{"id":797035,"date":"2026-02-12T17:19:04","date_gmt":"2026-02-12T16:19:04","guid":{"rendered":"https:\/\/numero.com\/?p=797035"},"modified":"2026-02-12T17:19:26","modified_gmt":"2026-02-12T16:19:26","slug":"annahstasia-tether-the-new-hope-of-folk-from-los-angeles","status":"publish","type":"post","link":"https:\/\/numero.com\/en\/culture-en\/music\/annahstasia-tether-the-new-hope-of-folk-from-los-angeles\/","title":{"rendered":"Annahstasia, the new hope of folk from Los Angeles"},"content":{"rendered":"\n
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https:\/\/www.youtube.com\/watch?v=NbdIZsHuvtA<\/a><\/div>\r\n
Annahstasia – Satisfy Me <\/em>(2025).<\/figcaption><\/figure>\n\n\n\n

An artist following in the footsteps of Sade and Tracy Chapman<\/h2>\n\n\n\n

American singer Annahstasia<\/strong> keeps her distance from labels. Still, the artist can be placed somewhere between Tracy Chapman<\/strong>‘s narrative solemnity and Sade<\/strong>‘s nocturnal velvet. But the comparison ends there. She now asserts her own sound, with her signature dizzying crescendos. Meanwhile, her album cover recalls the early records of Bj\u00f6rk<\/strong><\/a> or Fiona Apple<\/strong>. The latter appeared in front of the camera with a steady gaze and no artifacts. Annahstasia<\/strong> was looking for the same clarity. A frontal gesture that said, “Hi, it\u2019s me. I have nothing left to hide<\/em>.\u201d<\/p>\n\n\n\n

She grew up in Koreatown<\/strong>, a Los Angeles neighbourhood still haunted by the memory of the 1992 riots<\/strong>. At night, the city writes itself through the piercing wail of sirens, the screech of tires and the sharp crack of gunshots ricocheting between walls. At dawn, the world takes a fresh shape to the rhythm of street vendors\u2019 carts, schoolchildren’s laughter and blasting radios switched on a little too early.<\/p>\n\n\n\n

From this cacophony, Annahstasia<\/strong> draws an essential lesson\u2026 Sound, assembled from fragments, creates images. You can grasp what is unfolding outside without ever seeing a thing. Her music follows the same logic. It shines a light on what we would rather leave unsaid.<\/p>\n\n\n\n

\"Singer\n\t\t\t\n\t\t\t\t\n\t\t\t<\/svg>\n\t\t<\/button>
Singer Annahstasia. \u00a9 Yana Yatsuk.<\/figcaption><\/figure>\n\n\n\n

A standout show at the Pitchfork Festival<\/h2>\n\n\n\n

This is how she stands at the crossroads of folk and soul music. Tether<\/em><\/strong> was recorded instinctively, entirely in live takes. A way of breaking free from an industry that, for a time, tried to force her into a pop mould that was never truly hers.<\/p>\n\n\n\n

Annahstasia<\/strong> surrounded herself with demanding producers, like Jason Lader<\/strong> (Frank Ocean<\/a><\/strong>, Lana Del Rey<\/strong><\/a>), Andrew Lappin<\/strong> (L\u2019Rain), and Aaron Liao<\/strong> (Moses Sumney). Her record is shaped with the same precision, through carefully chosen collaborations, from poet Aja Monet<\/strong> to Obongjayar<\/strong><\/a>. Love, grief and resilience permeate the album.<\/p>\n\n\n\n

In November 2025, she performed at Caf\u00e9 de la Danse<\/strong> in Paris as part of the Pitchfork Music Festival<\/strong><\/a>. During her show, a large part of the audience was moved to tears. Annahstasia<\/strong>\u2019s music possesses something tactile, almost palpable. It conjures up the taste of the earth you bring to your mouth despite yourself, the light filtering through trees before a busy day, the soft embrace of someone you had deeply missed.<\/p>\n\n\n\n

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Une publication partag\u00e9e par \ud835\udd6c\ud835\udd93\ud835\udd93\ud835\udd86\ud835\udd8d\ud835\udd98\ud835\udd99\ud835\udd86\ud835\udd98\ud835\udd8e\ud835\udd86\u2122 (@annahstasia)<\/a><\/p><\/div><\/blockquote>\r\n