Meet Helena Hallberg, the Swiss-born folk sensation. With roots from Brooklyn to Zurich, Switzerland, and influences spanning from Joni Mitchell to ABBA, her debut album 'Epithet' blends Scandinavian inspiration with Nashville melodies. Through personal experiences and social commentary, her music speaks to empowerment and change. Outside the music studio, she uses her platform to foster community and awareness confronting misogyny to uplift marginalized voices. To learn more about Helena Hallberg, read on.

Where are you based?
I’m newly based in Nashville— Before that I was based in Brooklyn, NY, and before that Zurich, Switzerland, which is where I was born.

What was the inspiration behind your decision to embark on a musical career?
Honestly, I think this is just what I was meant to do. I started singing basically before I could talk (yikes, that’s an ABBA lyric) and started writing songs when I was 12. The first proper song I ever recorded was called “Blind” and it’s still played on the Swiss national radio today.

I didn’t actually have the guts to make it a career at first — I worked in finance straight out of high school and then went to Uni — but I ended up getting a scholarship to a music school in New York, and since then, there’s just never been a question.

How would you describe your music style? Are there any bands or artists you look up to?
I typically say it’s “Joni Mitchell meets ABBA,” which I think is true to varying degrees for Epithet, but is definitely where I’m headed. The thought of making Scandinavian-inspired ear worms on the Appalachian dulcimer makes my fingers itch.

“Epithet” also has a bit of a Nashville sound, since it was co-produced with “Americana Queen” Mary Bragg, which is very cool.

How has your Swiss background and passion for American folk music influenced your musical style?
This is where it gets confusing, because although I was born in Switzerland, I’ve spent a lot of my life in Scandinavia thanks to my Swedish parents.

I’d say growing up in Switzerland gave me a really strong work ethic and came with so much privilege, but my Swedish background has just inspired me a little more in an artistic sense.

Listening to Swedish folk music, artists like Benny Andersson, and later artists like Robyn and Veronica Maggio, made a huge impact on what kind of songs I like writing.

I always say the Appalachian Dulcimer was my gateway drug to American folk, and I do think that once that floodgate opened, I started melding the excellent storytelling that American folk music tends to have with some of those Swedish influences. It’s been such a joy to notice the things they both have in common— and notice their differences.

Congratulations on the release of your debut album “EPITHET.” Could you provide us with more insight into the album?
Thank you! Yeah, the journey to this release has been very transformative for me and I think you can really hear it on the record; it’s the first time I’m actually solidifying myself as a folk musician, something I’ve been searching for for a long time.

I packed a lot onto this record; there’s a folk-disco track we recorded a music video for in Brooklyn, a dulcimer tune inspired by the Swedish woods, and a song dedicated to my grandmother.

It’s been really cool to see different people resonate with different songs on the album, because it does have a pretty varied sound.

What served as the inspiration behind the album's songs? Particularly, the Epithet.
Oh man, there are definitely many inspirations behind the album, but the Epithet of it all was sparked by this very unpleasant encounter I had with an Austrian man on one of my tours in Europe.

There has been some controversy around a venue I was playing (it’s a very progressive bar) and this man wrote me a threatening email and then showed up at the venue and started berating people in the audience. Luckily he left before the show started, but it was just a moment of “you know what, I’m gonna write about it.” It’s really just one part of the different storylines on the album, but it definitely represents the female empowerment I like bringing into my writing in general.

Some of the songs I’ve held onto for a really long time (“Mastermind”) and some were specifically written for the record (“Aesthetics of Sorrow”). Whether it addresses a societal issue or not, these songs are all deeply personal.

In your songs, you use your voice to tackle misogynists and speak the truth. How do you navigate the balance between expressing your personal experiences and addressing broader social issues in your music?
I love this question. Ultimately I can really only speak to what I do experience myself, because I’m not trying to speak for other people. But I do think community is a huge way to bridge that gap, because others sharing their experiences ultimately leads to an understanding of the patterns and impact of our individual experiences.

In the act of not going through it alone, we’re highlighting the social issue instead of just sharing a personal experience. For example, in the music video of the song “Epithet” we worked with CatcallsofNYC, who brought actual catcalls people had shared with them, which we wrote in chalk and then destroyed. That communal moment of destruction (albeit with water balloons lol) really brought us all together against catcalling.

You recently did an event at Health Fairview Pediatrics. Can you tell us more about your work with them?
Yeah! I was playing at The Cedar in Minneapolis as part of the Midwinter Folk Fest, so I stopped by the hospital to share some music and tell the kiddos about my Appalachian Dulcimer. We also read The Little Mermaid, it was awesome. It was a real pleasure to get to work with MHFV Pediatrics, and they seemed to enjoy having me!

Music possesses a unique power unlike any other. How do you believe music can uplift and bring joy to people across the globe?
Music is definitely a dopamine release! But I’m also seeing it as a cultural tool in many ways. Playing the Appalachian Dulcimer has brought so many crazy cool conversations my way for example, because a lot of people associate the instrument with their parents, grandparents, or even music classes.

And then Europeans don’t know what the dulcimer is at all, so it’s been really fun to bring sounds their way that they’ve never experienced. Gotta love folk music!

We've also learned that you often collaborate with Independence Place. Could you elaborate on your involvement with them?
Yeah! I first visited IP in 2017. It’s this great organization, and the participants just have so much enthusiasm and joy. After putting on a little concert for them once, they all wanted to share their own performances— I actually still get sent little performance videos on Facebook! It’s really nice to light a musical fire under their butts, and seeing how much music moves them. I’ll be playing their fundraiser in July which will be so much fun!

What is your perspective on the contribution of artists to fostering social change and raising awareness, particularly within marginalized communities?
I think many artists (especially within the folk genre) are a musical reflection of their own communities, which is why I’m so happy to see spaces being carved out specifically for artists from marginalized communities.

Speaking some of the hard truths surrounding our current society is tough, but I think a good song will be more likely to change someone’s mind than debating them.

That may sound naïve to say, but I think music does things to the brain, and the way we listen to music is different to just listening to someone talk.

Unfortunately, as music gets more and more commercialized, it’s often severed from the actual reality en lieu of profit. That’s why I think fostering creative thinking, writing, and music is essential to the survival of our democracy; we need to shed light on what is actually happening within communities — especially marginalized ones — and songs are a reflection of those realities.

Looking ahead, what are your hopes and aspirations for the impact of your music on raising awareness and creating positive change in society?
To be honest, I really only hope to help people process their lives. We live in such a tumultuous time in history, and if one person can feel a little bit stronger or better by listening to my music, that’s all I can ask for. All I really want to ask for. Meanwhile, I’ll just keep writing, keep engaging, keep building community. It’s such a privilege to get to do that.

Women’s rights feel like they are slipping through our fingers. What would you like to see in the future for women?
There are so many things, and I was about to start listing policies, but you’d be here all night, so I’ll say overall that I wish to see setting more boundaries for themselves.

So many parts of our existence within society are just expected of us, which is awful to begin with, but if you’re ever in doubt about setting a boundary call me, and I’ll set it with you, because I need to work on that too.

I will also say that I believe feminism has to be intersectional; supporting women should know no cultural, ethnic or socio-economic limitations. It’s so easy to subscribe to the girl-boss mentality, but nothing will change if we don’t see every woman as someone worth empowering.

And I would hope that the Overton window stops shifting to the right, so that we can codify abortion healthcare. There’s my choice from the list.

Are there any upcoming projects you would like to share?
A few! I’m actually working on a Deluxe version of Epithet, which will include some more dulcimer tracks and some alternate versions of the original songs. That’s slated for September of this year. I’ve also got some fun dulcimer-related projects coming up that’ll start popping up soon. Let’s just say I’ve been playing a lot of ABBA on my dulcimer.

It has been a crazy past few years, how have you been staying positive?
I think getting away from screens, taking a walk, and literally touching grass has helped. My partner and I spent the entire pandemic isolated in a 2-bedroom apartment in Washington Heights, Manhattan, and ever since then I’ve just been grateful for time away from enclosed spaces and that blue light.

A part of coming out of that has also been re-engaging with the people in my life — making time for phone calls, FaceTimes, coffee chats, and walks has been essential for me. Focusing on those I can realistically help on an individual level and then going from there.

What is your motto in life?
Oh I have a few… I think the one I want to share— especially in the context of Epithet— is “Do no harm, take no shit,” because I think there’s power in setting a boundary, and you can do that without causing harm.

To learn more about Helena Hallberg please follow the links below:
Helena Hallberg
YouTube
@helenahallbergmusic
TikTok: @helenahallbergmusic
Spotify

Helena Hallberg - Stories to Songs