MM! We do enjoy being the voice for female artists here at Laurelanne. But every now and then, a little eye candy—and some smooth, sinful sounds—from a guy is nice, and we let this one slide through the door.
Bennie Felix is one of those guys. Oakland-born, L.A. based, dripping with the kind of quiet, dangerous confidence only a California boy can really pull off—and a little edge that keeps you guessing. He talks softly, moves slower, and lets the rizz speak for itself. He trained as a Shakespearean actor in the UK—because, of course, he did—then ditched the stage lights for late-night sessions making music out of his grandma’s closet during lockdown. The man swapped monologues for melodies and never looked back.
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You can hear all of that—the drama, the tension, the sex—woven into Bring It Back. His new track slides in real low, real easy. A slow groove with that early 2000s pop-R&B drip, all laced up with futuristic polish and plenty of bad decision energy. This one’s less about heartbreak, more about that ex, the one you shouldn’t text—the one you still do. You don’t like me, but it feels good, don’t it… that line hits different when it’s coming from the boy you swore off three months ago, but your hands are still in his hair, your clothes are still on his floor. Bennie knows the game. The whole song is fuel for late-night confessions with your girls later on, the smirk on his face, the regret you might feel—but you lean in anyway.
Sending you a wink like, baby, do something… but something don’t mean nothing… we’ve all lived this one. The fake fights. The tension you wear like perfume. The kinda fuck-it mood that gets you pinned to the wall before the apology even lands. Bennie’s voice floats right through it—sweet, unbothered, just enough rasp to keep it dangerous. When that chorus drops, it sinks its teeth in soft and slow. Bring it, bring it back… no one else I know can put it down like that…
That’s the problem, though—the body count might be climbing, the situationships stacking—but some people stay living rent-free in your head. And your bed. Bennie doesn’t dance around that. He lets the lyrics drip in nostalgia, lust, and that messy, beautiful, unfinished business. Baby, you the best I ever witnessed and we got things unfinished, so maybe we should go and handle business and— it’s bold. It’s cocky and it’s hot. The kinda hook that slides its hand up your thigh under the table and tells you exactly where the night’s going. The production stays lowkey—pulsing bass, clean synths, just enough throwback to land that Craig David, Justin Timberlake, Kehlani trifecta Bennie’s working with.
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Then there’s that bridge—unapologetic, unfiltered. Push me, touch me ‘til I get my satisfaction… don’t care if they see… just you, me, and heavy action… fuck subtle. That line plays like a dirty little dare. Your man might be next to you, your side piece might be texting, but none of it matters. Bennie’s got that heavy action energy, and we’re here for every filthy second of it.
What makes Bring It Back so damn addictive isn’t just the sound—it’s the truth buried under it. We all got that unfinished chapter. The one you swore you closed, but one drink, one look, one song like this hits, and you’re right back where you shouldn’t be. And maybe that’s the whole point. Some history is meant to repeat. Some sins taste too good to quit.
Bennie Felix just brought it back. And we’re not saying no.
