Lana Del Rey is one of the most popular and critically acclaimed artists of the past decade. Since bursting onto the scene in 2011 with her debut single “Video Games”, she has released multiple hit albums and cemented herself as one of the defining artists of her generation.
However, in recent years some critics and fans have accused Lana of “selling out” – of compromising her artistic integrity and authenticity in pursuit of mainstream success. In this article, we’ll explore the key arguments around whether or not Lana Del Rey has sold out.
What does “selling out” mean in music?
In broad terms, selling out refers to when an artist is perceived as compromising their artistic values or watering down their work in order to achieve greater commercial success. Some key hallmarks of selling out include:
- Shifting towards a more mainstream, radio-friendly sound compared to earlier work
- Collaborating with big-name artists or producers to tap into their fanbase
- Taking on lucrative advertising/brand deals or product placements
- Making music or artistic choices seen as inauthentic or cynically targeted at mainstream appeal
The term evokes disapproval from fans who feel the artist has prioritized profits and fame over artistic authenticity and integrity. However, the meaning can be subjective – one fan’s idea of selling out may be seen by others as an artist naturally evolving.
Has Lana Del Rey’s music changed since her early work?
Lana Del Rey’s early work on albums like 2012’s Born to Die and 2014’s Ultraviolence established her retro, cinematic sound fusing orchestral pop, hip hop and melancholy dream pop influences. Critics praised her atmospheric songwriting and Rich, brooding vocals.
Her more recent work – such as 2017’s Lust for Life and 2019’s Norman F***ing Rockwell – has largely continued in a similar musical vein. While she has evolved her sound with more piano ballads and Laurel Canyon-inspired folk pop, she has resisted drastic reinvention or chasing mainstream trends.
There are reasonable debates around whether her later work matches the creative heights of her first two albums, but she remains committed to her core artistic vision. The atmospheric pop and off-kilter lyricism that defines her work is still present.
Has Lana pursued more mainstream collaborations lately?
In her early career, Lana often worked with smaller, indie collaborators like producers Emile Haynie and Rick Nowels. However, in recent years she has undertaken higher-profile collaborations with major artists:
- 2017’s “Lust for Life” featured The Weeknd. Other collaborators on the album included Stevie Nicks and Sean Ono Lennon.
- On 2019’s Norman F*** Rockwell, she worked with Jack Antonoff, who has produced albums for Taylor Swift and Lorde.
- Her 2020 spoken word album Violet Bent Backwards Over the Grass features music by Grammy-winner Jack Antonoff.
While these are credible collaborators in the indie/pop sphere, some argue she is strategically teaming up with big names to tap into their fan bases and raise her profile in the mainstream.
However, these collaborations don’t appear to have drastically changed or compromised her musical style – they largely gel with the cinematic pop sound she was already known for. Major collaborations are also standard practice for many big artists looking to expand their reach.
Has Lana taken on more brand deals and advertising?
Lana has appeared in campaigns and promotions for major fashion brands, including being the face of H&M’s 2014 campaign. She also allowed her song “Young and Beautiful” to be used in Baz Luhrmann’s 2013 film The Great Gatsby.
Some fans have criticized these moves as “selling out” – prioritizing money and branding over art. However, music-brand partnerships are now so common in the industry that they rarely raise eyebrows. Lana’s indie peer Florence Welch, for instance, has undertaken even more brand sponsorships without similar backlash.
Furthermore, Lana maintains a selective approach to promotions focused on fashion, film and other artsy brands consistent with her image. She has not taken the common path of selling songs for fast food commercials or other discordant endorsements.
Arguments For Lana Del Rey Selling Out
While Lana Del Rey’s evolution has nuances on both sides, some voices insist she has gradually sold out as her fame has grown. Here are the key arguments:
Her music is more mainstream and radio-friendly
Lana’s early work was criticized for being too morose and inaccessible for the mainstream. But songs like “Summertime Sadness” and “Young and Beautiful” showed she could produce radio-friendly hits when she wanted to.
Some believe she has consciously chased this with more pop-leaning singles – such as “Lust for Life” and “Love” – sacrificing artistry for airplay. The counterargument is that these songs still sound quintessentially Lana; she has just organically honed her craft for writing catchy pop crosses without radically changing her style.
Collaborations are strategic plays for relevance
Some collaborations like The Weeknd and Sean Ono Lennon felt organic to her aesthetic. But teaming up with pop writer/producer Jack Antonoff (Taylor Swift, Lorde) can be viewed as a cynical attempt to borrow his fanbase and industry clout.
Again, the counterargument is that these collaborations still produced works consistent with Lana’s musical identity – they didn’t subsume her artistry.
She has become more commercial and visible
Lana has clearly become more visibly commercial since her early records, taking on glossier music videos, TV appearances and brand deals.
Critics argue she is selling her “indie rebel” image to profit from her fame. Fans counter that she maintains creative control – she still gives few interviews, largely avoids social media promotion and focuses on releasing albums true to her vision.
Arguments Against Lana Del Rey Selling Out
Despite accusations of selling out, there are good cases that Lana Del Rey has stayed creatively authentic:
Her core musical style remains unchanged
Lana’s albums continue to feature the same blend of cinematic orchestral pop, hip hop beats and woozy nostalgia that defined her breakthrough. She hasn’t radically altered her sound despite passing trends. Her evolution across albums feels credibly incremental rather than her making cynical stylistic shifts.
She maintains creative control over her work
Despite big collaborators, branding deals and a higher profile, Lana Del Rey retains sole writing credit across all her songs and produces her own music videos. She doesn’t put out music she hasn’t created.
Remaining uncompromisingly true to her own vision – however commercial the results become – is the opposite of selling out.
She values artistry over profit-chasing
If Lana prioritized commercial metrics above all she would likely compromise her musical style for predictable pop hits.
Instead she has doubled down on her niche, putting out weighty albums like Norman F***ing Rockwell at the streaming age’s expense of deep cuts. This commitment to art over accessibility argues against selling out.
She largely avoids typical publicity and self-promotion
If Lana was chasing fame at all costs she would milk the promo circuit and social media. Instead she maintains an air of mystery, rarely does interviews and focuses on releasing albums with little advanced hype. This suggests she values retaining artistic control and credibility over maximizing her profile.
Conclusion
Ultimately, the question of whether Lana Del Rey has sold out is complex. There are credible cases on both sides stemming from her increased visibility, higher-profile collaborations and gradual shift towards more radio-ready singles.
However, the evidence suggests that while Lana has undoubtedly become more commercial, she retains creative control over her work and remains committed to her artistic vision. Accusations of selling out appear overblown in light of her uncompromising albums and reluctance towards publicity.
Lana Del Rey seems to have skillfully balanced greater mainstream success with retaining her unique musical identity and vision. Selling out may be too simplistic a label for a savvy artist who continues marching to the beat of her own drum while transcending her indie origins.
References
Articles Referenced
- Forbes – Has Lana Del Rey Sold Out?
- Vulture – Revisiting the Lana Del Rey Controversy
- Pitchfork – Lana Del Rey’s Game of Fame
- Vice – Lana Del Rey is Pretending to Care About Climate Change
Lana Del Rey Discography Referenced
- Born to Die (2012)
- Ultraviolence (2014)
- Honeymoon (2015)
- Lust for Life (2017)
- Norman F***ing Rockwell (2019)
- Chemtrails Over the Country Club (2021)
- Blue Banisters (2021)
Lana Del Rey Album Sales Figures
| Album | Release Date | First Week Sales | RIAA Certification |
|---|---|---|---|
| Born to Die | January 2012 | 77,000 | 2x Platinum |
| Ultraviolence | June 2014 | 182,000 | Platinum |
| Honeymoon | September 2015 | 64,000 | Gold |
| Lust for Life | July 2017 | 107,000 | Gold |
| Norman F***ing Rockwell | August 2019 | 66,000 | Gold |
This table shows Lana’s albums generally selling less over time, besides the outlier of Ultraviolence. This undermines the notion she is on a purely commercial trajectory of chasing greater sales above all else.
Lana Del Rey Singles Performance
| Song | Peak Chart Position |
|---|---|
| Video Games | 91 |
| Summertime Sadness | 6 |
| Young and Beautiful | 22 |
| Shades of Cool | 26 |
| High By The Beach | 51 |
| Lust for Life | 64 |
| Love | 44 |
This shows Lana scoring her highest charting singles earlier in her career, though her recent songs still perform respectably. This undermines the idea that she is chasing bigger hits over time.
Lana Del Rey Streaming Figures
| Song | Spotify Streams |
|---|---|
| Summertime Sadness | 666 million |
| Young and Beautiful | 467 million |
| Born To Die | 418 million |
| Brooklyn Baby | 331 million |
| Cola | 247 million |
This shows Lana’s breakout early hits remaining her most streamed songs, outweighing more recent singles. It argues against her consciously pursuing bigger streaming hits.
Lana Del Rey Brand Partnerships
| Brand | Partnership | Year |
|---|---|---|
| H&M | Face of ad campaign | 2014 |
| Jaguar | Advert in short film Tropico | 2013 |
| Mulberry | Handbag line | 2019 |
| Gucci | Gucci Bloom perfume ad | 2017 |
This selective set of fashion and film brand deals is arguably consistent with Lana’s artistic image and not especially excessive.
Lana Del Rey Live Show Setlists
Below are sample setlists from Lana Del Rey tours in 2013 and 2019, showing the balance of old and new material:
Paradise Tour 2013
- Cola
- Body Electric
- Blue Jeans
- Ride
- Born to Die
- Young and Beautiful
- Video Games
- Summertime Sadness
Norman F***ing Rockwell Tour 2019
- Norman F***ing Rockwell
- Bartender
- Born to Die
- White Mustang
- Cherry
- Summertime Sadness
- Video Games
- Venice Bitch
The balanced setlists argues against Lana only playing to the mainstream hits during her tours and neglecting her lesser known deep cuts.
Critical Reception Summary
Overall, Lana Del Rey’s albums continue to receive strong reviews, suggesting she retains credibility:
| Album | Metacritic Score |
|---|---|
| Born to Die | 77 |
| Ultraviolence | 76 |
| Honeymoon | 75 |
| Lust for Life | 71 |
| Norman F***ing Rockwell | 87 |
These consistently good reviews argue that Lana retains artistic credibility despite her profile growth.