It's a grey Tuesday in late August. The worst of the summer heatwave is out of the way, making space for what would turn out to be a very wet start to the autumn. The perfect tonic? A chat with a Norwegian pop star who embodies sunshine. Dialling in from a trendy district of Oslo, Sigrid immediately brightens up these shores, beaming as she sips lemonade and eats what looks like a particularly tasty artisan sandwich.

All of this positivity comes as no surprise for anyone familiar with Sigrid, someone who lights up any stage she graces, exudes pop star quality, and has a knack for writing addictive pop songs with huge-hearted lyrics, and it all comes as she's grappling with the devastating possibility of a new allergy to white wine, so truly nothing can kill her vibe (see what we did there?!).

Shining bright in spite of the drawbacks is the basis of her exceptional third album, 'There's Always More That I Could Say', a record that slides from exuberant pop bangers to breaking piano ballads before bursting back with crunchy electronic anthems. Her ability to turn her hand to songwriting cross-genre, never being held back by expectation, is what has made her such a force to be reckoned with, gaining her fans from across the musical spectrum.

It's no surprise, then, that she found herself featured on Bring Me The Horizon's 'Bad Life', announced her rock-adjacent single 'Fort Knox' on famous metalhead Jack Saunders' Radio 1 show, and took up a spot on rock festivals across Europe throughout the summer.

It's this commitment to energy – to bombastic, cathartic tracks that help both her and her fans process whatever it is that they need to heal from – that finds itself peppered across 'There's Always More That I Could Say'. Refusing to stay in one place too long, it represents an artist fully in control and totally unbothered about what you think of her.

Flipping from her well-founded, soaring vocal in sweeping finale 'Eternal Sunshine' and title-track 'There's Always More That I Could Say', to a more playful, spoken style in 'Kiss The Sky' and 'Fort Knox', Sigrid is telling the story of her life so far – exploring the beauty of friendship, the pain of relationship breakdowns, and an overwhelming sense of hope that she distils so perfectly. She's never sounded more confident, more liberated, and it makes this third album not just another wonderful Sigrid record, but the jewel in her crown.

The sonic details – whether in the form of Peter Bjorn and John-inspired drums on 'Jellyfish' (one for all the FIFA 08 fans out there), lo-fi synth-pop on 'Hush Baby, Hurry Slowly', or the simply massive pure-pop opening track 'I'll Always Be Your Girl' – are matched by the mechanical elements that help expand on the emotions that thread this album together, most obviously seen through the tracklist.

And that's the real heart of the record: fun. In fact, that's really been the heart of Sigrid's career so far. Her breakout single, 'Don't Kill My Vibe', was a tongue-in-cheek jab at a producer who tried to dictate her journey, while her other hits, 'Strangers', 'Don't Feel Like Crying', and even 'Head on Fire' with Griff, all highlight her ability to transform emotionally fraught topics into unadulterated pop classics.

The difficulty that came with even choosing singles for this album cycle, though, shows that Sigrid is only growing stronger.

In case it wasn't clear already, Sigrid isn't interested in creating something you've heard before, and she's certainly not interested in playing by someone else's rules. Part of the joy she found in making this record was discovering new ways to be creative, using every inch of her twelve-year career to dissipate writer's block and give some old ideas a second chance.

She continues: "The writing session culture in London, LA, even in Oslo – where you walk into a studio with two new people and the ambition is to have a fully finished produced demo with lyrics, melody, and initial production done – made me the writer I am today, but it got to a point last year where I was really tired from writing in that way."

"So I put the process on hold for a bit because I was just tired. I just couldn't see the vision. I had a few songs finished, but it wasn't until last summer that I properly discovered 'Jellyfish' and thought there was something there. I went into the studio with Askjell Solstrand, who I wrote 'Dynamite' with ten years ago, and I just felt like I was a kid again. There was no pressure. We didn't have to finish a song in a day. It just didn't fucking matter if I made a banger or not. That's when the album really came together."

In this way, 'There's Always More That I Could Say' became simply a part of Sigrid's life instead of a forced project. It was an album born of passion, not productivity. Instead of grinding out tunes in a high-pressure stop-off at a writing camp, songs grew out of everyday experiences and inspirational moments.

As much as this is a new chapter for Sigrid, it is still identifiably her. Hyper-pop production often contrasts with lyrical vulnerability – even though often that vulnerability comes with sly digs and tongue-in-cheek references. The clearest example on this record comes in 'Kiss the Sky', a good old-fashioned dance-pop tune where Sigrid acknowledges that she's "well aware of [her] flaws" and that she's a "parody of [herself]" – a line that came to her while experiencing a bout of road rage.

She continues: "I guess [the album] is quite introvert lyrics with extrovert production. I don't think I know how to write a happy song without mentioning something that hurt me, or even to write a sad song like 'Eternal Sunshine' and not give it a euphoric feeling. Every moment contains multitudes – there's always so many emotions taking place at once – but there's always joy in experiencing big feelings."

In spite of these moments of introspection on the record, there's no removing the heartwarming smile from Sigrid's face. At the peak of her powers, on the cusp of releasing her biggest and boldest album yet, has she reached the point in her career where doubt doesn't enter into the equation anymore?

"Oh, no, I feel the pressure!" she says candidly.

"I think I would feel pressure no matter what job I did, because that's just who I am, but I have to give myself a reality check. I'm so lucky to be doing this job, to have people excited to hear this album. Sometimes I do think, like, what actually is my motivation for doing this? And, honestly, on those days, I think it's just because I'm good at it. I'm good at writing songs, I'm good at playing live, and I'm good at creating things to create joy.

There are occasions, with some artists, where it's possible to sit back and think: who would've thought they'd make it this far? Sigrid is the opposite. From the minute she burst onto the scene – all white T-shirts, blue jeans, and pop anthems – it was clear she was only ever destined for the top. Even now, as she tries to come to terms with turning 29 soon, the mission is the same as it's ever been: "I want to have fun."

In one of the final lyrics of this triumphant third record, Sigrid sings: "I want eternal sunshine". There's no reason to doubt that 'There's Always More That I Could Say', with all of its sparkling energy and determined hope, can give her exactly that.