04/04/2026

LYFE SATURDAY | APR 4, 2026

25

Laufey poses at the red carpet during the 68th Annual Grammy Awards in Los Angeles, California. – PICS FROM REUTERS

Blending its orchestral roots with an undercurrent of rave energy, the track unfolds like a cinematic, nocturnal meditation on life in the digital age. Produced with frequent collaborator St Francis Hotel, 2515 captures the duo at its most refined and immersive. The track fuses its orchestral roots with a rave-inspired pulse, taking listeners on a nocturnal journey that shifts between introspection and dancefloor momentum. Hardy’s spectral vocals thread the track’s shifting elements, giving way to a sweeping, kinetic composition that reflects the disorienting rhythms of modern life. In the opening refrain – “2515, been in your car” – Hardy’s voice, which is wreathed in effects, broadcasted as a distant murmur, mirrors the motorised churn of the song’s setting. The result is an emotionally-charged landscape that captures Wasia Project’s interplay of stillness and confrontation, solitude and synergy, and bridges its cinematic sound with an undulating electronic throb. Lyrically, the song establishes the prevailing themes of jazz singer-songwriter Laufey says her mission is simple: get young people to fall in love with jazz. “It’s literally all I care about as an artiste – having people my age or even younger care about jazz music and classical music,” the 25-year-old told Reuters. That passion led Laufey to reimagine Blue in Green , the iconic composition by jazz legend Miles Davis, as part of celebrations marking the centennial of the trumpeter and composer, who was born in May 1926 and died in 1991. Laufey recently debuted her version live during a Twitch stream event in Manhattan Beach, California. Widely regarded as one of the most influential figures in jazz history, Black American musician Miles Davis spent nearly five decades at the forefront of the genre’s major stylistic transformations. Debuting on Davis’s 1959 album Kind of Blue , Blue in Green endures as a jazz staple. “When I was a kid, I would listen to Miles Davis and felt like no one around me understood it or cared. Then I realized they just hadn’t been exposed to it – or exposed to it in a way that felt like it was theirs,” Laufey said ahead of the performance. For Laufey, reworking Blue in Green became a way to bridge that gap. She added lyrics to the instrumental track, a process I CELANDIC-CHINESE

Laufey reimagines Miles Davis classic for new generation o Singer reworks legendary jazz track, adding vocals

TikTok videos that introduced jazz music to younger listeners. The approach helped propel her career beyond social media. Since then, she has released three albums and won two Grammy Awards for best traditional pop vocal album, in 2024 and 2026. In 2025, she brought jazz to the Coachella stage, performing alongside the Los Angeles Philharmonic.

the lyrics came together in about 20 minutes. Already a classically trained cellist, Laufey – whose full name is Laufey Lin Bing Jonsdottir – began building an audience during the Covid-19 lockdown by posting

she compared to solving a puzzle. After wrestling with the idea for some time, inspiration struck quickly. “When it all clicked, it felt like the clouds clearing and the sun coming out,” she said, adding that

Sibling duo Wasia Project wades through modern-day disconnection WA S IA Project – the sibling duo of Will Gao and Olivia Hardy – has returned with its new single 2515 , marking a comeback that signals the start of a new era and sonic direction.

Petals on the Moon . The duo gestured at a cooler sonic palette on its transitional EP Isotope (2024), which was accompanied by a beautiful short film. Wasia Project’s YouTube channel has also accumulated over 20 million views to date. The duo’s touring activity has cemented a growing legion of loyal fans. Its 2024 UK headline tour sold out within minutes, while its debut US run saw the duo support two-time Grammy Award winner Laufey across 13 dates. That same year, the duo also supported Brits Critics’ Choice Award winner Tom Odell across 18 European dates. The duo has also made notable festival appearances at All Points East and Lollapalooza Germany. Widely championed by leading publications, including British Vogue , The Guardian , NPR , GQ , DIY and Rolling Stone , Wasia Project has also graced the covers of NME , Bricks , Dork and Notion . With 2515 , Wasia Project continues to dissolve the boundaries between genres and emotional states, crafting music that feels deeply personal and collectively resonant – a soundtrack for late-night introspection and shared, unspoken understanding. The tonal shift of 2515 is down to its patchwork, era-hopping DNA and the curatorial nous of a duo in complete synergy.

fragmented connections and strained relationships within lifestyles of overwhelming pace, in a post-Covid epoch, honouring the muddled, murky digital landscape that the iGen/Gen Z generation find themselves wading through. “ 2515 marks a new chapter in our songwriting – it’s colder and darker than anything we’ve done before. A song fuelled by anger, the sonic mirrors racing thoughts that come with the emotion. With this track, we officially start our journey through the night,” commented Wasia Project. Formed in 2019, Wasia Project’s mixed British-Chinese heritage and classical training have inspired them to have a global approach to pop, which dynamically melds styles and influences that cuts across genre lines and even entire hemispheres of musical tradition. The duo’s dedicated and dialled-in audience has snowballed over the last few years, amassing over 200 million streams across its catalogue and peaking at 2.4 million monthly Spotify listeners. Its 2022 debut EP How Can I Pretend? featured their breakout hit Ur So Pretty , which earned two sync placements in Netflix’s LGBTQI+ hit series Heartstopper – in which Gao also starred in. This was followed by a series of dewy-eyed standalone singles such as live-favourite

Wasia Project is an alt-pop sibling duo consisting of Gao (left) and Hardy. – PIC BY CLARYN CHONG