Singer Anna von Hausswolff: ‘A right-wing party wanted to gain Catholic votes. They used me as a tool’

Swedish artist Anna von Hausswolff has recently found herself at the intersection of music, religion, and political controversy, a situation that has profoundly shaped her latest work. Best known for her genre-defying sound that merges pipe organ compositions with elements of doom metal and classical influences, von Hausswolff faced significant opposition during a 2021 European tour that culminated in protests by conservative Catholic groups.

In December 2021, von Hausswolff was scheduled to perform on a historic pipe organ within the Notre-Dame de Bon-Port basilica in Nantes, France. However, the concert became the focal point of sharp criticism and public demonstrations by hardline Catholic activists who accused the musician of promoting what they labeled as 'satanic art.' The protests escalated to the point where attendees could not access the venue, prompting von Hausswolff to cancel the show despite having official church approval and her intention to present an instrumental performance respectful of the sacred space.

This incident was not isolated; her tour encountered similar resistance in Paris, where she had to relocate a concert to a secret venue, as well as in Belgium and the Netherlands. According to irishtimes.com, these actions were motivated in part by political agendas, with right-wing parties in France reportedly leveraging the controversy to rally traditional Catholic voters during an election period. Von Hausswolff found herself unwillingly cast as a symbol in a larger sociopolitical struggle, targeted for her fusion of heavy-metal aesthetics with sacred music traditions.

The experience in France left a lasting impression on the artist and directly influenced her sixth studio album, Iconoclasts, released the following year. The record has been hailed as a career-defining work, securing critical acclaim and winning Sweden’s equivalent of a Grammy. Iconoclasts delves into themes of personal resilience and defiance, embracing the concept of the 'iconoclast' as one who challenges entrenched norms and confronts opposition. Musically, the album continues von Hausswolff’s signature blending of majestic pipe organ soundscapes, intense vocal performances, and a heavy-metal atmosphere that defies easy categorization.

One track, explicitly titled The Iconoclast, captures the emotional aftermath of her confrontations with hostile audiences, expressing a plea for self-acceptance amid public scrutiny. The album also features collaborations with notable artists such as Iggy Pop and Ethel Cain, further highlighting von Hausswolff’s eclectic and boundary-pushing approach.

Von Hausswolff’s past controversies further contextualize her complex relationship with public perception. She recalls an earlier incident in 2013 when she appeared in a photograph wearing merchandise from the Norwegian black-metal band Burzum, associated with extremist and criminal activities by its founder. She acknowledges this as a youthful misjudgment that underscored the importance of awareness about how artistic choices can be interpreted.

Beyond the controversies, von Hausswolff’s music is recognized for its emotional depth and thematic exploration of contemporary issues. For instance, the song Aging Young Women, a poignant duet with Ethel Cain, addresses societal pressures faced by women as they age, reflecting on themes of identity and the fear of invisibility in a culture that often prizes youth.

Born and raised in Gothenburg, Sweden, in an environment influenced by avant-garde art through her father, von Hausswolff has cultivated a distinctive artistic voice that bridges the ancient and modern. Living in Copenhagen, she began developing Iconoclasts nearly a decade ago, a period marked by seismic global events including political upheavals, social movements like Black Lives Matter, and the COVID-19 pandemic. These factors, she says, have seeped into her creative process, mirroring a world grappling with fragmentation and uncertainty.

Despite the challenges, von Hausswolff maintains a hopeful outlook on the role of music as a source of spiritual and communal healing. Her recent performances across three continents, culminating with an upcoming concert at Dublin’s National Concert Hall, underscore her commitment to sharing this vision. Iconoclasts stands as both a personal catharsis and a call to confront adversity with courage, reflecting an artist who has navigated controversy to emerge with renewed artistic purpose.