It’s been about a year since you released your album. Looking back on this past year, in what ways does the title Looking for Connection reflect not just your personal journey during this time, but also the broader spirit of our digital and often isolated society?

Over the past year, I’ve felt that connection most strongly playing live, sharing a room with people and seeing songs I wrote become something we feel together. We spend so much time online, seeing each other’s lives without necessarily feeling close. I feel that gap too. The title comes from wanting to understand it, but also from recognising the connections that make me feel alive: music, family, friends, nature and being fully there in time and space.

During the creation of the album, you moved between Bern and Berlin. How did these two distinct environments shape the overall sound and energy of the record?

Bern gave me the space to be alone with the songs and figure out what I wanted to say. In Berlin, working with Kim Wennerström and Charlie McClean brought fresh ears and ideas into the room. I could follow something further than I might have on my own. I think you can hear both in the record, the intimacy of writing alone and the energy of making music together.

In tracks like Gold Rush and Slot Machine, you explore themes like pressure to perform, ambition, and digital temptation. How do you balance addressing such serious societal issues while keeping the music feel accessible and light?

Ha, you’re asking me at a moment when I’m really struggling with that balance myself. It’s a lot sometimes. But music gives me somewhere to put those feelings. A heavy subject can still have a groove, humour, or something that makes you want to turn it up. I like that tension. Sometimes dancing to something is a better way of dealing with it than being sad.

You mentioned drawing inspiration from the raw energy of early Vasco Rossi records. What new musical facets or sides of yourself did that influence bring out in these songs?

What struck me was how he could sing about difficult things with so much life and cheek. It helped me loosen up and trust my instincts, especially after struggling with writer’s block. I let more grit, humour and playfulness into the songs. I felt freer to be vulnerable and still be loud with my emotions.

The song Tomorrow’s Coming stands out as one of the most reflective and vulnerable tracks. How challenging is it for you to expose such intimacy and openness in your songwriting?

When I’m writing, I’m usually too deep in the feeling to think about how much I’m revealing. That hits me later, when I realise other people are going to hear it. There’s something scary about that, but those are often the songs that make someone feel understood, and I think that’s really beautiful.

Bringing an album on tour requires translating intimate studio moments to the big stage. How do you bring the world of Looking for Connection to life in your live shows?

Honestly, with this album it came really naturally, because I already had live shows in mind when writing the songs. I imagined how they would feel with the band and a room full of people. And I think it’s become a pretty cool, energetic live show, with moments to get lost in the music and others to jump around and sing along together.

What is the main feeling or message you hope the audience takes home with them after one of your concert nights?

I want them to step outside the venue and feel like they can change the world. That “fuck yeah” feeling, full of confidence, and love.

Performing on a global stage like the ESC instantly brings a massive international audience. How did that experience shift your own perception as an artist, and how did it change the trajectory of your career?

It was a huge stage to bring my own music to, and that gave me confidence. So many people discovered me through “Alice”, and now I get to build a relationship with them beyond those three minutes. My ambition to play around the world was already there. The ESC opened more doors, but I still want to walk through them with music I really believe in.

After the intense spotlight and media pressure of such a huge international event, how did you manage to ground yourself again and reconnect with your personal, core musical identity?

I spent a beautiful summer playing some really cool live shows. In between, I started journaling and just enjoyed summer. I also spent time at my grandma’s place in Italy, my favourite place in the world. I always feel really connected to nature there. Those things gave me space to breathe and hear my own thoughts again.

From writing songs alone in your room to taking charge of production and business decisions: how do you perceive the current landscape for women in the music industry, and where do you still see major barriers?

That’s a big question, and I’ll try to answer without writing an essay. I think women are absolutely killing it on stage right now. So many incredible, respected artists, that I adore and love. Behind the scenes, though, women are still much less represented. I’d love to see more women in production, management, and all the other roles that shape this massive industry.

Female artists are often still judged on aesthetics or stereotypes more quickly than their male peers. How do you personally navigate these external expectations and set clear boundaries?

Oh, I’m just doing me. I’m privileged enough to make my own choices about my body, how I dress, and how I express myself. By privileged, I mean being born in a part of the world where simply being myself doesn’t put my life at risk. I’m forever grateful to the women who came before me and fought for that freedom. I want to keep walking that path and stand for that same respect and independence, until having those choices is a right everyone can exercise.

What does female empowerment and self-determination mean to you in practice—both creative freedom in the studio and decision-making behind the scenes?

It means having a real say in the things that carry my name. In the studio, being able to follow my ideas, experiment, and trust my ears. Behind the scenes, understanding the decisions being made and choosing who I work with. I love collaboration, but I want to be part of shaping my career, rather than having it shaped for me.

Have there been female role models or mentors in the industry who inspired you to stand firm and pursue your own sound without compromise?

Amy Winehouse, for sure. There’s so much honesty and personality in her music. Chappell Roan, for how boldly she inhabits her own world. And Lorde, for making intimate, specific feelings feel so big. These are just 3 of the MANY women I look up to in the music world! All three inspire me to trust my taste and give the different sides of myself room in my music.

What concrete advice would you give to young female musicians who are just starting out and trying to find their own place in this highly competitive industry?

This is gonna sound corny, but honestly, make music that truly feels like you. Music that you love. People are always gonna have opinions, and you can’t please everyone. Loving what you make gives you something to stand behind, even when those opinions get loud. That’s where confidence starts.

Veronica Fusaro is currently on tour.

04.10.2026 Berlin • Prachtwerk

05.10.2026 Hamburg • Hebebühne

06.10.2026 Rostock • Helgas Stadtpalast

07.10.2026 Leipzig • Naumanns

08.10.2026 Dresden • Blauer Salon

16.10.2026 Osnabrück • Kleine Freiheit

17.10.2026 Erfurt • Bandhaus

18.10.2026 Frankfurt • Nachtleben

01.12.2026 Unna • Lindenbrauerei

02.12.2026 Köln • Yard Club

03.12.2026 Lüneburg • Salon Hansen

04.12.2026 Wolfsburg • Hallenbad

12.12.2026 Lindau • Club Vaudevill

13.12.2026 Hallstadt • Kulturboden