Oh, ticketmaster have just added some ‘official platinum tickets’ at £120 each.
FFS
I’ve only ever known them as one of those high price re-seller sites like Viagogo in the past, was surprised they’re even a real thing
Queue on Ticketmaster worked well for me, got put straight through and purchased stalls tickets for Leeds (which were already sold out on SeeTickets)
Can imagine it’s utterly infuriating if you don’t get through though.
Looks like she’s already addressed the hype and is now playing another date at Ally Pally on 28th June.
I bloody hate Ally Pally! It’s a nightmare for out-of-towners, especially on a school night.
Mild film spoilers
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Think I’ve listened to Solar Power 3? times, yet it’s in my head constantly. Quite like it I think, sorry everyone
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Very disappointed she seems to be good pals with Clairo and Phoebe Bridgers, two of the most boring artists around in music today.
This last one sounds like it’s a shitty cover of a much more interesting song, where the first time you hear it is in a Persil advert or something.
Having boring friends really is a heinous crime
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It is when you follow them into boringdom
Sad that Lorde no longer exists
Scorching hot take/ avatar interface
Idgi, but I’ve never even been to a nail salon, tbh.
Quite like it
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I like it more than the last track tbh.
It’s really striking that lines like “‘Cause all the music you loved at sixteen, you’ll grow out of” use the same unusual cadence as Hope is a dangerous thing for a woman like me to have.
Don’t think the song is terrible, but it does feel a bit like everyone is just making their own slightly different version of the same Jack Antonoff album.
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This - really weird that these quite singular female voices appear to be getting homogenised by a dude. I guess they’ve all been taken into the same evil darkened record label room and shown the Big Data that explains they’ve gotten as big as they can without the assistance of hit makers.
Lords feels like a particular loss, though 
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Think it’s quite bad to assume that these songs are purely due to Jack and that the female artists’ provide minimal input.
His work as Bleachers, on Masseduction, Melodrama, 1989, Reputation, etc all show someone with more versatility than pretty orchestral Lana tunes.
Maybe Jack and the label are holding these artists hostage, or maybe Clairo and Lorde saw the beauty (and acclaim) of NFR! and thought they fancy a bit of that.
I was genuinely joking about the shady label side of it - obviously it’s much more natural and likely that these artists just happen to be going in that direction. That said, I do get a real whack of saminess from artists he’s involved with (and those trying to emulate them).