It’s been a quiet for a few years on the release front for . That doesn’t mean that the Danish superstar has been twiddling her thumbs though. Following a grueling series of tours and album releases, including several huge collaborations, needed some time to recover. A period of rest and a chance to repair a ‘broken voice’ has evidently paid dividends, as evidenced by the release of her acclaimed third studio album, Motordrome.

I got the chance to speak to and hear her explain how Motordrome came to be, how her writing process has changed, what to expect on the upcoming accompanying tour and which other artists she’s digging at the moment. As with the album itself, delivers her answers with honesty and optimism throughout, recognizing that a little bit of darkness is often necessary to appreciate the light, and confirming that there are exciting times ahead for anyone who’s been waiting for her return.


Hi there. Thanks for taking the time to speak to us today. How are you?

The pleasure is all mine. I am really good, thanks!!

How are you feeling now that Motordrome is out in the world?

I am so happy and sort of relieved. It’s like I’m more in my body now that these songs have been shared with the world. It’s an album that, for most part, was written during a heavy time for me (and the world). So sharing these songs, which are all attempts of putting words to how I was feeling, just feels so good.

Congratulations on that brilliant new record. What’s the story behind the title, Motordrome?

Thank you so much!! The title was inspired by what I was experiencing in my mind in the beginning of 2019: spinning out of control and looping around in anxious spirals. But also, it was a metaphor for the ways that I had been living my life & running my business for the past five years, prior to me stepping back for a moment. This album was written after I took time to clean up and readjust, so the title Motordrome is reflecting back to the period of time before the crash, and dealing with the aftermath.

Hopeful Melancholy

Can you tell us a little bit about your writing process of this record? Did it differ from your usual approach?

This one was sort of a mix between how I wrote No Mythologies To Follow and Forever Neverland. Six of the songs I wrote on my own – to a piano or to a beat I had received from one of the producers working on this record with me. And the other four were written in sessions with other songwriters. I like doing it like that, because I think you get something good from both worlds, and it stimulates both my indie side and my pop side – both living in a happy divorce inside of me.

In places, there’s a very positive vibe on this record, but it was written after a challenging few years. Where did you draw your inspiration from?

I just love it when you can turn a dark mood into uplifting energy. Not in like, denying reality or toxic positivity, but in accepting it, and letting the darkness transform into something beautiful. For me, the best songs (and all I listen to really) are songs that hold both melancholy and hope. Sad bangers, if you will. I’m always searching for that sweet spot. Sometimes I find it and sometimes I don’t.

Finding the Sound

The album is quite versatile in terms of musical style. Which artists were you listening to while writing the record?

You are quite right. I worked with a bunch of people, from different musical backgrounds. When I started making the album, I was just writing songs out of an urgency to transform my insides into something that existed in the world. At first, I didn’t really know what sound I wanted. That came later on. Some of my key inspirations were Depeche Mode, Annie Lennox, The Weeknd, Kate Bush, and HAIM’s new album.

It’s certainly a treat to have new music from you. What was your favourite part of recording this album?

I’m so glad you think so. In general when making music, my favourite part is the moment when you really wrap a bow around the song-writing part of the song. That moment when you have all the melodies, the essential lyrics, the form, and the basics of the production. You can already feel what it’s gonna be like when it’s done. I love that. I remember that feeling when making Live To Survive. And Kindness. I had a super hard time finishing the verses for Wheelspin – I remember when I finally cracked the code to them, I was so excited!

Journey to Recovery

How are things with your voice now? I know you had to take a few months off because of some issues with it.

It’s much better but it has been a long journey. First it was difficult for a long time, then I took the break and started gearing down, seeing a vocal coach etc. But then it got difficult in a different way. Then surgery, then new challenges, but also newfound ground. It has been a long process, overall. And it’s still a process, but it’s going much better.

I’m so happy that I have started treating my instrument with more care and respect.

What should we expect from your live shows that you’ve announced in support of this tour?

A moody, energetic, fun and dramatic experience! Because of this break, extended by covid, I had plenty of time to really work with my team on creating a fitted live universe to go hand in hand with the visual identity of Motordrome. It was a lot of fun creating this world. I have known and worked with the talented design team Sinclair Wilkinson and Melissa Gregerson for a long time, making the process even more enjoyable.

Do you have any idea who will be supporting you on tour? Or any tips for some cool new Danish artists we should keep an eye out for?

Keep an eye out for Laurel, who’s music I absolutely love. For some of the other shows it’s gonna be my old electro trash punk band-mate and good friend, who goes by the artist name Nurse! Some cool Danish artists? You got it, although you probably know most of these already: Erika De Casier, Greta, Brimheim, Reveal Party, Coco O, Jada, ML Buch, Baby In Vain…the list is long.

Motordrome by is out now via RCA.