Mon Laferte had so much to say, that her acclaimed 2025 album Femme Fatale was not enough.
On Friday (June 12), the Chilean-Mexican singer-songwriter released Femme Fatale Vol. 2 (Sony Music Latin), featuring 20 new songs in which she continues to tackle themes like emotional dependency, trauma, father relationships, politics and motherhood, with an ethereal, more eclectic sound.
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Femme Fatale Vol. 2 arrives only eight months after Femme Fatale, a poetic and dark exploration of femininity, desire and vulnerability in which the author of hits like “Amárrame” and “Tu Falta de Querer” blended jazz with alternative pop and vintage sounds.
Produced by Mon Laferte alongside Manu Jalil, with some tracks co-produced by Rick Nowels, the new set — her tenth studio project — incorporates elements of blues, folk, punk and alt-rock. It opens with “For Your Consideration,” a reflection on fame born from voice notes on her phone (“I don’t like admitting that I’ve become a commodity,” she sings). The set closes with “Gigante,” an emotional track she wrote nearly two decades ago at age 26, after undergoing a thyroid surgery that put her voice at risk.
The album features three collaborations: “Eterno Resplandor de Una Mente Sin Recuerdos” with Chilean artist Javiera Electra, “Quién Soy Yo Cuando No Estoy Contigo” with Mexican artist GRTSCH and “While I’ll Keep Writing Songs for You” with American singer-songwriter St. Vincent (their second collaboration following “Tiempos Violentos” from 2025). Lead single “A pesar de ti y de mí” was released this week along with its music video.
Laferte, who will bring her current Femme Fatale Tour to the U.S. this summer, sat down recently with Billboard Español in New York City to talk about her new album, which you can listen to in full here.
You just released Femme Fatale last October and you’ve been busy touring. When did you find time to write 20 more songs?
Actually, these are all the songs I had while selecting tracks for Femme Fatale. It’s not like I wrote 20 new songs — when I started curating Femme Fatale, I went back to old notes. I’m constantly writing notes, diaries, poems. I rescued writings and melodies from as far back as 2016, stored on my computer and even my phone. I made a selection of about 50 or 60 songs, and so many were left out that I said to myself, “No, no, no, I have to do something with this.” They fit perfectly into the universe of Femme Fatale, as I specifically aimed to find the songs that felt the saddest.
If Femme Fatale was, as we reported at the time, a poetic and dark exploration of femininity, desire and vulnerability, how would you describe Vol. 2?
I think it’s somewhat an extension of the spirit of the first album. Sonically, it may go in different directions, but I think the themes of vulnerability and darkness still maintain that “femme fatale” atmosphere. Femme Fatale leans a bit more toward jazz — it’s not a jazz album per se, but closer to that universe. Femme Fatale Vol. 2 is much more eclectic. I’d say it feels more like a singer-songwriter album than the first one, more minimalistic.
Let’s talk about the collaborations on this record.
There’s Javiera Electra, a very young Chilean artist. I really like her music, and I thought it was a good opportunity to sing with artists I enjoy, even if they don’t necessarily have extensive careers yet. Then there’s GRTSCH, a Mexican-American friend who’s a singer and songwriter. We’ve been friends for about 15 or 16 years, since I first moved to Mexico. We met when I was performing covers in bars. And the other collaboration is with St. Vincent, one of my all-time favorite artists. Having her on the album is such a privilege for me.
When I interviewed you for the last album, you said you’d love to collaborate with Lana Del Rey. Any updates on that?
She hasn’t answered my calls. I’d love to sing with her. I actually always message her on Instagram because she follows me there. She’s sent me a little heart or something before, so I haven’t lost hope. “Lana, please!” (Laughs)
Tell me about the song that opens the album, “For Your Consideration.”
It was important for me to start with “For Your Consideration.” That song had some lines but wasn’t fully finished. During the last Latin Grammys, this phrase came to me, and I think it fit perfectly with all the notes I had. I had all these notes on my phone about the irony of how I sometimes feel overwhelmed by work and the industry — yet I’m still here, right? Because, I don’t know, I think we’re already capitalist animals, and I’m also addicted to working. But it’s also because I enjoy my job. At the end of the song, it says “all I want is to sit in the bathroom looking at my phone with my legs numb, to gain weight comfortably.” There’s some irony in that, but I also obviously love being here, doing what I do.
What about “Gigante,” the closing track of the album?
It’s a very old song, really. I wrote it when I was about 26, right after thyroid surgery. The surgery posed a risk to my voice, and I was super depressed at the time. I thought I’d lose the ability to sing. The song reflects that — it’s written from a place of depression. Toward the end, I kind of say goodbye to the world. I say something like, “I’ve lived and seen everything, I can go in peace now at 26 years old.” Many years have passed… but I like closing with that song. It feels like it closes a chapter, you know? After going through my notes and memories to rescue all those little moments and turn them into songs, this one feels like the right ending.
How does it feel to release it to the world so many years later? Is it healing for you?
I think it’s healing now — and also realizing everything that’s happened in my life, realizing that music has always been there to rescue me, to take care of me. I rescued this song, but music has always been a channel for healing and liberation. Back then, when I was so depressed and worried, the first thing I did was write a song… Over the years, you learn to take things a little more calmly.
Do you feel like you’ve said everything you had to say with this second album?
Oh no, I still have so much to say. But [under the concept] of Femme Fatale, yes.
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