Yaeger

Pustervik & Live Nation present

YAEGER

Pustervik

Saturday 21 November 2026

Age restriction: 18+

On stage at approx. 20:00

Yaeger grew up on the small island of Skarpö in the Stockholm archipelago. As a teenager, she discovered the internet and its new world of music, films, chat rooms and forums. The freedom and anonymity of the internet later became an important source of inspiration for Piratebae, her debut album.

Since her debut single “ocean” in 2017, Hanna Jäger has developed a sound where lyrical intimacy meets infectious pop and innovative club music. She has collaborated with Icona Pop, toured Europe with Zara Larsson, received two Swedish Grammis nominations and earned praise from Elle and Billboard. On Piratebae, she brings music and visual expression together in a world where nostalgia meets social commentary.

Growing up on Skarpö was shaped by nature, pop produced by Max Martin and an increasingly strong need to discover the world beyond the island. Online, she found another reality. She used Playahead, downloaded American TV series and searched for music on Limewire, where she discovered The Shins, among others. For Yaeger, the early internet represents a time when being online felt more anonymous and communal than today's social media.

Sweden created The Pirate Bay and Spotify – two platforms that changed the conditions for music. It is therefore fitting that Piratebae arrives at a time when streaming has made music more accessible but still leaves many artists inadequately paid.

After studying music at Rytmus, Yaeger began releasing music on Soundcloud. From early on, she chose independence over allowing record labels to dictate her artistic direction. The path was not straightforward: her first headline show in Stockholm was cancelled when the pandemic hit live music. She nevertheless continued independently, attracting attention for “Can’t Get the Best of Me”, among other tracks. In 2023, she released the EP Jaguar, whose title track samples Boards of Canada and which saw her emotional rave pop develop with influences ranging from piano house to drum ’n’ bass.

On Piratebae, that world is amplified further. The production moves between bubbling synths, electropop and club music. On “We’re The Meds”, Yaeger criticises a social climate that restricts artistic creation, cuts cultural funding and closes nightclubs. Here, music becomes a form of resistance – and essential medicine in troubled times.

The album's visual world draws inspiration from Astrid Lindgren's Pippi Långstrump, Yaeger's childhood imagination, pirates and early-2000s internet culture. Early Billabong campaigns, Lost, Tim Burton and internet graphics from the 2000s are among the sources of inspiration. The result is an aesthetic featuring pirate hats, Vivienne Westwood-inspired silhouettes and a heavy spray tan.

Yaeger's expression is also about daring to be personal and unfiltered. Her own beauty style, with glitter, colour and shimmer around the eyes, emerged as a reaction against the perfect “clean beauty” aesthetic. On “Luminous”, she instead celebrates the messy, adventurous and unpredictable.

By combining the anarchic energy of the early internet era with the intimacy of pop, Yaeger has created a world of her own – both personal and inclusive. With Piratebae, she wants to remind us that music can still be a place for community, resistance and joy.