There’s Always More That I Could Say

Album ∙ Pop ∙ 2025

Sigrid

“I feel like I’ve combined the best out of the two albums I have out already,” Norway’s pop queen Sigrid tells Apple Music, as she thinks about There’s Always More That I Could Say. “It’s the same carefree, joyful, childlike wonder, bursting with creativity from the first album. And it has the ambition and the nitty-gritty detail and expansive production from the second album with some of the harder lyrics.”

The down-to-earth star isn’t entirely comfortable talking about her music in such glowing terms, but she should be. Working with longtime collaborator and good friend Askjell Solstrand, she’s produced 10 perfect pop tracks, from Norwegian summer jam “Jellyfish” to the heartfelt breakup ballad that’s the title track.

Unleashing herself from the studio was a key move for Sigrid as she and Solstrand headed out into coffee shops, parks, and remote places to write. “I really loved making this album,” she says. “Some of the lyrics are funny and silly, taking the piss out of myself. And other ones are raw and vulnerable. It’s never felt like work with Askjell and that line in ‘Jellyfish’ that says, ‘We’re just two kids in a crowded room’ is about him. It was super cathartic to make music out of pure joy.”

This time around, Sigrid doesn’t shy away from writing about love in a deeper way. “It’s the thing that connects us all as people and it’s fun to write about because it’s a hard nut to crack,” she says. “But it’s also an album about how you respond to love, friendships, finding more out about yourself, and who you’ve become. Every time I talk to my mother, she’s like, ‘Why don’t you write about the hike you went for the other day or cooking?’ I tell her that’s not stadium-worthy. I want to write these big songs with larger-than-life lyrics.” Read on as Sigrid takes you through the album, track by track.

“I’ll Always Be Your Girl”
“We’d spent the whole of 2024 recording this album in cafés, parks, and studios. There’s one of the best studios in Ålesund called Ocean Sound Recordings where some of the songs are written, but we also had a makeshift studio in my parents’ house. The order of the tracklist landed in January 2025 and it felt like ‘I’ll Always Be Your Girl’ had to be the opener. I wrote that guitar line when I was in Tooting Broadway, South London—I was in the studio with Nick Hahn [Rita Ora, Mimi Webb, James Blunt], who I worked with before on [2023 EP] The Hype. It’s a song about having a crush and being irritated.”

“Jellyfish”
“‘Jellyfish’ sounds like a Scandinavian summer: breezy and never too warm. I think you can hear that in the song. It’s lighthearted, fun, and cute, but it has this urgency to it. I thought I was writing about flirting with someone, but then I realized it’s about how beautiful friendships are. It’s about my friends, my band, my crew, the producer, and writers that I work with and how we collaborate together. Sonically, it’s the first song we wrote for the album where we felt like, ‘OK, I think this is what it can sound like.’ You always have that one song that starts a new era. I never set out thinking, ‘Here’s the title, here’s the vision for it,’ I just sit in a corner and I write.”

“Do It Again”
“‘Do It Again’ is moving into the more reflective part of the album. It’s a fun pop song. I was thinking a lot about Keane and Gorillaz, where ‘Jellyfish’ is more Lykke Li and early Peter Bjorn and John. Scandipop is not only electro, it’s this indie-cutesy thing. This song is about thinking, ‘I could just do this over and over again, even if it isn’t the best idea, but fuck it.’ I was with Martin Sjølie, who I wrote most of my first songs with. We had a rendezvous again in the studio, which was so lovely, together with Will Taylor from the British band Flyte.”

“Kiss the Sky”
“‘Parody of myself’ was the first line I had for that song, and that came to me when I was out driving in Oslo. Then I had a session with a Norwegian writer and producer called Whammyboy. He’s really cool, and this song came out on our first time writing together. It’s about blowing everything up and riding into the sunset. This was the hardest song to produce—I remember I rewrote the verses with Nick Hahn, but me and Askjell nearly hit the wall with it. We ended up with something straight to the point, and that’s exactly what the song needed.”

“Two Years”
“We usually write in this really old studio in Bergen. It’s like a shed and there’s definitely mold on the outside, but I love it. It makes me feel like 19 again because it’s the studio we’ve been working in since day one. That’s where ‘Fort Knox’ was written, but we were like, ‘Maybe we should go somewhere else and get some inspiration.’ So we went to Tokyo and rented this really cool studio, and I had this idea for a piano hook. I knew the rhythm I wanted, referencing some of my favorite French dancey-but-cool songs, like Phoenix and Justice. It’s written from someone else’s perspective, and I’m trying to see the situation from another point of view, but it’s also this chaotic dance. It was basically a competition for me and Askjell to see how many key changes we can fit into this song. Towards the end, it spirals.”

“Hush Baby, Hurry Slowly”
“‘Hush Baby’ is a song that came around the time where I was having writer’s block. This album has taken me three years to get out: one year of writing, a year of overthinking it and another to wrap it up. Askjell, my bestie, was like, ‘I know what you need. I’m pulling a writing camp together.’ We were with Edvard Førre Erfjord, who wrote a lot of the Little Mix hits, Anders Nilsen, who comes from a bangers-only background, and Harald Sørebø, a Norwegian rap producer. We had the best two weeks. I can be a bit of a micromanager in the studio, but I felt so free because I approached it like I wasn’t writing for myself. Usually, I don’t like singing until I know exactly what I’m doing, but I got on the mic and freestyled, so basically I wrote it in one take.”

“Fort Knox”
“I’d been traveling a lot the summer I wrote this. I was really angry and I had to let it out. I was running around the studio, shouting and screaming and those vocals made it onto the record. It was important that we recorded it on the handheld mic. I tried to record it on the classic studio mic standing still, but I was like, ‘That’s not the vibe of this song.’ I feel more comfortable singing in a live environment because I love the feeling that I have one chance. And if you fuck it up, it happens. I think I have a good skill of pulling myself together when it’s needed, so I like it to feel like I’m on stage and imagine everyone watching. Production-wise, it’s a very dramatic song with Davide Rossi, who did the strings on Coldplay’s ‘Viva La Vida,’ doing the arrangements. He’s amazing.”

“There’s Always More That I Could Say”
“This song is so beautiful. And I think it’s funny how I start it with, ‘I should have done that differently. I hurt you. I’m so sorry. Really, you’re seeing the worst of my personality now.’ And then it snaps in the second half of, ‘You know what, actually? You weren’t that nice either. So both of us could have behaved better.’ This was written in London again with Will Taylor and Oli Bayston in an old BBC studio with a ’70s vibe, a lot of brown mahogany, leather couches, and rugs with orange, earthy tones. It’s a good example of how your environment can really inspire how you write. I love a good ballad and I’m really proud of this one. I could always give more of myself, but this is what you get.”

“Have You Heard This Song Before”
“The lyrics are all about potential. It’s about love, but it could also be about something else, like releasing my third album. Who knows how far it can go or what countries it will take me to? I wake up and then something new and crazy happens. This song is so optimistic, but the production is nostalgic. Melodies usually come first for me, but that day, it felt like the lyrics came just as easily. My favorite line is in the mid-eight, where I say, ‘You should catch me while you can/Before I change my mind again/These songs don’t write themselves.’”

“Eternal Sunshine”
“This is one of the songs I’m most excited to play live. It sounds epic. I feel like it’s a galloping beat—I imagine a horse on the American plains, like proper cowboy vibes, riding into the sunset. That’s how I hear it, but with a bit of Kate Bush and The War on Drugs, who are one of my favorite bands. It plays on the film Eternal Sunshine of the Spotless Mind, how it would be easier to just paint someone out of the picture sometimes, but you can’t erase the memory. I originally thought ‘There’s Always More That I Could Say’ should be the closer, but this is such a nice way to wrap it all up.”