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Sixth Sense World Tour

A headlining tour by Lena Katina, Lana del Rey

Associated Album/s: My Emancipation

No. of Shows: 44

Legs: 6

Start Date: May 25, 2020

End Date: July 25, 2020

Promoter/s: Timeless Music, ARCHIVE RECORDS

Total Attendance: 2,482,062 (76.94%)

Box Office: $425,673,555

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Synopsis

S T A G I N G

The stage is a rounded triangle, facing outwards to the crowd with a zig-zag style catwalk that features the production booth, and then a circular platform at the end of the runway that can rise and rotate. The sides to all of the stage are plated with LED screens, and the stage is backed with an LED screen that is curved to blend in with the stage floor, just one of the many optical illusion features of the stage. The screen can open like doors, and throughout the show, there are a lot of portable set pieces - such as a metal scaffolding set, giant swings, a dollhouse and a Vegas-style stripper pole setup. The main stage is angled so that the entire audience has a perfect view of the intricate show setup.

A T L A N T I S

The stage is set - the sun is setting and the stadium of anticipating fans is left in stark darkness. Until the many video screens erupt into static. A huge video screen backs the stage, and the runways are lined with screens; so that static is all-encompassing and impossible to not get lost in. A video introduction entitled “The Eagle” begins, harking back to the pre-tour short film. Amidst artificial smoke, and harsh white lighting, Lena emerges onto the stage as the video screens part, like a smoke screen, and she performs her fan-favourite “Solo”. Ancient mythology-themed imagery concentrates this section of the show, with yellow sunlight-esque lighting illuminating the stage during “All The Things She Said”. Fan favourite “Dangerous and Moving” follows, with Lena performing on a raised rotating platform, and the screens displaying video content of Lena walking and dancing through a deserted town, or shopping district, edited to look as if it was black and white in a security camera setup. Closing Lena’s opening segment of the show are “A Simple Motion” and “Show Me Love”, which are preceded by Lena’s opening speech to the audience, thanking them for coming, and promising the best show of their lives. These two songs are performed with a giant metal scaffolding-like apparatus, with dancers climbing and dancing on the apparatus, and Lena climbing the staircase to the top of the scaffolding, and disappearing behind a video screen. Another video introduction follows, “The Orchid”, introducing Lana, the American songstress who appears from where Lena disappeared from. The opening song is “The Next Best American Record”, a cut from her brand new album, a track in which she performs on the scaffolding setup, before an extended band break, which increases in intensity along with the strength of the white lights, when she makes her way down to the main stage. A string segue, from the large string section that Lana requested for the tour, opens the next song, the title of her new hit record, “Norman F**king Rockwell”. She performs this piano ballad at a microphone stand, center-stage, looking out on the tens of thousands of screaming fans. She walks down the runway, welcomes the crowd to her section of the show, and talks about how lucky she is to share a tour with Lena, and that the tour is her biggest achievement yet. She sits on the edge of the stage, at the end of the runway, so that she is up close and personal, and a guitar riff sounds, signalling the start to an abridged rendition of “Flipside”, where the second verse is omitted. The guitar riff continues as more band elements are introduced, and a partial segment of “JFK” is sung to bridge the gap to “Ride”, which also has its second verse omitted, and is performed with an American flag video content backdrop, the same one from her Jimmy Fallon performance. As the song ends, and it fades into a piano segue, Lana tells the audience about her inspirations, with jazz being one of them, and a large grand piano is now present in the centre of the stage, which Lana sits atop when she sings a medley of fan favourites “Terrence Loves You” and “Pretty When You Cry”, with a full jazz ensemble and the video screens project Lana’s performance, but obviously a lot bigger, and in black and white. “Born to Die” closes the first act, tying the Atlantis theme together with more video content from the mermaid scene from the pre-tour short film, and lots of blue lighting. Lana leaves the stage via a trapdoor lift, as the lights go down, and smoke machines make all that is on the stage practically indistinguishable.

S U B U R B I A

Once more, the screens erupt into bright television static, with loud noises that sound like technological errors, and then the camera cuts harshly to Lana and Lena, both wearing ski masks, in a bank, during a hold up. They both have guns and a mid-tempo jazz tune accompanies the scene, as gunshots are fired and money is handed over. They drive off together in an unmarked car, and into a suburban neighbourhood, alluding to the darkness and danger in all walks of life, and introducing the suburbia segment of the show. The familiar string chimes of “Video Games” begin, and the audience erupts into loud and unwavering cheers, as Lena appears from amidst the artificial smoke to sing the first verse. Lana is then lifted into the crowd’s view by a rotating platform at the end of the runway, and she sings the chorus and second verse as her and Lena walk towards each other, and meet on the runway to sing the rest of the song as a duet, which is a lovely surprise for the audience most of which did not expect them to sing together. “Meet Me Halfway” is also performed as a duet, and they sit on giant swings that descend from above the stage, in front of a birds-eye view of a suburban neighbourhood in a time lapse. As the song ends, the swings lift them up out of the crowd’s view, and another interlude plays featuring Lana conducting a polygraph test on Lena, with background noise resembling medical equipment, and the sound of Lena’s heartbeat increasing in volume as the polygraph machine shows that she is lying. The video screen breaks apart, and reveals Lena stood at the back of the stage, in the centre, on a giant white platform that has a staircase in front of it, surrounded by dancers. She performs “Cosmos (Outer Space)” with these dancers, on the platform, initially with the same birds eye view of suburbia from before as a backdrop, but it pans upwards to constellation imagery, before the song segues into her #1 hit “Sexxxy Summer”, with previously-unseen clips from the iconic music video serving as the video backdrop, and Lena dancing seductively with a crew of dancers. “Null and Void” follows, as well as a beautiful, and emotional, piano medley of “Stars”, “Stay” and “How Soon is Now”, giving the audience an exclusive look into Lena’s more vulnerable music, live on stage with twinkling blue and yellow lights illuminating the stage softly. Finishing Lena’s section is “White Robe”, which she performs flawlessly before the video screen doors close and conceal her - then plays a video interlude of Lena and Lana again, with Lena administering Lana with a lethal injection, switching the roles of the earlier video interlude in the act. A large platform appears on stage, paneled with video screens that glow bright neon colours, as Lana performs “F**k it, I love you” with a few dancers and the heavy percussion that pulsates throughout the stadium. A heartbeat-like drum segue leads into a little-known demo version of “Lust for Life”, which Lana performs laid across the platform, which is wheeled forward to the front of the stage. A lot of religious imagery is shown throughout the song, including stained glass windows, and the focus is pulled back to suburbia when the video shows religious imagery in family homes, alluding to religion being forced on children by their parents, which is a controversial topic, but apt. Lana introduces the next song to the audience by telling the story of it being the first song written for her new record, but the last one to be actually finished and polished, before singing romantic piano ballad and album cut “Bartender”. Closing the act was a piano ballad of “Love song”, “Old Money”, “Looking for America” and “hope is a dangerous thing”, firstly continuing with the theme of love, and then shifting to a political perspective, with video imagery alluding to divorce, abuse, depression and oppression, leading the suburbia theme to a darker place, which is fulfilled with the closing song, “Happiness is a butterfly” performed with a string accompaniment, a butterfly video sequence and downbeat blue lighting, as Lana walks down the runway, interacting with the audience, and leaving the stage via the same platform she appeared on at the start of the act.

B A B Y L O N

Act three begins with a dramatic interlude, with orchestral instrumentation echoing a James Bond film, and Lana and Lena dressed as typical spies, utilising satirical links to Lena’s Russian heritage as they run from the police and make their way underground, to a secret association that they have organised. This interlude leads on from the “Bank Heist” film, and ends with Lana and Lena descending from atop the stage, together in a giant silver hot air balloon-esque basket. The theme of Babylon links to the ancient city, so this first section of the act entails the pair singing two covers of older songs - and as they descend, an instrumental segue of The Ramones’ “Do You Remember Rock n Roll Radio?” plays, alluding to when Lana recently performed this song at a small gig in Manhattan. Lana and Lena harmonise over Roxette’s “It Must Have Been Love” and Leonard Cohen’s “Chelsea Hotel #2”, before they both disappear yet again, and the band play a rock-tinged segue with harsh red and white lighting and pyrotechnics everywhere, leading into a video interlude where Lana and Lena are a part of a blood-drinking, devil-worshipping, mass-murdering cult. This is one of the most graphic and unsettling films of the show, which leads into Lena emerging onto the stage standing atop of a platform designed to look like a giant weapon cabinet, which has nothing to do with the performance of “Man”, but more so the interlude. “Collision Course”, “Just You” and “We Dance” are performed with a group of dancers, and this section is centred around neo-retro French couture, and video interludes showing abandoned buildings, cities and greenlands, alluding to the Babylon theme but also edited and warped to fit with the concepts of the songs. A medley closes Lena’s section of the act, including a demo version of “All My Love”, and a section of t.A.T.u.’s “Vsya Moya Lyubov”, with visuals from Lena’s music video for “Sexxxy Summer”, edited to look frightening and horror-tinged. Dancers begin to create a set for Lana’s section, which conceals Lena as she leaves the stage, and then the video screen doors consider the set creation also - like a Russian doll. A video interlude centred around sacrifice follows, which is more abstract and metaphorical than visual, and leaves a lot to the imagination, which is where the horror truly lies. Red and blue lights make the set more visible, but as they circle and Lana appears, singing “Cinnamon Girl”, it is then that the screaming audience realises that the stage setup is a line of stripper poles, lined with neon details, creating a Vegas-themed setup. The video screens show footage of Lana dressed as a showgirl, crying, drinking and visibly sad - which is contrasted with her sultry dancing with some female backing dancers, alluding to the nature of the song’s sultry instrumental but depressing lyrics. This setup is quickly struck, as Lana talks to the audience, and a setup that has become very familiar lies in its place; the bar setup from the music video for the next song, “The greatest”, the biggest hit of Lana’s new album, which is met with a lot of audience singalong. The rest of the act is occupied by some of Lana’s grungier and more rock-based songs, which coincides with the Babylon theme because they are accompanied with clips of Lana in a desolate location, and clips of a city burning to the ground, linking to the fall of Babylon. “Shades of Cool” has a long guitar break during the song, which is reprised after the song with some intense purple strobing and Lana running from the end of the runway, back to the main stage, to perform “California” at a microphone stand with her backing singers, which provides harmonisation which is angelic. During this performance, elements of “Body Electric” are present, especially in the added synths but also in some lyrics added by the backing singers. “Ultraviolence” closes the act, with the fall of Babylon imagery intertwined with clips of Lana in a wedding dress.

P A R A D I S E

The fourth act of the show begins with a video interlude entitled “Final Form”, which features Lana and Lena in a biology-themed interlude, with them in the cosmos, and being created from cells, as they change colours and grow in size and become more clear. The interlude, like the theme, has a religious undertone, and this leads into a duet of “Llamandote (Running Blind)”, where the duo sings in a paradise-esque staging, with fake palm trees and bright imagery that makes the stage look like the way paradise is described in famous books, which later in the act will make more allusion to Paradise Lost. “Serial Killer” follows, with Lana and Lena interacting with the audience from the runway, and then performing in the very centre of the stadium, on a raised platform, which is perhaps the image that will stick in the audience’s mind most from the entire show. The platform lowers them under the stage, which leads into another video interlude that is just Lena alone, with the background noise being Lena whispering in Russian, and the main vocal track being a dramatic monologue regarding fate, and self-fulfilling prophecies. This leads into Lena remerging, performing “Friend or Foe” and “Chto ne Khvatayet” - with bright pink lighting and an audience sing along. Following this is a heavily paradise-themed segment, consisting of a medley of “Perfect Enemy” and “Never Again”, tinged with elements of electronic and rock guitar. “After Us” contains imagery of Lena at the Last Supper, with bright white elements alluding to innocence, and her newest hit “My Emancipation” rounding her final solo segment of the show off with a lot of fireworks and audience interaction, as a string section accompanies her thanking the audience and disappearing from the stage. Sampling her fan favourite “Summertime Sadness”, Lana appears in a music video about pride, where she is seen looking sad in a public garden, and a storm breaks out and the scene bursts into colour, before fading into black and white and the screen doors part to the tune of “West Coast”. This song is shortened to just the first verse and chorus, and leads into “Cherry”, performed with a set of backing dancers - this is one of the most sensual moments of the show and is performed with red lights, projected in horizontal lines across the stage. “White Mustang” is played next, with car imagery on the video screens, serving as a unique optical illusion. An emotional rendition of “How to disappear” follows, with similar paradise imagery to Lena’s set, and this leads into one of Lana’s most uptempo cuts, “Doin Time”, where the vibe evokes a music festival, and pyrotechnics are utilised throughout. Closing her solo set is the nine-minute psychedelic rock bop “Venice Bitch”, during which Lana walks through the audience and greets a lot of the crowd.

E N C O R E

The encore section of the show lasts about forty minutes, and opens with an interlude about space and time, with a lot of psychedelic imagery and colours, leading into a duet of “Off to the Races”, with white lighting that looks like polka dots on the stage, and move around like an illusion. “All About Us” follows, with real animatronic teddy bears on stage, creating a childlike theme which is continued during “Sweet Fantasy” and a medley of “30 Minutes” and “Dear Anne (Stan, pt. II)”, where the stage unfolds to look like a dollhouse. Another interlude follows, centred around Lana in New York, and Lena in Russia, and is almost documentary-like, showing them walking around where they came from, which leads into an extended string introduction and “13 Beaches”, where their vocals harmonise and create an angelic performance, which is one of the most simple and impressive of the show. “Young and Beautiful”, “Malichik Gay” and “National Anthem” follow, with themes of civil rights, rebellion and freedom in the imagery, the former featuring ballet dancing and the latter aerial. The final interlude of the show sees that Lena and Lana get away with all of the things that occured in the other interludes, and they are best friends forever - which is a happy ending with dark undertones, matching both of their respective aesthetics. “Mariners Apartment Complex”, a hit from Lana’s new album, is performed with a plain stage layout and emphasis on the band, and the show closes with “Not Gonna Get Us”, linking with the escape theme, and ending the show with pyrotechnics, fireworks and lots of bright lights as they both receive a standing ovation. This show is one of the most intricate to ever be produced.

Set List

1. “The Eagle” video introduction (sampling “Waste Management”)
2. "Solo”
3. “All The Things She Said”
4. “Dangerous and Moving”
5. “A Simple Motion”
6. “Show Me Love”
7. “The Orchid” video introduction (sampling “Gods & Monsters”)
8. “The Next Best American Record”
9. “Norman Fucking Rockwell”
10. “Flipside” / “JFK” / “Ride” - a potpourri
11. “Terrence Loves You” / “Pretty When You Cry” - medley with jazz ensemble
12. “Born to Die”
13. “Bank Heist” video interlude
14. “Video Games”
15. “Meet Me Halfway”
16. “Polygraph machine” video interlude
17. “Cosmos (Outer Space)”
18. “Sexxxy Summer”
19. “Null and Void”
20. “Stay” / “Stars” / “How Soon is Now” - piano medley with jazz ensemble
21. “White Robe”
22. “Lethal injection” video interlude
23. “Fuck it
24. I love you”
25. “Lust for Life” demo version
26. “Bartender”
27. “Love song” / “Old Money” / “hope is a dangerous thing” / “Looking for America” piano medley
28. “Happiness is a butterfly”
29. “Secret Association” video interlude
30. “It Must Have Been Love” (Roxette cover)
31. “Chelsea Hotel #2” (Leonard Cohen cover)
32. “Cult” video interlude
33. “Man”
34. “Collision Course”
35. “Just You”
36. “We Dance”
37. “All My Love” demo version / “Vsya Moya Lyubov”
38. “Sacrifice” video interlude
39. “Cinnamon Girl”
40. “The greatest”
41. “Shades of Cool”
42. “California”
43. “Ultraviolence”
44. “Final Form” video interlude
45. “Llamandote (Running Blind)”
46. “Serial Killer”
47. “Self-fulfilling Prophecy” video interlude
48. “Friend or Foe”
49. “Chto ne Khvatayet”
50. “Perfect Enemy” / “Never Again”
51. “After Us”
52. “My Emancipation”
53. “Pride” video interlude (sampling “Summertime Sadness”)
54. “West Coast” / “Cherry”
55. “White Mustang”
56. “How to disappear”
57. “Doin Time”
58. “Venice Bitch”
59. “The Grand Design” video interlude [ENCORE]
60. “Off to the Races” [ENCORE]
61. “All About Us” [ENCORE]
62. “Sweet Fantasy” [ENCORE]
63. “30 Minutes” / “Dear Anne “Stan
64. pt. II)” [ENCORE]
65. “The Desired Effect” video interlude [ENCORE]
66. “13 Beaches” [ENCORE]
67. “Young and Beautiful” [ENCORE]
68. “Malichik Gay” [ENCORE]
69. “National Anthem” [ENCORE]
70. “The Great Escape” video interlude [ENCORE]
71. “Mariners Apartment Complex” [ENCORE]
72. “Not Gonna Get Us” [ENCORE]

Gallery

Shows

Date	City	Country	Venue	Opening Act	Attendance/Capacity	Revenue
Asia (83.54%)
May 25, 2020	Shanghai	China	Shanghai Stadium		63,300 / 80,000	$10,855,950
May 27, 2020	Pasay	Philippines	Mall of Asia Concert Grounds		69,300 / 80,000	$11,884,950
May 29, 2020	Marina Bay	Singapore	Marina Bay Street Circuit		85,500 / 90,000	$14,663,250
May 31, 2020	Bangkok	Thailand	Rajamangala Stadium		40,609 / 49,000	$6,964,401
June 2, 2020	Seoul	South Korea	Olympic Stadium		54,596 / 69,000	$9,363,257
June 4, 2020	Yokohama	Japan	Nissan Stadium		54,270 / 72,000	$9,307,305
Oceania (67.23%)
June 6, 2020	Auckland	New Zealand	Western Springs Stadium		34,500 / 50,000	$5,916,750
June 8, 2020	Melbourne	Australia	Melbourne Cricket Ground		69,000 / 100,000	$11,833,500
June 9, 2020	Sydney	Australia	ANZ Stadium		52,800 / 82,500	$9,055,200
Africa (73%)
June 11, 2020	Johannesburg	South Africa	FNB Stadium		64,240 / 88,000	$11,017,160
South America (52.08%)
June 13, 2020	Rio de Janeiro	Brazil	City of Rock		47,591 / 90,000	$8,161,920
June 14, 2020	Buenos Aires	Argentina	River Plate Stadium		34,318 / 67,000	$5,885,492
June 16, 2020	Asuncion	Paraguay	Jockey Club		42,303 / 80,000	$7,255,040
June 17, 2020	Santiago	Chile	Estadio Nacional – Santiago		40,599 / 78,000	$6,962,715
June 19, 2020	Medellin	Colombia	Estadio Atanasio Girardot		22,676 / 45,000	$3,888,933
North America (82.4%)
June 21, 2020	Georgia	United States	Sanford Stadium		69,658 / 92,000	$11,946,265
June 22, 2020	Florida	United States	Camping World Stadium		50,478 / 60,000	$8,656,956
June 23, 2020	Texas	United States	AT&T Stadium		70,670 / 80,000	$12,119,864
June 24, 2020	Arizona	United States	Chase Field		36,343 / 48,000	$6,232,834
June 26, 2020	California	United States	Rose Bowl		75,717 / 90,000	$12,985,435
June 27, 2020	Washington	United States	CenturyLink Field		63,603 / 72,000	$10,907,877
June 28, 2020	Vancouver	Canada	BC Place		40,886 / 54,000	$7,011,938
June 29, 2020	Quebec	Canada	Plains of Abraham		63,097 / 75,000	$10,821,196
June 30, 2020	Toronto	Canada	Rogers Centre		46,819 / 53,000	$8,029,410
July 2, 2020	Massachusetts	United States	Gillette Stadium		49,972 / 66,000	$8,570,147
July 3, 2020	New York	United States	New Era Field		59,732 / 71,000	$10,244,065
July 4, 2020	New Jersey	United States	MetLife Stadium		72,437 / 82,000	$12,422,860
July 5, 2020	Ohio	United States	Ohio Stadium		78,743 / 104,000	$13,504,474
July 6, 2020	Pennsylvania	United States	Lincoln Financial Field		58,050 / 69,000	$9,955,500
July 8, 2020	Illinois	United States	Soldier Field		53,886 / 61,000	$9,241,396
July 9, 2020	North Carolina	United States	Carter-Finley Stadium		43,157 / 57,000	$7,401,490
July 10, 2020	Missouri	United States	The Dome at America’s Center		55,526 / 66,000	$9,522,652
Europe (79.28%)
July 12, 2020	Dublin	Ireland	Croke Park		65,099 / 82,300	$11,164,530
July 13, 2020	Glasgow	United Kingdom	Glasgow Green		51,520 / 70,000	$8,835,680
July 14, 2020	Leeds	United Kingdom	Roundhay Park		84,600 / 100,000	$14,508,900
July 15, 2020	Liverpool	United Kingdom	Anfield		42,714 / 54,000	$7,325,451
July 16, 2020	London	United Kingdom	Wembley Stadium		66,240 / 90,000	$11,360,160
July 18, 2020	Gothenburg	Sweden	Ullevi		63,450 / 75,000	$10,881,675
July 19, 2020	Moscow	Russia	Luzhniki Stadium		61,698 / 78,000	$10,581,207
July 20, 2020	Amsterdam	Netherlands	Johan Cryff Arena		39,744 / 54,000	$6,816,096
July 21, 2020	Paris	France	Stade de France		68,526 / 81,000	$11,752,209
July 22, 2020	Berlin	Germany	Olympiastadion		58,534 / 74,000	$10,038,581
July 24, 2020	Milan	Italy	San Siro		58,880 / 80,000	$10,097,920
July 25, 2020	Madrid	Spain	Wanda Meltropolitano		56,682 / 67,000	$9,720,963