Am 17. April 2026 veröffentlicht LØLØ ihr mit Spannung erwartetes zweites Album „god forbid a girl spits out her feelings“ – ein Werk, das persönlicher, roher und ehrlicher kaum sein könnte. Im Vorfeld der Veröffentlichung haben wir mit ihr über Verletzlichkeit, kreative Freiheit und den Mut gesprochen, ungefilterte Gedanken in Musik zu verwandeln. Außerdem verrät sie, was Fans von ihren kommenden Shows erwarten können und warum dieses Album für sie einen ganz neuen Abschnitt markiert.
Frontstage Magazine: Your new album carries the very honest title “god forbid a girl spits out her feelings” – what has changed for you personally that allows you to be so open about your emotions today?
LØLØ: I think I just stopped trying to be likeable all the time! For a long time, even when I was being “honest,” I was still filtering things to make sure I didn’t come off too much, too emotional, or too messy. But the more experience I get, the more I realize those are the exact things that make me human, and that make people really connect with my music. So this album is me finally letting myself say all of my unhinged and unfiltered thoughts and not apologizing for it.
Frontstage Magazine: Compared to your debut, the new album feels much more vulnerable yet also more confident – was it harder for you to show this side of yourself?
LØLØ: Yeah, definitely. It’s way easier to hide behind sarcasm or a concept than to just say exactly how you feel. But weirdly, the more vulnerable I was, the more confident I felt. Because there’s nothing left to hide behind, it’s just me… take it or leave it. And that’s actually a really freeing place to create art from.
Frontstage Magazine: You worked with several well-known songwriters and producers on this album – how much of LØLØ is still in every single song?
LØLØ: All of LØLØ !! I’m really hands-on with everything I put out— the lyrics, the melodies, the exact tone of every line. Even when I’m in a room with other writers, the songs don’t come out unless they feel like something I would actually say in real life. So no matter who I’m working with, it’s always the same amount of me. I am lucky enough to work with writers and producers who embrace all of my weird ideas, like for example, when I came in and said “I want to write a song that starts with “I sent you a picture of me with no shirt on” to two grown men and they were just like, HELL YEAH! Haha.
Frontstage Magazine: Tracks like “007” show a new level of intensity in your sound – would you say this is your boldest work so far?
LØLØ: I wouldn’t say my boldest work, but it’s definitely new territory for me and I’m loving it! I had a really good time exploring a bunch of new sounds on this album and trying out a lot of new production things.
Frontstage Magazine: Your lyrics feel almost like diary entries – were there moments where you hesitated to actually release certain thoughts?
LØLØ: Omg, YES. But never while writing them. When I’m writing a song, I’m never thinking about the song actually coming out… I’m only writing it to let out my thoughts and selfishly, to make myself feel better about whatever specific situation. Only when it’s like, the night before the song comes out, do I start to sometimes panic and think to myself “maybe this is a terrible idea to put out into the world.” But those end up being the best ones!! I think if something makes me a little uncomfortable, it probably means it’s really real, and that’s what people end up connecting most with.
Frontstage Magazine: You’re about to start your tour across Germany – what can and should fans expect from your shows?
LØLØ: I always really love to bring my album to life while performing. I want the shows to feel like you’re actually inside my album and inside my brain for an hour and a half. There are moments where we can scream the maddest lyrics together, and then five minutes later we’re all dancing, and then five minutes later, we’re all crying. Also, I’m definitely bringing the diary energy on stage. It’s gonna feel very personal, but also like a big group therapy session.
Fotocredit: Whitney Otte
