Sahara Hotnights – Pustervik: a refined return with a sharper edge

Maria Andersson of Sahara Hotnights live at Pustervik, Gothenburg / Göteborg in February 2026

Fifteen years after calling it a day, Sahara Hotnights returned to a sold-out Pustervik armed with new material and a subtly sharpened edge. On Valentine’s night in Gothenburg, the Robertsfors quartet proved that their second act is anything but a nostalgia trip.

Photos and words by Jonas Gustafsson

Concert review: from Robertsfors to a Valentine’s night in Gothenburg

When Sahara Hotnights emerged from Robertsfors in the late 1990s, few could have predicted how enduring their impact would be. Their 1999 debut album C’mon Let’s Pretend introduced a fierce, hook-laden garage rock sound delivered with youthful urgency. The breakthrough continued with Jennie Bomb (2001) and Kiss & Tell (2004), records that cemented their status as one of Sweden’s most compelling rock exports of the era. In 2011, following the release of their self-titled album, the band called it a day. At the time, it felt definitive.

I saw them that same year in Borås at the nightclub X&Y, where the audience consisted largely of teenagers who seemed more interested in photographing themselves than in watching the band. It was hardly the farewell atmosphere the group deserved. Although I later caught frontwoman Maria Andersson performing solo at Liseberg in 2016, I did not truly expect to see the full band on stage again.

Yet here we are. Fifteen years after their supposed swansong, Sahara Hotnights are not only active but touring extensively. On 14 February 2026 they took to the stage at Pustervik in Gothenburg, supported by shoegaze outfit Boy With Apple. The show was sold out well in advance. The crowd this time was noticeably older, largely middle-aged, and evidently comprised of dedicated fans rather than casual onlookers.

Sahara Hotnights live at Pustervik 2026 in dramatic backlight

Robertsfors quartet Sahara Hotnights in dramatic backlight at Pustervik.

A new chapter after the hiatus

The long gap between 2011’s self-titled record and the brand new No One Ever Really Changes, released just two days before this concert, might suggest a prolonged absence. However, the band quietly returned in 2022 with Love in Times of Low Expectations, an album that admittedly flew a bit under my radar. Over the years, their sound has evolved into something more restrained and mature. The raw garage energy of their early releases has gradually given way to a cleaner, more nuanced guitar pop aesthetic.

For those of us who hold the early albums close to heart, particularly their rockiest effort Jennie Bomb, the evening offered only limited nostalgia. The band selected just one track from each of the first three records. It was not until midway through the set that the temperature truly rose with the punchy “Alright Alright (Here’s My Fist Where’s the Fight?)”. Its sharp riffs and driving tempo provided a welcome injection of the band’s earlier ferocity.

Singer/guitarist Maria Andersson of Sahara Hotnights live at Pustervik in Gothenburg / Göteborg 2026

Maria Andersson leads from the front.

Guitarist Jennie Asplund of Sahara Hotnights live at Pustervik in Gothenburg / Göteborg 2026

Jennie Asplund on guitar.

Bassist Johanna Asplund of Sahara Hotnights live at Pustervik in Gothenburg / Göteborg 2026

Johanna Asplund holds down the low end.

Drummer Josephine Forsman of Sahara Hotnights live at Pustervik in Gothenburg / Göteborg 2026

Josephine Forsman behind the kit.

New material with bite

That said, the newer material was far from tame. Anyone who caught their appearance on Swedish talk show Carina Bergfeldt last autumn may have noticed a rougher edge returning to their sound. The preview single “Always Like This” hinted at a slightly more unpolished rock direction, and it translated well live. “A Future Without You in It” stood out as one of the stronger new tracks, while “Vanishing Girl” swung with confidence and effectively shifted the set into a higher gear ahead of “Alright Alright”.

Late in the main set came the brass-driven “The Opposite”, also from the latest album, featuring guest appearances by Cecilia Moore on saxophone and Klara Lannsjö on trumpet. The duo remained on stage for “Cheek to Cheek” from 2007’s What If Leaving Is a Loving Thing, adding a distinctive trumpet flourish that enriched the arrangement and closed the main set on a high note.

Cecilia Moore and Klara Lannsjö bring sax and trumpet to the finale.

Jennie Asplund adds cowbell during “Hot Night Crash”.

A swift but satisfying return

The encore delivered the most overt nods to the past. “Quite a Feeling” from the debut album was greeted warmly, and “Hot Night Crash” from Kiss & Tell brought the evening to a spirited conclusion. It was a reminder of just how many sharp-edged anthems reside in their catalogue.

Like that show in Borås fifteen years ago, the set at Pustervik was brisk and efficient, clocking in at just under an hour. With eight studio albums to draw from, one could argue that Sahara Hotnights have more than enough material to extend their performances and indulge further in crowd-pleasing classics. Many in this audience would undoubtedly have welcomed deeper dives into the early 2000s repertoire.

Nevertheless, it was a genuine pleasure to witness the band reunited and energised, armed with new songs that feel both refreshed and purposeful. Their current direction, slightly rawer yet still refined, suits them well. Rather than chasing past glories, Sahara Hotnights appear committed to evolving on their own terms. On this Valentine’s night in Gothenburg, that felt entirely fitting.