What makes the album truly special is how her folky, melodic voice intertwines with a jazz ensemble that listens, responds, and plays around her — the two styles coalesce beautifully, creating music that feels intimate, alive, and unmistakably Jakobsson’s own.
Zack’s Music
Johanna Linnea Jakobsson – vocals, saxophone, composition; Olof Wullt – electric guitar; Jesse Emmoth – acoustic piano, rhodes piano; Simon Petersson – double bass; John Fernold – acoustic guitar, drums
Johanna Linnea Jakobsson’s Don’t Overthink It marks a big step forward. On her debut, Alone Together, the Danish-Swedish vocalist, saxophonist, and songwriter made her name reworking jazz standards and tunes from the Great American Songbook. This time, she’s confident enough to leave all that behind and trust her own instincts, writing and singing a full album of original songs with a jazz-inspired band that matches her phrasing and sense of melody.
The opener, “Grow,” is just a minute and a half — delicate piano and quiet optimism that ends before you expect it, like an idea you want to hear again. Then comes “Time,” and everything opens up. The bass and drums give it a soft thump beneath her voice, which has a folk-singer quality with a pop bent. She swings it in a way most folk singers wouldn’t. The Rhodes adds a smooth shimmer, the band moves effortlessly, and when she picks up the sax later, it feels like a natural extension of her singing.
Throughout the record, Jakobsson and her band — Olof Wullt (electric guitar), Jesse Emmoth (piano, Rhodes), Simon Petersson (bass), and John Fernold (drums, acoustic guitar) — find a sweet middle ground between jazz, folk, and pop. “Work” kicks off with a sunny shuffle that almost hints at a Hawaiian groove. The piano lines are light and fluid, the rhythm section sways with ease, and Jakobsson sounds completely at home. Her voice is warm and sweet, and the music is so engaging it’s hard to focus on the lyrics — the sound itself is too inviting to resist.
A blend of country-rock and light jazz swing gives “Too Slow” its easygoing feel. Jakobsson’s singing is completely natural — never overworked or dramatic — while Wullt’s laid-back guitar adds to the relaxed mood. The styles come together effortlessly, creating a charming, unhurried track.
One of the album’s highlights, “Out of Mind,” rides a breezy groove with tasteful drumming and a guitar solo that nods toward Wes Montgomery. Jakobsson’s phrasing is so easygoing it sounds like she’s improvising on the spot. Even when the lyrics in some of her songs turn bittersweet, her voice stays calm and grounded, and the band lets the feeling build around her.
Produced by John Fernold, Don’t Overthink It sounds effortless but is clearly well crafted. Jakobsson’s songwriting is simple and honest, often about relationships in ways that make you think, “Yeah, I’ve been in a relationship like that.” What makes the album truly special is how her folky, melodic voice intertwines with a jazz ensemble that listens, responds, and plays around her — the two styles coalesce beautifully, creating music that feels intimate, alive, and unmistakably Jakobsson’s own.
