Next time someone asks you what kind of music Laufey makes, don't say "jazz." Say she invented her own genre. Then send them a link to "Bewitched" —and watch them fall under the spell.
Her music has been variously described as jazz-pop, classical-pop, or "bedroom jazz." However, these labels often fail to capture the nuance of her artistic identity. Laufey’s sound is a unique blend of lush, old-school jazz arrangements, classical sensibilities, and pop songcraft. The Foundations of the "Laufey Genre"
In an era of maximalist production (think Beyoncé or Dua Lipa, where 200 tracks are in the mixing board), Laufey gives you three instruments: piano, bass, and voice. That silence between the notes is her genre. It feels intimate, like a secret. laufey genre
So why does she get placed in jazz? Because she resurrected the feeling of a 1950s vocalist. Laufey has effectively created a . She isn't playing bebop; she is playing the memory of a Hollywood romantic comedy score.
When you listen to her, you are not listening to the past. You are listening to the future learning how to cry again. And that, more than any chord change or vocal run, is the sound of a new genre being born. Next time someone asks you what kind of
To speak of the “Laufey genre” is to engage in a critical paradox. On paper, she is a jazz artist. Her chord progressions borrow from Gershwin and Porter, her vocal phrasing from Fitzgerald and Holiday, her arrangements from the lush, string-drenched balladry of the 1940s. But to file her next to Ella Fitzgerald in a streaming service’s taxonomy is to misunderstand the revolution entirely. Laufey is not a revivalist. She is a bricoleur of borrowed time. The genre she has created—consciously or not—is not jazz, nor classical crossover, nor bedroom pop. It is .
Because the offers something most modern music lacks: Space. Laufey’s sound is a unique blend of lush,
Rhythmic influences from Brazilian bossa nova are prominent in hit tracks like "From the Start" and "Lover Girl".