Ethnopop artist Vilma Jää fuses Finno-Ugric folk music with electronic sounds and pop in her music. A burning inner drive and a strong personal vision keep her grounded, even as her popularity soars.
Vilma Jää discovered folk music for the first time at the age of 14. At that point, she had just come out of a six-month break from the violin, which she had started playing at the age of four. Classical music had begun to bore her.
“It was pure excitement. I fell headlong into folk music straight away,” Jää says.
Since then, Jää has graduated with a Master’s degree in Music from the Sibelius Academy at the University of the Arts Helsinki, recorded two award-winning albums, won and been nominated at numerous music industry award ceremonies, starred in Kaija Saariaho‘s opera Innocence, and composed music for films and video games. In addition, Jää studies the Finnish and Karelian cattle-calling tradition.
The list of achievements might leave some breathless, but not Jää. This purposeful artist knows exactly what she wants.
“Years ago I started making a list of things I want to achieve. Most of them are already done, and the list needs updating,” Jää says.
Better Than Anyone
Jää made her international breakthrough as Markéta in Kaija Saariaho’s opera Innocence. When Saariaho chose Jää for the role, it ignited a drive to develop from an exceptional singer into something truly extraordinary.
“Before Innocence, I was an ordinarily talented and enthusiastic musician. When Kaija trusted me and gave me the time to prepare properly, there was no other option than to be better than anyone else,” Jää emphasises.
Jää’s role draws heavily on Karelian folk singing techniques and herding calls. The performance has garnered praise from critics, most recently from The New York Times. According to Jää, the international attention has had a significant impact on how Finnish media and audiences perceive her. Uniqueness is not always appreciated in Finland.
“I don’t understand the attitude that you first have to go abroad and gain experience before you can be considered a major figure in Finnish eyes,” Jää says.
Jää is grateful for the momentum and feedback she has received. Although the positive feedback is heartening, she hasn’t been surprised to receive it.
“I’ve put in an enormous amount of work and I’m really good at what I do,” Jää says.
She emphasises that she does not allow feedback to affect her work. Jää recounts how Kaija Saariaho advised her on handling success:
“The Innocence media circus had been going for about a year when Kaija told me that what matters above all is always the art and the making of it. In the end, the reception from audiences or the media doesn’t matter at all.”
Many Irons in the Fire
Jää’s own music combines Finno-Ugric tradition with electronic beats and pop expression. Her latest album Loitsui ja taikoi has once again received glowing reviews, with Jää’s vocal technique and compositional work praised as spellbinding.
Half-Karelian, Jää draws particularly from Karelian and Ingrian folk music. She emphasises that Karelian or Ingrian music is not Finnish music, and says she draws her inspiration from the broader Finno-Ugric folk tradition.
Jää’s latest venture is film music. In October, Alli Haapasalo‘s film Kerro kaikille will have its premiere, for which Jää composed the score together with Kalle Vainio. She hopes to continue composing for the screen in the future.
“It was the best project in the world. It’s a magnificent film overall, and the visual storytelling relies heavily on the music to carry the narrative forward.”
I want everyone to hear just how unique Finno-Ugric music is, and what extraordinary things have been created right here in this corner of the world.
Award Opens Doors Abroad
Jää has firmly established herself on the Finnish music scene. Her next goal is to build a career abroad. In September she has a gig in Berlin; in January, in New York.
Performing abroad is a huge financial risk that could easily backfire. The Alfred Kordelin Foundation prize makes these gigs and starting an international career possible. The prize money is intended to fund a third album, wireless in-ear monitoring and microphones for the whole band, and a new 11-string kantele instrument.
“I want everyone to hear just how unique Finno-Ugric music is, and what extraordinary things have been created right here in this corner of the world,” Jää says.