Q&A: Ebba Åsman’s ‘When You Know’ Celebrates the Beauty of Unanswered Questions
INTERVIEW
INTERVIEW
☆ BY KIMBERLY KAPELA ☆
IN THE HEART OF THE SWEDISH WINTER — amidst the biting cold and isolation, Ebba Åsman found clarity. The alt-jazz virtuoso —fresh off a Swedish Grammy nomination for her second album, Be Free—took a deliberate step away from the noise of the world where she retreated to a cabin in the small, remote town of Hammarö. With the snow falling heavily outside and temperatures plummeting to minus-thirty degrees, Åsman entered a month-long creative retreat, determined to find peace, but also to confront the uncertainty that had been quietly consuming her.
This retreat birthed Åsman’s third full-length project, When You Know, a 10-track album marking a departure from the conventions of jazz, blending alternative jazz, R&B, electronic, and ambient sonics, while also revealing a more intimate and vulnerable side of the artist—one that includes her own vocals for the first time.
“This album needed to come out somehow as a way to understand my thoughts,” Åsman says. “It’s hard to try to navigate in life when you don’t have any answers. Life is such a puzzle. Pieces move, change and rearrange. I don’t really know where I’m going, but maybe that’s the beauty of it.”
It’s this sense of profound uncertainty and introspection that pervades the album. When You Know captures the disorienting feeling of being lost—of not knowing where you’re headed, of watching everything you’ve built slip through your fingers, and of struggling to find clarity amidst a whirl of unanswered questions. Yet, in this very space of doubt and ambiguity, Åsman finds solace. The album embraces the beauty in not having all the answers, in accepting the messiness of life, and in surrendering to the mystery of where it may lead.
When You Know channels the feelings that came into clarity for Åsman during her time in the woods: the stresses of not knowing where you’re headed, sensing that you’re losing grip of the life you’ve built, drowning in the infinite questions that swirl around in your head – and ultimately, accepting the uncertainty of it all.
LUNA: Thank you for talking to Luna. Our readers would love to get to know you and your music more. For any readers who aren’t familiar with you yet, what inspires your artistic style and sound?
EBBA: I've been studying jazz since I was a child, and some of my biggest inspirations have always been artists like Miles Davis. Music has been a constant presence in my life, but it wasn’t until writing this album that I truly embraced the full spectrum of my influences. Everything from Miles Davis to Erykah Badu to Yussef Dayes has played a role in shaping my sound.
This process has felt incredibly freeing. My first album, Zoom Out, was a jazz record I released when I was just 18. Listening back, I can hear how much I felt the need to prove myself—I didn’t fully trust my own musical ideas at the time. Then, two years ago, I put out Be Free, which was a step toward breaking out of those patterns and allowing myself to create more authentically. With this new album, I feel like I’ve taken an even bigger leap forward. I wasn’t concerned with fitting into a particular genre or meeting expectations—I just created what felt natural.
LUNA: What kind of atmosphere or emotional space do you aim to create for your listeners?
EBBA: I've always been drawn to music with a touch of melancholy—the kind of vibe or melodies that resonate deeply within me. There's something about that emotional depth that just feels natural. My sound definitely carries that melancholic tone, along with a lot of ambient elements, but it's also heavily influenced by soul and R&B. I’ve been working with a producer in Berlin who’s not only incredibly talented, but also shares a jazz background like me. We’ve both had similar journeys in learning to trust our instincts and carve out our own paths in music. Together, we’ve created a beautiful collaboration that blends the worlds of alternative R&B and jazz, which feels truly special.
LUNA: You have released your third record When You Know and a huge congratulations is in order! What is the inspiration behind the project and what themes and emotions do you explore?
EBBA: I reached a point where I felt a strong need to sit down and create. I was overwhelmed by my own thoughts—they were spinning in all directions, and I had so many questions without clear answers. I didn’t know where I was headed, but I knew I needed to make sense of what I was feeling. For a while, I had been journaling, but this time, it felt more natural to turn those thoughts into music.
I was in a quiet place, trying to navigate my emotions and the uncertainty I was feeling. A lot of the album revolves around questions—about the choices I was making, the paths I could take. I kept circling around this idea of 'There are so many 'you's'—it's that feeling of knowing, but also realizing there’s so much I don’t know. I’ll probably feel like that my entire life. So, this album is really about self-exploration and trying to make sense of the complexity of my emotions and experiences.
LUNA: I would love to talk more about the creative process behind When You Know. What inspired you to retreat to a cabin in Hammarö and can you walk us through a typical writing and recording session for the album?
EBBA: I’m originally from a small town, so I’ve always felt most centered when I’m surrounded by nature. My parents have this cabin where I grew up, and I felt the need to go there by myself—completely disconnected from the world. No Wi-Fi, no TV, and I didn’t even use my phone. I was totally unplugged.
When I’m in that kind of quiet, something happens to me. After a while, I start talking to myself, reflecting on different things, and it all just flows. It’s a state of mind I don’t usually reach in Stockholm, where there’s constant noise and distractions. Being in the cabin allowed me to really reconnect with myself. I had to do simple, grounding things—like lighting the fire every morning or saving water because it would freeze during the day. It stripped everything back to the basics and gave me so much space to create, to think, and to be fully present with myself and my music. It was really grounding. I think for me, at least, it's important to break off the normal patterns that you have for a while and reset.
LUNA: Were there moments of breakthrough or unexpected challenges during your month-long disconnection from the outside world?
EBBA: It was a bit tricky at first—especially with the temperature dropping to minus 30. There were certain tasks I had to take care of just to survive there. I had to keep the fire going constantly because if it went out, the cabin would freeze. The first night, I figured I'd take a shower and start everything fresh the next day. But when I turned on the water, nothing came out—it had frozen. After I took a shower, I noticed there was about three or four centimeters of ice-cold water on the floor, and I thought, 'I’m not dealing with this right now.' I just went to bed, planning to handle it in the morning. But when I woke up, it had frozen completely, turning into a thick layer of ice in the bathroom.
There were definitely challenges like that—things you never have to think about in the city. The power went out a lot too, which added to the chaos. But in a way, all of that pushed me to trust myself and my ability to handle these situations on my own. It was a test of resilience, and it helped me connect more deeply with myself and the music I was creating.
LUNA: This album marks the first time you’ve incorporated your own vocals. What led to that decision, and how did it shape the creative process? How do you feel your voice complements or contrasts with your trombone playing?
EBBA: "I've always sung, mostly on my own, but it's always been a part of my creative process. A big part of my practice on the trombone has been learning to understand what resonates with me through my singing, exploring different genres of music. It’s been a fascinating journey, discovering how my voice intertwines with my musicality. I feel like my voice is at the core of my sound, and I really want to blend the two—my singing and my trombone playing—into one cohesive voice.
When I started creating, it felt completely natural for the first time to incorporate lyrics. Before, I would write in my diary and compose instrumental pieces separately, sometimes singing over them, but they always ended up being about the trombone. But with this project, I felt ready to take that step and bring my voice to the forefront. I think a big part of that shift has to do with feeling respected as an instrumentalist. It gave me the confidence to integrate both aspects of my artistry.
LUNA: You’ve mentioned challenging jazz’s rigid rules. What boundaries or conventions in jazz did you intentionally break with When You Know?
EBBA: My journey has definitely been a process. About five years ago, I left the Jazz Conservatory, which marked a turning point for me. I have to say, I’m a total nerd—I love practicing, learning about jazz history and studying the legends. But after two years at the conservatory, I felt trapped in this mechanical, theoretical bubble of what jazz was supposed to be. It started feeling limiting. I felt confined in how I could express myself musically.
When I began to voice my own opinions about what I liked, it felt like they didn’t want us to have opinions. That was a big turning point for me—I realized I had a deep respect for everything that had happened in jazz, but I needed to forge my own path. I couldn’t do that in that environment, so I moved back to Stockholm. I started working on my previous album, which was really about figuring out what I liked—not just what I was told to like. It was about finding my own voice.
With this new album, I didn’t even need to think about what was expected of me or what I ‘should’ be doing. I had liberated myself enough with the last album that I could just create freely. This time, it’s all about what feels true to me, without any external pressure.
LUNA: What is your favorite song from When You Know and why do you love it? Is there a certain lyric or message that stands out to you the most?
EBBA: That's a tough question, but I think the lyrics of “Grandma” hold a special place for me. It’s about my grandma, and we've always had a strong connection. I was in a space where I felt lost, with so many questions swirling around. We had a conversation, and she shared advice—wisdom you can only get from living 80+ years. Her words really grounded me, and that conversation ended up inspiring the song.
Production-wise, I really love “Time Out,” but “Did I Go?” resonates with me the most. It feels like it perfectly captures what I was going through at the time, both emotionally and musically. The lyrics, the vibe—everything just came together in a way that felt true to where I was.
LUNA: What excites you most about this new chapter in your career and what are you hoping listeners can take away from this new era?
EBBA: I really hope to expand my reach and connect with a broader audience. Since this is the first time I'm incorporating lyrics, I also hope that people can find some comfort in them. It would mean so much to me to perform live and share this new chapter of my music. Ultimately, I’d love to attract a wider audience and bring people together through the songs I’ve created.
LUNA: How are you feeling in this current era of your career and what does the rest of the year look like that you would like to share with Luna?
EBBA: I actually feel really good. I feel incredibly supported by the people around me, especially my record label—they’ve been so encouraging. Olli Buckwell, who runs the label, has been a great source of support, and I truly feel heard and seen by them. I’m really excited about releasing this album and seeing where it takes me. It feels like everything is aligning, like all the years of growth and experiences have led me to this point in my life. I’m grateful and curious about what comes next.
