As one of Europe’s most recognisable musical satirists, the Slovenian artist built a vast audience by slipping effortlessly into other people’s skins – presidents, pop stars, political caricatures rendered with uncanny precision. His impersonations travelled fast, circulating through news outlets and social feeds alike, blurring the line between comedy, commentary, and pop spectacle. To many, Klemen was a mirror: reflecting power back at itself, distorted just enough to sting.
Golden Hour disrupts that feedback loop.
Following his emotionally resonant appearance at Eurovision Song Contest 2025, Klemen returns to his debut album not as a punchline delivery system, but as a songwriter willing to sit with discomfort. With a physical release scheduled for early 2026 and a London headline show at Notting Hill Arts Club on February 17, the record now feels less like an introduction and more like a recalibration.
Get your tickets for Klemen’s Notting Hill Arts Club Show here
Where impersonation thrives on control – of voice, posture, timing – Golden Hour is defined by its absence. Across 11 tracks, Klemen loosens his grip. The songs are understated, patient, and deliberately unshowy, allowing silence and softness to carry as much weight as melody. It’s a refusal to overperform emotion, even when vulnerability is the point.
This is most evident on ‘Is Anybody Out There?’, a song born not from concept, but conversation. Written alongside Shelly McErlaine and Michèl Vedère, the track documents a familiar emotional limbo: the desire for connection without certainty it will arrive. Rather than framing that feeling as crisis, the song treats it as shared terrain – something survivable, even quietly hopeful.
“It’s about searching for connection, finding hope, and believing in a silver lining when life feels overwhelming,” Klemen says. “The track turns vulnerability into optimism and self-doubt into togetherness.”
That emotional transparency first reached its widest audience through ‘How Much Time Do We Have Left’, Klemen’s Eurovision 2025 entry. Written for his wife Mojca, the song reflects on the years following her diagnosis with what was once believed to be an incurable illness. Her recovery, and their decision to appear together on the Eurovision stage, reframed the performance entirely. In a contest known for scale and excess, Klemen offered stillness. The result was unexpectedly powerful.
Golden Hour expands on that moment, positioning it not as an anomaly but as a thesis. The album doesn’t abandon Klemen’s history in satire: his viral works, including ‘Putin, Putout’ and his widely shared Eurovision winners impersonation medley, remain part of his creative DNA. Instead, the record reframes them, revealing the emotional discipline underneath the humour. Comedy becomes training. Songwriting becomes exposure.
This tension will shape Klemen’s upcoming London show, where impersonations and intimate songs are expected to sit side by side. Rather than presenting two versions of himself, the performance traces the continuum between them, an artist negotiating how much of himself to reveal, and when.
Klemen’s career has always been defined by multiplicity: an acting degree, eight years at the Slovenian National Theatre, television hosting, and more than 150 impersonations spanning music, politics, and popular culture. Few artists understand performance as deeply. Fewer still interrogate it.
In a media landscape that rewards recognisable personas and fast-moving caricature, Golden Hour is a subtle act of resistance. It suggests that authenticity isn’t the absence of performance, but the willingness to let it falter. That sometimes the bravest thing an artist can do is stop becoming someone else – and allow themselves to be seen instead.
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