‘I’m really a shy, library person,” says Lorde, who adds, “I’m an introvert, a writer—just trying to translate what’s inside my chest.” Despite her shyness, the 20-year-old New Zealand native and Grammy winner (whose real name is Ella Yelich-O’Connor) achieved global success at age 16 with her triple-platinum debut album, Pure Heroine, and its chart-topping single, the indie-pop, sparsely produced “Royals.” Now, after a three-year hiatus, Lorde is releasing her follow-up album, Melodrama. Here, she talks with Lisa Robinson about feelings, fear, and fame.

Lisa Robinson: You’re making an auspicious return to the stage: S.N.L., festivals such as Coachella and Glastonbury . . . any pressure?

Lorde: Yes, relaxing first show in three years, main stage at Coachella. . . . It is a lot of pressure, but it’s the kind of environment that the work deserves. High-octane moments reflect where I think the work came from. Somehow, being onstage in front of thousands of people is not dissimilar to dancing in my living room.

Why title the new album Melodrama?

It’s a nod to the types of emotions you experience when you’re 19 or 20. I had such an intense two years, and everything I was feeling—whether it was crying or laughing or dancing or in love—each of them felt like the most concentrated version of that emotion. I also have a love of theater and I love drawing a parallel with Greek tragedies. But there’s definitely an element of tongue-in-cheek; it’s very funny to title your record Melodrama.

You said you’re an introvert, but you’re very physically expressive onstage, and this isn’t exactly an introverted job.

It truly is not. I’m a writer first, and writers are some of the most introverted kooks there are. It definitely makes no sense, but I have to bridge the gap and do what needs to be done for the work. I’m painfully shy, and I have horrific stage fright. It doesn’t come naturally to me at all. As a writer, I always knew I would do something, but I didn’t know it would be music. This is the first year I’ve felt unbridled and truly confident. Still . . . you have to draw yourself out in such a way you think you could never do it again. I have a robust prescription of beta-blockers.

You’re very protective of your work—has it been difficult to stand up to record executives?

I’ve always been so sure of what the work needed that only I could protect it. It never really felt like it was a big deal or frightening. [With Pure Heroine] I was a teenager and I knew what wouldn’t fly with other young people. A lot of it had to do with being 16; everyone thinks they’re the shit when they’re 16. But I have no qualms about walking into a conference room and shooting down a bunch of million-dollar ideas.

Are you still avoiding red carpets?

I’m a great believer in sticking to your strengths, and I don’t think anyone needs to see me looking like a dork trying to look cool on a red carpet. I don’t feel wonderful about myself when I do them.

What were your goals for Melodrama?

It’s a little more stylized than the first one. It’s really a collection of moments, thoughts, and vignettes when I said to myself, “Don’t forget this.” And it wasn’t until I went through heartbreak, and moved out of [my parents’] home into my own house and spent a lot of time totally alone, that I realized I do have very serious, vivid feelings I needed to get out. Working with [co-writer/co-producer] Jack Antonoff opened me up to feeling a lot; he was the perfect person to help me do that.

“Green Light” was the first hit from your new album; is it a breakup song?