Sámi–Norwegian vocal icon Mari Boine has collaborated with renowned jazz pianist Bugge Wesseltoft, and the two have just released a new album,’Amame,’ via By Norse Music. In our interview with Mari Boine, we dive deep into the creative genesis of ‘Amame,’ her reflections on the role of indigenous music on the global stage, going in a ‘jazzy’ direction with Bugge, and her unique relationship with her multilingual audience. Mari shares heartfelt insights, touching on her decision to sing in her native Sámi and how she believes music can be a form of ‘medicine’ in these trying times.
Buffy: Thank you so much for taking the time to speak to us today. How are you doing?
Mari: I’m fine. It’s hectic. I’ve been doing interviews all the time for, I don’t know, one week now, maybe two. But I’m so happy there’s great interest in the album.
Buffy: That’s brilliant. We’re moving away from summer now and into autumn. You’ve done so many incredible shows over the past year. How’s your summer been?
Mari: Summer’s also been hectic. I did festivals, wonderful concerts, and one premiere for the album we have now. The first concert was in the big cathedral in Trondheim. We did it with 1,200 people and it was amazing, late at night. On top of that, I’ve been, I don’t know if you have this in Britain or where you are. This program where seven artists come together and sing each other’s songs. Do you know that?
Buffy: Yeah!
Mari: They invited me this year, so I’ve been working on songs all summer. We recorded it in April and September. Since June, it’s been so hectic. But I love it.
Buffy: That’s the most important thing, isn’t it? Well, back in early February, just after National Sami Day, you announced that you joined By Norse Music. Can you share a little bit about what it was like joining their family and how it fits your artistic vision to work with them?
Mari: I’ve always loved Wardruna since I heard them, and I think we’re both searching back to our roots. They’re going back to Nordic music, and I’m exploring my Sami roots. A long time ago, there were similarities. They were also shamanistic because that’s a big part of my music, the shamanistic beat. I feel we’re related. And when we played in Sweden at Borgholm, that was the first time I met many people from By Norse and it felt like coming home.
Buffy: That’s so incredible. I’m so glad to hear that. We’re just a few days away from the release of the new album now, that must be really exciting for you.
Mari: Yes, yesterday we got to see the album, the physical vinyl and the CD, and it was amazing. Me and Bugge were signing 500 copies, and today we’re going to another shop, one of the few that still sell vinyl. We’re going to be there tonight and sign.
Buffy: That’s great.
Mari: Yes, and also we’re going to play the music for the audience for the first time. I mean, not that we’re playing, but we’ll play the record.
Buffy: That will be so much fun. The pandemic forced a lot of artists to pivot their creative process. How did isolation and lockdown redirect your path and allow you to rediscover your love for piano music and eventually collaborate with Bugge Wesseltoft?
Mari: Yes, I was working on my second album, which will be out next April. We were planning to finish that one with my producer and my band. When the pandemic came, we had to stop because many of the musicians had to start working normal jobs. There I was, established in Tromsø. I thought, what do I do now? We couldn’t continue working on that album. So I started composing new songs.
Me and Bugge Wesseltoft had been talking about doing a record together. He produced my album in either 2011 or 2004, I lose track of the years. That album was called Eight Seasons. So I invited the pianist, Bugge Wesseltoft. We started to send each other files, I composed, and then I asked him to play on it.
We weren’t in the studio for many days, maybe three or four. It was much easier to work with one musician and one producer during the pandemic. The communication is very intuitive between me and Bugge, we don’t have to talk much. I feel that when I sing, he knows how to play around my music.
And for the first time, I learned to record myself. I’d never done that before. During my composing days in Tromsø, I also learned to record. And on one of the vocal tracks, I’m very proud of this one. It’s the only song that’s in English.
I recorded it myself, but we tried to re-record it in the studio, and it was okay, but when you record alone in a room, you’re much more relaxed. The feeling is there. Thanks to the wonderful mixer, he took away all the noise. I was a fresh technician, so it wasn’t totally clean, but he fixed it.
Buffy: Almost like that raw emotion behind it.
Mari: Yeah, exactly.
Buffy: Were there any challenges or surprises that came up when you were working on this album?
Mari: We were discussing this because I love piano and voice only. I can listen to that for hours. I thought that’s how the audience would love it too. Bugge said we have to add a few things. I agreed. Listening to the album now, I realize he was right. We also discussed the length of the songs; I love long songs. I can go into that feeling and stay for a long time. I’m very happy with the result.
Buffy: Obviously, there’s so much wisdom in your voice on this album. Did Bugge piano work inspire any changes to your vocal approach?
Mari: Yes, of course. It’s not very jazzy, but he has jazz elements, and that influences my way of singing. It’s was very interesting to have that touch to it.
Buffy: Were there any songs that took an unexpected turn because of your collaboration?
Mari: Yes, the song called ” Miha´.” I had done another version that was more pop. At first, I didn’t like Bugge’s suggestions, but the more I listened, the more I liked it. So that was surprising. Other than that, no big surprises, but working with Bugge did bring out some new aspects in my voice.
Buffy: You and Bugge were bouncing ideas off each other while you couldn’t meet in person. Are there any songs that changed completely when you finally met, or did they mostly stay the same?
Mari: No, they changed, of course. When you play live, it’s different from planning in your studio or while composing. I think many of the songs changed, but in a better direction than they were originally. It’s wonderful to work with music.
I love that it’s alive, and you never know; new things come up. Then you improvise when playing, so some of the parts that I do were not planned. They just happened in the studio when I was improvising.
Buffy: Seems like such an interesting process to be a part of. But, going into questions about some of the songs on the album, obviously, “Elle” is an iconic theme song from a film. What made you decide to include this in the album? And how does Bugge’s piano work change the emotional landscape of that track?
Mari: Elle is only recorded with a symphony orchestra, as a soundtrack to a movie. I never recorded it as a standalone piece. I love that song, and so does my audience. So, I knew I had to do it with Bugge because I could imagine that with the piano it would be even more beautiful. Normally, in my original live version, I am the one doing the high notes. But this time, I allowed him to have piano parts.
Buffy: It’s such a cool way that you’ve managed to make something almost brand new out of it.
Mari: Yes.
Buffy: Miha´ is a deeply emotional song in Sami. How does it feels to sing in your native language?
Mari: Oh, I love my Sámi language. It’s so flexible and beautiful! The song is about the hat, because when the missionaries came, the women were wearing these beautiful horned hats. I can imagine the missionaries were men and were provoked that women, like queens, were wearing this tall hat.
They said the horn is the devil, so you have to throw it in the fire or get rid of these hats. The women stopped using them and it was like that for 200 years or 150 years. Many of the hats are now in museums all over Europe.
We have an artist named Auti Pieski. She’s been having exhibitions all over Europe, including Venice Biennale. She and her archaeologist colleague wrote a book because they studied these hats. They took photos in museums across Europe, and now we’re working on repatriation. One of the hats belonged to a common great-grandmother that Auti and I share.
They studied the hat and found hair from bear skin in between the textiles because the Sámis used to have bear rituals. It’s interesting that this was our great-grandmother’s hat and maybe she participated in these rituals.
The hat is such a powerful element from our culture that was lost. The song is a celebration of the work of these two women, our pride in our culture, and the strength of our great-grandmother. She was a very strong woman and our culture was a matriarchy, where women had a strong position. It’s been very interesting to discover that this hat was in my family. The melody is Mozart-inspired; it has so much joy, especially the way Bugge plays it. I call this the Mozart piece. There is so much joy.
Buffy: It’s so nice to hear about a culture that isn’t as well known or appreciated in the Western world. Clearly, you’re in love with your culture and history. How do you balance the importance of singing in Sámi with the desire to make music that’s accessible for a global audience
Mari: I tried to release an album in English in 2017. After singing in Sámi for 30 years, I thought, let me try English. Both my audience and I feel I just have to sing in my native language. It’s most powerful when I sing in Sámi, but it’s also fun to include a few songs in English to open up for the audience. My audience doesn’t want my music to talk to their heads; they want my music to touch them in other ways. So, I think the fact that I’m communicating with the audience that I have out in the world is significant, even if I don’t sing in a language they understand.
Buffy: It’s such a real connection that you can have with your audience. Even if they don’t speak the same language you sing in, the fact that you can still connect is remarkable. On the topic of singing in lesser-known languages, how do you feel about the current state of indigenous music globally? Have you noticed more interest in it?
Mari: I think it’s slowly growing. English music, particularly Anglo-American music, is the biggest, but there’s been growing interest in world music. It will never be a big commercial thing, unless there’s a revolution! I see more young Sámi artists and groups gaining larger audiences. Spotify sometimes brings similar music, but people also stumble into our kind of music by coincidence.
Buffy: It’s wonderful! I want to thank you for speaking with me today. Is there anything else you’d like to share, perhaps about the album or a message to your fans?
Mari: I hope people appreciate this music. The world is in a chaotic state right now. There’s a lot of uncertainty, a war in Europe, and climate change. We are living in difficult times. I want this music to serve as a form of medicine, a place where you can recharge your batteries. I hope people can open their hearts to this music, as we all need to meditate and find a space to recharge.
Buffy: That’s brilliant. We’re excited for the release of this album. W Thank you so much for taking the time to speak with us today.
Mari: Thank you.
More From Mari Boine
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Mari and Bugge are hitting the road in support of their album. They have announced a series of shows across Norway and you can see a list of dates below.
October 30: Oslo World Music Festival – Oslo Konserthus, Oslo
October 31: Skien World – Ibsenhuset, Skien
November 2: Bergen Internasjonale Musikkfestival – Grieghallen, Bergen
November 4: Tromsø World Festival – Tromsø Kulturhus, Tromsø
November 5: Molde Mundo – Bjørnsonhuset, Molde