Liv Andrea Hauge: ‘I’m not a fan of concerts being too strict or formal’

I came across Liv Andra Haugue a couple of years ago, via one of those Bandcamp chain reactions, where you navigate from one artist’s page to the next. I landed on Live from St. Hanshaugen, a recording she did in her living room, and I was hooked.

The album starts with a hypnotic, sweet, slow groove, over which the pianist sprays the most beautiful little droplets of notes. It’s a captivating opener, by the time you realise the rest of the tracks feature a blend of open improvisation, with wide spaces alternating dense textures, it’s too late — you’re already deep into her world, too comfortable on her couch (you are, after all, in her actual living room) to want to be anywhere else.

Her follow-up albums feature various formations, some bigger, with horns, strings, synths, and vocals added to the mix, applying the same logic, but she always comes back to the classic piano-bass-drums setting. It’s a setting that suits her, and she makes great use of it, combining elements from the classic piano trio jazz albums of the ’50s legacy, to the modern Scandinavian/ Nordic jazz tradition — spacey, serene, classical-music-infused — and more than passing references to Keith Jarrett.

But make no mistake; Liv Andrea Haugue has a voice of her own, her influences — be it jazz, pop, contemporary, everything — seamlessly blended in her compositions, and perfectly displayed through her nuanced, perfectly balanced playing, and her interactions with her trio.

Liv is in Australia these days, so in this case, the trio comprises two of Australia’s bonafide stars, drummer Chloe Kim, and bassist Jacques Emery. Go see them, if you can. You can’t wait till she invites you to her living room again.

What would you say to a total stranger to invite them to one of your performances in Australia? What should they expect?

I’m playing with two incredible Australian musicians, Chloe Kim on drums and Jacques Emery on double bass, so honestly, it’s worth coming just to hear them!

It’s also really special for me to travel all the way to Australia to play for the first time with friends I’ve known for six years.

I think we’ll have a wonderful time performing together, and hopefully the audience will feel that good energy and connection too.

What are your expectations from the audience?

I want the audience to do exactly what they feel like — hopefully that includes listening, but it doesn’t have to be only that.

I’m not a fan of concerts being too strict or formal; they should feel open and welcoming. A bit of chatting, a walk to the bar, that’s all completely fine with me.

I like when it feels like a living, breathing space, with room for everyone to experience the music in their own way.

How would you describe your approach to music?

My approach is very intuitive, and all the music I write comes from improvisation. I mostly write and play jazz, but I listen to so many different styles, from pop to classical, and everything in between, and I think you can hear those influences in my music.

What has your journey in music been like so far?

I started playing classical piano at the age of six and singing in a choir when I was five, and I just never stopped!

One of the biggest highlights so far was writing for a full symphony orchestra and my own band, performing it together with 66 musicians on stage at the opening of Bodo Cultural Capital 2024.

I also love traveling with my music, and coming here to Australia is definitely a highlight as well.

What was the main challenge you’ve had to face?

A bit of a boring answer maybe, but I’d say RSI (repetitive strain injury) in my forearms. At times, it made me unable to play. Two years ago, I started climbing, and it really helped. Now it’s much better, as long as I get time to boulder! It’s actually the first time in my life I’ve gotten into a sport, which feels pretty good having turned 30 and thought that ship had sailed haha!

Have you experienced any gender-specific challenges in your career?

I think the ongoing uncertainty about whether I’m being asked because I’m a woman and it looks good for gender balance is a bit sad to always carry. A couple of months ago, I was asked to write a large commission piece in Norway. They told me they had first asked another composer — who turned out to be a man — and instead of feeling bad about being the second choice, I actually felt relieved and happy, because it meant being invited had nothing to do with my gender.

Who are your heroes?

My heroes are Maria Kannegaard, Keith Jarrett, Stravinsky, and many, many more!

How did you get into jazz?

I remember seeing a YouTube video of Herbie Hancock playing ‘Cantaloupe Island’ live, and saying to my friend: “I want to play like that!” I was 17 then, and since that moment jazz has been a big part of my life.