Laufey on Making Jazz Cool: The Fish That Unleashed Her Rage

Laufey on making jazz cool again – Laufey on making jazz cool has become a defining narrative in modern music. The Icelandic artist, known for her genre-defying sound, has always sought to bridge the gap between jazz and pop. By weaving the sophistication of traditional jazz with the raw emotion of contemporary pop, she has redefined what it means to be a modern jazz musician. Yet, the journey to make jazz cool again wasn’t without its challenges, especially when her music video for “Mad Woman” sparked a moment of unfiltered passion.

The Fish That Sparked a Moment of Fury

In the music video for “Mad Woman,” Laufey’s relationship with a man who wasn’t ideal for her took a dramatic turn. To express her frustration, she chose a bold and unexpected method: a red snapper. The scene, set in Los Angeles with a 1960s vibe, became a vivid symbol of her inner rage. “Oh my God, it was amazing. It was cathartic,” she recalls with a laugh. “I had a lot of unreleased energy that I released on poor Hudson.”

“I’m not a very angry person, but it felt good to scream and shout,” she explains. “I dug into my deepest memories of when I’ve been the most wronged by men and accessed a part of myself I didn’t know existed.”

The act of slapping Hudson Williams with a red snapper, which left him falling into a swimming pool, was a creative choice that highlighted Laufey’s ability to channel emotion into performance. The sequence required multiple takes, each infused with improvised insults that underscored her artistic vulnerability. This moment, though playful, was a turning point in her quest to make jazz cool again, proving that even the smallest gestures can carry deep emotional weight.

Breaking Boundaries: Laufey’s Journey to Jazz Relevance

Laufey’s music has long been celebrated for its genre-blending approach, but the challenge of fitting into the broader pop landscape has persisted. Her debut track, “Street by Street,” was categorized as “singer-songwriter” on its upload, a label that didn’t fully capture her jazz roots. Critics often debated her place in music, asking whether she was a jazz artist, a pop star, or a cellist. This uncertainty only fueled her determination to make jazz cool again.

Her time at Berklee College of Music in Boston shaped her sound, blending classical training with modern sensibilities. Growing up in Reykjavik, where she was introduced to piano and cello at four, she carried a deep respect for musical precision. However, her evolution into a genre-fluid artist has allowed her to embrace imperfection. “It was all inspired by my first experience of falling in love,” she says. “An experience that was both thrilling and unsettling.”

Laufey’s latest album, *A Matter of Time*, released in August, marks a significant step in this journey. The record explores themes of love and loss, with a focus on the ticking clock of relationships. Tracks like “Silver Lining” and “Lover Girl” reveal her growth, while “Sabotage”—the album’s opening track—captures the essence of her defiance. “The whole album was a challenge to myself to push beyond my artistic walls,” she notes. “To be a little scared. So that wall of noise, for me, signified breaking out of a traditional mould, both as a human and musically.”

Laufey’s ability to make jazz cool again lies in her willingness to blend genres and embrace raw emotion. Her music now resonates with a broader audience, proving that jazz can be both timeless and timely. By infusing her work with introspective lyrics and vibrant rhythms, she has carved a unique space in the music industry, one that honors her roots while reaching new heights.