When I reviewed Icelandic singer Laufey (pronounced LAY-vay) in 2024, it was clear she was poised to become one of this generation's defining artists.
At the time, she had released two studio albums, Everything I Know About Love (2022) and Bewitched (2023), won a Grammy Award, and was fresh off her debut appearance at Coachella.
In the two years since, Laufey has released her acclaimed third studio album, A Matter Of Time (2025), followed by its expanded reissue, A Matter Of Time: The Final Hour (2026), earned a second Grammy Award, and returned to Coachella, once again captivating festival crowds.
But few things illustrate Laufey's meteoric rise better than the A Matter Of Time Tour. When she was last in Australia, she played six sold-out dates, including three nights at Melbourne’s Palais Theatre. Just two years on, she’s returned for an eight-date arena tour, with three nights at Rod Laver Arena.
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British singer-songwriter Leonie Biney's intimate set provided an understated introduction to the evening. Across nine songs, Biney had the audience transfixed with her delicate vocals and evocative lyricism.
She opened with Learning Curve, off her latest EP When You Turn Around, immediately establishing a hushed, reflective mood that would define her set. Other highlights included I’m Making You Coffee, Love You So, and her viral breakthrough Beach Song, which has amassed more than three million streams on Spotify.
Hers are songs for the depths of winter, for late nights and steaming cups of tea. She closed with Groupie, its hypnotic guitar ostinato bringing her quietly mesmerising performance to an end.
While undeniably a premium entertainment venue, Rod Laver Arena isn’t the natural home for an intimate jazz soirée. Yet, as Laufey emerged to the “ding, dong” opening notes of Clockwork, the arena's enormity seemed to dissolve. Over the next two hours, she transformed the vast space into something resembling a smoky lounge.
Performing 25 songs across five acts plus an encore, Laufey’s elegant blend of mid-century jazz, chamber pop, and bossa nova felt like the musical equivalent of a Nora Ephron film. Endearing tales of unrequited love, wistful longing, and fleeting encounters unfolded through a modern lens and timeless orchestrations.
Weaving together songs from all three records, her catalogue revealed itself as a cohesive portrait of an artist who has possessed a remarkably assured voice from the very beginning.
The nostalgic Dreamer nestled comfortably beside Promise and Let You Break My Heart Again, while songs from A Matter of Time naturally dominated the night with standout performances of Lover Girl and Tough Luck. Laufey also performed a charming rendition of Burton Lane’s Old Devil Moon.
Fan favourite From The Start sent the arena into raptures, while Madwoman saw Laufey joined on stage by her twin sister, Junia, on violin, for what has become a cherished tradition at her shows.
So, what’s different this time around? Well, aside from the aforementioned venue size, quite a lot.
The stage is grander in every sense, with a lavish production that leans into her classic aesthetic with a twinkling twin staircase, a swing, elegant archways, and cinematic projections.
The ambitious show extended beyond stage design. Her accompanying band, featuring a superb string section, were exceptional, particularly on Falling Behind and Valentine.
Meanwhile, a quartet of dancers heightened the romanticism of it all, adding movement to Laufey’s dreamlike world. Yet, despite all the added grandeur, the show never felt excessive. Instead, every element worked to immerse us into Laufey’s world.
Still, for all that’s changed, some things remain wonderfully familiar. Two years ago, Laufeycore felt like an emerging fashion subculture. Today, her fans, affectionately known as Lauvers, boast one of the most distinctive fan aesthetics in all of modern pop. Think preppy meets coquettish.
And they go all out with handmade felt crowns, bows, and cutesy outfits, all in the hope of being crowned the night’s Best Dressed Guest.
Last night, that honour went to Dax, who got to meet both Laufey and Mei Mei The Bunny, the beloved character from Laufey’s children’s book who has become something of a mascot at her concerts.
Meanwhile, Laufey looked every bit the showgirl in four looks, including a shimmering blue dress and a bedazzled black-and-gold fringe set complete with a sash reading “Melbourne.”
Just as her costumes changed throughout the night, so too did her instruments, as she effortlessly switched between piano, guitar, and cello. One of the evening's standout moments came during Cuckoo Ballet – Interlude, where Laufey held the audience mesmerised with her expressive cello solo.
But her greatest instrument remains her voice. Shimmering like sparkling rosé, it possesses a rare sentimental warmth and luminosity. And nowhere was that better demonstrated than on the ethereal Goddess, her voice billowing from behind the piano.
Indulging fans dressed as coffee and leftover pie, Laufey swapped out the scheduled penultimate song for Slow Down, a fan-requested deep cut she hadn’t performed live in years.
Some songs, however, are simply too perfectly placed to move. Two years on, the deeply moving Letter To My 13-Year-Old Self still occupies the final cherished spot in the set. Its message of self-belief serving as the evening's parting note.
“Keep moving forward with your dreams,” Laufey told the crowd. It’s a fitting conclusion to a performance that celebrates not only how far Laufey has come, but also the vulnerability, optimism and sincerity that have defined her remarkable rise.
