After a prolific yet challenging few years, Zach Condon returns with A Study of Losses, the most expansive Beirut album to date. Commissioned as a soundtrack for a Swedish acrobatic stage show, the 18-track odyssey explores themes of disappearance, preservation, and impermanence—taking inspiration from lost civilizations, extinct species, and fading memories. Blending indie pop, chamber music, and global influences, the album showcases Condon’s signature melancholic beauty while expanding Beirut’s sonic horizons. In this Q&A, we talk to Condon about the creative process behind A Study of Losses, his unexpected journey into scoring for the stage, and his return to live performance after years of uncertainty.
A Study of Losses is an ambitious project, spanning 18 tracks and drawing inspiration from Judith Schalansky’s Verzeichnis einiger Verluste. How did the themes of the novel shape the music?
I think I somewhat avoided the bigger theme at first. I was mostly concentrating on the novelty aspects of certain subjects like the Caspian tiger and so on. It wasn’t until I looked back on an almost finished record that I started to feel the bigger sense of loss and the infinite as a theme. It’s something I’ve wrestled with my whole life: what is the meaning of anything if it’s all lost to time anyway? I don’t think you can answer it. You can only engage it and everyone’s approach will be slightly different: and so my album is made, just chipping away.
The album was originally commissioned for Kompani Giraff’s acrobatic stage show. How did composing for a circus influence your creative process?
This is another element I tried not to overthink. However I did lean into certain rhythmic elements like waltzes and old fashioned themes. I tried to let any beauty be leaned into fully, instead of trying to almost obscure it like so many modern records do. It felt right for people to move to, like in dance and ballet.
You’ve mentioned that being asked to write music for a circus initially brought back memories of being pigeonholed after Elephant Gun. What changed your mind about taking on this project?
Mostly what changed my mind was seeing a video of one of their performances called “Moln”. I found the set design fascinating and creative, the lighting very atmospheric and interesting and the costumes and such all seemed different than originally expected. I got the chance to see the show live in Malmo and was very blown away by the storytelling of the acrobats and was pretty inspired to take on the project more intensely. I’m also just less self conscious about how I come across these days. I can’t control how people will interpret these things.
A Study of Losses blends baroque influences with early choral styles and even modular synths. How did you approach balancing these elements?
I don’t necessarily think I did balance them. When I started I didn’t know I would go down the more baroque route. I was essentially collecting material that had been unused from previous albums so I would make the deadline. I know that sounds almost cynical but really I was very excited for the hodgepodge record that would come from it. However every new piece I added to the record, and all the vocals kept leaning heavily in this direction inspired by what I had been taking in as I moved along. The theme just kept building from there and the renaissance music and art were all leading me to the same almost religious realm… It just took me with it-
“Guericke’s Unicorn” stands out from the rest of the album—what made you want to include this more playful, eccentric piece?
I had this modular experiment from a while back. It was an early experiment connecting an analog drum machine to the synths. The subject matter for this piece can only be described as comical- and this almost goofy, slowed down disco beat was the closest thing I had in that direction. Everything else is quite heavy. But really, people ought to look up Guericke’s unicorn to see for themselves why that would be fitting.
This is your second album in two years, following Hadsel, which was recorded during an isolated period in Norway. How does A Study of Losses compare in terms of mood and approach?
I was completely isolated for this one too. I had such a burst of inspiration from the Norway recordings, it made sense to keep going. Now I feel a bit out of ideas. But the approach was the same- just disappearing in my studio laboratory.
You’ve had a long road back to touring after health struggles. How does it feel to be returning to the stage for the first time since 2019?
I’m not so sure about it. It’s probably best to ask me when it’s over. I’ve learned more and more about how incredible it is that I ever lasted on the road in the first place as a younger guy. I simply wasn’t made for it.
I’m keeping it short and close to home and I doubt I’ll manage much more than that in the future but we will see. I struggle so much with travel and stress but I like the shows because it reminds me of the social element of the music. It can be hard just releasing things to the void and hearing a few responses back online. Shows give you the sense that what you’re doing matters and you get some real feedback and approval for it if it goes well enough. I need some of that to keep going-
With your O2 Academy Brixton show selling out so quickly, you’ve added a second London date at Troxy. What can fans expect from the live shows?
I never understood how to answer this question – pyrotechnics? Slam poetry and beatboxing? Barnyard animals?
Some old songs and some new ones. Our drummer is a real smiley guy. I always lean slightly to one side, a habit from trying to hear the monitors better and now one hip aches sometimes. Our trombone player and bassist are quite tall.
But I’m excited to perform for a British audience again. They’ve been good to us.
The album was recorded between Berlin and Stokmarknes, with roots in Sweden and Germany. How did these locations influence the sound and atmosphere of the record?
Perhaps it’s the ambient melancholy of a dark cold winter? But I’ve been massively inspired by the classical art/music and protestant cultures of these countries as well.
You’ve always had a deep appreciation for global musical traditions. Were there any specific sounds or styles that particularly inspired you on this album?
I suppose I touched on it in the other questions but yes, I feel like my appreciation of the classical era grew…Everything from the transcendent music of European choir and classical to medieval music groups playing ancient instruments. But also, things like The Magnetic Fields’ 69 Love Songs. I don’t know how these things end up together as influences, but that’s simply what happens.
With A Study of Losses, Beirut continues to evolve, embracing both grand orchestration and intimate storytelling. As Condon prepares to bring the album to audiences across Europe, his journey—both personal and artistic—feels more expansive than ever. Whether through the haunting echoes of lost histories or the warmth of his signature brass and strings, Beirut remains a project deeply rooted in wonder, nostalgia, and reinvention.
