It’s clear from listening that there’s a good reason her ascent was as fast as it was inevitable. From its mantra-like hook building from out the ether to its tense, pulsing production, ‘Biting Down’ is one of the earliest indicators of Lorde’s quintessential nature. Let’s move sideways from ‘Royals’ to one of Lorde’s most underrated moments that materialised around the same time. It’s good you know it’s good all takes have been exhausted. With a new album, Solar Power, set to be one of 2021’s blockbuster albums and as her return tour to Aus nears closer, it’s a pertinent time to take stock of what the prodigious singer has achieved thus far. What Lorde has offered in her relatively short career, however, is an exercise in quality over quantity. New music from the Auckland native has become the equivalent of an Olympic event – both in terms of grandiose spectacle and the fact it seems to only happen every four years. It wasn’t too long, however, before Lorde went from being the outsider and rule-breaking exception to the standard-bearer of a new generation’s pop sound. The biggest song and the biggest album of the year were not from some blonde Hollywood starlet, but a pale Kiwi teen who was making music with a guy that used to front a pop-punk band. The mane of frizz, tustling to and fro, as its owner “dances like Gollum” as she put it. You can remember 2013, the year of our Lorde, like it was yesterday.
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