they’d leave “a puddle of sweat and tears,” and the audience responded with thunderous applause, ready for the emotional rollercoaster ahead.
The setlist was a careful blend of new material and fan favorites. Songs from Virgin intermingled with classics like “Supercut” and “Team,” the latter of which Lorde performed in Pittsburgh as a dedication to Palestine, inspired by a viral video of a Palestinian woman singing the song. During “Supercut,” she hopped barefoot onto a treadmill onstage, matching her stride to the beat as the song built to its euphoric climax. The symbolism was hard to miss: Lorde running full-tilt through her own musical history, baring her soul to the crowd.
In a particularly bold moment, Lorde performed “Man Of The Year” clad only in jeans and duct tape across her chest, echoing the themes of gender fluidity, femininity, and rebirth that permeate Virgin. According to The Eagle, this clash of vulnerability and confidence perfectly encapsulated the album’s ethos. The audience responded in kind, dancing and singing along, their energy feeding Lorde’s own.
The visuals were just as striking as the music. Pittsburgh concertgoers witnessed a stage awash in cutting-edge lighting and theatrical X-ray machines, as reported by The Pitt News. Caillou Berer, a student from Central Connecticut State University, summed up the experience: “I loved every song, and the visuals were gnarly. It was my first concert but probably my best concert.”
Lorde didn’t shy away from personal connection either. Between songs in Pittsburgh, she delivered a heartfelt monologue: “I went to the conservatory … I said I was not going to talk about the bridges, but here I am. I really like you, Pittsburgh.” She went on to share, “This is the first year where I have really let my whole self be on the table. This is who I am. I know that I give you this part of myself because you know exactly what to do with it. We really need each other … now help me sing this song.” The arena fell silent, then erupted in song, a moment that left many fans in tears.
The concerts’ climaxes were as intimate as they were dramatic. In both cities, Lorde left the stage to mingle with the crowd, singing “David”—a song inspired by Michelangelo’s iconic sculpture—up close to fans. As described by The Eagle, the experience was unforgettable, with Lorde’s presence just inches away. The D.C. show ended with a cathartic encore featuring “A World Alone,” a song not performed at every stop on the tour, sending the audience into a final, joyous frenzy.
Behind the scenes, the sound of Virgin was shaped by one of the year’s most celebrated producers, Jim-E Stack. In an interview with MusicRadar published on October 7, Stack revealed how his minimalist approach and use of vintage gear—like the Ensoniq ASR-10 sampler—helped define the album’s electronic, stripped-back aesthetic. “She talked a lot about blank space, openness and room to breathe—pulling away everything that didn’t need to be there and leaving only load-bearing pieces,” Stack explained. He credited the authenticity of the sound to sonic imperfections, influenced by artists like J Dilla and Burial. “The more broken take on a vocal recording or the not-mic’d-quite-right guitar sound, that stuff has always hit a special place for me—it always feels more authentic and human.”
Stack emphasized that the focus was always on Lorde’s voice. “There was this completeness that we felt when the vocals came up,” he recalled. “That was what sealed the deal, more than adding a crazy synth or turning the drums right up—when the vocals came front and centre, when Ella was front and centre, that’s when everything started to feel really complete and finished.” He also dismissed the notion that great music requires mountains of equipment: “You can make the best album ever with just a laptop and plugins. You don’t need anything else.”
Yet, Lorde’s tour was not without controversy. In early October, following a concert outburst where she shouted “free Palestine,” her music was abruptly removed from Apple Music and Spotify in Israel, as reported by NewsHub and other outlets. The timing suggested a direct response to her political statement, though it remained unclear whether Lorde herself requested the geo-blocking or if it was a decision made by the platforms. Some reports linked the move to the No Music for Genocide movement, a campaign urging artists to pull their music from Israel in protest of the country’s actions in Gaza. Lorde has a history of pro-Palestinian activism, having canceled a 2017 show in Tel Aviv after fans urged her to boycott Israel. Reflecting on that decision, she once wrote, “I pride myself on being an informed young citizen, and I have done a lot of reading and sought a lot of opinions before deciding to book a show in Tel Aviv, but I’m not proud to admit I didn’t make the right call on this one.”
The removal of her music sparked debate and added a layer of tension to a tour otherwise marked by emotional openness and musical innovation. As fans streamed out of venues in D.C. and Pittsburgh, the consensus was clear: Lorde’s Ultrasound World Tour was more than just a concert. It was a statement—about music, about identity, and about the power of an artist willing to put everything on the line.
With her fearless performances, minimalist sonic vision, and unwavering commitment to her beliefs, Lorde has once again shown why she remains one of pop’s most compelling figures. For those who witnessed her in person, the memory won’t fade anytime soon.
