I’ve been in enough situationships to know when someone’s selling me a clean story about a dirty song. San Sebastian wants us to think ‘IN MY DREAMS’ is about escaping reality and staying in the fantasy of a perfect relationship. Sure babe. And I go to the gym just for the cardio. This track is about sex—the kind where the sheets don’t stand a fucking chance and you’re sore tomorrow and smiling about it. He can dress it up however he wants but the second those synths hit and his voice drops into that breathy register we all know exactly what fantasy he’s talking about. Spoiler: it involves significantly fewer clothes than he’s letting on.
Sebastian opens with a dance-pop energy that’s already mid-act, telling us Let’s Go before immediately painting the scene: Sweat on your body / Your body on mine / Biting your lips / Tasting your tongue. The confidence is doing something to me and I’m taking notes for personal reasons.
The imagery builds from there and gets more vivid with every line. He describes a Room full of steam / Breaking the sheets / Looking at me / Looking so fine on me, and there’s this conversational intimacy to his delivery that makes the whole thing feel like he’s whispering it directly in your ear. When someone looks “fine on you”? That’s the kind of compliment that makes you feel like you’ve got a Cleopatra-level sexual superpower. The pulsing production underneath hits right in your hips and knows exactly what you want.
What gets me is how Sebastian establishes his intentions so clearly. He promises he Won’t waste your time / Trick your mind / Or lead you on, and there’s something refreshing about that directness. No games or bullshit, just honest desire. Then he shifts into the chorus: Come over play with me / Sweeping me off my feet / But baby read between the lines / you know just what I mean. We all know what he means. “Play” isn’t board games. “Sweeping me off my feet” has very little to do with romance and everything to do with physics and furniture.
Advertisement
The next part is where things get properly indulgent. When he sings Take me to full speed / I’ll give you what you need / But take your time, I’m busy keeping you in my dreams, that tension between urgency and control becomes everything. He wants it fast but slow, hard but careful, and anyone who’s been there knows exactly that feeling. The way he delivers it makes you believe he means every contradictory word.
Sebastian keeps the momentum building as he continues describing the encounter. There’s something about how he frames it—Making me larger / Taking your time / So now we’re getting close / Tonight your all mine—that feels both vulnerable and possessive. “Making me larger” could be metaphorical. Could be. But let’s be honest about what we’re really talking about here. There’s big dick energy and then there’s big dick physics. The kind that leaves you walking funny and grinning like a sinner. When he says “you’re all mine,” you can hear that he fucking means it.
The physical intensity escalates when he admits Controlling my breath / Pushing me back, and you can hear him working through the track, his voice catching slightly. This is body language translated into sound. He reassures with I know you want me / Baby I swear it’s fine you’ll see. It’s sexy as hell because it suggests someone who knows when to push and ease up, someone who understands that the best sex involves communication even when you’re too far gone to form complete sentences.
Then there’s this unexpected moment of recognition. Sebastian throws in Thought I’d never see you again / Ha ha / But here you are, and suddenly the song takes on a different dimension. This is reunion sex. This is “I can’t believe you’re back in my bed” sex. This is the person who got away and suddenly didn’t. The little laugh in there adds this playful edge that makes the whole thing feel more real, less performed. It’s the kind of laugh that happens when you’re half-naked and completely gone for someone.
The bridge gets wild: Run away with me right now / Take a drive we can ride all night / We’ll get there when the lights out. It’s the kind of reckless you only get at 2am when logic has left the building. “Ride all night” isn’t about the car. Some men come with big dicks and bad decisions and we still climb on. Know what I mean girls? Then he throws in But take your time, I’m busy keeping you in my dreams again, even while suggesting spontaneous escape. He wants chaos and control at the same time. That push-pull never lets up. He wants to go fast and slow simultaneously, wants everything at once, wants to savor and devour.
Near the end he admits I could stay to the morning / Won’t leave without warning / Just show me that you want me. The confidence slips. Suddenly there’s a real person under all that heat, someone who wants to know this matters beyond tonight. He’s asking for proof. Show me you want me here when it’s light out and we’re both sober and the magic wears off. Hookup or something real? He’s trying to figure that out too.
Advertisement
The outro brings back Run away with me right now but this it’s chased But take your time, I’m busy keeping you in my dreams. He can’t pick a lane. Rush or savor? Both. The song ends on We’ll get there when the lights out, followed by that same plea for patience even as everything’s about to combust. Lights going out, but slow down. It’s the contradiction that makes the whole track work, wanting to fuck and make love simultaneously, wanting it to be quick and last forever.
The production choices support every filthy moment. The synths create this steamy thickness. The percussion speeds up like your pulse does. When the drops hit, they feel like actual release. Every layer mimics what happens when two people are that into each other. You can hear the sweat in it, the way bodies move when nobody’s thinking about technique anymore. Right before everything tips over the edge. You could play this in the club and it would hit, but it’s really designed for after the club, when you’re back at someone’s place and clothes are already on the floor.
This is Sebastian’s second single from his upcoming EP. He’s clearly moving into more personal territory with this new material and if this is what “personal” sounds like for him I’m extremely here for it. Sebastian finished fourth on Swedish Idol 2022, which is how Anders Bagge noticed him. Bagge’s the guy who’s produced for Madonna and Celine Dion, so that’s not a small co-sign. He became the first Idol contestant Bagge ever signed, and now Sebastian’s running his own label with a team he actually wants to work with. He grew up in Järfälla doing childhood talent shows, studied at Rytmus and the Global Songwriting Program by Musikmakarna. All that training shows – he knows how to build a song. This new material marks a shift though. He used to release music as NORR before rebranding as San Sebastian after Idol. Now he’s making tracks that are explicitly about sex instead of dancing around it.
What makes this track work is that Sebastian can talk about shutting out the world and staying in relationship fantasies all he wants, but the lyrics are telling a different story entirely. It’s celebration of bodies and desire and that person who wrecks your entire sleep schedule. It’s that feeling when someone knows exactly how to touch you and you’re trying to make it last as long as possible because you know how rare this is.
The replay value on this is dangerous and gets stuck in your head for reasons you’re not going to discuss at brunch. It somehow makes you feel powerful and completely undone at the same time it’s going make your Spotify Wrapped look absolutely unhinged. San Sebastian might be selling this as a dream, but the way this song hits? That’s pure, sweaty, messy reality.
