Anna Von Hausswolff announces new tour dates for “Iconoclasts”, three shows in Italy in August

Anna von Hausswolff is gearing up to return to Italy this summer for three shows, part of the tour supporting her new album “Iconoclasts“, released on October 31, 2025 via Year0001.

The Italian dates include three shows: Saturday, August 8 in Genoa, at Villa Durazzo Bombrini as part of the Lilith Festival; Sunday, August 9 in Rimini, at the Corte Agostiniani for the Sagra Malatestiana; Monday, August 10 in L'Aquila, at the Peltuinum archaeological site, for the Paesaggi Sonori series.

Here is the full schedule with the new tour dates for “Iconoclasts“.

21.05 Atlas Song at St, Pölten (Festpielhaus)

22.05 Atlas Song at St, Pölten (Festpielhaus)

06.06 Barcelona (Primavera)

14.06 Hilvarenbeek (Best Kept Secret)

24.06 Athens (Release)

28.06 Antwerp (Live is Live)

03.07 Gdynia (Open'er Festival)

02.08 Waterford (All Together Now)

05.08 Ljubljana (Kino Siska)

06.08 Brno (Pop Messe)

08.08 Genoa (Lilith Festival)

09.08 Rimini (Sagra Malatestiana)

10.08 L'Aquila (Paesaggi Sonori)

13.08 Gothenburg (Way Out West)

15.08 Copenhagen (Syd For Solen)

28.08 Lisbon (Meo Kalorama)

01.09 Nottingham (Rescue Rooms)

02.09 Glasgow (St. Luke's)

04.09 Brighton Psych Fest

05.09 Manchester Psych Fest

06.09 Dorset (End of The Road)

16.11 London (O2 Shepherd's Bush Empire)

After the international breakthrough achieved with "Ceremony" (2012), Von Hausswolff has established herself as one of the most original figures in contemporary European music, developing a language that combines organ tradition, atmospheric rock and electronic experimentation. The pipe organ remains at the heart of her songwriting, an instrument she uses as a true sonic engine: a living substance that expands and contracts, generating monumental compositions alongside more intimate, contemplative moments.

With “Iconoclasts” the Swedish musician further broadens her expressive range, introducing more open, melodic elements without giving up the emotional tension that defines her work. Produced together with longtime collaborator Filip Leyman, the album brings together a roster of guests including Iggy Pop, Ethel Cain, Abul Mogard and Maria von Hausswolff, alongside saxophonist Otis Sandsjö, whose contribution helps heighten the dynamic dimension of the compositions. 

The Swedish songwriter's new project moves through themes of love, freedom and personal autonomy, weaving together symbolic suggestions and reflections on the contemporary condition. Amid deep percussion, layered organs and pulsing guitars, von Hausswolff's voice remains the fulcrum of a vast, stratified sound design. On “Iconoclasts” her experimentation continues, joined to a more fully realized exploration of the ballad form, with the support of exceptional guests such as Ethel Cain, Iggy Pop and Abul Mogard. The result is a new gothic, visionary intoxication, though here and there a ray of sunlight filters through, opening the sound to a more ecstatic, dreamlike dimension, through complex, layered sonic textures that reach out to touch different territories, from art rock to jazz to ambient. A sonic magma where symphonic drones worthy of Fuck Buttons' “Tarot Sport“ coexist with bursts of shimmering noise and dreamlike cinematic orchestrations.

The ace up the sleeve that Anna von Hausswolff plays to pull off the mission is saxophonist Otis Sandsjö, an avant-garde musician whose disorienting interjections run through the whole album. It's him who drives the ecstatic instrumental “Consensual Neglect”, a tribute to the free jazz of John Coltrane and Albert Ayler, and the nearly nine minutes of “Struggle With The Beast”, built on a lopsided, ever-shifting funk, with Anna's voice bursting in at the height of the raging crescendo to sharpen its pathos. And it's Sandsjö again who lends warmth to the spectral “The Mouth” and the convulsive “Stardust”. A constant presence, alternating rough-edged moments – you can even hear fingers striking the keys – with softer, more contemplative sections, as in the rarefied “Aging Young Woman”, a duet with Ethel Cain: a suspended hymn, somewhere between elegy and prayer, evoking the most aching melancholy of Lana Del Rey to reflect on the awareness of time passing and the dream of a family that “slowly fades away”.

Ride the wave of great music

Add OndaRock to your favorite sources on Google Discover. Don't miss our reviews, milestones and latest news straight in your feed.

Follow on Google