Dubai: Swedish pop sensation Zara Larsson has recently opened up about her personal music preferences and moral outlook, revealing that she will headline the opening concert of the Etihad Airways Abu Dhabi Grand Prix. Scheduled for December 2026, the event marks a high-profile platform for Larsson to perform before a global audience.
In a candid video interview with Cosmopolitan, Larsson was asked which artists’ songs she would never include in her Spotify playlists. She responded with notable frankness, disclosing that several artists have been entirely blocked from her listening list due to their behaviour:
“I have quite a few artists that I’ve blocked on Spotify, all of whom have problematic behaviour. For instance, you will never find Chris Brown on my playlist.”
Chris Brown, a multi-platinum R&B artist, has a career marked by both commercial success and legal controversies. The most widely reported incident occurred in 2009, when Brown pleaded guilty to domestic violence against singer Rihanna, resulting in probation and community service. This case continues to provoke debates around separating an artist’s personal conduct from their creative output.
Despite ongoing controversies, Brown has continued to release music and maintain a substantial global fanbase. Larsson’s comments, however, reflect her personal listening choices and ethical stance rather than a critique of his artistry per se. She did not elaborate further on other artists she has blocked during the Cosmopolitan interview.
The table below summarises Larsson’s publicly stated restrictions:
| Artist Name | Main Controversy / Reason | Spotify Status |
|---|---|---|
| Chris Brown | Domestic violence, 2009 | Blocked |
| Others (unspecified) | Behavioural concerns | Blocked |
Larsson’s remarks have sparked widespread discussion on social media. Many fans have praised her principled approach, arguing that ethical considerations are a valid factor when curating playlists. Others contend that an artist’s work should be evaluated independently of their private life, allowing music to be appreciated on its own merits.
By taking this stance, Larsson sends a clear moral message: personal conduct and accountability can be considered integral to the music-listening experience. Her approach highlights the increasing expectation that contemporary artists may be held accountable not only for their art but also for their behaviour, offering listeners an ethical framework when engaging with music.