The more you observe Lana Del Rey seemingly transitioning into country music, the more it becomes evident how absurd any suggestion of her switching genres truly is.
For the past 15 years, Lana Del Rey has effectively established herself as a genre of her own: a distinctive and intriguingly unconventional fusion of classic musical influences mixed with groundbreaking modern elements. This unique sound initially confused critics, radio stations, and music charts, yet she undeniably emerged as one of the most significant pop stars of her generation. Her influence is profound and unmistakable; regardless of the sonic, thematic, or stylistic features that other artists might adopt from her, none would ever be mistaken for Lana Del Rey. Thus, regardless of the musical styles she explores, the one genre that encapsulates her essence is simply “Lana Del Rey.”
However, it’s worth noting that Lana Del Rey did embrace the country music festival atmosphere during her debut performance at the Stagecoach Festival in Indio, California, on Friday, April 25. Dressed in a flowing white dress and performing against a picturesque backdrop of a rural house at dusk, she resembled a figure lifted straight from a vintage Loretta Lynn album cover. Early in her set, she invited George Birge, a fellow performer at the festival, to join her for a duet on his current hit “Cowboy Songs,” a song that heavily resonates with country radio audiences and one Del Rey openly expressed her admiration for. Imagining a version of the chorus infused with her signature style is easy, even though it was somewhat unexpected to hear her deliver such an energetic and robust hook in 2025. Furthermore, she honored two timeless classics of the genre during her performance by covering Tammy Wynette’s “Stand by Your Man” (“You can’t do this set without it”), and concluded her show with a heartfelt family singalong of John Denver’s “Take Me Home, Country Roads,” a recent addition to her repertoire of covers.
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As for the new music she presented? While they might have a country-inspired tempo and thematic elements (along with occasional references to “all these country singers”), they are still fundamentally aligned with the emotional depth and cinematic quality that has characterized Lana Del Rey‘s music throughout her career. The emotional intensity and storytelling found in her classics were palpable even during her Grand Ole Opry moment. With just a few lyric tweaks and perhaps the addition of some banjo, songs like “Ride” could easily fit into the catalog of The Chicks; similarly, if you dialed down the sensuality and heightened the irony, “Video Games” might as well have been written by Kacey Musgraves. The stately balladry and explorations of gender roles present in her set-opening tracks “Husband of Mine” and “Henry, Come On” felt entirely consistent with her previous works; she could have casually introduced them as unreleased gems from Blue Banisters or Chemtrails Over the Country Club, and many fans would have believed it.
If there was a notable shift in Lana Del Rey‘s demeanor during her Country Mode performance on Friday night, it was her seemingly more gracious and humble attitude than what we typically expect from her. Observing her genuine expressions of gratitude for being invited to the Stagecoach Festival, as well as her appreciation for the enthusiastic audience that gathered to see her, it was easy to forget that she was once a polarizing figure in the realm of popular music, often surrounded by controversy regarding her lyrics and public statements. On this occasion, she radiated warmth and positivity, embodying a performer who was genuinely delighted to be on stage.
Well, almost all of it. For those who missed the unpredictability and flamboyance that marked early iterations of Lana Del Rey—and which still influences standout moments from her work up to this decade—you likely appreciated “57.5,” a lively new track referencing her monthly listeners on Spotify. This song features a bridge beginning with Lana Del Rey declaring, “I kissed Morgan Wallen” and humorously advising listeners against ATVing with him. It requires a fair amount of “yes, really” to explain, but ultimately, it was probably the standout among the new songs she unveiled: undeniably country yet, more importantly, authentically Lana Del Rey in a manner that no other artist or genre could ever completely emulate.
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