Lorde or Ella Marija Lani Yelich-O’Connor first came to prominence at the tender age of 15. Of course, my introduction was through Later…with Jools Holland, where she performed ‘Royals’, a track that, somewhere along the line, has been called “racist”. I am not here to discuss that, but rather how she became more than just a flash in the pan after her strong debut. I also recommend watching a YouTube documentary on her from her native New Zealand, featuring accounts from her friends and detailing her early rise.

The Irish New Zealander has been known for her reflective lyrics, otherworldly production, and for defying the conventional expectations of what a female pop star should be. Her debut album, “Pure Heroine,” demonstrated an exceptional level of maturity for a mid-teenager, both lyrically and vocally.

Lorde has never been shy about discussing her struggles with fame and her thoughts on culture and the arts. In a world full of fake bullshit, Lorde searches for the truth.

She is not interested in following the herd. After the debut came “Melodrama”, a collection of bright melodies, followed by the reflective “Solar Power”. What’s consistent across all her records is that her music never stays the same. She’s always evolving, always stepping out of her comfort zone. This was just a brief introduction to Lorde, as I want to focus more on the review. But I strongly recommend that you listen to her albums, experience her live performances, and seek out documentaries, because her story is a fascinating journey that’s worth exploring.

People have been waiting quite some time for her fourth studio album, “Virgin”, and although it is easy on the ear, the sound itself has remained stagnant. Everything else, from the lyrics to the themes, is, as always, the strongest link. I am quite surprised that her sound has not moved forward. As with every record, she is not interested in the past. As I mentioned, she likes to challenge herself, but this feels like she has played it safe, for once.

The opener ‘Hammer’ is quite a misleading finish. It builds and builds, and you expect a mind-blowing chorus, but instead it fades into an instrumental interlude. A rather disappointing end to a track that had the potential to be much grander than what it was.

Her leading single, ‘What Was That,’ also suffers the same fate, as the wishy-washy music surrounds her lyricism and strong subject. The track also builds like ‘Hammer’, and just like that track, it too comes to a shuddering halt.

After the shaky start, the record picks up with tracks like ’Shapeshifter’ and ‘Man of the Year’. Let’s focus on that. Her vocals, shrouded by a bass line, are then joined by strings and synths, leading to a moment of grandeur. This allows the lyrics to take centre stage before the build-up.

‘Favourite Daughter’ shows her ability to devise a memorable chorus and addresses how her mother has dealt with her fame. ‘GRWM’ and ‘Broken Glass’ also have strong choruses. It’s just a shame that what appear to be potentially good tracks are overshadowed by the production.

The title track, despite the production that overshadows her vocals and lyrics, showcases the artist’s potential. The opening two tracks, along with ‘Current Affairs’, unfortunately, fall short of the standard set by “Solar Power”. It’s uncertain where “Virgin” will rank over time, but for now, due to the production hindering the lyrics and vocals, it appears to be her weakest yet.

Song recommendations: ‘Man of the Year’, ‘Favourite Daughter’, ’Shapeshifter’

7/10