Movies

Laufey on jazz purists, Olivia Rodrigo and her new Hollywood Bowl concert movie

BBG News

As a seasoned artist with a career spanning over two decades, I can empathize with Mariah Carey’s journey and the challenges she has faced in breaking barriers and defying categorization in the music industry. It’s refreshing to see an artist who refuses to be confined by genre labels and instead carves her own path, speaking to listeners on their intellectual level with mature themes.

Five years ago, Laufey knew who she was.

She admits, “At least, I was acquainted with numerous individuals I had become. What remained a mystery to me, though, was my identity as a singular entity.

Born to an Icelandic father and a Chinese mother, Laufey was raised in Reykjavik where she studied the classical cello. Later, she attended Boston’s Berklee College of Music, honing her skills in jazz singing. Throughout this journey, she expressed a deep affection for musicals and Taylor Swift. Her dream was to unite these genres, but she hadn’t seen any artist who had managed it before.

Laufey took the initiative: Throughout the pandemic, she began composing romantic, vintage-style songs with intricate melodies and jazz chord progressions, which she then showcased on TikTok, attracting a following of young, nostalgia-seekers. Her first album, “Everything I Know About Love” (2022), ranked third on Billboard’s jazz albums chart; her subsequent release, “Bewitched,” surpassed this and earned a Grammy for the category of traditional pop vocal album in the previous year.

In my own words, I find it amusing to be recognized as the youngest victor in that specific category at the age of 25. Yet, I don’t consider myself incredibly youthful compared to others.

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A recently published biography focuses on the life story of the 81-year-old musician, who is both a songwriter and composer. This work was penned by Robert Hilburn, a previous critic for The Times in the pop music section.

Currently, Laufey is the main act in a grand movie about a symphony concert that’s hitting cinemas this weekend titled “Laufey’s Night at the Symphony: Hollywood Bowl”. This film was directed by Sam Wrench, who Swift fans recognize for his work on the hit production “Taylor Swift: The Eras Tour”. The movie captures a show Laufey played in August last year with the Los Angeles Philharmonic, held at the legendary Hollywood Bowl. During the concert, she performs her own songs as well as a few classics such as “I Wish You Love” and “It Could Happen to You”. Additionally, we get a glimpse of Laufey spending time with her twin sister (also creative director), Junia, and cruising around Los Angeles in a classic car, where she’s resided since 2021.

She emphasized that it was significant to her for viewers to catch a glimpse into her thought process, as she put it about the film. Clad in a striped shirt featuring a Peter Pan collar, which she playfully referred to as “dressing like a kindergartener,” Laufey took a seat at the Bowl during a recent afternoon, and we had an extensive conversation in the very same dressing room she occupied on the night of her concert.

Was there a chance you found it challenging to remain focused on the present during your performance here, given that it was recorded for future generations? In truth, my concentration is usually divided between the future and the present; I even know my schedule two years ahead of time. However, when I’m on stage, whether cameras are rolling or not, I become completely engrossed. I understood that the filming was significant, but it wasn’t what truly mattered to me that night. What mattered most was entertaining the 17,000 spectators in attendance.

It’s unexpected, considering that most of your followers initially encountered you via a screen. However, the focus has always been on delivering a top-notch performance. If I truly disliked how I appeared in the film, I could have minimized its impact. But that memorable night would remain indelible.

Did you ever fantasize as a child about residing in Los Angeles?

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In the concert film, the cinematography reminded me of “La La Land.” Was “La La Land” one of your significant inspirations during the creation process?

Which character portrayed by Ryan Gosling or Emma Stone do you find yourself relating to more?

I really resonate with that particular scene where she and her roommates are preparing to go out, as I’ve had similar experiences many times before. I didn’t relocate to L.A. only after things started progressing. Instead, I found myself in a small sublease on Fairfax, which concerned my parents greatly. In a way, I identify with the two characters, being their child who, unlike the ending of the film, is very much alive in reality because it was all a dream.

Is it your opinion that the film might be poking fun at Ryan Gosling’s character, as he seems to embody many types of men I’ve encountered in my dating life?

Have you crossed paths with someone in Los Angeles or Reykjavik? Actually, I’ve been everywhere, having attended Berklee College of Music. That person and I share common ground, as I have also walked in their shoes. I may not embody the traditional puritan any longer, but I can relate to its roots. It stems from a deep, unadulterated passion for the craft.

You’ve discussed the balance between technical ability and musical expression. Let me explain how charm or personal appeal factors into my abilities: Honestly, it’s not something I often consider about myself, but I do notice it in others. When I say “star power,” I mean that certain performers just seem to radiate charisma on stage. It’s a quality that can make an audience connect with the musician and their music on a deeper level.

Who has it?
I think Chappell Roan has it. I think Olivia Rodrigo has it.

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2024 was a bustling year for the award-winning music producer and composer, marked by collaborations with Taylor Swift, Sabrina Carpenter, and his band Bleachers.

“You went with Olivia to her concert movie premiere in October. I’m curious, how did you two become acquainted?” She unexpectedly contacted me via text from a number I didn’t recognize: “Hey, this is Olivia Rodrigo. I’m a big fan of your music. Fancy grabbing some time together sometime?” I was taken aback and even shared the message with my whole team, thinking it might be spam. But then, I responded casually with my address. That led to us spending time together. We both share a mixed racial background, and it seems like we’ve experienced similar challenges this year, albeit on different scales. It’s been really comforting to connect with her and share our experiences without feeling out of place.

Are you asking if I seem to be immersed in the current trend of pop music that has a theatrical feel?

Have you had a chance to watch “Wicked”? I was at its opening night, and it’s one of the best films I’ve ever encountered. There have only been a handful of movies that left me feeling the same way – perhaps twice or thrice: “Wicked,” “La La Land,” and “An American in Paris.

In my mind, the essence of theater kids’ energy is employing artifice to reach genuine emotions.

Imagine if instead of being a songwriter, you were just a singer performing classic tunes. Could that path have brought you fulfillment? After all, there’s a specific reason why I chose not to go down that route.

Absolutely. Having a twin has given me an extraordinary starting point. Since birth, I’ve had a built-in soulmate, making my search for friends, love, and life companions even more demanding, thereby offering numerous challenging and inspiring experiences that fuel my songwriting.

Do men ever feel intimidated by your bond with your sister when it comes to dating?
If they do, then they probably didn’t get very far [laughs]. I believe it’s evident from the outset that if you’re close with me, you’re automatically close with her as well.

Have you ever pondered if your lovely singing voice sometimes restricts you? Can it be utilized to convey something unpleasant or harsh? At the moment, I’m wrestling with this very question as I’m working on my upcoming album. My music, regardless of its tone – whether it’s melancholic, cheerful, or sarcastic – is always crafted in a mellow and beautiful singing style that feels most natural to me. However, for this next album, I’m experimenting with the various emotions I can express through my voice.

I went to see Sabrina Carpenter play at Crypto.com Arena recently —
I was there — it was incredible.

Are you considering incorporating such explicit themes into your music? Indeed, there are songs in my repertoire that delve into those subjects, albeit subtly veiled. For instance, a track I’ve composed named “Haunted” speaks of a one-night stand experience. As I mature, I find myself growing more open and honest, which I believe is evident in the lyrics of my compositions.

As a passionate cinephile, I’ve been pondering a question: Would it be possible for me to slip an expletive into one of my songs? In the bonus tracks of “Bewitched”, the last word on one track is “f***”. This got me thinking about how to use attention-grabbing elements without making them feel like cheap gimmicks. I could easily pen a song filled with vulgarities, but that would surely stir up controversy because I’m known for keeping things clean in the public eye. Funny enough, I’m known by many as a master of colorful language behind closed doors.

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The vocalist, also a skilled composer, discusses her new role, self-proclaimed as the ‘Queen of Christmas,’ in her second profession.

I saw an extended YouTube video on you, featuring a jazz musician.

The person clarifies that they do indeed improvise, albeit more than people realize – they improvise on the cello and piano. However, when performing live, they don’t improvise vocally as much because of their background in classical music, which doesn’t encourage improvisation. Instead, classical music focuses on learning the existing repertoire, not creating new pieces.

How do you feel about criticism similar to what’s shown in that video? If you’d like to listen to discussions from jazz and classical music communities where they critically analyze my work, I think it sounds interesting — go ahead and enjoy it. I hold these communities in high regard. Whether they reciprocate the same level of respect for me is something I’m unsure about.

Does what I said upset you? Well, being a people-pleaser, naturally it does. But my music didn’t gain popularity because I’m categorized as a jazz musician or a classical musician. I genuinely adore those genres and believe deeply that I grasp their essence. However, the reason for my career success is because I refused to confine myself within such labels. People often say, “But it’s not jazz!” To which I reply, “Indeed, it isn’t.” And I never claimed otherwise.

It appears some individuals are pushing for you to acknowledge certain claims, but what they really seem to desire is an opportunity to scold me. They want me to stand there, appearing ignorant about music, as if I’m merely stealing the best parts and popularizing them. However, nothing could be more untrue.

Is it more about gender-related issues?

Do you know Rufus Wainwright’s music?
Sort of. He handed me my Grammy.

25 years ago, she was composing songs in an old-fashioned style about contemporary life, much like what you’re doing now. However, it’s unlikely that she encountered the same amount of doubt and skepticism as a woman in the classical and jazz communities might have faced back then.

For the upcoming album, it might be suggested that you consider collaborating with artists like Jack Antonoff or Dan Nigro instead of continuing with Spencer for a change.

Did that resonate with you? He truly understands me, and he’s one of the most adaptable producers out there. If I approached him and said, “I want to create a pop album,” he could pull it off just as easily. However, any manager or executive who would advise me to drastically change my career path wouldn’t be very astute. There are so many fantastic pop artists currently thriving — women of my age who tackle mature, intelligent, witty, and beautiful themes — that I see no need to follow suit. I feel a sense of obligation to address listeners on the side of their brain that appreciates my type of music.

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2024-12-06 14:34

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