The Swedish artist making music of the now
Sometimes, we see an artist and get this distinct sensation that they are about to erupt, and Namasenda is unmistakably one of them. While she’s long been establishing her presence in the pop continuum as an A. G. Cook-affiliated PC Music alum and a collaborator of Oklou and Horsegiirl, her latest single, “Cola,” feels like a decisive step towards a whole new scale. The track remains faithful to Namasenda’s titillating pop-electro DNA, yet pushes it into something denser — her glittering, hyperreal vocals melt into all-consuming guitar lines and weighty low-end production.
In a culture fixated on chasing the future or romanticising the past, Namasenda stands firmly in the now. She isn’t interested in reworking heritage or racing ahead of the curve — her sound is a direct synthesis of her presence, which is precisely what makes it feel so immediate, magnetic, and honest. In light of her latest release (one of many, we hope!), we caught up with the pop princess to talk about this new chapter.
“Cola” feels glossy but heavy at the same time. What were you chasing emotionally when you built that tension between sweetness and weight?
This song is very bitter to me. It’s a very personal song, but it’s not just about me. It’s about craving love so much that you change yourself into someone unrecognisable — you find yourself asking if they love me for me, or for who I’ve become after changing everything about myself. And does it really matter?
Definitely no easy answers here. But, I Iove the video for the track, too! What does the mix of hyper-precision choreography with industrial elements symbolise for you right now?
Thank you! We worked very hard on that one. For me, it’s some sort of tension between control and chaos. I’m sure I’m not the only one who tries to stay in control while everything around me feels harsh. There are also elements of earlier versions of me in the video, but this is me showing my audience the newest update.
Your sound has always felt slightly ahead of its time. Do you create music imagining a future listener, or are you responding to the present and letting the future catch up?
The past couple of years there has been a lot of talk about futuristic sounds (and nostalgia, too). Everything is about what has been or what’s coming, and honestly, it’s just sooo boring to me. I’m just like, what about right now? I want to be and feel present. Also, it’s not ahead of its time if the music is being made right now. I’d like to see that I’m just right on time. You don’t have to catch up, I’m right here!
I really love this perspective — you are right that conversations tend to centre around the past or the ambitious future, but there is also so much innovation that is happening right now. Coming from a small town in southern Sweden to global avant-pop stages, what parts of that early environment still echo in your work
Probably the feeling of never really feeling like I belong — and recently I feel like I’ve come to terms with the fact that I might never belong anywhere. Which is fine.
Your live shows are famously high-energy and almost confrontational. What do you want to happen to the audience’s body when they experience your music live?
Euphoria.
If “Cola” is the opening scene of this new era, what kind of world are we stepping into — and what are the rules there?
A world where I have the ability and confidence to do what I’ve always wanted to do. I really don’t like rules.
Images courtesy of the artist
Words by Evita Shrestha
