Laura Veirs brings Temple Songs to Nalen

After three decades as an artist, Laura Veirs continues to find new paths through folk and indie rock. With her new album Temple Songs, for which she has taken charge of the entire creative process, she returns to Sweden in spring 2027 for the first time in eight years. On 20 April, she comes to Klubben at Nalen in Stockholm.

Portland, Oregon-based singer-songwriter Laura Veirs blends the poetic sensibilities of folk with the rough edges of indie rock. Her career has seen her collaborate with luminaries 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, with the release of her new album, Temple Songs.

The album is her first in four years and the first Laura has written, recorded, arranged, produced and performed entirely on her own. Temple Songs is intimate, dreamy, brave and quietly defiant, built around Veirs’ intricate fingerstyle nylon-string guitar, vulnerable vocals and bold electric guitar embellishments, with the new songs lending themselves perfectly to being performed live in a stripped-back form.

“I didn’t know if I would write songs again,” says Veirs, who in the intervening 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 of wabi-sabi, consciously choosing not to pitch-correct her 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, as well as performing all vocals. The only outside contribution comes from a secret guest artist on saxophone. She used no click tracks and no electronic instruments, instead working from feeling and intuition while watching the bamboo sway outside the studio window. The album was mixed by Philip Weinrobe, known for his work with Adrienne Lenker, who put the final, delicate touches on Veirs’ fourteenth solo album.

Among her sources of inspiration is Mac DeMarco’s trust in his own artistic judgement, as well as anarchists and feminists from the late 19th century 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 there were also many happy accidents, and eventually I found a flow, where for the first time since my twenties I saw the studio as a private place for exploration,” says Veirs.

At 52, after three decades as an artist, Veirs reconnects with herself through a radically new working process, one that feels both innovative and deeply rooted in her experience. With Temple Songs, she brings the result to the stage when she comes to Klubben at Nalen in Stockholm on 20 April.

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