Our first encounter with Anna Von Hausswolff dates back to 2018. That year, the Scandinavian artist took to the stage at La Grande Halle de la Villette during the Villette Sonique festival. Since then, we’ve eagerly followed every one of her performances in the capital, eager to relive that intense auditory journey—an immersive blend of ambient pop, post-rock, and drone music that leaves a lasting impression.
After an undeniably inventive performance in a 17th-century Parisian church and a thunderous concert at La Marbrerie in Montreuil, Anna Von Hausswolff returned to Paris on Saturday, January 31, 2026. The Swedish artist took the stage at the Trabendo, packed to capacity, at 8:30 PM. She was welcomed by an impressive opening act from fellow Swede, musician and saxophonist Lisen Rylander Löve, who set the tone perfectly for the evening.
Inside the venue, you'll find the dedicated fans who have been there from the start, along with newer listeners who discovered the artist through her latest release, Iconoclasts, her sixth studio album. More pop and accessible than her previous three works— the experimental All Thoughts Fly, the cosmic Dead Magic, and the avant-garde The Miraculous — Iconoclasts aims for a luminous feel, all the while maintaining a dark edge. As she chants in “Facing Atlas,” “The world is full of shit and full of evil.” With this album, the Swedish singer, organist, and composer slightly departs from the gothic atmospheres that originally made her famous, integrating Otis Sandsjö's saxophone and once again showing that she remains an artist truly beyond categorization.
For this show at the Trabendo in Paris, Lisen Rylander Löve takes charge of all the compositions on her saxophone. The audience is quickly drawn into the mood with “Consensual Neglect,” an instrumental piece that gently builds tension. The singer and her five talented musicians, all dressed in matching jumpsuits for the occasion, then launch into “Facing Atlas.” Anna’s voice—powerful and crystal-clear—strikes a deep chord with the audience. But this is just the beginning.
Though petite in stature, Anna Von Hausswolff is a giant when it comes to talent, kicking off her set with “Mouth”. The track erupts into a powerful crescendo, her flowing blonde hair flying wildly in sync with the drumbeats. The Swedish singer then takes the audience on a multisensory journey, performing other pieces mostly drawn from "Iconoclasts". Highlights include “The Whole Woman,” where she showcases her breathtaking portable organ, the renowned "Cantiga Organetto." But the real intensity skyrockets when the first notes of the eponymous track echo through the venue. Until then, Anna had been seated at her keyboard station among her synths, but she boldly steps forward with her wired microphone onto the small Trabendo stage. She collapses onto the floor, remaining there in long, shared seconds of silence. This nearly eight-minute piece is far from over, continuing to burn with an astonishing, incandescent energy.
After immersing us in a mesmerizing soundscape with "An Ocean of Time", Anna Von Hausswolff takes up her guitar and casts a spell with "The Mysterious Vanishing of Electra". This track gradually leads the audience into the transcendental realm. Driven by a tribal rhythm, concertgoers begin to headbang uncontrollably, while Anna’s voice weaves between enchanting brightness and shadows of darkness.
The liberating energy and shamanic atmosphere of the set continue to enchant us, thanks to the excellent Stardust, followed by Aging Young Women. This offers the audience a gentle, delicate breather. Then comes the most intense moment of the evening with the incredible track Ugly and Vengeful. For just over 17 minutes, we are gradually immersed in darkness, carried by a rare sonic power and Anna’s incantatory voice. It’s utterly mesmerizing, and none of us want this mystical performance to end.
Coincidentally, Anna Von Hausswolff and her band return for a two-song encore, beginning with “Funeral For My Future Children,” a track from her 2012 album "Ceremoy." To close this stunning set on a high note, the Swedish artist chooses “Struggle With the Beast.” Driven by hypnotic saxophone riffs, the song inevitably guides the audience into a trance. With this concert—both breathtaking and powerful—Anna Von Hausswolff managed to elevate "Iconoclasts" to an even more intense and transcendent live experience.
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