One of the things that was striking about Lorde’s debut was that it appeared to come out of nowhere. It’s the kind of supporting cast that could give a fan of Pure Heroine pause. A recording studio in New Zealand swapped for one in New York, her solitary collaborator on Pure Heroine Joel Little supplanted by a battalion of heavy-hitting names from the backroom of pop: sometime Taylor Swift collaborator and Fun guitarist Jack Antonoff Kuk Harrell of Rihanna, Beyonce and Justin Bieber fame Frank Ocean and Zayn Malik producer and songwriter Malay S1 (Symbolyc One), who’s worked with Beyonce and Madonna. You can see how much has changed just by reading the credits. “And what then?” the lyrics of Tennis Court wondered: “how can I fuck with the fun again when I’m known?”įour years later – with more than5m album sales, an endorsement from David Bowie who called her “the future of music” and a level of celebrity that means a rumour Lorde started a secret Instagram account reviewing onion rings became international news – Melodrama answers the question. If her musical career was successful, she noted, it would automatically remove her from her suburban environment and social group, the very things that had inspired her songs to date (“weird social situations and cliques, girls vying for attention, the archetypes of being a teen,” as she told the Guardian not long after the album’s release).
Written when Ella Yellich-O’Connor was 15 years old – and already, it would appear, the smartest and most self-aware writer in pop – it offered the same kind of pinpoint-sharp observations of her teenage peers’ lives as the rest of Pure Heroine (“it’s a new art form showing how little we care”), but one verse also cast a wary eye to her own future.
A mong the many remarkable things about Lorde’s 2013 debut album Pure Heroine were the lyrics of a song called Tennis Court.
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