Folk · Stockholm
Laura Veirs
Live at Nalen klubb, Stockholm — Tuesday 20 April 2027
- Date
- Time
- 20:00
- Venue
- Nalen klubb, Regeringsgatan 74
- Genre
- Folk
Laura Veirs brings Temple Songs to NalenAfter three decades as an artist, Laura Veirs continues to find new paths through folk and indie rock. With the new album Temple Songs, which she handles entirely herself, she returns in spring 2027 to Sweden for the first time in eight years. On April 20 she will be at Klubben at Nalen in Stockholm. Laura Veirs, a singer‑songwriter from Portland, Oregon, blends folk’s poetic sensibility with indie rock’s rough edge. Throughout her career she has collaborated with stars such as kd lang, Neko Case, Sufjan Stevens, Jim James, The Decemberists and Bill Frisell. In April 2027 she returns to Sweden for the first time in over eight years, coinciding with the release of her new album Temple Songs.
The album is her first in four years and also the first she has written, recorded, arranged, produced and performed entirely on her own. Temple Songs is intimate, dreamy, bold and quietly defiant, built around Veirs’s intricate finger‑picking on a nylon‑string guitar, vulnerable vocals and powerful electric guitar riffs. The new songs are perfect for stripped‑down live performance.
– I didn’t know if I would write songs again, says Veirs, who over the years built a studio in her garden, got married and created a blended family with four teenagers.
Throughout the process Veirs was inspired by the Japanese concept wabi‑sabi and deliberately chose not to pitch‑correct the vocals or edit out imperfections and flaws.
– I wanted to create something that sounds as organic and human as possible, she says.
Veirs plays guitars, bass, drums, tambourine and other percussion herself and provides all vocals. The only external contribution is a secret guest saxophonist. She used no click tracks and no electronic instruments, working from feeling and intuition while watching bamboo sway outside the studio window. The mixing, signed by Philip Weinrobe, known for his work with Adrienne Lenker, gave the final, gentle imprint to Veirs’s fourteenth solo album.
Among her sources of inspiration are Mac DeMarco’s trust in his own artistic judgment, as well as anarchists and feminists from the late 1800s and their slogan “no gods, no masters”.
– It was hard to get the white man to stop sitting on my shoulder. I wrestled with a lot of doubt. But many happy mistakes also emerged, and eventually I found a flow, where for the first time since my twenties I saw the studio as a private space for exploration, says Veirs.
At 52, after three decades as an artist, Veirs reconnects with herself through a radically new approach that feels both innovative and deeply rooted in her experience. With Temple Songs she brings the songs to the stage when she arrives on April 20 at Klubben at Nalen in Stockholm.
The album is her first in four years and also the first she has written, recorded, arranged, produced and performed entirely on her own. Temple Songs is intimate, dreamy, bold and quietly defiant, built around Veirs’s intricate finger‑picking on a nylon‑string guitar, vulnerable vocals and powerful electric guitar riffs. The new songs are perfect for stripped‑down live performance.
– I didn’t know if I would write songs again, says Veirs, who over the years built a studio in her garden, got married and created a blended family with four teenagers.
Throughout the process Veirs was inspired by the Japanese concept wabi‑sabi and deliberately chose not to pitch‑correct the vocals or edit out imperfections and flaws.
– I wanted to create something that sounds as organic and human as possible, she says.
Veirs plays guitars, bass, drums, tambourine and other percussion herself and provides all vocals. The only external contribution is a secret guest saxophonist. She used no click tracks and no electronic instruments, working from feeling and intuition while watching bamboo sway outside the studio window. The mixing, signed by Philip Weinrobe, known for his work with Adrienne Lenker, gave the final, gentle imprint to Veirs’s fourteenth solo album.
Among her sources of inspiration are Mac DeMarco’s trust in his own artistic judgment, as well as anarchists and feminists from the late 1800s and their slogan “no gods, no masters”.
– It was hard to get the white man to stop sitting on my shoulder. I wrestled with a lot of doubt. But many happy mistakes also emerged, and eventually I found a flow, where for the first time since my twenties I saw the studio as a private space for exploration, says Veirs.
At 52, after three decades as an artist, Veirs reconnects with herself through a radically new approach that feels both innovative and deeply rooted in her experience. With Temple Songs she brings the songs to the stage when she arrives on April 20 at Klubben at Nalen in Stockholm.
