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Laufey’s latest single, “Silver Lining,” released in early April 2025, marks a significant evolution in her musical journey. Following her Grammy-winning album Bewitched, this track blends her signature jazz and classical influences with contemporary elements, showcasing her growth as an artist.
“Silver Lining” introduces a bossa nova-inspired sound, characterized by mellow bass lines, light drums, and violin arrangements. This fusion creates a dreamy, nostalgic atmosphere that complements Laufey’s velvety vocals. Critics have noted the track’s confident and musically ambitious nature, highlighting her ability to meld jazz, pop, and modern classical compositions seamlessly. (quoted from Melodic Mag)
The song delves into themes of love and self-discovery. Laufey describes it as a reflection on how falling in love can liberate one’s true personality, allowing the inner child to emerge and be emboldened by passion. She explains, “Even if it takes you to hell, at least you’re with your partner.”
There’s something disarmingly childlike about the way Laufey sings of love in “Silver Lining”. Not childish—but childlike, in the sense of uninhibited, mischievous, and unafraid to leap before looking. The song reads like a diary entry scrawled in lipstick, a confession penned after a bottle of wine and too many impulsive daydreams. It’s messy, romantic, and absolutely sincere.
We open on a woman teetering on the edge. She’s caught in bad habits, “drowning in red wine and sniffing cinnamon” as if trying to spice up the numbness of routine with small, reckless rituals. But even amid this chaos, there’s an anchor: love, spontaneous and strange, arrives like a sudden giggle in a quiet room. She’s “kissing on the playground” and “acting like little kids,” not because she’s naïve, but because this love has returned her to a freer, less self-conscious self.
Then comes the proposition—not just of love, but of total surrender:
“When you go to hell, I’ll go there with you too.”
It’s romantic, yes, but it’s also defiant. This isn’t a fantasy of perfection; it’s a vow to stand beside someone through every beautiful mistake. It’s Laufey embracing the idea that love doesn’t have to be virtuous to be real. It can be bold, a little wicked, and still sacred. The “silver lining” isn’t salvation—it’s simply not being alone.
By the second verse, the narrator owns her flaws: not calm, not sweet, not someone people would expect to fall delicately in love. Yet here she is, spinning in “fields of rosy sin”, finding grace in a love that bloomed unexpectedly, even inconveniently. It’s a miracle, she says, and she treats it like one: irreverent, reckless, and totally alive.
The song’s outro doesn’t try to resolve the tension. There’s no lesson here, no neat conclusion—only a final whisper:
“The silver lining’s I’ll be there with you.”
It’s not redemption that matters, but presence. In Laufey’s world, love doesn’t save you. But it makes the fall feel worth it.
The music video is on Youtube.
[Verse]
I’ve been falling in bad habits
Staring into the abyss
Drowning in red wine and sniffing cinnamon
We’ve been kissing on the playground
Acting like little kids
Making dirty jokes and getting away with it
[Chorus]
So, I propose
It’s long overdue
When you go to hell, I’ll go there with you too
And when we’re punished
For being so cruel
The silver lining’s I’ll be there with you
[Post-Chorus]
Mm-mm
[Verse]
Never been calm or collected
No one ever called me sweet
What a miracle, I found a darling
I met you at the worst time
Fell in love on a whim
Now we pirouette in fields of rosy sin
[Chorus]
So, I propose
It’s long overdue
When you go to hell, I’ll go there with you too
And when we’re punished
For being so cruel
The silver lining’s I’ll be there with you
[Outro]
Ooh
Ooh, ooh
The silver lining’s I’ll be there with you
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