Penny Smitt breathes new life into “Black Tears” – generational encounter at Helges Sångstudio

The legacy of songwriting often stretches beyond the original creation, carried forward by new voices and generations. This is the case with “Black Tears,” a song written over two decades ago by Sara Östlund and now given new life through a powerful interpretation by 14-year-old artist and songwriter Penny Smitt. The single, to be released on September 25, is rooted in Helges Sångstudio’s storied environment in Gävle—the music academy that, among others, nurtured Zara Larsson.

The journey for “Black Tears” began in the early 2000s, when Sara Östlund, then a teenager and student at Helges Sångstudio, put her feelings into words and music. Nearly 25 years later, Penny Smitt, herself a student at the same studio, breathes new life into the song. Here, the ties between two young artists from different generations but with a shared background illustrate the song’s and music’s ability to change, inspire, and unite over time.

Penny’s version of “Black Tears” was shaped by a creative team with deep roots at Helges. Producer Johan Jämtberg—with nearly 30 years of experience mentoring young singers at the studio—leads the work alongside Mikael Gunnerås and Katarina Åslund. The group has sought to retain the original’s honest feeling while allowing Penny to put her own stamp on it. The result is described as a musical relay, where the joy of creation is passed on between generations.

The recording has gained a personal touch: Sara Östlund herself performs backing vocals on the chorus—together with her daughter and her daughter’s friend. With a subtle but crucial presence, past and present are intertwined, transforming the interpretation into a dialogue between generations rather than a mere cover.

For Penny Smitt, the project has held special meaning. She expresses great joy at working on a piece that not only has history but was also created by someone who was as young then as she is now. Penny sees the interpretation as a trust, where she has been able both to color the song with her own expression and simultaneously show respect for Sara’s original emotion. The fact that Sara and her family participate in the recording deepens the emotional weight of this version and strengthens the cross-generational connection.

The process and the result have been warmly received by those involved, especially highlighting the importance of collaboration across age boundaries. Johan Jämtberg emphasizes the project’s symbolism—like a baton being handed over so that music’s stories continue to live. For Sara Östlund, it has been both surreal and rewarding to hear her teenage self come to life in a new era, and especially in Helges’ familiar surroundings.

“Black Tears” thus becomes proof of songwriting’s timelessness and the community that grows at Helges Sångstudio. The project highlights how music can transcend generational boundaries and connect young creators from different times, reminding us of music’s enduring vitality and evolution.