Her independently released second album "Monday's Ghost" (2008) stayed at the top of the swiss charts for several weeks and caught the attention of critics abroad. The Guardian described her as "Laura Marling, Beth Orton and Björk in one folk-rocking package".
The Swiss singer spent parts of her youth abroad, living in England and Germany. Her cosmopolitan biography is reflected in her multilingual songwriting. While most songs are in English or German language, each album contains one song in a Swiss German dialect. Her third studio album 1983 (2010) also includes a cover version of Noir Désir's Le Vent Nous Portera in French language.
Hunger has always worked in a collaborative spirit, and her many musical interests have led her to a fascinating geographic and personality mix. While she had recorded her solo début "Sketches On Sea" at home in just a few days, her latest album "The Danger Of Light" evolved over three sessions abroad. In Los Angeles she was joined by Josh Klinghoffer (Red Hot Chilli Peppers, PJ Harvey), Nathaniel Walcott (Bright Eyes) and Steven Nistor (Danger Mouse); in Montréal Howard Bilerman (Arcade Fire), singer/songwriter Mark Bérubé, Brad Barr (The Barr Brothers) und David Payant (A Silver Mt. Zion) jammed along. That last session from Hotel2Tango-Studio in Montréal is included on the Deluxe Edition of her latest release.
Rapidly gaining a reputation as an electrifying live performer, Hunger has been sharing stages with some of Switzerlands’s most successful artists, like Erik Truffaz, The Young Gods, Kutti MC or Stephan Eicher and appearing at locations such as Olympia in Paris, Miles Davis Hall at the Montreux Jazz Festival or the John Peel Stage at Glastonbury Festival.
The musical directions of Sophie Hunger are limitless, from traditional folk songwriting bathed in jazzy moods to soul balladry. Her musical universe is very flourished, nourished by an exceptionally fragile yet mature voice as well as an ability to cross genres. For Sketches On Sea, she collaborated with a great number of musicians, from a trombone player to a flamenco guitarist. Sophie’s technical prowesses can lead her anywhere and allow her to do things that nobody else could get away with.
Sophie Hunger also contributed the soundtrack to the documentary "Zimmer 202" and the movie "Der Freund" by Micha Lewinsky.
Sites: SoundCloud, Vimeo and Facebook.
That Man
Sophie Hunger Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Or is it the flow
Of people in plastic down of the road
My street looks familiar
But something has changed
I know all these moves
But I don′t know the game
Standing in my window
Who′s that man
Looking just like me
I grew up in hotels
Mother's room had a???
Soundwise reflecting
I only spoke when I had to
Home touch? Nothing, no
Not even a try
I care my hands in my pockets
And I married the scars
Who's that man, that man
Standing in my window
Who′s that man, that man
Looking just like me
It′s twenty past five
December, Berlin
I made my last record
And all my contracts are done
I can go wherever it pleased
I can change my name again, if I need
He's to fear way no
He′s looking at her
Take a step and touched her
The back of his neck
He won't turn around, I know
He knows, who I am
He′s strong and he's soft and he′s cool
Like his wall
He's my man, my man
Standing in my window
He's my man, my man
Looking just like me
He′s a man...
Standing in my window
He′s my man, my man
Looking out like me
Sophie Hunger's song "That Man" appears to be a reflection of a person's self-discovery journey. The opening lines allude to a divine presence that may not be enough or may be inadequate, suggesting a search for something more. The next few lines may refer to the familiarity of one's surroundings, but with subtle changes that leave the person feeling disoriented. Similarly, the line, "I know all these moves, but I don't know the game" highlights the sense of being lost or uncertain.
The curious question, "Who's that man standing in my window, who's that man looking just like me?" may indicate a desire to explore aspects of one's self that may have been previously unknown. The lines that follow suggest the singer grew up in hotels, which could metaphorically mean they never had a concrete sense of belonging to any place or people. The line "I only spoke when I had to" could signify a personality trait of a person introverted or lacking self-confidence.
As the song progresses, the singer notes that something is coming to an end with "I made my last record, and all my contracts are done." This could represent a significant milestone, which could lead to new beginnings. The line "I can change my name again if I need," could imply that the person is ready to turn a new leaf and embrace a new identity. The man in the singer's window could represent an aspect of the person's self that has been awakened by this anticipated change.
Overall, the song "That Man" could be interpreted as a journey of self-discovery, willingness to embrace change and new beginnings, and the fear of the unknown.
Line by Line Meaning
God must be tripled
The singer is bewildered and feels like God must be nonexistent, as there are no answers to the questions running through their head.
Or is it the flow
The singer is wondering if the source of their confusion and uncertainty may lie in the steady stream of people passing by outside.
Of people in plastic down of the road
The singer observes the crowds of people outside and notes their uniformity, likening them to plastic.
My street looks familiar
Despite feeling disoriented, the artist finds comfort in the fact that the street they're on is one they recognize.
But something has changed
The artist feels like there has been a shift, and while they don't know exactly what it is, they feel it deeply.
I know all these moves
The singer feels like they have a good understanding of how things work in the world around them, and have developed strategies for navigating it.
But I don't know the game
Despite knowing how to fit in and get by, the singer feels like they don't truly understand what's going on beneath the surface of things.
Who's that man
The artist sees an unfamiliar man standing in their window and wants to know who he is.
Standing in my window
The man the artist is referring to is literally standing in the window of the room the artist is in.
Looking just like me
The man in the window bears a strong resemblance to the artist, which further piques their interest in him.
I grew up in hotels
The singer spent much of their childhood living in hotels.
Mother's room had a???
The meaning of this line is unclear as the lyrics appear to be missing a word.
Soundwise reflecting
The singer is likely referencing the way that sound travels in large, empty hotel rooms.
I only spoke when I had to
The singer was likely very shy and only felt compelled to speak in certain situations.
Home touch? Nothing, no
The singer didn't feel at home in the hotels they grew up in and found them to be sterile environments that didn't offer any personal touches.
Not even a try
Despite their dislike for hotel life, the artist felt like there was nothing they could do to change it.
I care my hands in my pockets
The artist is likely feeling self-conscious or uncomfortable and is trying to find a way to keep their hands occupied.
And I married the scars
The singer is metaphorically married to their emotional scars and has learned to live with them as a part of their identity.
It's twenty past five
The singer is recording the date and time of an important moment.
December, Berlin
The artist is specifying the location and time of an event in their life.
I made my last record
The artist has just created their last recorded work of music.
And all my contracts are done
The artist is likely referencing their professional obligations and signaling that they have no more commitments of that nature.
I can go wherever it pleased
The singer is free to go wherever they want now that they are no longer bound by music industry contracts or obligations.
I can change my name again, if I need
The artist has the freedom to reinvent themself or start over in a new place if they so desire.
He's to fear way no
The singer is referencing the mysterious man in their window and is indicating that they don't find him threatening.
He's looking at her
The man in the singer's window is looking at someone or something outside that the singer can't see.
Take a step and touched her
The man steps forward and appears to touch something that's outside of the singer's view.
The back of his neck
The artist is likely describing the stranger's physical appearance and noting that his neck is visible as he leans out the window.
He won't turn around, I know
Despite the artist's curiosity, the man in their window doesn't turn around to face them.
He knows, who I am
The singer feels like the stranger in their window has some sort of knowledge or insight into their identity or personal life.
He's strong and he's soft and he's cool
The singer is admiring the stranger's physical attributes, noting that they find him both strong and gentle.
Like his wall
The artist is referencing the surface that the man is leaning against and suggesting that his demeanor is similar to it in some way.
He's my man, my man
The artist has developed a personal attachment to the stranger in their window, referring to him as 'my man.'
Looking out like me
The man in the window is standing there looking out at the world alongside the artist, making them feel like they share a connection.
Writer(s): Hunger Sophie, Welti Emilie
Contributed by Alyssa N. Suggest a correction in the comments below.