Thursday evening (February 26th) Laufeny plays in the Wiener Stadthalle. Sold out, of course, as was the case recently in the Berlin Velodrome, and soon also in Brussels, Amsterdam, Paris and Manchester. A feather-light triumphal procession through Europe.
With her mix of jazz and classical pop, in just a few years, Laufeny has become one of the most influential voices of her generation. She will be 27 this April.
Almost seven billion streams worldwide, more than 25 million followers on social media, multiple platinum awards and the most successful jazz debut on Spotify mark their rocket-like rise. In the US celebrity magazine “Forbes” she is in the “30 Under 30” list; In “Time” magazine she is one of the “Women of the Year”.
After a sold-out North American tour in 2025, it becomes a cultural-historical paradox, driven by ADHD platforms like TikTok. “Laufey is bringing jazz back – to Gen Z,” is one of the oft-used headlines.
The strikingly young faces and the corresponding costumes with fairy Disney musical skirts and cardboard crowns that could be found in the Berlin Velodrom visualize the phenomenon.
A precise revue in four acts
Laufey’s live approach is an ambitious, precise revue, divided into four thematic blocks that flow seamlessly into one another. Inspired by Ella Fitzgerald and other greats, she combines jazz ballads with sparkling bossa nova, chamber music string sections and a penchant for cinematic drama. Around 15 musicians take turns on stage; Dancers dance to the boss, who sometimes plays the guitar and then sits at the piano again.
Her clear, warm, technically skilled voice is the focus – when she’s not making long-winded, humorous statements. “Talking too much about people who are talking too much” is one of those in-jokes. And of course he also means himself.
Look, that’s just how I am! The teen and twenty-something audience eats out of Laufeny’s hands.
Fairytale kingdom in the concrete hall
The current “Goddess” tour creates an aesthetic fairytale kingdom in a sober concrete sports hall with a permanently installed cycle track. She sets a curved show staircase against it, and a dreamy swing is also part of it. She moves through this setting with a flowing robe and fine gestures – warmly in direct contact with the audience, at the same time stylized as a Snow White-like projection figure.
Their aesthetics refer to eras of pop history that their fans have never experienced “authentically”. In her lyrics she sings in the swing of her generation about heartbreak, self-doubt and self-empowerment nonsense.
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“Snow White” goes against conventional female beauty ideals. Her new album, she says on stage, was created directly from her diary. Women are often said to be either sweet and gentle or angry – they have shown their sweet side for a long time and now want to give space to their anger. Accordingly, a song about kicking in the trash follows a bad relationship.
She juggles between gently emancipatory messages and a deliberately magical, classic production. Contradiction or clever punch line?
The general atmosphere is also remarkable: no screaming alarm, but a multi-voiced, as if trained, choir that carries the artist through the evening.
Laufey proves “on stage” that virtuosity, orchestral opulence and classical twists work wonderfully, even and especially in the anything-is-possible year of 2026 – between cozy diary intimacy and the largest possible stage. The sky is the limit. There is no telling where this will all end.
