On October 22, 2023, Laufey, the rising Icelandic pop-jazz star recently hailed as the reviver of jazz by Rolling Stone, graced Thalia Hall with a performance that showcased her exceptional musical talent and growing popularity. In October 2022, I had the opportunity to see Laufey at the smaller Lincoln Hall. Since then, with increasing commercial success via social media platforms like TikTok, her performances have doubled in size and excitement. I recall my first in-person experience with Laufey as very low-key—no one sang along, no one was recording the show. At her more recent performance, I felt the exact opposite energy. Young adults eagerly singing, dancing, and reveling in Laufey’s romantic melodies demonstrated her ability to transcend genre boundaries. As Vogue aptly puts it, Laufey is “Gen-Z’s resident emo-jazz romanticist.” Her soul-stirring pop songs, infused with a jazz twist, have captivated the hearts of many. The concert hall, buzzing with an energy reflective of her rapidly expanding fanbase, offered an intimate setting for the performance.
Laufey is known for her rich, sweet voice and her heartbreaking lyrics, but she is also an immensely talented multi-instrumentalist. Throughout the night, she effortlessly transitioned between bass, piano, and cello, revealing her versatility and instrumental mastery. These exciting transitions were nothing short of captivating. When Laufey was not showcasing her instrumental talents, her charming vocals were complemented by a full orchestra.
However charming Laufey’s musical talents were, I felt a lack of stage presence. For many indie listeners, this may seem like a minor critique, but the lack of energy failed to meet the traditional expectations of a pop concert by a foremost pop star. While the concert was packed and energetic, I desired more choreographed elements—not necessarily dance, but perhaps a more elaborate staging to elevate the visual aspect of the show. The choreography often felt awkward and unnatural. Her movements felt stiff, as if she was not comfortable moving in front of so many people. The concert would have benefited from far more energy.
As an avid concert-goer, I tend to learn tour setlists so that I can be prepared for my favorite songs, but I was taken aback by how Laufey tailored her concerts to each city on her tour. Her touch included dedicating a unique jazz standard to each city on her tour. “Two Sleepy People” by Hoagy Carmichael, with lyrics by Frank Loesser, was Chicago’s delightful addition, an Easter egg for the jazzier Laufey fans (or “Lauvers,” as she calls them).
Laufey’s performance at Thalia Hall was a memorable blend of musical technique and intimate connection, marked by the singer’s enchanting voice and instrumental versatility. While there’s room for her to grow in terms of stage dynamics and audience engagement, Laufey continues to prove that her blend of pop and jazz is a refreshing and captivating addition to the jazz-pop music scene.
