Sofie Royer

Import Export, Schwere-Reiter-Str. 2h, 80636 München
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Sofie Royer

before/after live 2026

Sofie Royer is a multidisciplinary artist based in Vienna who translates her interest in classical tradition into shimmering electro-pop songs. A conservatory-trained violinist from Vienna, Sofie wound up in California aged 19, where she DJed, built Boiler Room in LA and worked at Stones Throw. Over the past six years, Sofie has developed her songcraft with three acclaimed albums. She channelled her love for French chanson into her 2020 debut, Cult Survivor, and looked to Viennese opera and ballet for 2022’s Harlequin. She guested on Lewis OfMan’s latest record Cristal Medium Blue, and on Toro Y Moi’s MAHAL in 2022, and has recently opened for Lana Del Rey, Air, LCD Soundsystem, Belle & Sebastian and Von Wegen Lisbeth.

For Sofie’s 2024 album Young-Girl Forever, she borrowed the term „Young-Girl“ from the book Preliminary Materials for the Theory of a Young-Girl, originally published in French anarchist journal Tiqqun, and republished in English via Semiotext(e). She expressed a desire for true liberation while oscillating between optimism and doom, and celebrating the figure of the „Young-Girl“ while critiquing the culture that created her.

Now, she’s a pop artist who flavours her lyrics with references to Fassbinder, David Lynch and Falco, and has worked with serious pop producers for her new album before/after, out 4 September on Stones Throw – Matt Cohn (SZA, Charli XCX), Jorgen Odegard (Sabrina Carpenter, BLACKPINK), and Eli Hirsch (Suki Waterhouse). The Austrian-Iranian pop artist and producer wonders if conflicts between past and future aren’t really just battles with our own selves. “The older you get, the more cognizant you become of certain patterns in your behavior,” she says. “So you ask, what will it take for me to stop repeating the same things over and over again? But then you find yourself behaving the same way.”

As her songwriting and production have grown more complex and polished, Sofie’s lyrics weaving self-excavation with cultural commentary have become sharper. On before/after, the main target of her satire and critique is herself. But though Sofie might be her own worst enemy, she’s also the first person to laugh at herself: before/after’s cover depicts Sofie’s face crushed beneath a boot; the back of the jacket reveals she’s the one holding the boot. As she puts it, “Really, in the state of before/after, it’s always you vs you.”

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