Amy Vee pulls back up with the kind of stillness that makes you stop mid-scroll, mid-thought, mid-everything. “Blood in the Water” is her first studio release since Live at Lizottes (2023), and she shows up like someone who’s been doing some serious inner recon. The NSW indie-folk/dream-pop singer leans into that calm, cool, slow-burn approach she’s known for, but here, it feels sharper, more distilled, almost like she’s standing at the edge of a truth she’s finally ready to say out loud.
The track is soft on the surface, chilled beat, airy guitar, vocals that sit so close it feels like she’s singing into your ear, but underneath, there’s this creeping tension. The kind that builds without raising its voice. You can hear the influence of two years on the road too: the quiet confidence, the little imperfections left in on purpose, the way she balances vulnerability with precision. Produced alongside longtime collaborator Gareth Hudson, the song is minimal but deep, like looking into dark water and realizing you can’t see the bottom.
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Vee gets in her poetic bag, pulling from that space where secrecy, guilt, clarity, and consequence start blending into each other. Lines like “Apologies hang like waves” and “I didn’t make this cross, but now I’ve made a mighty prayer” hit especially hard almost like she’s confessing and questioning herself in the same breath. It’s reflective without being dramatic, honest without oversharing, and the delivery is so relaxed that it sneaks up on you.
As the track moves into its final stretch, the repeated line “It’s not one, not the other” feels like someone finally admitting the answer isn’t black and white, and maybe never was. By the time she gets to “To my grave,” the whole song has settled into this eerie, beautiful calm, like the eye of an emotional storm.
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“Blood in the Water” marks the start of a new chapter for Vee, a return to studio storytelling with more music expected in 2026, and it’s the perfect bridge between her stripped-back live sound and the atmospheric lane she’s stepping into now. It’s smooth, spacious, and quietly devastating in that Amy-Vee way.
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