This exclusive interview by Sara Stojev brings us up close with vocalist Viktoria Tolstoy and pianist Jacob Karlzon — captured during their reunion at this year’s Nišville Jazz Festival. As the Swedish quartet lit up the Niš Fortress stage with subtle power and unmistakable synergy, Art Box had the opportunity to speak with Tolstoy and Karlzon about the roots of their collaboration, the blending of tradition and experimentation, and why curiosity — not perfection — is the key to artistic longevity. We’re pleased to present this conversation in full, for the first time, on the Art Box platform.

Sara Stojev //

The Swedish quartet featuring singer Viktoria Tolstoy, pianist Jacob Karlzon, drummer Rasmus Kihlberg, and bassist Mattias Svensson captivated this year’s Nišville audience. On the third night of the Nišville Jazz Festival, the Niš Fortress in the heart of the city became a stage for their long-awaited reunion. The star of the evening was undoubtedly this quartet, which, after many years of performing together, came together once more, especially for this occasion.

Viktoria Tolstoy is one of the most prominent voices in the Swedish jazz scene. With a family legacy that traces back to her great-grandfather, the renowned writer Leo Tolstoy, Viktoria embraces her Russian-Swedish roots through her music. Still, her success rests firmly on her own artistry — her delicate yet profoundly expressive voice and captivating stage presence. Jacob Karlzon, on the other hand, comes from a different, though equally fascinating, background. Raised in a small Swedish town, his musical journey began with a passion for exploring genres. Today, his piano playing reflects a wide spectrum of influences, ranging from classical jazz to heavy metal. He once described his music as “technorganic” — but ultimately leaves it to the audience to feel and define for themselves.

Together, Viktoria and Jacob have been collaborating for many years in different forms. What truly sets them apart is the unmistakable chemistry they share, both as friends and as artists. Before their performance at Nišville, ArtBox had the chance to speak with them about their lives, careers, and enduring collaboration.

How did the collaboration between you two begin?

Viktoria: It goes back to 1997. We were playing a week-long residency at a club in London called Pits on the Park. I was subbing for another pianist that week, and after the first few nights we just clicked — I remember thinking, “I’m going to keep you forever.” That was the start.

Musically, you both sit in a kind of modern, melodic jazz area, but you mentioned that you also have important differences. What do you share and what separates you?

Jacob: We share a huge curiosity. We both come from serious jazz backgrounds and we respect the tradition, but after doing this for decades, you need to keep exploring — other styles, other sounds — or you stagnate. That curiosity is what keeps our personalities and our duo identity alive.

We also share a sense of humour. Musically, we’re different in details and personal tastes, but that mutual curiosity and the willingness to listen to everything — jazz, folk, pop, electronic, rock, metal — is what unites us.

Viktoria, you come from a very creative family. How has that heritage shaped your music?

Viktoria: I do feel I inherited an artistic gene — many people in my family are in the arts: actors, writers, painters, musicians. That environment makes creative work feel natural. One project where it was particularly visible was my album My Russian Soul — we reworked classical Russian songs and added modern arrangements and lyrics. That wouldn’t have happened without that cultural background.

Do Swedish and Russian musical influences blend naturally in your music?

Viktoria: For me, yes. My upbringing folded both influences into who I am, so they appear naturally. Russian and Swedish folk music have surprising similarities; they coexist in my voice and phrasing without us trying to force it.

Jacob, what was your musical upbringing like in Sweden?

Jacob: My parents had a small but very broad record collection, and they let me operate the turntable when I was a child. I remember reaching up to play records when I was three. I didn’t think in genres growing up — I just liked music. Meeting a friend at 13 or 14 and playing together at school exposed me to jazz, and I loved the conversational aspect of it: you play something, the other responds, and real communication happens.

You mentioned heavy influences — from Ravel to rock and metal. How did that mixture come together for you?

Jacob: I listened to all kinds of music and later realised the energy of some rock and metal was already present, acoustically, in the jazz of the ’60s and ’70s. That energy — the force, the intensity — is something I try to bring into acoustic contexts.

It is a fact that younger generations have huge access to music now. Do you think that makes it harder or easier to find quality?

Jacob: Time and health are the real currencies. Having everything available doesn’t replace time spent learning, listening closely, and letting something absorb you. Information is a luxury — use it wisely.

How do you approach blending acoustic and electronic elements when you write?

Jacob: We’re fascinated by the space where acoustic and electronic meet. It’s not enough to add electronics as a layer; they must feel organic — part of the same sound world. To achieve that, you need a shared understanding of texture and space within the music.

Do you prepare surprises for tonight’s performance at Nišville festival?

Viktoria: We don’t really prepare surprises — most of the magic happens on stage through communication. Every night brings its own surprises; that spontaneity is one of the joys of live playing. When it happens, the audience senses it.

What kind of reactions do you get from audiences?

Jacob: Everything — people sometimes cry, sometimes laugh. It’s wonderful when music connects across different audiences. We’ve played festivals where people who “don’t like jazz” come away saying they loved the set. That’s ideal.

Any upcoming projects you’d like to announce?

Viktoria: In two weeks, we’ll be recording our next duo album. Jacob has written a lot of music and beautiful lyrics. It’s an exciting period: we’ve written songs specifically for the duo and developed lyrics in new ways. This is the first time Jacob himself has written lyrical songs, which surprised me, and I’m so happy it happened in our collaboration.

That’s a big step — what sparked the lyric writing?

Jacob: It just happened naturally. We wrote with an openness and low expectations, and suddenly, line after line came. Writing for someone you know so well — as I know Viktoria for thirty years — makes it feel intimate and right.

Any final advice for young musicians navigating today’s landscape?

Jacob: Don’t be consumed by metrics or the pressure to “make it” by a certain age. If you have something to say, nurture it over time. Use the abundance of information, but be patient with yourself. Keep the curiosity — that’s the most important thing.

Also: try things you haven’t tried before. Don’t let fear of judgment stop you. Some of the best creative things happen when you step outside your comfort zone.