On the evening of April 19, hundreds of jazz, pop and of course, Laufey lovers (including myself), flooded the Bass Concert Hall for her “Bewitched: The Goddess Tour.” Constantly on the go, Laufey began this tour barely a month following “The Bewitched Tour,” which had recently wrapped up in its United Kingdom and European Union wing. For many established artists, this is routine. However, for this recently rising musician, this step is a big one.
Upon arrival, the aura, vibes and aesthetic of the environment around me felt as though I had walked straight into my Pinterest board. On top of that, the connection you feel once you’re put in a room of people who share similar passions and experiences is unmatched. Each level of the building was occupied by lengthy queues for merchandise and a tour-themed photo platform.
As the chatter amongst the audience about what Laufey would be wearing or what surprise songs she could possibly play died down, opener Grace Enger took center stage. This indie pop set excellently established a magical essence for the performance ahead.
The cheering for Enger’s final bow converted back into chattering, which soon broke into screeches as Laufey met the eyes of the audience. Apart from the undeniable joy that overcame me when seeing an idol of mine perform, I have never felt an artist’s set and lighting capture what the music sounds like until this performance. When the artist has the ability to put a mere concept in their head into a concert hall of nearly 3,000 fans, the potential of musical creativity is proved.
Given that this is a tour introducing and promoting her deluxe album, Bewitched: The Goddess Edition, the set list consisted of one unreleased and one released track. As an avid listener of both, it was unreal getting to hear each one live. She pulled from her earlier releases and also played songs from her most recent album. Despite my strong desire for her to perform with an orchestra, her band beautifully complemented the performance with soul shaking drumming and an entrancing quartet. To no surprise, Laufey’s musical ability outstretches vocal musicality. This was most evident when she performed piano ballads like “Let You Break My Heart Again” and “Nocturne” as well as acoustics like “Second Best” and even two extraordinary cello pieces: “Beautiful Stranger” and an “I Wish You Love” cover.
As the show came to an end, the final track of the night brought a pleasant surprise with it. Her twin sister Junia made way to the stage as she accompanied Laufey with bewitching violin playing, which continued as Laufey skipped off stage. With an approximately three minute standing ovation, fans yelling for her to come back, she did just that. This encore, to my pleasant surprise, consisted of one of her tracks that is the most meaningful to me, “Letter to my 13-year-old-self.” The lyrics express to her younger self how she should continue on with her dreams perfectly encapsulate just how special that moment was.
As she commented on one of her own biggest musical influences, Ella Fitzergald, Laufey’s voice emulates the musicality of a cello, and additionally shone through in her thoughtful lyricism and execution. I now know all of this to be absolutely true, in and out of a studio.
