LOVI DID THIS makes music that is melancholic in a retro-futuristic tone, often based on her signature Omnichords and warm, emotional vocals. The songs range from slow anthems to uptempo catchy indie pop about humans trying to make sense of themselves. Live, Lovi Did This carry a intense presence and often surprise her audience with new versions and instrumentations of her songs, sometimes being 10 people on stage but often just her.
Lovi Did This (SE) has performed at Klub Stodoła twice: once during Liveurope Night 2025, and again on March 29, 2026, as the opening act for Raz Dwa Trzy. To mark the occasion, we sat down with Lovi to talk about life, music, and the creative process.
You’ve worked across music, journalism, photography, dance and visual art. Do you see yourself as one artist using different tools, or as several different people sharing one life?
That is a great question. Firstly I think the full potential in humans isn’t being developed in the best way in society today. Historically, we get an education and work with a limited number of things during our lifetime, but we have potential for so much more. Society should help its citizen grow their skills more broadly. The way I move between different areas of creativity and roles just feels very natural to me. And the benefits are many - one area opens up a new perspective on the other so to speak. I look at life, creativity, art, society through different lenses using different senses or tools to reflect. Still the same person. There was a period when I used a different persona and name for some of these activities. A very exciting experiment! One thing though, many different roles/activities requires more time to reflect and make use of the insights. I am still struggling with that one.
Your music often finds melody in distortion and beauty in darkness. Does a song need to be beautiful to be moving?
This is of course very individual. For me, no. But I think a musical story could be told in so many different ways and still work. I like contrasting emotional materials, and to hide small details that you can feel but maybe not really hear. Modern commercial music is very in your face, screaming the message. Most of the time that does nothing for me. But a song that balances lyrics, textures, harmonies and vocal/musical performance to tell a story that makes you feel something - that song could be with you for years and years and still be interesting.
For the curiosity - hearing something unexpected will trigger new thoughts, new smiles, new sounds and melodies. What will my brain do? And as for the personalities of the musicians, the personalities are for me more interesting than how they sound with their instrument. Since I explore the adventure, a person is always more interesting than just listening to their sound.
Three words that describe the world inside your songs?
Cinematic, emotional, unpolished
You once described yourself as a rather fearful person who has decided to be brave. Has making music changed what courage means to you?
Yes, actually I think I am more brave today thanks to music! Since I invite uncertainty on stage I have learned that showing weakness or having to deal with the unexpected on stage only helps connect with the audience, just as long as they can see that you are still enjoying yourself and not being in agony. There are still areas where I am hopelessly fearful (relating to relationships and taking a proper stand for myself in certain situations). But being fearless is not a goal at all.
Oh, that is where the adventure is! Do seek it out! No-one can do what you are doing the way you are doing it if you stay true to your own curiosity. Nowadays my incentive for making music is for the adventure only. The creative adventure: where will this thought take me? What will I find? And the social adventure: Who will I meet? What will we do? Where will we go? Everything else - like success, critical acclaim, building a career etc is super secondary… if at all on the table. For me this approach makes everything so clear. And desicions easy to navigate. So, if it doesn’t fit anywhere, you’re on to something super exciting!
What is the best thing that has ever happened to a song because something went wrong?
I think that must be when I am working on a song and I think: ”guitar with a strange pedal effect” needed here, and I don’t have a guitarist in the room but try something out myself to fake it. And that the fake non-guitarist recording end up carrying the whole song! I am not afraid of instruments I can’t play or asking my musicians to play a new instrument that they are not familiar with. We do that a lot on stage - change instruments to stay on the edge - in the danger of failing you get a lot of stage magic!
Feel free to express yourself here! What do you want people to take away from reading this interview?
I think we live in a time where we as humans need music and culture more than ever to make sense of and reflect over life (or perhaps this has always been the case). I also think that the role of the musician, poet, artist, therefore is more crucial than ever for humanity. And the process of reflecting and creating. So in these times of abundance of songs (AI-created or not), maybe reaching for career in music is more out of reach than ever, we do not know how tomorrow will unfold. But in any case, if you as a songwriter and artist follow your curiosity and aim for (even the smallest of) adventure, you will most likely find meaning anyway. And your audience too.
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Klub Politechniki Warszawskiej „STODOŁA”
ul. Batorego 10, 02-591 Warszawa
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