the beginning of the year immediately sets a sign. JANUARY does not start quietly, but with resonance: bLuzLand, my fourth album, is nominated for the PREIS DER DEUTSCHEN SCHALLPLATTENKRITIK, category GRENZGÄNGE. a word that fits, because it is exactly where this music has been moving for years: between languages, between cultures, between stillness and attitude. shortly after, the camera moves very close. on SWR television, in the series HANDWERKSKUNST, a macro lens glides indulgently over the test pressing of bLuzLand. HOW TO MAKE A RECORD – material, grooves, tactile experience. music not as a fleeting stream, but as something that remains, something you can touch.

mid-JANUARY then brings the cold. minus three degrees. full moon. a lake with ice floes. SHOOTING STAR. julakim steps into the water, submerges, translates the aggression, the destruction, the burning out of the shooting star to the moon. the body becomes a translator of cosmic tension. Hüseyin Aslan’s camera captures it cinematically: calm, precise, without drama – and precisely because of that, so strong. shortly after, the conversation at RADIO X in the OffSpace: languages shift, songs are sung live, bLuzLand is explained without explanation. marc rodrigues listens carefully. from this conversation, the next space emerges: the invitation to LusOFest 2026, solo sets as a supporting program between films, between Wim Wenders’ LISBON STORY and mid-length competition films. music frames images, images frame music. and above all: my short film COCA-VELA screens as a pre-film at Wim Wenders – a clear look at exploitation, at structures, at Rio de Janeiro, which is never exotic for me, but reality.

FEBRUARY. the release marathon of bLuzLand concludes: SHOOTING STAR is released. twelve songs are out, a cycle closes, even though a video will follow only in summer. “SHOOTING STAR points to the dangerous fragmentation of our perception, in which the same event is often interpreted completely differently by different people, depending on their illusions and convictions. The song invites us to critically question what we accept as reality and to recognize how much our language and perception shape our consciousness.” writes NenesButler in the article JOURNEY TO INNER FREEDOM.

and then: February 8. Alliance Against the Right. 10,000 people. julakim opens the demonstration, stands on the truck, drives to the Peace Square, her voice carries through the city center. diversity, openness, movement – not abstract words, but lived practice. afterwards, a pause is needed. recovery by the Mediterranean. trains, landscapes, passing fields and cultures. migration as a theme, but even more: movement. being on the move as a state. on the night of February 27, an inspiration strikes. a new song text is born, along with it an interim logo: bLuzWAi. bLuz remains, but the WAY becomes visible. the way as part of the name, as a graphic trace, as direction.

MARCH brings focus and play. on 8/3, International Women’s Day, AUS DEM WEG is filmed – exactly the text that had emerged a few days earlier. “just get out of my way, little spirit.” clear, playful, determined. music as an invitation to make space. on 18/3, the conversation on the podcast 130 UND MEHR: cultures, multilingualism, music and architecture, West Africa, projects that want not only to sound but to change. in the same month, I also appear as cover girl of MIND MAG. visibility on the cover. the quarter ends by the sea. not Rio de Janeiro, but the North Sea. wind, horizon, thoughts on movement. water as a recurring element. no arrival, only orientation.

APRIL opens to South America. bLuzLand goes on release tour: Brazil and Argentina, ten concerts, plus radio, video, encounters. I move between SANTO ANDRÉ, SÃO PAULO, RIO, BUENOS AIRES. clubs, bars, cultural centers. bar do pancho, mustache, cerne cervejas, sebo baratos in BOTAFOGO, el surco, casa colombo, antiguas lunas y el gato negro, strummer bar, florida vicente lopes. names like stops on an inner film. the songs travel with me, changing from space to space, from body to body. bLuzLand breathes differently here, more direct, warmer, with this natural openness I love so much at these places. media accompanies the journey, radios, online formats, camera and microphone always close. it is intense, dense, alive.

in between, encounters that stay. I meet MACALÉ in Rio de Janeiro. his free-spiritedness, his uncompromising artistic attitude impress me deeply. spirits that do not care about borders, but reassemble them stubbornly, calmly, clearly, harmoniously. such encounters are gifts. that MACALÉ would later pass away on 17/11/2026, I do not yet know in this moment…

early summer brings a shift in perspective. JUNE. I am at the BERLIN MUSIC VIDEO AWARD for SHOOTING STAR. and I quickly realize: this is not my natural space. everything is fast, flickering, spotlight-like, pushy. provocation, tempo, constant stimulus. I miss calm, sovereignty. I do not take it as a devaluation, rather as a clear realization. attitudes should shimmer – calm and sovereign. this is my tempo. my gaze. my path.

then, toward the end of the month, a moment that opens surprisingly much. 27/6. I perform for the first time with my own partial playback. bass, drums – laid down by myself. a step I had long postponed. and suddenly the songs stand differently: composed, yet intense. grounded. the feedback is strong, honest, encouraging. I immediately sense: there is something. in the future, more songs will be recomposed, further developed, on all instruments. as I see them before my inner eye, hear them before my inner ear. as they intuitively want to shimmer for me.

in JULY, closer to art again. 4/7 Gallus Open Studio – immerse in the works, play in front of people who are open, curious, to whom diversity is not foreign. it inspires me and gives me calm, energy, light. TROP SERIEUX the kick-off of the journey to bLuzLand gets its own video on 7/7. on 12/7, the first concert with my band at KGB. idyllic, fluffy new music, improvisation. who would have thought that free-spiritedness could flow so spontaneously? suddenly music spaces arise, breathing, light, yet intense. the first time we play live together, and the energy carries us.

in AUGUST, a new sound space begins: julakim Löwe. 5/8. the formation does not categorize itself, or if at all, rather as NEW MUSIC. after 13 years of joint sound journeys with PIANÖ, Löwe’s “street child,” we bring it into total relaxation – a performative funeral at HoffArt-Theater. final dialogues between human and instrument, carried by free improvisation, silence, depth, resonance. radical receptivity, precise blur. perception remains open, permeable, transformative. julakim Löwe condenses world-reading into sound-, text- and image-compositions, which do not answer, but offer resonance spaces. on 16/08, Rockbase at Parkside Studios Offenbach – real festival atmosphere with the band!

SEPTEMBER becomes political, poetic, experimental. on 9/9 I release the video for ICH WEIß NICHT – first exploration of the philosophy bWeg… after bLuz. bLuzWAI did not fully hold, now a new path begins. and for julakim Löwe I write three acts: MIR LÄUFT DAS WASSER NICHT MEHR IM MUNDE ZUSAMMEN.

the Erlensee as a mirror of the present, water as a question of access and withdrawal, the forest as a resonance space. sound, text, body negotiate the world, fragmentarily, improvisationally. the audience is not the center, but witness. there is no salvation, no climax, only persistence, endurance, echo. what is reflected remains intangible, what approaches changes the space. no story, no image, only moment, impulse, state, vibrating between accusation and absence, between sound and silence, between human and environment. here a secret appetizer.

NOVEMBER, my birthMONTH, unfolds like a whole festival of visibility. last year still bLuzLand – the translucent yellow record of the light universe of dualities with the bLuz?-map. this year, something else emerges, again something tangible. it manifests: an exhibition of my feminist funk-swing anthem: VERSEHEN – MADE TANGIBLE. on 11/11 I unveil the video AUS DEM WEG – light reflections, filmed by Rasool Pirhooshyar. the images shimmer, transporting the song into spaces only partially graspable. on 17/11, the first FemJam at the State Theatre, with sound, tone, touch. the ORANGE DAYS come alive. 25/11: kick-off in Darmstadt, film club, another spark spreading across the country.

26/11 marks the start of the exhibition. Parkside Studios Offenbach becomes a space of yellow bodies and black messages. dozens of women*, girls*, 5 to 80 years old, let their hands speak, clay, words and bodies enter into dialogue. Kristiane Rönsberg and I shaped the first spark-givers, glazed yellow, marked black. the spark-giver carries fleeting thoughts on her skin: “aus versehen war sie mit geist versehen | man verzieh ihr das nicht, übersieht es nur”. the call jumps from studio to studio, ceramists, women*, familiar with earth and fire. the girls’ floor, State Theatre Darmstadt, Heliand scouts, Hörnixe – all connected, all flowing.

the installation is not an object, it is an attitude. yellow t-shirts hang with inverse imprints from the urban landscape, yellow costumes float life-size, ancient and modern sculptures shimmer side by side. film amazone, projected and bodily, negotiates heroism and self-determination, calm and unwavering. each figure a point of light, each form a sparkling star, together a choir that does not need to be loud to be unmistakable. visibility, concealment, power, control, resistance, tenderness and rage – all palpable, all visible.

on 29/11, music again: julakim band plays at the Parkside Studios. the sounds merge with the space, the figures, the energy of the exhibition. tone, body, light – all intertwined, creating resonance and reflection spaces.

DECEMBER brings closure, a winding down… 10/12 finissage, VERSEHEN – MADE TANGIBLE is explored, sonically, bodily, abstractly. 12/12 Offenbacher Post reports on the collective artwork: against invisibility, against oppression. pressure, forms, holding – the unspeakable becomes tangible. black traces tell of sexism, violence, suppression. the article can be read on my website. the figures remain, the postures remain, the shimmer remains. and I continue, carried by light, by music, by the many voices that enliven this space. read the full article?

let us continue to move…