AUBANY - Waterworks
Editorial
By Glitch & Gold
February 2026
Some songs are in no rush.
Waterworks is one of them.
It runs just under three minutes. On the surface, very little happens. A piano. Space. Her voice, not trying to convince anyone, simply present.
And yet it never feels small.
The first line lingers immediately.
“I do believe that there’s water in your eyes.”
She sings it without drama. Without emphasis. As if she’s stating something that has long been visible. It’s not an accusation. Not a plea. More an observation.
That’s what makes it powerful.
Waterworks moves slowly. The piano lays a soft foundation, almost cinematic. No grand chords. No swelling build. Everything revolves around atmosphere. Breath. The space between the words.
She sings about time, about memory, about letting someone go without losing yourself in the process.
“Taking a lifetime to learn to let you heal your inner child without me there.”
That isn’t a simple love lyric. That’s maturity. That’s recognising you are not someone’s saviour.
What stands out is how little she needs. No heavy production. No build toward an explosive climax. The repetition of “I do believe” doesn’t feel like emphasis, it feels like reassurance. As if she’s calming herself as much as the listener.
The song leans toward cinematic folk. Dreamlike, but never drifting. There’s a soft melancholy that recalls Lana Del Rey in her most restrained moments. At the same time, Aubany carries a distinct timbre. Her voice holds something self assured, even when she sings about vulnerability.
That tension is what makes the track compelling.
She sounds delicate, but not fragile.
Dreamy, but not distant.
Waterworks doesn’t overwhelm you. It seeps in. It settles quietly. And by the time it ends, you realise you’re still inside it.
Sometimes three minutes are enough.
Featured in our New Indie playlist