As unfiltered in her art as she is in person, Swedish singer/songwriter Sarah Klang opens up about her songwriting process, singing to her younger self, and why she prefers English over Swedish in a candid conversation about her emotionally resonant fifth album ‘Beautiful Woman’ – a heartwarming celebration of girlhood.

Stream: ‘Beautiful Woman’ – Sarah Klang

Ultimately, ‘Beautiful Woman’ is a celebration of womanhood and girlhood… an album about the awkwardness of being a child, a teenager, and about understanding your relationship with your body and self in a patriarchal world.

* * *

Sarah Klang has never been one to hold back – not in her music, not in her lyrics, and certainly not in conversation.

“Sometimes it’s hard,” she says, reflecting on reactions to her new album’s title track. “Older women come up to me after shows like, ‘You are a beautiful woman,’ and I’m like, thank you, but that’s not the point. I’m not singing the song to get your approval. I’m singing it from my 15-year-old perspective.”

Vulnerable, self-aware, and endlessly candid, Klang’s fifth album Beautiful Woman finds the Swedish singer/songwriter leaning deeper into the art of radical honesty. If Mercedes was a coming-of-age record, this one feels like a reckoning – a fearless celebration of girlhood, womanhood, and everything in between. From the soft ache of “Beautiful Woman” to the glimmering bite of “Other Girls,” Klang opens herself up with wit, warmth, and wisdom, making room for reflection and growth with each lyric she delivers.

Beautiful Woman - Sarah Klang album art — Beautiful Woman – Sarah Klang

“I haven’t invented anything new,” she says with a shrug. “I just want to make music inspired by the music I love.” That love shows up everywhere – in the Carole King-esque piano ballads, the indie-pop nostalgia, the moments of restraint that give way to raw power.

But it’s her storytelling that anchors the album: Grounded, disarming, and unafraid to get a little weird.

She’s also funny – not just in passing, but as part of her artistry. Whether comparing “All I Want” to “Man! I Feel Like a Woman!” or poking fun at her obsessive listening habits (“I overplay songs until I hate them, and don’t realize I destroyed it myself”), Klang brings levity to even the heaviest topics. She even laughs at her own aversion to singing in Swedish, claiming she sounds “hella basic” in her native tongue: “I don’t know what it is, but it just sounds annoying.” It’s that balance – humor and heartbreak, grit and softness – that makes her music hit so hard.

**Musically, Beautiful Woman marks a moment of growth for Klang.**

“When I started, I was trying to write cool indie songs,” she says. “Now I just write in my own voice.” That clarity shines through in every song, as Klang trades metaphor for precision and aesthetic for substance. The result is a body of work that’s as musically confident as it is lyrically vulnerable.

And while she’s the album’s emotional center, Klang is quick to emphasize that it’s not about her. “Once you release a song, it’s not yours anymore,” she says. “I hope people listen and think about their own lives, not mine. That would be a win.”

We at Atwood Magazine have long been admirers of Klang’s artistry, previously describing her 2023 album Mercedes as “cinematic and breathtaking… emotionally-charged and stunningly soulful.” If that record marked a coming-of-age, then Beautiful Woman is the evolution that follows – unfiltered, unguarded, and grounded in the clarity that comes with time. As ever, Klang doesn’t sugarcoat the hard stuff, but she also isn’t afraid to find lightness in the mess. Her songs are as much about seeing yourself as they are about forgiving yourself.

Sarah Klang’s ‘Mercedes’ Is a Cinematic & Stunningly Soulful Coming of Age

:: FEATURE ::

Of course, I have moments where I wonder, what is being a beautiful woman? Is it being a nice person? Is it loving yourself? Is it being kind? I don’t know.

* * *

**If Mercedes was about becoming, Beautiful Woman is about being – about owning the mess, the growth, the softness, the strength.**

It’s Klang at her most assured and unfiltered, wielding vulnerability not as a wound, but as a wellspring of power. Few songs capture the spirit of an album as wholly and poignantly as “Beautiful Woman.” It’s not just the record’s opener and namesake – it’s its emotional heartbeat. The title track stands as the album’s emotional cornerstone: With its unvarnished lyrics and aching vulnerability, Klang captures the raw essence of adolescence and the longing for self-acceptance. Lines like “Practicing every night / How to dance in slow motion” and “Writing in my diary, goals for the new year / 16 and alone in my room” evoke a poignant sense of youthful yearning. Her delivery is intimate and sincere, making the song not just a reflection of her past but a universal anthem for anyone grappling with identity and self-worth.

Another personal standout is “Last Forever,” a collaboration with Fruit Bats’ Eric D. Johnson. This track begins as a tender acoustic ballad and gradually builds into a fervent indie rock crescendo. The duet format allows both artists to explore the complexities of love from differing perspectives, creating a dialogue that is both personal and relatable. Klang describes the collaboration as an “eye-opener,” noting how the merging of two creative worlds strengthened her songwriting: “Suddenly there were two perspectives, and that is very new for me to have. To get to work with someone I admire so much was a dream come true, and I felt like it made me a stronger writer too.” The song’s emotional depth and dynamic arrangement make it an instant, compelling highlight of the album.

**Across Beautiful Woman, Klang crafts a soundscape that feels both expansive and deeply intimate.**

Lush strings swell against stripped-back piano; jangly guitars shimmer beneath warm harmonies. There’s a graceful push and pull between restraint and release – songs like “Other Girls” exude a quiet loungey confidence, while “Haze” bursts with sweet, pop-forward exuberance. Every track feels lived-in and intentional, guided by Klang’s unmistakable voice and her commitment to serving the song rather than overpowering it. This is music made not to impress, but to connect.

Atwood Magazine recently sat down with Sarah Klang to discuss her songwriting process, the weight and wonder of girlhood, creating a “mini Eras tour” in Gothenburg, and why Beautiful Woman is, above all else, an album about coming into herself.

Beautiful Woman is out now via Nettwerk Music Group. North American fans can catch Klang on tour this summer as she plays select dates throughout the Northeast – find tickets and more information here!

— —

:: stream/purchase Beautiful Woman here ::

:: connect with Sarah Klang here ::

— —

A CONVERSATION WITH SARAH KLANG

Atwood Magazine: Sarah, what has it been like so far to have Beautiful Woman, your fifth album, out in the world?

Sarah Klang: It’s been a relief. The release process is so long these days, especially for artists like me. My label always wants five singles out before the album drops, probably because of streaming. I’m usually fine with two singles, but by the third I’m like, “Am I just some internet whore now?” I’m telling my fans the same thing again and again. And the album has been done for such a long time. I’ve already been working on my next one. So yeah, it’s nice that it’s finally out. It’s gotten really nice reviews, and when you said it’s my best so far – I feel that too. I definitely amped it up a bit, and that’s thanks to Eric. He’s such a rock dad.

It’s only been a year and a half since Mercedes came out. When we spoke about that album, you described it as your coming-of-age record. How has your relationship with it evolved?

Sarah Klang: It’s evolved a lot – especially around my pregnancy and having my daughter. That album is like a little time capsule of that whole period, which feels really sweet now. My daughter’s three and a half, and it was such a good time to have a baby. I decided early on, right after I found out I was pregnant, that I’d make an album to keep myself busy and not go too crazy. I’m so glad I did. It helped me stay focused and capture moments I probably would’ve forgotten otherwise. Mercedes feels like a photo album I keep at home.

Do any songs from Mercedes still hold a special place for you?

Sarah Klang: Oh yeah. The song “Mercedes” is one of my favorites – it’s like a little anthem for my daughter. She loves it. She sings it in public, which is kind of embarrassing, but also sweet. She’s just starting to understand what I do for a living. She’ll say, “This is my mom. She’s a singer. This is her song, ‘Mercedes.’” And I’m like, please stop. But I love all those songs. I really do.

I guess not every kindergarten age child has a song literally named after them at their birth. So that is pretty special.

Sarah Klang: Yeah, I am creating a monster. But that’s how she is now, so I have to make her stop being so weird about it.

This brings us to Beautiful Woman, which feels like a natural continuation. You’ve called this album a celebration of womanhood and girlhood. What's the story behind this record?

Sarah Klang: When I wrote Mercedes, the songs that weren’t about pregnancy or giving birth focused on my teenage years. A lot of that came up when I was pregnant. I think that’s natural – you start reflecting on who you were as a kid and a teen. I had so much stuff to write about. My earlier albums were all love stories, because that was my life in my early 20s – it was all about boys. So it was refreshing to write about something else.

I like to have a little catchphrase for each album. I asked my friend Moa, who does the artwork for my records, “What’s the catchphrase for this one?” She said, “It’s a celebration of girlhood,” and I thought that was so sweet and well put. Even if I didn’t have a child, I think this album still would’ve happened. Your 30s are a time when you start seeing yourself differently – you need a little distance from your past to really understand it. When you’re 25, you’re still a monkey. I had to grow up a bit to write this one.

The record feels very therapeutic, like you’re unraveling, unpacking things in real time. What was the songwriting process like?

Sarah Klang: I always write the lyrics first, and I always start with the album title – it helps create a thread through the songs. But I didn’t plan to write about puberty or the female body. That just happened naturally with a couple of the songs. I write every day now, like it’s my job. I get stuff down, and later I start seeing the themes.

This album feels very mature in its musicality and lyricism. How do you feel it compares to your past records?

Sarah Klang: The lyrics are definitely more refined. I recently did two big shows in Gothenburg with the symphony orchestra – they played songs from every album. It was like my mini Eras tour. Playing those older songs really showed me how my writing has changed. When I started, I wanted to write cool indie songs, I want to write about love, moonshine, and blah blah blah. Now I just want to write in my own voice.

English isn’t my first language, so it’s important to keep things simple and direct. I’m not trying to be bold or provocative – I just want to describe things honestly. I think that’s what resonates with people.

You don’t write about simple topics, though. I admire your desire to simplify what’s complex.

Sarah Klang: Thank you.

You’ve touched on this before, but you don’t sing much in Swedish. Why sing in your second language, instead of your native one?

Sarah Klang: First of all, I hate singing in Swedish. I have a completely different voice in Swedish. I sound hella basic in Swedish – it’s weird. Sometimes I do covers or TV things in Sweden, and I hate how I sound. The language just isn’t as smooth. Also, I grew up on American pop culture. Everything I watched and listened to was American. The first time I went to New York, I felt like I’d already been there because of TV. All my dreams were based on becoming an American rock guy.

I honestly never thought of English as being a beautiful language, but as a native speaker, I suppose I’ll accept it.

Sarah Klang: Yeah, you should. It’s a beautiful, beautiful language.

Let’s dive right into your songs, shall we? I want talk about the title track, “Beautiful Woman.” Why lead with that song?

Sarah Klang: It felt like a big dick move – it’s a great song, and it sets the bar. Erik and Theo, who made the album with me, were both like, “Put it first.” So we did. It came together in like an hour. It’s a simple, classic song – those shorts at the beginning, that familiar sound. If something sounds familiar, embrace it. If something feels cheesy or dramatic, go all in. I hate when people don’t commit. “Beautiful Woman” is definitely one of my more dramatic songs.

It’s bold to start an album with a ballad, especially one that’s slower than others like “Haze” or “Last Forever.” To me, it sets a standard. It reminds me of Carole King or Adele.

Sarah Klang: That’s so nice. When we recorded it, at least two people were like, “This is so Carole King going to LA in the ’70s.” And I couldn’t ask for more. I haven’t invented anything new – I want my music to be based on my favorite music, so that’s really nice that you feel like that.

The lyric, “When I grow up, I want to be a beautiful woman” – what does that mean to you?

Sarah Klang: When I was 13 or 15, it meant becoming a good-looking woman. That’s how silly and sad and funny my brain was. Growing up in the early 2000s, I wasn’t suffering from the beauty standards – I just accepted them. Like, I guess I’m supposed to go on a diet now, eat dark rye bread for a week. I read girl magazines that had guy panels giving blowjob tips, and I’d be like, “Thanks for the advice.”

It was so dumb. But I’m also sad for the girls who ended up with eating disorders and spent years hating themselves. After releasing “Beautiful Woman,” I realized how many people relate to that time and had it way worse. I just wanted to describe it clearly. Like, this is how dumb it was.

But sometimes it’s hard. Older women come up to me after shows like, “You are a beautiful woman,” and I’m like, thank you, but that’s not the point. I’m not singing the song to get your approval. I’m singing it from my 15-year-old perspective.

Has your definition of a beautiful woman changed?

Sarah Klang: Sometimes yes, sometimes no. I still have moments where I want to be a good-looking woman. And of course, I have moments where I wonder, what is being a beautiful woman? Is it being a nice person? Is it loving yourself? Is it being kind? I don’t know. I like keeping the song simple, though – staying in that young, naive perspective. It’s nice to be her in that song.

Sarah Klang: “Other Girls.” I love that song so much. Usually I don’t get emotional over my own music, but that one hit me. We recorded it with Josh on drums and another Josh on bass – they were only with us for two days. They listened to the demo, went in, played it four times, and it was done. They’re friends with Eric and normally get paid a lot more, so this was kind of a charity project for them. But when they played it, I just started crying. It was so good. I thought, this is a song I’d actually listen to. That doesn’t happen often with my own stuff.

It has a jazzy, loungey feel that’s new for you. What inspired that vibe?

Sarah Klang: It’s definitely their style – they’ve played with people like Cat Power, Bon Iver, Kanye. They brought their whole energy to it. And I love the loungier songs because they’re not all about me belting it out. On “Beautiful Woman,” I have to focus. On “Other Girls,” I get to just be part of the band. Same with “Go to the Sun.”

It sounds like a treat to be part of the band rather than the whole show.

Sarah Klang: Yeah, it’s really nice.

One of my favorites is “Haze,” which comes early on the album. It’s got a poppier edge and so much energy. How did that song come about?

Sarah Klang: I like “Haze” now. But after we recorded it and I started getting the mixes back in Sweden, I thought, is this song dumb? What is this? Should we cut it? I asked Eric twice to cut it. He was like, “No way. That’s my favorite.” So we kept it. And now I love it. Especially live – it’s just a jam. And the lyrics are heavy, but I don’t care about that guy anymore, so it’s fun to sing.

Sarah Klang: “Childhood” is about wanting to move on. I want to stop torturing my parents with these songs, get results from therapy, and close the chapter. It’s not about dwelling, even if it sounds like that. In my 20s, I leaned into being depressed and dark. Now I’m more like, go outside, eat right, take care of yourself. Maybe you’ll feel better. That’s also what “I Have Everything” is about – gratitude. When I was younger, I thought gratitude was dumb. Now I see how lucky I am. I have my own family, I do music – I have nothing to complain about. And I need to remind myself of that to be a good person.

When I first heard “Happier,” I thought it was from you to your younger self. But then I realized it’s a message to your daughter. Is that right?

Sarah Klang: Yeah, it’s for my daughter. Definitely. Walking around Gothenburg, where I grew up, with her – it’s like, hey, you can just sit here, drink coffee, enjoy the day. You don’t have to be crazy. I’m grateful to her for helping me get to that mindset sooner than I might have on my own. I’m still working on it, but I’m trying to be a good person.

What three words would you use to describe this album?

Sarah Klang: Coming into myself. Like that Kylie Jenner quote: “This is the year of realizing stuff.” That’s this album.

Outside of what we’ve talked about, are there other favorite songs on the album?

Sarah Klang: I love “All I Want.” We played it in LA recently, and I laughed during it – it’s so sassy. It makes me feel like I’m singing “Man! I Feel Like a Woman!” It’s fun, easy to sing, comfortable pitch – I can just be a savage. It’s a blast.

Do you have a favorite lyric or line?

Sarah Klang: I love the start of “Other Girls.” That quote – “Nothing tastes as good as feeling skinny” – is iconic. It’s not mine, it’s just such a moment. That line cracks me up.

What do you hope listeners take away from Beautiful Woman? And what have you taken from it?

Sarah Klang: Once you release a song or album, it’s not yours anymore. I hope people listen and think about their own lives, not mine. I’ve loved hearing from people like, “I remember 2005,” and feeling that community around a weird, nostalgic time. I also hope people can chill to it, drive with it, have a beer with it. I want to make good jams. But I know people appreciate the storytelling and lyrics too, and that’s great.

I started out wanting to be famous. Then I wanted to be a cool star. I wanted people to respect my music – especially fancy-pants rock guys. I’ve always wanted them to love me because I’m a girl.

Who are you listening to lately? Any recommendations?

Sarah Klang: Fruit Bats. I’m obsessed. But I’m the worst at discovering new music. I find one thing and overplay it until I hate it. Right now, it’s Fruit Bats. And Bonnie Light Horseman – have you heard “Deep in Love”? That ballad? Best song in the world. I’m obsessed.

That’s amazing. Thank you so much for your time today. Congratulations on Beautiful Woman!

— —