Israeli pop star Noga Erez: Not politically but humanly

Israel’s pop star Noga Erez has expressed her belief that music should focus on human emotion rather than politics, during a recent visit to Vienna with her creative partner Ori Rousso. The pair, who have been documenting their lives through a documentary titled Noga, currently playing in Austrian cinemas, arrived in the city after a minor car accident forced them to walk barefoot due to discomfort from high heels. Erez described Vienna as a “beautiful” place, praising its cleanliness and livability, calling it almost utopian. Erez and Rousso were in the capital for several reasons. They had already performed in Austria multiple times, including their debut at the FM4 Frequency Festival this year. Their presence was also tied to the film Noga, directed by brothers Benji and Jono Bergmann, which follows the duo’s life and artistic journey. The film has drawn attention both within Israel and internationally, especially since Erez has become one of the country’s most outspoken critics of government policies. The directors, Benji and Jono Bergmann, have long been interested in capturing Erez’s unique position as an artist navigating intense political pressures. The filming began five years ago, just before Erez achieved widespread recognition with her 2021 album Kids. The album, known for its blend of electronic sounds, sharp beats, and politically charged rap lyrics, helped establish her reputation as an influential figure in Israeli music. Her work often addresses social issues, earning her both admiration and controversy. In Israel, Erez has faced criticism for her public statements, particularly after she was targeted by online campaigns following controversial quotes from interviews. She has also been excluded from some events due to her nationality amid protests against Israel’s actions in the Gaza Strip. These tensions escalated after the October 7 attack, which led to increased scrutiny of artists perceived to support the government. Despite these challenges, Erez insists that her music is rooted in human experience rather than political ideology. When her song Come Back Home was interpreted as a call for the return of hostages, she rejected the label of being political. “If someone demands that suffering end and people return home, that’s not political, it’s human,” she explained. She added that the pain caused by the conflict affects everyone, and that this shared sorrow influences her creative process. Erez’s perspective contrasts with the broader context of her career. While she has used her platform to speak out against certain policies, she maintains that her primary motivation is emotional expression. This stance became evident during a personal crisis in her relationship with Rousso. When the filmmakers approached them with an offer to document their lives over several years, the couple responded differently. Rousso embraced the idea, saying he loves being noticed, while Erez hesitated, feeling vulnerable at the time. Their relationship, once considered a powerful partnership, faced strain during this period. The film captures moments of tension and reconciliation, showing how they navigated their differences through collaboration, particularly in songwriting. The documentary highlights how they managed to maintain their bond despite external pressures. As the film continues to play in theaters, it offers insight into Erez’s evolving identity as both an artist and a person caught in the intersection of personal and political forces. The story unfolds not only as a narrative of creativity but also as a reflection of the complex emotions surrounding contemporary Israeli society.