Over the past few years, we’ve found ourselves increasingly captivated by Estonian music. The country’s contemporary folk scene has made a significant impact on the international stage, sparking curiosity about what makes this small Baltic nation of just over a million people such a creative hotspot on the world music map. Artists like Puuluup, Duo Ruut, Maarja Nuut, Trad.Attack!, 6hunesseq, and Mari Jürjens are just a few examples of the talent pushing Estonia’s folk repertoire forward and sideways.
Yet, among these gifted names, one voice stands out as particularly evocative—both as a singer and a composer—Mari Kalkun.
Mari’s music feels like a close connection to nature. Deeply rooted in ancient Estonian and Võru traditions, her melodies share the essence of her homeland with listeners worldwide. Playing the kannel—a traditional Estonian zither—she creates sounds that are timeless and deeply personal.
At WOMEX in A Coruña this October, we finally met Mari. Amid the whirlwind of the event, she moved with a calm that stood in stark contrast to the surrounding hustle. After weaving through the crowds, we found a quiet corner where we could immerse ourselves in her musical world, eager to uncover the stories and inspirations that fuel her art.
Since her debut in 2007, Mari has released eight albums, carving out a distinct niche within the folk and world music scenes by blending her classical training with the traditional sounds of Estonia. Reflecting on the evolution of her career, Mari shared, “I think it was a few years after the first album, around 2010, when I decided to entirely dedicate myself to the career of music, developing my own compositions, engaging in collaborations, and drawing inspiration from Estonian tradition.”
Her growth as an artist has been both planned and spontaneous. When asked if her music followed a specific trajectory or evolved through improvisation, she responded, “I would say my background, like for many musicians, is in classical music. My first instrument was a classical piano.” However, her musical direction took a significant turn during her late teens. “When I was about 16, 17 years old, I got more interested in traditional music,” she recalled. This period coincided with a folk music resurgence in Estonia, prompting her to study traditional singing and explore the depths of Estonian folklore.
Mari initially emerged on the music scene as a singer/songwriter. As her interest grew, she began to explore traditional instruments and styles. She elaborated, “And later on, got more interested in traditional instruments, traditional singing, taking inspiration from there, and developing the music towards kind of this world music perspective, and really digging into their roots, and seeing what’s there interesting in Estonian tradition, which is maybe more unique, and which also speaks my story.”
Her influences are as varied as they are dynamic. “In the beginning, it was more like Estonian traditional music. When I grew up, of course, it was just random radio pop coming from radio,” she said with a smile. “But later on, when I got involved with the world music circle, then, of course, I was very inspired by traditions where local strong singing tradition is present. I have also accidentally collaborated with Tuvan throat singers. And yeah, because I’m a singer, I’m especially interested in the vocal expression from all around the globe or these really powerful, strong traditions which speak their own story.”
When discussing her current musical tastes, Mari noted, “There’s so much exciting music in the world. But I personally prefer music which is more silent, more peaceful, and more meditative.” She mentioned artists who align with her current vibe. “I really enjoy the music of Arooj Aftab, a Pakistan, New York-based singer—beautiful, beautiful creations. And also a musician I’ve been recently collaborating with on my album, Norwegian tuba soloist Daniel Herskedal, who I actually discovered from last WOMEX. He had a showcase there and wonderful, just minimalistic soundscapes. And this is the kind of music I really enjoy.”
The Estonian music community is close-knit, fostering strong bonds among artists. Reflecting on her early supporters, Mari said, “I think Ramo [Teder] from Puuluup, he was one of my first fans ever, and he’s been really a support in my musical career. And actually, he produced also the first albums as a sound engineer. So it’s really important that you have this strong support also from your own community and from your friends.”
Despite its small size, Estonia boasts a vibrant and diverse music scene. “Estonia is such a small country, but it’s amazing that we have so many wonderful and different acts coming out, like Duo Ruut also are playing a similar kind of instrument, and Puuluup is playing the jouhikko,” she enthused. “I really like this direction that we are using the really archaic instruments, because my instrument, kannel, it’s been played for around 2,000 years in the region. But we are making completely new music on these instruments, which have no borders, and only our fantasy is the limit. And that’s really interesting.”
A key element of the Estonian folk revival is the engagement of younger generations. “Yes, I think that’s something really special about Estonia, that we have new young generation following the folk music artists, and also creating their own music already, or doing their first steps on it,” Mari observed. She credits this to several factors. “I think it’s many things all together. Probably there is this dedicated work of the folk music institutions, such as Estonian Traditional Music Center, or Viljandi Folk Music Festival. But also, I guess, there is fruitful ground for the traditional-related music to fall on. Because somehow, roots and our traditions are really important for us, especially in today’s mad and crazy world, where nothing is stable. Then you can at least discover your roots and be sure.”
Looking back to Estonia’s independence in 1991, Mari discussed its effect on cultural revival. “I think since the beginning of independence, we are rediscovering our roots. Because in Soviet time, everything which was connected to folklore was rather a very odd thing. All the stage folkloric ensembles, et cetera, et cetera, it was not really the real thing. But kind of in hidden spheres, the traditions and songs, they still existed and went on.”
Mari also touched on the challenges artists faced, particularly when traditional forms were strictly policed by authorities masquerading as protectors of folk music. With a hint of irony, she remarked, “We used to also have this folk music police at some point,” explaining that despite the oversight, “Of course, some people or professors, they thought that they are the ones who know how it works. But actually, if you study and really research these things, and then you go on to the world to do your own things with it, then you should not be limited by anyone who tells you to.”
When asked to select songs that were particularly meaningful to her, Mari started with choing “Creation of Munamägi,” the opening track of her latest album, inspired by Finno-Ugric creation myths. She described the song’s origins: “It’s inspired by old myths of creation. Estonians are part of Finno-Ugric people, and Finno-Ugric is a Finno-Ugric language. And some of these myths and stories are really ancient. So according to the Finno-Ugric myth, the whole world was created out of the magical eggs of a bird, a giant magical bird. And this is a myth that is common in all Finno-Ugric countries.” Mari explained how she wove the lore of her home region, Võrumaa, into the song, creating lyrics that reflect the landscapes and spirit of her homeland: “I was inspired by this old layer of tradition. But I also put into the song the creation of my home region, Võrumaa. It’s a very hilly part and a bit wilder part of Estonia. So I put in the landscapes and the creation of these landscapes there and created my own lyrics. So yeah, it’s a beautiful creation song.”
Delving deeper into her connection with Estonia, Mari shared how her music is a medium through which she explores and reflects on her identity and heritage: “This is what I am interested in researching. Who is this thing, Estonian? I’ve been very much also researching my own family history. So I’m always thinking about my ancestors when I’m singing these old songs and also new songs.” She emphasised the personal significance of using the Võro language in her compositions, linking her work to the resilience of her ancestors: “Many of the songs on the album Stories of Estonia are written in Võro, the local and indigenous language of my home region. It really connects me to the past. Whenever I’m facing hard times in my life, I think of my great-grandfather or great-grandmother, reflecting on how brave they were to survive in a century marked by many wars, even there in our country. And yet, they still somehow managed to survive.”
Mari also highlighted the enduring power of Estonia’s song traditions, particularly their adaptability and relevance in modern contexts: “I’m especially interested in song traditions because they are so powerful, particularly when they are used in the present moment, where we meet and improvise. The runo song tradition is still very much alive. We write these songs for our birthdays and dedicate them to each other. It’s an interesting way to stay connected through music.”
Mari emphasised the lasting influence of Estonia’s song traditions. “Of course, I’m most interested in the song traditions, which are so powerful, and especially when they are put into very moment, so that we are actually meeting and improvising. And this runo song tradition is still really alive. We write these songs for our birthdays and dedicate to each other. And yeah, it’s an interesting way to keep connection through songs.”
Discussing her recent work, Mari expressed satisfaction with her latest album, “Stories of Estonia came out in July this year. It’s my first collaboration with Real World Records and I’m really happy about it. They’ve really helped the album reach the world and receive some great reviews.” Since its release, her touring schedule has been busy: “I’ve been touring a lot in Europe, had concerts in Canada, and just returned from South Korea. Next year, I’m also going to Japan, which is a place I’ve toured many times. I have a special connection with Japan and Japanese musicians. So yeah, the success of the album has been really amazing.”
Mari explored the themes of her album, shedding light on her creative approach. “In this album, I was mostly interested in how to connect a very old and archaic layer of the tradition with very contemporary problems, such as climate warming or overconsumption. I wondered if I could reinterpret these old songs to address these modern issues. And I was surprised to find out that it’s possible,” she revealed.
Another standout track on her latest album, “Kuldnõina” (“Golden Woman”), encapsulates this modern relevance. Mari described the song’s narrative: “It tells about a man who crafts a beautiful woman from gold, only to realise that she is soulless and cold as ice. I think it serves as a powerful metaphor for today’s materialistic world, where we may end up realizing that material things do not truly bind us together.”
When discussing sharing her music internationally, Mari expressed appreciation for music’s universal appeal. “That has been the most amazing thing throughout the years, discovering that I’m singing this music in my own language. And I can still communicate with people from all over the world. Music has, in the end, a really universal nature, so that it is really like a language, musical language.”
She noted that even without understanding the lyrics, audiences connect with her work. “People are interested in the stories, in the language. So they can relate to the stories, and they can relate to the soundscapes. In the end, also, many Estonians say that they don’t listen to lyrics, but they listen to music. So I think that’s the right way.”
Looking forward, Mari shared her upcoming plans. “I think I mentioned already Japan. I’m going to WOMADelaide next March. And I’m returning to Canada, in Mundial Montréal, to Toronto. Yes, and of course, I hope to be in the UK any time soon, and also more in Europe.”
As our conversation wrapped up, we asked how she would introduce her music to someone unfamiliar with it. Mari took a moment before responding, “Well, it has been described already by other people, of course. But I think there is a lot of, when people listen to my music, they hear nature. They hear forests. They hear icy lakes. They hear nature. So that’s maybe the best way to approach.”
For the final song, Mari chose to share “Teistmoodi” (“Otherwise”), explaining its significance. “The last song I want to play is ‘Teistmoodi,’ which is a really special track on the album, as it’s written by one famous Võro poet and philosopher, Jaan Kaplinski, the lyrics. And it tells about searching for another kind of life, more in tune with nature.”
Mari Kalkun’s music embodies the essence of Jaan Kaplinski’s poetry, capturing the essence of Estonia’s landscapes through a deep, soul-searching journey. By skilfully blending century-old folk melodies with a contemporary perspective, she crafts a thread between bygone days and the present, celebrating her roots while spotlighting today’s societal challenges. This distinctive blend is carving new paths in the folk music landscape, keeping Estonia’s cultural legacy alive and thriving far beyond its borders.
Mari Kalkun's latest album, Stories of Stonia, was released in July via Real World Records and is available HERE To follow Mari and get updates on her music, you can visit her official website
Photo ©: Radek Zawadzki