Zara Larsson on Her Confident (and Vulnerable) New Record#

September 26, 2025

Photo: Charlotte Rutherford

Overwrought images from a “Euro Summer” usually involve fat bouquets of Italian tomatoes, blue-domed Greek buildings, and country-agnostic bustier dresses in gingham and fruit prints. In Zara Larsson’s world, it’s where ’90s Malibu Barbie hits up Sweden for summer; where the sun never sets and everything is in Lisa Frank-esque, acidic HD. Midnight Sun, Larsson’s fifth studio album, is the soundtrack.

The 27-year-old is already more than a decade into her career, but this is the moment when Larsson is finally coming into view as pop’s main girl. Calling first upon longtime collaborator and friend MNEK (with whom she made one of her first hits, “Never Forget You”), Larsson built a core team that included emerging producer Margo XS and songwriter Helena Gao. On their first day, they made “Midnight Sun”—a high-octane, hypnotic eurodance banger that, upon release, went stratospheric.

Across a thrillingly taut 10 tracks, Larsson revels in the heart-opening, euphoric swoops and strides of the Swedish pop shere that raised her—and pushes beyond it. The album swirls with trance sounds, licks of Brazilian funk, and romps through the New York ballrooms with songs like the vogue-y “Hot & Sexy” and cheeky “Puss Puss.” One of the standouts, though, is the reflective, airy, celestial-sounding “Saturn’s Return.” It’s a song about the ever-shifting goalposts and pressures Larsson has set aside. “It feels so good to know I don’t know what I’m doing. I know I’m free in my naivety,” she sings. “The Ambition,” on the other hand, has shades of Charli XCX’s Brat, as Larsson gets real about her biggest, unabashed dreams.

When we speak, Larsson is in Austin on a revelatory kind of tour, for two reasons. One: even though she’s supporting Tate McRae, fans are treating her slot like the main event. A scroll through TikTok shows Larsson held aloft by dancers, hitting vocal runs of another astral plane, and crowds you wouldn’t normally expect pre-9 p.m. in an arena. Two: she’s allowed herself to enjoy touring, taking herself out solo to experience new places rather than staying in bed.

“I loved Florida—it’s a cuckoo place with interesting people! I saw alligators. The older I get, the more I need to go hug a tree,” she says over Zoom, clicking extra-long, soapy acrylic nails. (How very Scandi.)

Having an all-women tour team, from her dancers to her tour director and engineers, has also changed things. Her solo tour kicks off in October, and her band is all-women too: “It’ll be special. It’s not a statement, but an energy I’ve naturally curated.”

Below, Vogue catches up with Zara Larsson about Midnight Sun, finding inspiration in memes, and making a record that’s never felt more her.

Vogue: Before “Pretty Ugly,” there’s a fun little interlude with you and MNEK, where you say you want to leave it “messy.” The album really touches upon “messier” experiences in a different way for you. How was teasing that out?

Zara Larsson: We start off beautiful, ethereal, fun, and dance-y with “Midnight Sun.” You’re feeling grounded, connected to nature, appreciating life. Then we get into the mess—where you’re a little obnoxious and feeling yourself—like “Pretty Ugly”—or feeling wild things like “Girl’s Girl,” which is about liking a friend’s guy and maybe or maybe not struggling with that. “Girl’s Girl” is like a meaner version of my old song “Ain’t My Fault.” I’m singing about things that, five years ago or even a year ago, I couldn’t. I don’t like to be mean, but I don’t have this feeling of having to be nice, a good girl, or a good feminist, anymore. I’m 27 now, and I appreciate all parts of me.

I feel like “Girl’s Girl” needs a “Girl, So Confusing”-style remix.

I love that so much. When I heard that Charli song, it really inspired me. Pop can be this place that is so real and so honest. We can speak truly about our real lives.

You then progress into these really candid tracks, “The Ambition” and “Saturn’s Return,” which navigate the competitiveness of the pop world and giving up control. Can you talk about how you make such vulnerabilities feel pop?

I wanted to show the journey I’ve been on to understand that I don’t know what I’m doing, I’m not sure what I want in my life, and that’s okay. I’m not as successful as I want to be, but I’m growing. As a young woman in the pop industry—and I started very young—dreaming big is everything. So is competition. You’re encouraged to be competitive and I wanted to actually confront that. I’ve deleted some social media—Twitter—from my phone because that validation is like a drug to me. Comparing myself to other people was too. As pop girls, we love the craft, we’re passionate about the music, but real talk: you’re also wanting to be a star that’s playing the big stages and on the radio. That’s getting awards. I don’t think ego is good or bad, it’s just reality. I’m very competitive, and it’s hard being in an industry where your work is subjective and things can flip so quickly. I can be that girl and then…flopiana.

How has that evolved with age? Is pop always engineered that way?

I experienced huge success at the very beginning of my career, but I didn’t take it in or stop to feel happy. I wanted hit after hit. Like, okay, I just did this stage, but next time, I want 40,000. I want 50. That girl over there’s doing 50! I’d leave the stage and think I never gave enough. It took the fun out of it. I feel I’ve landed somewhere different. I have my drive and ambition, but I’m also happy with the rhythm of life. I look around and let myself be inspired by others—to develop as an artist, rather than comparing myself. And maybe, sometimes, I wish I romanticized moving out to the countryside and having lots of babies…but I know I’d still have that itch.

Photo: Charlotte Rutherford

How has working with friends and peers changed things?

Well, that’s never really happened before. I’ve always been the youngest in the room, and because of that I never truly felt that connection I needed when writing songs with people in the early days, even if everyone was amazingly talented. Like, yeah, Rick Nowels is amazing…but he’s also 64, know what I mean? I’m working with women and friends who know my references, and we can have honest conversations that make beautiful music. That’s how these songs started and how we wrote three songs a day. I’ve never felt as involved in my own music.

How in tune with the Swedish pop legacy do you feel?

I’m turning 28 soon, so I’m allowed to be nostalgic here! Stockholm will always be home, and I’ve come to appreciate those summers that shaped me. The long winters of darkness and melancholy make you appreciate summers like nowhere else. And that’s a metaphor for life that I’ve trained myself on: Be present for the good things, make your own vibe. I was really inspired by Swedish folklore when I started writing this album—images of nymphs with long blonde hair staring into blue lakes. Then I added aesthetics of my own: glittery, colorful, fashion vibes. I’m always inspired by Swedish pop—it sounds polished and fun, but we’re also crying on the dance floors.

My digital footprint was defined by the “Symphony” meme of the dolphins. I thought, damn, I love it. How can I incorporate it into my world? It actually really inspired the album moodboard—animated animals, rainbows. Nature but silly.

Well, you are everyone’s favorite internet historian.

And I’m not telling you my screen time! Well, to be honest, it’s gone down. I’m surrounded by people that I love and love to work with. I’m not scrolling 12 hours a day. Then, when they all go to sleep, my real scrolling starts. I’m really fascinated by the psychology of the internet. On my own TikTok, I know when a video is going to hit, I’m in the comments [clicks nails]. It’s a game to me—but I truly want to participate, and I think that’s what people like.

Do you feel like you're in a new era now with your fans?

I think people are just really seeing this new confidence. I started off signed to a label so young. You’ve got choreographers, stylists, producers, and writers thrown at you—all amazing people—but that makes it hard to figure out who you are. For the first time in my life, all parts of me and my art feels cohesive. I’m connecting with people in a new way. I planted the seed and the fans are watering it. I love all my really big songs—I knew when they were gonna be a smash—but I maybe didn’t have the world around it that I wanted. Turns out, you don’t have to do too much. You just have to start from within. I don’t want to just be a performer, I want to be an artist.

What’s been really connecting with you? What are you reading, watching, enjoying?

I love to read. I just finished Trust by Hernan Diaz. But more widely, I’m doing a Kylie Jenner right now and realizing things. I realized I want to be a boss. I have my record label and I want to build on that. I’m really stepping into some grown-up responsibilities. I try to journal—and don’t put me in the town square and throw tomatoes at me, but I use ChatGPT to get my thoughts out. Sometimes I just need a little feedback loop.

Where’s the Zara Larsson competitive spirit now?

I feel so prepared for this moment. I feel like I can do the number one thing, even if it’s just for a hot minute. I am so ready!

Midnight Sun is out now.

This conversation has been edited and condensed.

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Anna Cafolla is American Vogue’s news editor, working across fashion, beauty, culture and living from London. Previously, she has worked at Dazed, Cosmopolitan, and ELLE, and has written for The Guardian, The Face, AnOther, and Conde Nast Traveller. She will hold you hostage until you agree to her restaurant recommendations. ... Read More