Name: Julie Pavon
Nationality: Danish
Occupation: Singer, songwriter
Current release: Julie Pavon's new album Born With Heartbreak is out via Music for Dreams.

If you enjoyed this Julie Pavon interview and would like to stay up to date with her music and current lives dates, visit her official homepage. She is also on Instagram, and tiktok.



There can be many different kinds of energy in art – soft, harsh, healing, aggressive, uplifting and many more. Which do you tend to feel drawn to most?

I’m drawn to all kinds of energy in art. My work is driven by the duality within me; I love exploring contrasting moods and emotions.

I enjoy writing vulnerable, raw lyrics layered over uplifting dance beats, like with “Can’t Stop Crying,” but I also find beauty in the opposite: raw, harsh, or aggressive sounds that challenge and push boundaries. It’s the tension between these different energies that energizes and inspires me most.

For me, it’s about exploring and creating a space where authentic connection can happen through my music.

I have had a hard time explaining that listening to death metal calms me down. When you listen to a song with a particular energy, does it tend to fill you with the same energy – or are there “paradoxical” effects?

I think I understand what you mean. I’ve attended many techno events in Denmark and across Europe. It calms me down too.

I’ve discussed music with some of the others I’ve been in a psychiatric group with; most of us are fans of death metal or techno, and we share a common ground; it calms us down.

I think maybe the loudness in our minds is temporarily silenced by something louder from outside, which gives the thoughts and the mind a break for a while. It’s comforting.

When it comes to experiencing the sensation of “energy” as as a creator, how would you describe the physical sensation of experiencing this energy?  [Where do you feel it, do you have a visual sensation/representation, is there a sense of release or a build-up of tension etc …]

I am very physical in my creativity. In my mind and body, I associate sounds and songs with specific movements, and each song also has its own colors.

For example “Beauty In the Storm” is purple ...



... and “A Day To Breathe” is green and black.



It’s this connection that I draw on when I create my live shows and develop ideas for light-show and music videos.

When it comes to composing / songwriting, are you finding that spontaneity and just a few takes tend to capture energy best? Or does honing a piece bring you closer to that goal?

I find that spontaneity and capturing the energy in just a few takes often work best for me. When I let things flow naturally, I can preserve the raw, authentic feeling that makes the music special.

However, refining a piece is also very important, as it allows me to deepen the emotion and ensure that the energy aligns with my vision.

For me, a balance between the two; initial spontaneous expression followed by refinement, tends to bring me closer to capturing the true essence of the song.

For Born With Heartbreak, what kind of energy were you looking for?

I have been aiming for an energy that is raw and honest, something that captures genuine emotion and vulnerability.

I want the listeners to feel the intensity and honesty in the music. I want to make people feel something genuine, whether it's strength, tenderness, or a blend of both; or anything else that moves them.

How do you capture the energy you want in the studio? In terms of energy, what changes when you're performing live on stage, with an audience present, compared to the recording stage?

I am very intuitive in my approach to creating music. I enjoy the immediacy and freedom of being open to whatever comes up. I like there to be a rawness in my songs.

When I record, I want my natural feeling to come through in my voice. That’s why I try to sing the entire song in one take to begin with in the studio, so that the emotions can be felt in my voice. It reflects what I do when I perform live.

There has been a sort of ping-pong learning process between the stage and the studio. For example, I recorded “Don’t Call Me Out” from the beginning because I performed it live and felt the energy that naturally arose in my body and voice; Then I needed to bring that energy into the studio.



Now, I always close my eyes in the studio and imagine myself standing on stage; then my vocals come out based on that moment I create in my mind.

Additionally, each of my songs has its own color and I tap into these colors both on stage and in the studio. For example, “Passenger” is dark green.

How does the presence of the audience and your interaction with it change the energy of the music and how would you describe the creative interaction with listeners during a gig?

For me, staying open to whatever moment feels right is essential. I like to create an organic interaction with the audience. I perform, they respond, and together we generate a shared energy that can’t be scripted.

It’s this dynamic, intuitive exchange that keeps the experience genuine, vibrant, and deeply personal for both myself and hopefully those listening.

What kind of feedback have you received from listeners or concert audiences in terms of the experience that your music and/or performances have had on them?

I receive a lot of really heartfelt messages and feedback from listeners and audiences. Many tell me that my music and performances have inspired them in different ways.

It means so much to me to know that my music can have this kind of impact; It's very special.

Would you say that you prefer to stay in control to be able to shape the energy or do you surrender to it and allow the music to take over? Who, ultimately has control during a live performance?

I always allow new things to happen at each show. While I have certain choreographed moments and a deliberate energy or space set for each song, I genuinely love giving myself permission to follow whatever feels right for my body in that exact moment.

I believe in surrendering completely to the present, trusting my instincts and allowing my body to guide me. This approach makes each performance unique and spontaneous. It is an immediacy and intuitive approach to live performance that I want to hold on to.