Robin Lundbäck has never been one to stay within comfortable boundaries.
The Swedish artist behind Boy In Space has spent years crafting infectious pop anthems that reverberate with audiences across Scandinavia and beyond, but his latest project represents something altogether more personal and sonically adventurous.
The Butterfly Affect (deliberately misspelt to emphasise internal transformation rather than external consequence) emerges as a five-track journey that marries the pristine production values of Nordic pop with the raw storytelling traditions of American country music.
This creative evolution didn’t happen overnight. Following the emotional intensity of 2023’s Copium EP, Lundbäck found himself drawn to Nashville’s legendary music scene, where he began collaborating with writers and producers who helped him explore new sonic territories.
The result is a new EP that feels both familiar and refreshingly unexpected, incorporating acoustic guitars, Western-inspired percussion, and a distinctly Southern sensibility whilst maintaining the melodic sophistication that has defined his career.
The opening track Dancing On Dynamite immediately signals this artistic shift, born from one of Lundbäck’s first Nashville writing sessions and featuring the kind of organic instrumentation that marks a departure from his previous electronic-leaning work.
It’s followed by Too Much To Lose, a collaboration with Phoebe Ryan that explores the complexities of unwanted romance through a distinctly pop-country lens, and Take It Easy, perhaps the collection’s most immediately memorable offering – a rhythmic exploration of emotional vulnerability that showcases Lundbäck’s growing confidence as a storyteller.
The EP’s two unreleased tracks further demonstrate this artistic maturation. Burning Down The House, co-produced by NOTD’s Oskar Widén and Samuel Brandt, features an unexpected violin contribution from Widén’s mother, adding an intimate string arrangement that elevates the track’s emotional resonance.
Meanwhile, Sway closes the collection with its most tender moment – a melancholic meditation on long-distance relationships written during a single session on a sunny porch alongside Kris Eriksson and Phoebe Ryan.
What makes The Butterfly Affect particularly compelling is how it represents genuine artistic growth rather than calculated genre-hopping.
Lundbäck’s willingness to embrace country influences – a genre that remains relatively unexplored in Swedish pop – speaks to an artist confident enough to follow his creative instincts regardless of commercial expectations.
The recording process split between Tennessee and Sweden, allowed him to absorb Nashville’s collaborative spirit whilst maintaining the refined production standards that characterise Scandinavian pop.
For an artist who describes himself as “far from done when it comes to learning how to write music,” The Butterfly Affect captures Boy In Space at a pivotal moment.
It’s the sound of an artist who has processed heartbreak, embraced healing, and emerged with a clearer sense of artistic identity.
We caught up with Boy In Space to find out about his new project and more:
You’ve described The Butterfly Affect as an internal journey rather than an external one—what was the biggest personal revelation you had while creating it?
That I’m far from done when it comes to learning how to write music. And that felt like a huge relief, and it made creating exciting and fulfilling.
Recording in both Tennessee and Sweden must have shaped the sound in unique ways—how did those two worlds collide in the studio?
It didn’t clash at all but actually joined together quite seamlessly. I think both Nashville and Stockholm have a lot in common, and that’s great music. They both are strong in different parts. And together they make a hell of a team.
The title’s deliberate misspelling—’Affect’ instead of ‘Effect’—is intriguing. Was there a specific moment or feeling that sparked that choice?
I was exploring different EP titles and wanted something that would feel like a true expression of what I’ve lived through with these songs. And that was all happening on my inside.
Dancing on Dynamite with its acoustic guitar and Western-inspired percussion sets the tone for the EP. What made this the right song to open the door to your new sound?
It was one of the first songs I wrote in Nashville so it just felt right to have it start the race. And it sets the tone beautifully I think.
Pop-country isn’t a lane many Scandinavian artists explore—what drew you to this genre fusion, and did anything about it surprise you?
I’ve always been fascinated by sounds that haven’t taken a stronghold in Sweden yet. And I think a lot of Swedes find Country bizarre in a lot of ways, and that felt like a fun challenge to make it digestible for my fellow Scandinavians.
You’ve said this project helped you embrace storytelling more deeply. Which track challenged you the most lyrically, and why?
Burning Down The House had an adventurous way of unfolding while I was writing it. And I think the challenge was to keep it true but yet let the lyrics speak for themselves.
Visually and sonically, The Butterfly Affect feels like a reset—how would you describe this new era of Boy In Space in just three words:
For me, my last EP Copium was the reset and The Butterfly Affect is a bridge towards something and somewhere I’ve never ventured before. And I think that’s a great space to be in when it comes to music. It keeps you on your toes.
Now that you’ve crossed this bridge into a more organic and story-driven sound, where do you see yourself going next musically?
I’m definitely headed somewhere and the direction is towards something more true and honest. Something my fans can view my life through and connect. Personal stories that people feel they can share with me.
You’re stranded in space and can only take three albums with you. What would they be and why?
AAA by Hyukoh, because it might be the ultimate soundtrack to have when putzing through life.
Californication by the Red Hot Chili Peppers, because it’s my ultimate pop-rock smash comfort.
And last but not least Leon by Leon Bridges, I truly admire this album in all its composition. It’s just amazing throughout the whole album.
You’ve mentioned being inspired by old-school films—how do visual influences like cinema shape your songwriting or aesthetic?
I think it’s important to visualise when creating and for me, I’ll always picture scenes like in a movie, and the more clear those become I feel like I’ve done a great job of explaining the emotion of the song.
If Copium was the heartbreak and The Butterfly Affect is the healing, what would you say comes next in your trilogy of transformation?
I think I want to write about things I haven’t before, like trauma and friendship, not just focusing on romantic relationships. And hey, maybe include more happy moments too! Not just sad ones haha
If your life had a theme song that played every time you walked into a room, what would it be and why?
Leadfoot by Billy Strings. Just a bad ass song that doesn’t but also kinda matches me haha. It would just make everyone turn around and wonder what I’m about to do.
As Boy In Space prepares to venture into uncharted creative territory, The Butterfly Affect stands as both a bridge between his past and future work and a convincing statement of artistic intent.
With plans to explore themes beyond romantic relationships (including trauma, friendship, and hopefully more joyful moments) Lundbäck appears ready to continue challenging both himself and his audience with music that feels increasingly authentic and emotionally rich.
