Jeg har altid haft en forkærlighed for mine barndomsstjerner—Aretha Franklin, Stevie Wonder, Marvin Gaye, Mahalia Jackson og The Soul Stirrers. Og Whitney Houston er min helt store helt. Der er stadig dage, hvor jeg bare dykker ned i hendes musik, lytter og lærer.
At synge og udvikle sig som musiker er en proces, der aldrig stopper. Jeg har øvet mig utallige timer, men det stopper aldrig med at være spændende—der er altid noget nyt at lære. Og med alderen ændrer ens musikalske udtryk sig også, fordi der opstår nye ting, man gerne vil sige. Den udvikling elsker jeg.
Jeg vil begynde at dele flere musikalske anbefalinger her og der—både inden for soul, men også andre genrer, som har rørt mig gennem tiden. Der er så meget fantastisk musik derude, og jeg elsker at opdage og dele det. ❤️
Til at start med vil jeg dele denne koncert. Stemmemæssigt er hun helt på toppen, hun er så overskudsagtig og synger mange andre numre, men som bare bliver hendes helt egne.
A conversation about risk, reinvention, and why I’m still writing songs.
I recently sat down with Evan Toth on The Sharp Notes podcast, and I have to say — it was one of the most thoughtful and wide-ranging conversations I’ve had in a long time. We covered a lot of ground: from “Hit Me With Your Best Shot” and my early days in Toronto, to burnout in Nashville and finding my way back to songwriting on my own terms.
For those of you who’ve followed my work over the years — or just recently discovered it — I think you’ll enjoy this one. It’s not just a trip down memory lane. It’s about the why behind the music. Why we take creative risks. Why some songs take two years to finish. Why I walked away from a Nashville machine that wanted two songs a day — and how I’m finally writing again, for the right reasons.
Here is the full interview
We also talked about what it was like to hear “Hit Me With Your Best Shot” on the radio for the first time — standing outside a Toronto hair salon on a sunny spring day, listening in disbelief, until two cops tapped me on the shoulder and told me to move along. I still laugh thinking about it.
But maybe the part I appreciated most was the chance to talk about the state of songwriting today — and how much the landscape has changed. It’s harder now. Not just to make a living, but to hold onto the craft. Storytelling. Emotion. Songs that say something. We’re in danger of losing the arc of a song — the build, the climax, the emotional payoff. That takes time. And it takes care.
That’s part of why I’m writing again. Songs like “We Win,” “Waters Rise,” and a new version of “Special Girl” came out of a desire to reconnect — with the craft, the emotion, and with all of you.
There’s more coming. I’m working toward a new album. Slowly. On purpose. And I’m proud and excited about what’s starting to take shape.
If you’ve ever connected with one of my songs, I hope you’ll give this podcast a listen. Evan asked some great questions — and more importantly, he really listened.
Thanks for being part of the ride — past, present, and future.
TUSIND tak for den dejligste aften på Gnisten forleden. Jeg er stadig helt overvældet over, hvor mange I kom og at I kom fra alle hjørner af Danmark. Det har aldrig føltes så meningsfuldt at lave musik som lige nu. Jeg begynder at lande i min independent tilværelse og nyder, at jeg ikke har et pladeselskab, jeg først skal cleare ting med. At jeg kan få lov til at skabe, udvikle og gøre præcis som jeg vil. I det tempo der passer mig. Jeg er så stolt af, at det lykkedes at skabe en mini-forårsturné på egen hånd. Og det er I jo sådan set grunden til. Fordi I kommer. I må aldrig være i tvivl om, at det betyder SÅ meget, når I dukker op til koncerterne. Det var så skønt at møde jer, tale med jer, se jer smile, grine og græde. Jeg tror ikke, at der er meget, der gør mig mere blød indeni end det. Som jeg sagde til jer... så tror jeg, at jeg har verdens bedste publikum. Og for det føler jeg mig virkelig taknemmelig. Nu vil jeg bruge de næste dage på at lande, gå ture i skoven, kigge på havet, måske skrive en sang...
We’re inviting you to our release concert for Flux Nebula, our new album about black holes, cosmic pulses, and the beauty of not knowing everything. This record is rooted in curiosity. I (Katrine) used to lie awake at night as a kid, thinking about the universe. I’d read that it was expanding, and that what we see when we look at the stars is actually the past. Making Flux Nebula brought me right back to that feeling — of wonder, and trying to make sense of something much bigger than myself.
Jesper got obsessed with new research about pulsars — tiny sonic pulses that echo through the Milky Way. He started asking: What would a pulsar sound like, if it were music?
Together, we wrote ten pieces that orbit between neoclassical and electronic — warm piano, raw violin, wide synths, deep reverb. It’s music for drifting. Music for stillness. Music for space.
We recorded parts of the album at Nils Frahm’s studio in Berlin, and we’ll be playing it live at Hotel Cecil on May 4th. We’d love to see you there — to share this with you, in a room, with sound all around us.