Brazilian-born artist Laura Pieri releases “Flown Away,” a track that connects her journey from São Paulo teenager to transatlantic pop aspirant. The single, layered with synth-driven melancholy and bilingual lyrics, reflects Pieri’s nine-year evolution since relocating to the U.S. at 16 to pursue music.
“Flown Away” pairs minimalistic piano chords and trap-influenced percussion with Pieri’s airy vocal delivery, which swings between English and Portuguese. The chorus “I’ve flown away / But the roots remain” highlights the tension of cultural dislocation. Unlike her 2020 single “Grenades,” which leaned into maximalist EDM drops, this release opts for restrained dynamics, allowing lyrical vulnerability to dominate.
Laura Pieri ‘s journey of YouTube collaborations with producers in New York and Los Angeles aligns more closely with Rosalía’s genre-blurring experimentation. The track’s bilingualism mirrors her lived experience of negotiating identity across hemispheres. However, where Rosalía deconstructs flamenco traditions, Pieri’s work remains firmly within pop’s commercial frameworks, prioritizing accessibility over avant-garde risk.
“Flown Away” arrives as Latin American artists increasingly dominate global charts, but Pieri’s narrative diverges by centring introspection over regional pride. The track’s focus on displacement geographic and emotional – resonates with immigrant artists like Omar Apollo, who similarly mine biculturalism for thematic material. However, Apollo’s work incorporates R&B and funk influences, while Pieri’s remains anchored in conventional pop structures, limiting its experimental reach.
Laura Pieri ’s earlier releases, including 2021’s “Better,” showed a songwriter refining her voice through trial and error. “Flown Away” suggests maturation, particularly in its restrained production choices. Yet the track’s avoidance of Brazilian musical signatures, a hallmark of Anitta’s work, raises questions about how Pieri will differentiate herself in a genre increasingly defined by cultural hybridity.
