On his fifth studio album, Julia, Icelandic singer-songwriter Ásgeir enters intriguing and uncharted territory. After years of engaging translators such as John Grant and working with the poetry of his father, Einar Georg Einarsson, Ásgeir has penned his lyrics by himself for the first time in his long and celebrated career. The result is a deeply contemplative body of work, steeped in nostalgia, that sees him meditating on his past regrets as well as his hopes for the future, guided by the spectre of the album’s title character. We caught up with Ásgeir to learn a little more...

Can you tell us a little about the writing and recording of Julia... Was there a song on this album that surprised you once it was finished?

I started working on the album in early 2024 and decided I was going to write the lyrics entirely on my own for the first time. I was ready for a new challenge and wanted to prove to myself that I could do it.

The songs slowly came together, and I played most of the instrumentation myself. In the autumn of ’24, I did a session with a band. We recorded five or six songs together, and three of them made it onto the album. I have really great memories from that session — it was so much fun recording with a band. I’m definitely going to do more of that in the future.

Did any song completely change direction halfway through writing it?

Not really in terms of the arrangements, but some of the lyrics were rewritten and changed quite a lot during the process. That’s just part of it, I think.

Is Julia a very planned album, or did you let accidents and mistakes guide it?

It was planned in some ways. I wanted it to sound like a band playing together — not overly produced. I knew I wanted to write the lyrics myself, but I didn’t know what I wanted to write about at first. I always write the melody and chords before the lyrics, and that usually gives me a direction. There were definitely some happy accidents in the recording process — we tried to capture moments rather than chase perfection.

Which track felt the most vulnerable to record—and why?

Smoke felt the most vulnerable. It talks about a time in my life when I felt alone and lost, so it still hits me when I sing it. I felt like my creative muse had left me, and that’s a very bad feeling.

If you had to remove one song from Julia, which would be the hardest to let go of?

Probably Smoke or Universe. They’re two of my favourites.

What’s something outside of music (a book, place, conversation, silence) that shaped this album?

Some conversations I had with my girlfriend inspired several songs. Talking about our dreams for the future and where we wanted to live in a few years shaped Ferris Wheel. I’d recently been listening to Suzanne by Leonard Cohen when I wrote Julia, and I think that sparked the idea of using a female name in the song – something I’d never done before. Quiet Life came after a weekend trip my girlfriend and I took with a group of people where I didn’t really feel like I belonged.

Do you write differently when you know songs will be played live later?

I’ve started thinking more about that. I’m aware that I have to play these songs live, so I want them to be comfortable to perform. I didn’t always do that in the past, and there are some older songs I never play because of that.

Do melodies usually come from emotion first or from experimenting with sound?

Melodies always come from a feeling. I usually sit at the guitar or piano and sing whatever gibberish naturally comes out — that’s where it begins.

Is there a song on the album that taught you something about yourself?

I think the album as a whole helped me work through some things and let go of parts of the past. It was therapeutic in that way.

We are very excited for the tour, is there a UK city that always gives you a slightly different energy on stage?

I really like Scotland — beautiful nature, nice people, and I love the accent. I’m excited to play there again. London is always special too. I usually play small, intimate venues around the UK, and I really like that — meeting people after the shows and connecting.

What’s your pre-show ritual when you’re on tour?

Nothing too exciting. I usually find a quiet place about 10–15 minutes before the show, warm up my voice a little, make sure there’s water on stage — and then I’m good to go.

Are there any songs you’re especially excited—or nervous—to play live?

I’m most excited to play the new songs. I’ve been rehearsing them with a band, and they’re sounding really good. But it’s also always fun to play songs people already know well — you can feel their excitement, which makes me excited too.

What do you hope people feel walking out of your UK shows this time?

I hope they leave with a sense of peace and community. It feels like there’s so much chaos in the world right now — hopefully the shows can lift people’s spirits a little.

Ásgeir has also just announced a UK tour for April 2026 which will call at the following venues;

14 April Leeds Brudenell Social Club

15 April Newcastle – The Cluny

16 April Manchester Band On The Wall

17 April Glasgow Room 2