Swedish-Estonian musician Tuulikki Bartosik is an accordionist, composer, singer, and multi-instrumentalist, with degrees in classical and traditional music. Her work has grown increasingly adventurous, branching out from its beginnings to explore the possibilities from incorporating vocals, effects and music software with her virtuoso playing.

Bartosik’s questing creativity has seen her tour across the globe, discovering inspiration in a quiet forest or the clamour of Tokyo. Her solo albums have received international acclaim; with each one her imagination has spread, taking chances to capture the global musical vision in her head.

Her music is vivid and layered and has been compared to the neoclassical works of Eric Satie and the hypnotic minimalism of the 1970s like Philip Glass and Terry Riley.

Dividing her time between Sweden and Estonia, Tuulikki Bartosik is a true Baltoscandic who’s established herself as one of Northern Europe’s most creative performers and composers.

Tuulikki plays on a custom made free-bass accordion by Pigini Accordions.

Tuulikki was chosen to take part in Keychange 2022 talent program. Keychange is a movement fighting for a sustainable music industry and it supports talented but underrepresented artists and encourages organisations to take a pledge for gender equality.

Tuulikkis is represented by Musikcentrum Öst and her creative work is supported by The Swedish Arts Grants Committee /Konstnärsnämnden.

The character and feeling Tuulikki Bartosik injects into her compositions and arrangements allows for a renewed appreciation of the accordion as a contemporary instrument
— https://www.list.co.uk
No matter what musical direction Tuulikki Bartosik takes, it will shine under her fingers. While for a long time she fascinated the audience with her simple but charmingly sincere accordion creation, the fresh material is more experimental and fuller of nuances. It even seems to me that the core of the single “Reval: The Cheating Story” can be compared to Maarja Nuut: they both play with the rudiment of traditional music as plasticine, shape it in many ways and add dozens of electronic textures on top of it, which brings the little bit dusty music firmly on the ground in today’s world.
— Kaspar Viilup, Estonian Public Broadcasting