Matt Hansen plays this weekend at the Montreux Jazz Festival Franschhoek

Matt Hansen is an emerging pop and indie artist known for his emotionally direct songwriting and viral rise on social media, where his stripped-back performances quickly found a global audience.

Blending piano-led ballads with contemporary production, his music leans into themes of vulnerability, heartbreak and self-reflection, often delivered with a raw, almost confessional tone.

As his following has grown, Hansen has translated online momentum into live performances, building a reputation as a compelling new voice in modern pop. He is playing on the Arches stage this weekend at the Montreux Jazz Festival in Franschhoek.

Andrea Nagel spoke to him about his musical journey.

From algorithm to audience. You built your early following online — did that feel like a shortcut, or did it come with its own pressures and expectations?

It didn’t feel like a shortcut. If anything, it just moved things faster. I was still figuring myself out, but I was doing it in front of people. That comes with pressure. There’s an expectation to keep showing up and to keep people engaged. At the same time, it gave me a direct connection to listeners early on, which I don’t take for granted.

The discipline of simplicity. Your music is notably stripped-back. How difficult is it to keep things minimal without tipping into emptiness?

It’s harder than it sounds. When you strip things back, there’s nowhere to hide. Every lyric, every melody has to hold up on its own. The challenge is making something feel full without adding more, just making sure what’s there is honest and intentional.

Writing for strangers. Your songs feel intensely personal, yet they’ve reached millions — when you write, are you thinking about yourself, or about being understood by others?

It always starts with me. If I don’t believe what I’m saying, no one else will. But I think the goal is to say something personal in a way that someone else can see themselves in it. That’s when it connects.

Virality vs longevity. Social media rewards immediacy. How do you ensure your music has a life beyond a 30-second clip?

I try not to chase moments. If something works in 30 seconds, it’s usually because there’s something real underneath it. The focus is always on making a song that can stand on its own, even without the clip.

Vulnerability as currency. There’s a lot of emotional openness in your work — does that ever feel exposing, or has it become part of your creative language?

It can feel exposing sometimes. But it’s also just how I write. I’m not interested in putting on a front in the music. If it feels uncomfortable, that usually means I’m getting closer to something honest.

The live translation. Your songs thrive on intimacy — how do you recreate that feeling in a live setting, especially on larger stages?

The goal is to keep the same feeling, just scale the energy around it. Even on bigger stages, I try to keep it personal, like I’m still just playing the song the way it was written. If the emotion is there, people feel it regardless of the size of the room.

Craft behind the confession. Your music sounds effortless, but what does the writing process actually look like behind the scenes?

It’s not as effortless as it might sound. There’s a lot of rewriting, a lot of sitting with a line until it feels right. I try to keep it simple, but that usually takes time. Figuring out what not to say is a big part of it.

Influence and identity. Who shaped your sound, and how do you avoid becoming an echo of those influences?

I’ve been shaped by a lot of artists who prioritise storytelling and honesty. But I think identity comes from just being consistent with what feels true to you. Over time, that separates itself naturally.

Montreux Franschhoek debut. You’re performing at the Montreux Jazz Festival in Franschhoek — does playing a festival with such heritage change the way you think about your set?

I don’t know many artists who have played in South Africa. People have been asking me to come here, so it means a lot to be sharing my music so far from home.

Quiet in a noisy world. In an industry that often rewards volume and spectacle, do you see your restraint as a risk or as your greatest advantage?

I think it’s an advantage. There’s already so much noise. If something feels real and a little more restrained, it can actually cut through more. At least that’s the hope.

• Matt Hansen is live on the Arches stage at 6pm on Friday at the Montreux Jazz Festival in Franschhoek. Get your tickets here