The Tallest Man on Earth comes to Palladium in Malmö on February 3. ⭐ With Kristian Matsson’s distinctive voice, virtuosic guitar playing and commanding stage presence, an intense and deeply personal concert experience awaits. 🪕 Don’t miss the chance to experience him live at Palladium. Age limit: 13+ Duration: 90 minutes + interval Doors: 7:10 PM | On stage: 7:30 PM Bar and bistro open from: 6:30 PM The Tallest Man on Earth has long held a unique place in contemporary folk music. Since Kristian Matsson first began releasing music more than two decades ago, his raw, grainy voice, restless and virtuosic guitar playing, and winding melodies have been instantly recognisable - an expression that, with remarkably few elements, can move from a whisper to a full-blown release. At the same time, his music has never stood still. From the stripped-back early recordings, the arrangements have grown, more instruments have been added, and the pendulum has swung between the sparse and the richly layered. It is hardly a secret that many of Matsson’s most important influences have long come from across the Atlantic. As a teenager, Bob Dylan opened the door to the American folk and blues tradition, and from there to the old field recordings that had once inspired Dylan himself. But on his forthcoming album, that long detour leads somewhere much closer to home. After years of touring and travelling, including a period spent in the United States, Kristian Matsson returned to Dalarna and began listening again to the music he had spent much of his life trying to distance himself from. Polskas and old recordings of traditional fiddlers from the region where he grew up found their way into his music, while the fiddle - an instrument with which he has long had a complicated relationship - became a new obsession. The result is Just Beyond Endless Mountain, released on October 9. On the album, Swedish folk music is not used as nostalgic window dressing, but as a source of new ways to play, write and sing. Recorded at home in Dalarna on old reel-to-reel tape machines, and deliberately embracing the crooked and imperfect, it is an album that, in Matsson’s own words, feels more like him than anything he has made before. That he now opens his concerts with a polska by Pål Olle from Östbjörka perhaps says something about how complete his return to his musical roots has become. But on stage, The Tallest Man on Earth remains the same restless, physical force: almost whispering one moment, roaring the next, with a stage presence capable of making even the quietest moment feel monumental.