Catch Dua Lipa’s Cover of Natalie Imbruglia’s “Torn” at the Second Melbourne Concert

Dua Lipa Shines in Melbourne

Dua Lipa illuminated the “torn” Natalie Imbruglia at her second concert in Melbourne last night (March 18).

• Read more: Dua Lipa Live in Glastonbury: Powerhouse Performance to close critics

Concert Highlights

Returning to the Levver arena for her second show, the pop star was surrounded by her group on the B-Stage to perform the hit of the Australian singer from 1997 at the start of her collection, nestled between “these walls” and “Maria.” You can view the clips below.

This followed her rendition of AC/DC’s “Hell in Hell” earlier this week.

The show was her second out of five nights at the venue, concluding on March 23.

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https://www.youtube.com/watch?v=4QPFFFF0OMBSD4

Upcoming Tours and Announcements

This summer, the pop star will embark on a UK tour, beginning with two major concerts at the Wembley London Stadium (June 20, 21), followed by two shows at the Enfield Stadium in Liverpool on June 24 and 25. Before these performances, she will tour across Europe, hitting cities like Paris, Belgium, Milan, Amsterdam, and more. For tickets in Europe, visit here; for British dates, click here.

Last month, she announced a special reissue of “Future Nostalgia” to celebrate its fifth anniversary. The vinyl set will be released on March 28, nearly five years after the original album was released. The LP was initially set for April 3 but was moved forward by a week, coinciding with the start of the initial Covid-19 lockdown. The album also leaked, influencing the decision to accelerate its release.

In other news, Imbruglia, who previously discussed her struggles on the set of her “Torn” video, revealed that she refused to wear a dress for the video until her hit of the 90s, which was originally written and performed by the group Ednaswap, because it made her feel “dysmorphic and unsure.” Instead, she opted for army pants in the video.

“My intention was to wear something that wouldn’t show my silhouette because I didn’t want anyone to see,” Imbruglia explained. “But in the end, it became empowering, as it was like a (visible) androgynous strength.

“But really, it stemmed from the feeling of ‘Thank God I don’t have to wear a dress!’”