INTERVIEW: Bellefolie releases debut LP ‘Beautiful Madness’

Bellefolie is a Norwegian composer and producer whose music sounds like weather that’s shifting, cinematic and impossible to contain. She draws on the robust scene of Norway’s west coast, fusing it with a streak of French elegance that gives her sound both edge and grace and in just a short time, she’s performed in Paris, played for thousands in London and secured radio play both sides of the Atlantic.

Her rise has been fast but quietly assured; last summer she supported Norwegian legend Sivert Høyem, a moment that confirmed her growing status as one of the country’s most compelling new acts. Reviews across Europe have echoed that sentiment, with British press and Norwegian radio alike drawing comparisons to Lorde, Edith Piaf and Björk, three artists united by their emotional context and pioneering sonic output. Bellefolie’s sound sits somewhere in that sphere too, serving up alternative pop instilled with vulnerability and stitched with poetic defiance.

Her debut single “In the Clouds,” released in 2024, first unveiled her studio sound and since then, she’s followed with a string of well-received releases that have positioned her as a must watch artist in the alternative pop music world. Bellefolie writes like someone looking directly into the storm rather than away from it and that gaze defines her brand new debut full-length album titled Beautiful Madness.

Beautiful Madness is an arresting artistic statement, an adventurous and emotionally exacting exploration of alienation, overload and what it means to stay human in an overstimulated world. It doesn’t chase relief or resolution, it holds its ground inside discomfort and across ten tracks, Bellefolie examines death, grief and existential anxiety not as abstract themes but as lived realities. The album’s architecture mirrors a psychological journey, starting with resistance and avoidance before reaching something quieter and truer, resulting in a record that asks for presence rather than escape.

Set up by the echo of airy vocals on “Modern Apathy,” the laid back pulse of grooving drums sets up a mellow indie pop vibe that flows with expressive vocal layers and delicate piano tones, forming a memorable and subtly upbeat soundscape that opens the record with an instantly catchy moment. “Your Gates” follows with elegant vocal lines and delicate piano backing as the soft rustle of pattering percussive shots roll across the sparse mix. Building with stunning orchestral textures and muted drums, it’s a dazzling showcase of Bellefolie’s tender songwriting and performance talent.

Reaching back to her first outing, her debut single “In the Clouds” brings shuffling drums and pulsing bass notes as Bellefolie’s smooth vocals flicker above to cast a spellbinding pop scene. With songs like “La Nuit Blanche,” she takes listeners on a transportive sonic voyage that glides with tapped percussion, sweeping instrumental textures and hushed spoken word style vocals carrying French lyrics, forming a spacey scene that’s mesmeric, absorbing and thoroughly original.

“Restless Nights” lands as the album’s pivotal new single and perhaps its emotional turning point where Bellefolie encounters a deeper truth, that unrest itself isn’t the enemy. The song feels like a breath caught between despair and acceptance, a moment where something painful becomes instructive wrapped in an engrossing, psych-tinged track that glides with trip hop aesthetic and hazy vibes to craft a journey packed full of twists and turns.

“Healing didn’t come from escaping or overpowering pain. It came from staying with it. From recognising discomfort as a messenger rather than a threat,” she explains. That philosophy ripples throughout the entire album and by the time Beautiful Madness reaches its final moments, its tone has shifted from tension to a fragile kind of understanding. Penned in the aftermath of personal loss and depression, the record maps the space where distraction fails and avoidance collapses. It’s a powerful artistic move and it works precisely because it’s based in Bellefolie’s own truth. With the album’s release show at The Gladstone Arms in London on Tuesday the 10th February, Bellefolie is set to bring the release alive on stage in what’s sure to be a magical musical moment.

We caught up with Bellefolie to find out more about her musical journey so far, her debut album Beautiful Madness and what she’s got lined up for the future. Check out our interview with Bellefolie below.

Hey Bellefolie, how’s things?

Hey! Thanks for having me! Things are very busy with the album release and the tour, but that’s a good thing.

What’s your earliest memory of making music?

I have a film of me rolling around on the floor singing as a three-year-old. The lyrics are complete gibberish, but the melody is weirdly solid. I started a band in third grade, and I remember writing a song about a fictional character who died at a disco. Very dramatic.

Which artists do you draw most inspiration from?

I keep coming back to Björk for her fearless experimentation and the way she blends styles and genres. Kate Bush for how she shapes production to serve exactly what a song needs, without chasing trends. And Nina Simone for that raw emotional force.

How else do you find inspiration for your music?

Philosophy and literature are a big part of it for me, especially Albert Camus and Søren Kierkegaard, and francophone poetry, like Souffles by Birago Diop. I also draw a lot from my own experiences and reflections.

What was your highlight of 2025?

My highlight of 2025 was playing a large event in London in front of thousands. The response was overwhelming, and it led to more shows there. A real game changer.

What do you love about the Norwegian music scene?

I love how supportive the scene is. Artists actually cheer each other on, and it’s easy to meet other musicians. Norway also has strong public funding and grants.

What would you say is the perfect setting for listeners to enjoy your sound?

I think it works really well on a walk, especially in the morning, either in the city or out in nature. In a kayak, even. Or late at night in front of the vinyl player, maybe with a glass of red wine from Paris and a little notebook.

How has your own style and sound evolved since you started out?

The writing has opened up, both musically and lyrically. I’ve started borrowing more from other traditions and genres, especially jazz, and letting different cultural influences sit next to each other. The lyrics have also become more open and honest, and I’ve learned to trust that simplicity can still carry a lot.

Who would be your dream artist to collaborate with?

Björk. I’ve always admired how she works, and I think I’d learn a lot from that.

How did you find making your debut album ‘Beautiful Madness’?

The album reflects a development I experienced while writing it, from apathy to presence. From disconnection back to connection. I learned a lot about myself in the process, and I believe the movement of the album tracks that arc.

What message did you want to get across with this release?

We’re living through multiple crises at once, and we’re not built for constant pressure. A lot of people shut down, not because they don’t care, but because it’s too much. The album starts there in “Modern Apathy”, and moves from paralysis toward presence. At the centre of this project is “La Folie”, translated as madness, not as pathology, but as the ability to stay with uncertainty without escaping. And in doing so, it opens up new ways of living, thinking, and living together. “Restless Nights” is the turning point. Instead of trying to outrun unrest, I start treating it as something faithful: “These restless nights are loyal.”

How did you find the process of making a full-length work?

I loved it. A full-length record gives you room to to build a larger whole, not just individual tracks. You can focus on what each song needs in relation to the others, and what the whole work is trying to say.

What’s the main thing you want people to get out of listening to your music?

I hope it leaves an aftertaste. Like a thought you can’t quite shake, or a feeling you didn’t expect to recognise.

What are you most looking forward to about your upcoming live show in London?

I’m looking forward to stripping the songs down and hearing them in a different light. I’m bringing cellist Carmel Comiskey, and her talent baffles me. We’re aiming for something more intimate and contemplative than our usual show.

Who would be 3 artists to headline your dream festival? And where would it be?

If they don’t have to be alive, then Janis Joplin and Nina Simone. And PJ Harvey, I’ve never seen her live. Since I’m Norwegian, I’d put it somewhere warm, maybe Portugal.

Do you have any advice for a new artist wanting to follow your footsteps?

Do the hard work yourself and build stone by stone. Finish things, and protect your standard for quality.

Finally, what do you have lined up next?

I’m working on my second album, but I might release an EP in the meantime. I want to record something live with my band. We’re heading out on tour soon, starting in Germany, and I’ve got a few collaborations in the loop. After that, I’m hoping for a bit of quiet time to just create again, in a house by the sea.

Listen to Beautiful Madness below