siovo

In the wake of millions of streams of his hit track “Backseat Bromance” (2022), siovo has made a name for himself as an emerging icon of the queer community in Germany. However, this petite, fair-haired artist with a unique blend of synth-pop, electro, and Y2K indie appeals to far more than just the LGBTQ scene. Even people with little connection to themes such as queer self-discovery or sexualised exclusion can relate to his sound, which deliberately brings stylistic elements such as autotune and digital production values to the fore. Tracks with the emotional urgency of “Angel Dust” (2023) and “Kandy Paint” (2025) are on the one hand a soul-baring exercise cast in melody and beat through which siovo makes himself vulnerable. On the other hand, they are also proof of the unerring instinct that this Stuttgart-based jack-of-all-trades has for hooks that stay in your head for days on end. The fact that at just 18 years old, he had already secured a record deal with Four Music, moved to Berlin, and achieved a more-than-solid surprise hit with the album “Kauft dem Jungen Blumen” (2024) is almost a side note. But only almost. He needn’t shy away from comparisons with FRISO or Troye Sivan, yet with his new album, “Für immer: Babyboy” (2026), he demonstrates once again that artistically speaking, siovo carves out his own path – from the personal to the pop-cultural, from the small to the truly grand.