Roxette

Roxette – “It Must Have Been Love” played 7 million times on US radio

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On 29th September, BMI was thrilled to celebrate their global family of songwriters, composers and publishers who are taking music to new creative heights. Throughout the night, they paid tribute to the British and European songwriters, composers and publishers of the past year’s most-performed songs across US streaming, radio, film and television, named the BMI London Song of the Year and presented their Million-Air Awards.

Listen To Your Heart celebrated its 7-Million-Air Award in December 2024, now it’s It Must Have Been Love’s turn! American radios played it 7 million times! Pure awesomeness!

Roxette reached their 3rd No. 1 on the Billboard Hot 100 with IMHBL on 16th June 1990 and stayed on top of the chart for 2 weeks. In 2000 Per received the award from BMI for this song being played over 3 million times on American radio, for 4 million he got the award in 2005, for 5 million plays in 2014 and for 6 million plays in October 2021.

The hit started out as a Christmas song that found its way to hot-hot Hollywood! 7 million thanks to Per Gessle for writing this most wonderful ballad and to Marie Fredriksson for adding her amazing vocals and turning it into Roxette’s signature song! Big congrats! Big! Huge!

EXPRESS.de interview with Per Gessle and Lena Philipsson – “Marie’s spirit is felt all the time”

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EXPRESS.de met Per Gessle and Lena Philipsson in Cologne to talk about the Roxette comeback and memories of Marie Fredriksson.

EXPRESS.de: – Roxette’s last concert with Marie took place in Cape Town in February 2016. Your return took place in exactly the same hall in February 2025. Was that intentional?

Per Gessle: – It just happened that way. But it was definitely special to play these shows. It was the first time we shared the stage together. We had to get used to each other.

EXPRESS.de: – And how did it feel?

Lena Philipsson: – I was very nervous at first. It was my first time standing in front of the fans. I told myself several times: slow down, don’t stress, think about the lyrics, hit every note, and watch the audience. It worked out well. The reaction was really positive. I was already more relaxed by the second show.

Per Gessle: – I didn’t shed any tears, but it was very emotional. It was a big step for us to restart Roxette and have someone else sing the songs instead of Marie. It could have ended badly. But we know the quality of the songs and the original band. Everyone enjoyed it very much, and it’s not like five people in five cars drive to the venue and play a show there. I’m now certain that it was the right decision to come back.

EXPRESS.de: – Did you hesitate for a long time when Per asked you to take on the task?

Lena Philipsson: – Yes, I thought about it for several weeks and asked many family members and friends if I should do it. Everyone thought it was a fantastic idea. That’s when I knew I had to say yes to this adventure. I listened to the songs many times to learn exactly how Marie sang them. It’s not about me doing my own thing. I wanted to be as close to the original.

EXPRESS.de: – You’re doing a great job. The songs sound live just like they did three decades ago.

Per Gessle: – I’m so happy you say that. Because that was our goal. When the idea was born, it was clear to me that we didn’t want to change anything about the sound or the presentation. We wanted to bring Roxette back the way the fans loved the band. Essentially, we’re paying tribute to the great songs by reviving the old hits. There are no covers, no new material. And that feels good.

EXPRESS.de: – Are you planning to record new songs together?

Per Gessle: – We’ve produced songs together, but not as Roxette. Only the old classics will be available under that name.

EXPRESS.de: – You’ve been active in music for 40 years. How closely did you follow Roxette back then?

Lena Philipsson: – You could never escape the songs; they were everywhere. I made my own songs, toured, appeared on TV, and participated in the Eurovision Song Contest. We all know in Sweden how successful the band was. I even danced to their songs in the club.

EXPRESS.de: – How did the fans react when they heard about the comeback?

Per Gessle: – The majority were happy. But there were also some who expressed criticism, especially on social media. The most important thing: there weren’t any negative comments from the people who saw our show afterward. Those who were there loved how Lena followed in Marie’s footsteps.

EXPRESS.de: – Is there a moment at the concerts when Marie is remembered?

Lena Philipsson: – I dedicate “It Must Have Been Love” to her. When I sing that, I think of her especially strongly. That’s why we’re bringing her back into the show at that moment.

Per Gessle: – For everyone, for the fans, for the band, Marie is there the whole time. When I think of songs like “Fading Like A Flower”, “Listen To Your Heart” or “Spending My Time”, she’s such a big part of it, even when she’s not there. Her spirit is there the whole time.

EXPRESS.de: – Songs from the ’80s and ’90s are still very popular. What’s the secret to their success?

Per Gessle: – I might sound like an old man talking about it, but I miss personality in modern songs. Current music is more pressed into structures and is not allowed to unfold.

Lena Philipsson: – The melodies used to be more memorable, too.

Per Gessle: – Many songs are written by producers, not by the artists. When a singer writes a song, they reveal something personal. That can’t happen when six people are tinkering with a song. Bands used to have more control over their songs.

Lena Philipsson: – When people come to our concerts, they travel back into the good old days.

Per Gessle: – And they remember how they celebrated at school, got married, or had children to our songs. This creates a bond and shows that we have accompanied them for a really long time of their lives.

Interview with Per Gessle and Lena Philipsson by Music Media Magazine, Hungary – “I hope Marie is proud of us from up there…”

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György Danev from Music Media Magazine did an interview with Per and Lena via Zoom.

Music Media: – Per, it was a huge surprise when you announced the re-launch of Roxette last year. However, the joyful news immediately raised the question: isn’t it too risky without Marie Fredriksson?

Per Gessle: – Well, I’ve been toying with this idea for a while. For years I couldn’t decide what to do with Roxette, because I knew that Marie couldn’t be replaced. She left a huge void, and as you said, continuing without Marie as Roxette was a risk that I didn’t dare to take for a long time. Years passed, but I decided to give the band a rest, while at the same time I was increasingly saddened by the fact that the Roxette catalogue was lying fallow and that I was unable to tour. Those songs are the backbone of my career, they are a life’s work, and I obviously didn’t want to end the story prematurely. Life finally offered me the solution: it so happened that when I was working on an album of duets in the studio for the Swedish market, Lena appeared among the many guest singers. The work together went amazingly well, and Lena’s vocal performance literally took my breath away. She provided an incredible quality, and I didn’t need anything more: I immediately started wondering if she could possibly do justice to Roxette’s songs. You have to know that from a vocal technique point of view, songs like “Queen Of Rain”, “Listen To Your Heart” or “It Must Have Been Love” are very tricky, it’s not easy to sing them properly. I mulled it over for a few days, then I called Lena to ask what she thought about joining forces in Roxette, whether she would take on the challenge. Of course, she didn’t answer right away, she let me stew in my own juices for a bit! (laughs)

Lena Philipsson: – I did ask for some time to think, but only a few days. I was really surprised when Per asked me the question. Of course, I was aware of the situation Roxette was in, which was caused by the loss of Marie, and it was also clear to me that it would create a complicated situation if I said yes. I couldn’t know in advance what the world would say to it. At the same time, I also felt that it would not be just any adventure that I simply could not say no to. So I nodded and then I dug into the songs to give my best on the tour.

Per: – When Lena agreed to the collaboration, I immediately called the members of Roxette’s old touring band, so guitarist Jonas Isacsson, keyboardist Clarence Öfwerman and the others. First, we gathered in my office, where we started to revive a few songs acoustically, just to find the right tones and see what the mood was. Needless to say, we were immediately on the same wavelength, we felt fantastically at home in each other’s company, and the songs came to life wonderfully. Then we started the regular rehearsals, and it became absolutely clear to me that this line-up had a lot of potential. We have been through twenty-five concerts so far, and I can only say that after so many years of absence, it is a huge gift for me to be back on stage as a member of Roxette, surrounded by the support of Lena and my old colleagues, not to mention the devotion of the fans! I hope Marie is proud of us from up there…

Music Media: – Lena, you have a fantastic vocal talent, that’s a known fact. How well did you find the songs to suit you when you started singing them?

Lena: – Actually, we changed the keys of some songs to fit my vocal range. Marie’s vocal range was basically higher than mine, and we couldn’t ignore that when putting together the show. But these were just small tweaks, nothing drastic. You know, I come from the eighties: my career started in 1986, and in that era you had to be able to sing powerfully in the high ranges. Stable vocal sustain and the right tone were also a basic requirement live. Marie represented the same school, and since we started almost at the same time, the world of Roxette was quite close to mine, so it wasn’t difficult for me to take on the role. I had no doubts about whether I could live up to the expectations, on the contrary: I was sure that it would be a great experience to sing these wonderful songs, so I couldn’t wait for the tour to start. Of course, I also knew that it was a huge responsibility to sing Marie’s themes, so I tried to stay as faithful as possible to the original album versions. That’s what the fans all want to hear, so I couldn’t disappoint them.

Music Media: – How were the last live rehearsals before the tour started in South Africa in early 2025?

Per: – Everything went as smoothly as possible…

Lena: – That’s true, because I was so damn prepared! (laughs)

Per: – That’s really how it was! Lena has always been extremely disciplined and collected, which was new to us at first because Marie has never been! (laughs) She was a completely different person, she followed her own rules… This time we came to the rehearsal room with a long list and went through all the songs that were on it. They couldn’t have sounded better, but many of them ended up in the trash anyway. The final touches before a tour are not just about rehearsing the setlist quickly: you have to find the main direction and then throw out the compositions that don’t fit the concept.

Music Media: – Lena, which song turned out to be the hardest to sing from a technical point of view?

Lena: – “Spending My Time” is definitely the most difficult song in the show, and we’re also performing it acoustically now, with Per accompanying us on guitar. What can I say, it doesn’t make it any easier for me to play it so raw, so stripped-down, but it still provides an unforgettable experience, as it leads to a huge sing-along with the audience at every concert.

Per: – “Spending My Time” has always been a special piece in the repertoire. It describes a unique arc as it builds, and the lyrics fit it very well: the story of the song begins in the morning and ends in the evening. The story is familiar to most people, it’s easy to relate to. This song is especially popular in South America.

Lena: – As incredible as it is, I’ve never noticed this time motif in the song before, but now I know it! (laughs)

Per: – “What’s the time? Seems it’s already morning…” – and that’s how it starts! You still have a lot to learn in terms of lyrics, I see! (laughs) Seriously, the song is a very important pillar of the setlist, and it works really well in this stripped-down acoustic form, like we’ve been playing at the last few shows.

Music Media: – How did the first performance together in South Africa go? Did the audience accept the new line-up straight away?

Per: – We were all quite nervous… But maybe that’s not the right word, I’d rather say that every nerve fibre in our body was tense with concentration.

Lena: – That’s right. This was especially true for me, because as we went on stage, I was focusing on everything at once: trying to read the audience’s reaction, while also having to pay attention to Per and the others. I needed maximum concentration so that I didn’t short-circuit, or forget a verse, for example. In addition, I also had to stay on track in terms of vocal technique, because overdoing a song is just as bad as simplifying it. I had to find the right proportions.

Per: – For me, Lena’s presence was something new that I had to get used to, because we had never been on stage together before. We had to pay attention to each other’s movements, which is also important for communicating with the audience. I also had to learn things like Lena starting “Dressed For Success” on the left side of the stage, but the same thing happened to Marie when we did our first tour in the mid-eighties. We bumped into each other on stage several times, and Marie almost knocked my tooth out with her elbow once, but these are inherent in concerting, in energetic stage work! (laughs) However, the interactions started right from the beginning with Lena, we had a great time at the first concert. The band was very tight, it was obvious, the audience picked up on it too. There was a feverish excitement in the air, which has not subsided since seeing the love of the fan base: the technical staff of the tour is just as enthusiastic as the band members, everyone can’t wait for the next concerts! Our fellow musicians are constantly asking when we’re going to rehearse, everyone is so pumped up! You know, we’ve been doing this for a very long time, almost forty years, and yet the magic of performing can still affect us with renewed force. Suddenly we’re back on a world tour, selling out a lot of tickets night after night, the reception from the audience couldn’t be better, and that motivates everyone. We feel like we’re part of something timeless. Sometimes I have to pinch myself if I’m not dreaming. We’re incredibly grateful that this tour can happen and that we can do what we love the most again.

Music Media: – The second leg of the European leg of the tour will start soon, this leg will start in Budapest on November 4th…

Per: – Exactly, and I can’t wait to eat a good goulash again! (laughs) Budapest is a wonderful place, it always makes me happy to perform there. The audience is fantastically supportive, but I can say this about all the cities where we perform: the Roxette camp is extremely loyal and full of positive energy everywhere. We are one big, happy family with our fans, we feel that everywhere.

Music Media: – Lena, have you ever been to Hungary?

Lena: – No, never, but that’s exactly why I’m really looking forward to the Budapest concert!

Music Media: – Looking at the setlist that you used for the first half of the tour, well, even as a big fan I couldn’t have put together a more perfect show: you performed all the famous songs, as well as several secret favourites, such as “Almost Unreal”, “Fading Like A Flower” and “Queen Of Rain”. Can we expect this for the upcoming concerts as well?

Per: – Basically yes. Before the autumn European tour, there will be another intensive rehearsal period, which will last about a week. That’s when we will finalize the setlist plan and try out several songs that haven’t been performed so far. We’ll see what works and what doesn’t, but the setlist will probably be 90 percent the same as what we played in the summer. When we’re on tour, we always experiment with the setlist: we try songs we haven’t played before, we change the order of the songs, it’s like trying to put together a puzzle. The goal is always to find the most optimal dynamic and best-rounded show. Once we get there, we don’t really vary much from there. Since we’re two singers, it’s also important to divide the tasks: if Lena happens to sing a big ballad, it makes sense for me to carry the next song on my back. As you said yourself, this is a setlist that’s close to perfect. It works well with the audience, it has the right flow, so I don’t think we’ll change it significantly for the rest of the tour.

Music Media: – Will you continue to perform in 2026?

Per: – Yeah, that’s the plan. Hopefully nothing will get in the way.

Music Media: – Have you ever thought about recording new songs in the studio?

Per: – Not really. You know, I’d rather keep the existing catalogue in the public eye by touring all over the world. If I were to write new songs, I’d have to tour with them, and that would mean taking some of the old songs out of the show, but we can’t do that. Roxette concerts will definitely be about evergreens for a while!

Music Media: – What message do you have for the Hungarian fans?

Per: – As I said, I’m always happy to play in Budapest, and this time we’re going to throw a party that no one will soon forget!

Interview with Per Gessle and Lena Philipsson about the Roxette In Concert tour in Blikk, Hungary

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Blikk did an interview with Per and Lena on Friday via Zoom. The Roxette In Concert tour’s first autumn show will happen in Budapest on 4th November.

Blikk: – The return of Roxette surprised everyone. Why did you feel like you had to continue with the band?

Per Gessle: – For many, many years I couldn’t decide what to do with Roxette, so this is a really big step for me. Then a few years ago I realized that I was a little sad that I couldn’t perform the songs that I had written for Roxette over the course of three decades. I tried to find a way to continue, but I didn’t really know what to do. In 2024 I made a Swedish album with Lena on it. When we worked together in the studio, I realized that she had the ability and the knowledge to sing Roxette songs. I just felt that out of all the people I had met so far, she was the first one who could really do it. I thought about it for a while, and then I met Lena and I presented my idea to her, which made her completely pale of course. But then we just tried it. We rehearsed some acoustic songs with some of the members of Roxette and they sounded great. Lena was a really good choice, she sings these songs just amazingly.

Blikk: – Lena, what was your first thought when Per asked you to join this project? It’s quite a challenge to step into Marie’s shoes.

Lena Philipsson: – It’s definitely a challenge. And it’s not that easy, because I know that when I go on stage, I’m not the person people really want to see. They want to see Marie, but unfortunately she’s not with us anymore. So someone else has to sing the songs, and that someone is me. In that sense, it’s a bit complicated. At the same time, Per’s request was flattering, almost impossible to refuse. And then, once I said yes, from then on, I just tried to focus on what I had to do and do my job as best as I could, considering the uniqueness of the situation. I really wanted to keep the original version of the songs as much as possible, so as not to cause any confusion for anyone, because it’s already a big difference to see a different person on stage, who might move differently and look different. It was important to me not to change any of the songs, but to show respect to Marie, Per and the fans by keeping the original. Our South African premiere was of course quite nerve-wracking. I tried to pay attention to the atmosphere in the venue to get a feel for what the band was doing, what we were doing on stage and how the audience was reacting. That’s where I started. But I think the feedback was positive from the very beginning. And from there, everything just got better and better.

Blikk: – We’ve seen other bands continue working with a new singer – most recently with Linkin Park. What do you think is the most important thing for it to work well?

Lena: – I can only speak about our own situation – for me it’s about showing respect for the music. I mean, I try to blend in, because it’s Per’s project, and I try not to take control of it. Just pay attention to the mood and listen to what the flow dictates. I don’t know how to explain it – you just have to be yourself as much as possible, instead of trying to be someone else. Give yourself and be honest in what you do.

Blikk: – Do you remember when the moment came when you felt comfortable in this role?

Lena: – After the second concert, I felt that everything was OK, that it was working. Now I can go out and be myself even more, giving myself more space. So it happened pretty quickly. The band, Per and I were working together for the first time – as musicians, we had to get to know each other on stage. But in terms of the setlist and the things that happened on stage, as we played together, it got better and better. So I think I got used to it pretty quickly.

Blikk: – Which song is the hardest for you to perform together?

Lena: – I would say “Spending My Time”, because it’s just me and Per on stage. He plays the guitar while I sing, which is very stripped down and revealing at the same time – so that’s an important moment. Also, singing “It Must Have Been Love” is very important to do perfectly, but I’ve learned it pretty well. Now I have more favourites: I really like “Listen To Your Heart”, for example, it’s pure joy for me to sing it, and I don’t think of it as complicated anymore. I just want to do a good job. We’re over the difficulties.

Per: – I think the best thing about the whole line-up is that we have a lot of fun and we feel good together on stage. The band members are also very enthusiastic. Lena’s presence and being able to perform the songs again is very inspiring for them. I tried to gather all the key figures from Roxette’s past, like guitarist Jonas Isacsson. Clarence Öfwerman, our producer, is still with us. I think that ultimately it is a tribute to Roxette and its legacy, and for that to happen we have to enjoy what we do. For me that is the most important thing, because if we have fun, the audience will have fun too.

Blikk: – What’s the goal of the project, besides playing old Roxette songs? Are there any plans to write new songs in the future?

Per: – No. I think the point of Roxette is to perform old songs. That’s all we do. By the way, we have made music together before, and maybe we will in the future, but I don’t think we will do it under the name Roxette.

Blikk: – You will also perform in Budapest in November. You just mentioned “Listen To Your Heart” – this is the song that probably every Hungarian knows, because from 1990 onwards a political party in Hungary started using it for its campaign and other events. Sometime around 1992 you said in an interview that you had heard about it. Were you ever worried that people would automatically associate your song with a party, forgetting its original message and content?

Per: – Well, first of all – looking back – I don’t like it when people use songs without permission. In the past, we were not asked about it at all. What happened in Hungary is a very unique situation, I have never experienced anything like this anywhere else. We have always tried to stay away from politics, because we don’t fully understand the countries and their political situation. I think if anyone had asked me if I would license one of my songs to a political party or movement, I would have definitely said no, without taking a stand for the left or the right. Because that’s how I operate and that’s how I work. I think copyright should be respected and the person who owns it or wrote the song should be asked first before they use it. That’s what I think.

Blikk: – There was a case a few years ago –  the same party used your song at a political event, and they even uploaded a video of it on Facebook, but because of copyright, that video was removed. Have you heard about that case?

Per: – I didn’t know about that, but I know that our record label, Warner Music, took legal action against it, because for them it’s the same situation: copyright infringement. You can have any political views, but ultimately it’s about how laws and rights work. As I said, I don’t have any other experience, so I can’t give you any other examples – it’s a unique thing. And I don’t really like being in the middle of things that I didn’t choose.

Blikk: – Let’s get back to the concert. You’ve been touring for a while now, how is the audience reaction?

Per: – We’ve done 25 shows so far, and they’ve been just fantastic. When we started, we were still wondering what happens if it doesn’t work out? On the one hand, what happens if people don’t buy tickets? On the other hand, what happens if they don’t like Marie being replaced by someone else? So many things could have turned out differently, but it turned out the opposite. Even the most dedicated fans have started to get to know Lena, appreciate what she does, and everyone leaves the concerts with a smile on their face. We have a huge catalogue of songs that people have grown up with and that have become part of their everyday lives – I think that’s just amazing, and it’s also a very rare thing. It’s really fantastic that I’ve found a way to carry on Roxette’s songs and that they are accepting it like that.

Blikk: – What message do you think the audience will take away from the fact that Roxette’s legacy lives on?

Per: – I don’t know if there is any specific message. But I’m a songwriter after all – I started writing songs when I was a teenager and I still do that basically today. I feel lucky to have had so much success all over the world in my life, and if my music and lyrics still mean something to so many people globally, that’s really fantastic. I hope that the people who come to our concerts get their reward from us on stage – something that adds value to their lives and that we can be a part of. Some people got married to our songs, some people gave birth to their children, and some people listened to “Joyride” on their way to school. These are just small fragments of some people’s lives, but we are part of them. It’s amazing to see that our music means so much to others.

Find the dates and links to ticket sales sites HERE!

“Joyride – The Musical” – be your you in Stockholm!

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Joyride – The Musical had its world premiere in Malmö almost exactly one year ago. The show became a huge success, selling out 84 shows between September 2024 and April 2025. I saw 8 performances of the Malmö version – including the premiere and the last show – and so I could judge how the musical evolved and how the audience loved it regardless of whether they were Roxette fans or musical lovers or just curious viewers. All shows ended in standing ovations.

Not long after the opening in Malmö, it was announced that the Roxette musical would continue its joyride at China Teatern in Stockholm, premiering on 11th September 2025. Tickets for 60 Stockholm shows until 20th December 2025 went on sale on 31st March 2025.

The set at China Teatern is directed by Guy Unsworth, who also directed the show at Malmö Opera. However, a new cast and ensemble were selected, for which the auditions started in October 2024.

Joyride in Stockholm is different compared to the Malmö version. Several new members have been added and Calle Norlén has, among other things, done a new script adaptation, but Jessica Marberger continues in the lead role as Stephanie. Another member of the cast who was part of the Malmö show is Emilie Evbäck. She was singing Opportunity Nox most of the time, but once in a while she also played the role of Meredith. In Stockholm she is Katie. Lucas Krüger joined the cast as Joe, Hanna Hedlund plays Meredith, Gary is played by Anton Lundqvist and Natasha is Pia Ternström.

I arrived in Stockholm two days before the premiere and it was lovely to see all the posters around the city promoting the show. The theatre was also dressed in Joyride with big posters on its walls and a banner on its facade.

There were several rehearsals during the week with invited guests and the main rehearsal was held on 10th September. In the evening it was raining, but we went to take photos outside the theatre, because with the lights on it looked even cooler at night. We expected the show to end at appr. the same time as in Malmö, so we were surprised when the staff opened the doors and we could hear it was already the finale. We stayed there to listen to it and waited for the people to leave the theatre. Per, Åsa and Marie Dimberg were there too and Per and Åsa joined us under our umbrellas while they were waiting for their taxi. We talked about the show and it turned out the Stockholm version is appr. 12 minutes shorter than the Malmö performance was. We didn’t want to ask too much about it, because we wanted to be surprised by the premiere. All we discussed was that the Stockholm show is quite different.

On 11th September, it was raining cats and dogs all day. The theatre staff built the red carpet area with a JOYRIDE sign, a photo wall and lots of heart-shaped balloons. Some tents were also set up to prevent people from getting soaking wet. Reporters and photographers stood next to the photo wall. Fans arrived first at the theatre – from Germany, Poland, Hungary, the Netherlands and probably from some other countries as well. We were curious about who would walk the red carpet – which was dark grey (maybe because of the rain, so that it doesn’t look awful when you step on the red carpet with your muddy shoes). Guests were arriving and even if there was a roof above the carpet, most of them didn’t reach the photo wall, but entered the theatre at the first doors. This is how we – who were standing behind the photographers at the photo wall – missed seeing Micke Syd and his wife, Helena arriving, for example. (But we could say hi to Micke during the break at least.) We were very happy to see Micke Bolyos. Some fans stepped to him, talked to him briefly and asked for a photo as well. Dea Norberg was there too. Besides her clear relation to Roxette, Jessica is her best friend, so it’s obvious she came to see her in Stockholm too. Among the guests there were Tomas Ledin, Magnus Uggla, Fredrik Etoall, Thomas Johansson, Mats Olsson and more famous Swedish artists and celebrities. Jane Fallon wasn’t there at the premiere. She was in Stockholm in August and then she was interviewed by TV and radio. Lena Philipsson came with Marie Dimberg. She is friends with Hanna Hedlund, so she was probably also excited to see her friend on stage. Everyone was thrilled to see Per on the red carpet and he was said to appear there at 19:20 (the premiere was set to start at 19:30), but it was so busy everywhere, it was hard for him to get there on time. He was inside the theatre and because of the rain he came out to the photo wall from there. The bell was ringing already 3 or 4 times to signal the start of the performance, but Per still hasn’t gotten to the photo wall. I decided to get inside the theatre after director Guy Unsworth left the red carpet. It was already 19:30. Most of the people were already sitting inside. When I walked towards the entrance, I saw Åsa and Per started to walk towards the exit. Then I quickly decided to go back to the photo wall and check out what was happening there. Photos of Per and Åsa, as well as Gabriel and his girlfriend were taken. Marie Dimberg came out again too. PG was also briefly interviewed by a reporter for SVT. It all didn’t take longer than 3-4 minutes. Lena was also waiting for them so that they could all enter together and find their seats in row 8. Everyone else entered the theatre in the end and got to their seats inside, so the musical could start with a little delay.

The theatre is much smaller and this way more intimate than Malmö Opera. The stage is very high, so if you want to see the big picture, you should sit in rows 6-9 for the best view, preferably in the middle. In Malmö Opera it was even better to sit on the balcony if you wanted to see the English subtitles during the show, but in Stockholm there are no subs. The dialogues are in Swedish, the songs are in English. Anyway, if you choose balcony, I suggest you pick a seat on „balkong främre” (front balcony).

China Teatern has an auditorium that holds an audience of 1,226 (549 on the parkett, 677 on the balcony). Altogether it’s appr. 300 seats less vs. the Malmö audience. So it’s rather the stage that is much smaller there, not the audience.

China Teatern’s stage doesn’t have space for a huge orchestra. The musicians had their place on the two sides, at balcony level. 2 of them + the conductor on level 1 on the right side, and 2-2 of them on level 1 left side and level 2 right and left side.

The letters of JOYRIDE are part of the stage set and used as creatively in Stockholm as they were used in Malmö. This is the first thing you see when you enter the auditorium and it looks really cool. I love that the playfulness is kept in the stage set.

Before the start of the performance, the Joyride whistle could be heard as a signal and a male voice was asking you to switch off your mobiles. Unfortunately, it wasn’t Per talking (like in Malmö), but it was a fun mobile alert. After the voice welcomed the audience at China Teatern at Joyride – The Musical, everyone was cheering loudly. Then the voice kindly asked you to switch off your walkmans and other digital accessories, even your brand new Nokia mobiles. Haha. Filming and taking pictures are not allowed during the show, but it is allowed to use your cameras during the finale. Then the voice introduced the conductor, the audience was cheering loudly again and the show could start.

Oh, not to forget that ’80s and ’90s songs are played before the performance, during the break and after the show. Songs by Madonna, Starship, Snap!, MC Hammer, just to mention a few.

The musical is played in two acts. As I mentioned before, it is shorter than in Malmö, but it’s not the songs that got less. It’s rather the dialogues that have changed a bit. They became more effective and some jokes were also changed for the better. There are other changes as well, like the pseudonym of Katie became Kelly instead of Lydia and Operation Drop Dead became Operation Hämnd (revenge).

The beginning is also different. It’s not only the fact that Stella is not sitting there on the stage floor writing a song, but it’s now a fragment of Joyride being sung by Stephanie, Katie and Stella (instead of It Must Have Been Love in the Malmö version). I find it a much better idea, cos it all begins where it ends.

The three main characters, Stephanie (Jessica Marberger), Katie (Emilie Evbäck) and Joe (Lucas Krüger) have amazing vocal abilities! There are three Stellas and on premiere night it was Edda Pekkari who played the role of Stephanie’s and Joe’s daughter. Her singing was fab! She got a big applause after singing The First Girl On The Moon. Then there is Meredith (Hanna Hedlund) with an oh so amazing voice! The ensemble singing together sounded wonderful too! Sing-along is guaranteed throughout the entire show!

The dancers are fabulous and even if I do miss some choregraphies from Malmö, I must admit the Stockholm choreos are very cool too. I also understand that some changes had to be made because of the smaller stage. What I miss the most is my most favourite scene when Stephanie is singing What’s She Like? Here it also gets an „aaaaaah” reaction from the audience when they realize the mannequins are moving. I find it beautiful. Another choreography I miss a lot is the dancers during Fading Like A Flower. I think it added a lot to the emotions of this power ballad, however, Emilie’s vocals are strong enough to demonstrate what she goes through in this scene.

The chemistry between Gary (Anton Lundqvist) and Natasha (Pia Ternström) is lovely. I liked their interactions a lot and their singing together, especially The Look at the opening of the second act. The grandpa (Donald Högberg) became one of my fave characters. Donald acts like a real grandpa. Cool, doing everything for his family and putting his granddaughter in the centre of it all.

Stars is treated better in Stockholm in my opinion. Maybe it sounds more magical because of the more intimate stage set. The How Do You Do! scene is extremely entertaining and it worked better with the new love triangle surprises. It fits the song’s playfulness even more. Haha.

The bigger stage with the orchestra made Spending My Time, Listen To Your Heart and Queen Of Rain more emotional in Malmö, but the vocals are awesome here too. It’s still amazing that it’s a guy who sings the big Marie ballads like SMT and QOR. Lucas did a wonderful job – especially his high notes are extraordinary. And Hanna singing LTYH is so powerful!

I get goosebumps every time I hear Jessica sing What’s She Like?, Little Girl and It Must Have Been Love. She is wonderful in this role and I’m very happy she continues to play Stephanie.

Emilie sang Opportunity Nox in Malmö and Dangerous and Listen To Your Heart when she was Meredith. You could already hear then that her voice is outstanding. Now she sings Milk And Toast And Honey and Fading Like A Flower among many other hits and wow… She has amazing vocals! When Steph and Katie sing Crash! Boom! Bang!, IMHBL and Wish I Could Fly together… Aaaah… B.e.a.u.t.i.f.u.l.!

Regarding colours, the costumes were more colorful in Malmö. Stockholm got more „black and white”. Since Joyride is all about colours for me, I missed those ’90s colour vibes in the costumes, especially during the fashion-related scenes. Those should be more vivid in my opinion. However, the style of the costumes is still very much the ’90s. At the same time, I understand the dramaturgy of Katie’s flower-power dress changing to black and white at some point. Staying with the costumes, Meredith’s clothes are a bit too childishly comical for me. They are one step over being credible, but the character is fun anyway.

As a jukebox musical, Joyride felt even more complete now. It’s probably because of the more effective texts in the dialogues and a more intimate treatment of the songs.

There was no car at the end, but I loved the final choreo when everyone was singing Joyride. It hits hard and gets the audience in a dancing mood, jumping up from their seats right after the performance ends, to give a standing ovation and join the full company at the confetti-filled megamix party.

I still love the balance of how the songs are included in the two acts. There are so many hits in the first act and in the second act you realize one by one that indeed, there is this song too, and this one too, oh and that too.

Another highlight at the end of the show is the screening of Marie and Per from clips from the past. Here they are more clearly visible than in Malmö. And a heart drawn around Marie at the very end of this part is just aaaaah, so much love! Her presence is felt. Always!

The visual artistry in the background is wonderful throughout the entire show.

At the end of the premiere, creators – Per among them – were queueing to go up on stage one after the other. They took a bow, got flowers and left the stage before the orchestra finale came. Here the orchestra is visible only on the screen and it’s a recording of them shown, while they are playing live on the sides of the stage. You can watch the curtain call of the premiere HERE.

I’ve been wondering how difficult it could be for a director to put the same show on a very different stage, to see it with fresh eyes and make differences that might make the whole experience better. Well, „better” might not be the best expression. „Different” fits more. At points I might have sounded like this or that was better in Malmö and this or that was better in Stockholm, and it’s impossible not to compare the two versions, but I think the correct thing to say is that the two versions are different and both of them are pure awesomeness. And I think Guy Unsworth did a great job with both of his Joyride directions.

I didn’t want to make the same mistake as in Malmö – to not go and see the next shows right after the premiere –, so I bought tickets for the next 3 performances as well and I could see the musical 4 times in a row this way. I could also see another Stella, Saga Rapo, who is also very talented and she has a wonderful voice too. I must say that show by show, the gang got tighter and tighter, leaving the stress of the premiere behind. On Saturday they had a double showtime day – one performance started at 15:00, the other at 19:30 (Per and Åsa came to see this show too). That’s very exhausting, especially for the dancers, but you could see they all loved being part of it. There was less confetti at the end of the afternoon show to make it easier to clean the auditorium, but it was as much fun to see the musical in the afternoon as it was in the evening.

It was interesting to experience that Stockholm crowds are more reserved not only at concerts. It also applies to the theatre. Haha. Lovely. And again, it was not better or worse, it was just different. Of course, the audience was clapping and singing along here too, and laughing out loud and cheering, just in a more moderate way.

My heart is still full of love when I think about this musical. Jane Fallon’s fantastic novel, Got You Back, Roxette’s most awesome hits, the wonderful orchestration of the songs, the amazing cast and ensemble and all the creators. Hats off to everyone involved on and off stage! You deserve all the standing ovations and you will earn it on the upcoming shows as well, I’m very sure about it. It’s an amazing piece of art, this feel-good musical.

Oh, I almost forgot to mention, even if I added this phrase in the title as well. The fashion show scene, where Opportunity Nox is sung, has an important message: be your you! I like how this part is added.

If you saw the show in Malmö, make sure you see it in Stockholm too. It’s fun to see the differences and of course, it’s amazing to hear all the songs in this setting as well. Make sure you buy the beautiful program booklet. You can do that before the show, during the 25-minute break or even after the performance. It costs 80 SEK. It’s in Swedish, but it’s very nice indeed. And if the photo wall is still there upstairs with the camera, make sure you take a hello you fool pic in front of it.

Get your tickets for the Stockholm shows HERE! I will still go back and see it again. Especially now that 32 additional shows have been announced for 2026. The ticket sales are going so well! This way it will be 92 performances altogether in the Swedish capital before the musical is on stage again in Malmö in the fall of 2026. I’m already excited about the next city that joins the JOYRIDE abroad! I’m in for a musical tour! Haha.

 

Cast

Lucas Krüger – Joe
Jessica Marberger – Stephanie
Emilie Evbäck – Katie
Hanna Hedlund – Meredith
Anton Lundqvist – Gary
Pia Ternström – Natasha
Donald Högberg – John
Edda Pekkari – Stella
Saga Rapo – Stella
Tara Perovic – Stella
Olle Roberg – Ensemble + Michael + US Joey + US Gary
Ulrika Ånäs – Ensemble + US Stephanie
Alvaro Estrella – Ensemble + US Michael
Alexandra Fors – Ensemble + US Katie
Kitty Chan Schlyter – Ensemble / US Natasha
Linda Holmgren – Ensemble + US Meredith
Niklas Löjdmark Chressman – Ensemble + US John + 2 cover Gary
Marcus Elander – Ensemble/dance captain
Emmie Asplund – Ensemble/swing
Hampus Engstrand – Ensemble/swing
Mateo Cordova Pomo – Ensemble
Felicia Loveflo Lindström – Ensemble
Oliver Gramenius – Ensemble
Emilia Berglind – Ensemble
Olivia Kungsman – Ensemble

Creative team

Producer: Nanette Hayes, 2Entertain
Executive Producer: Bosse Andersson, 2Entertain
Co-Producer: Vicky von der Lancken
Director: Guy Unsworth
Co-director: Johanna Hybinette
Swedish translation: Calle Norlén
Choreography: Jennie Widegren, Miles Hoare
Set design: David Woodhead
Lighting design: Palle Palmé
Sound design: Oskar Johansson
Costume design: Torbjörn Bergström
Mask & wig design: Sara Klänge
Musical supervisor: Joakim Hallin
Conductor / keyboards: Erik Brag Månsson
Bass: Mats “Limpan” Lindberg
Electric guitar / acoustic guitar: Magnus Bengtsson
Drums: Magnus Fritz
Keyboards: Jan Radesjö
Guitar: Nicklas Thelin
Cello: Andreas Lavotha
Cello: Tove Törngren
Cello: Emma Beskow
Violin: Karin Liljenberg
Violin: Kristina Ebbersten
Violin: Oscar Treitler
Technical Coordinator: Ted Silvergren

Produced by 2Entertain & Vicky Nöjesproduktion
Producer: Nanette Hayes
Executive Producer: Bosse Andersson
Co-producer: Vicky von der Lancken
Project Leader: Simon Pettersson and Jenny Gerdén
Company Manager & Production Manager: Nina Hammarklev
Marketing & sales: Sofia Ekskog and Sandra Wester
Finance: Linda Dahlberg
Ticket Manager: Elisabeth Johansson

Original and rights

Based on the songs of Roxette and the novel Got You Back by Jane Fallon

MUSIC AND LYRICS by Per Gessle
ORIGINAL BOOK by Klas Abrahamsson
NEW BOOK by Guy Unsworth
ORIGINAL DIRECTOR Guy Unsworth
MUSICAL SUPERVISOR Joakim Hallin
ORIGINAL PRODUCER Malmö Opera, Sweden

PUBLISHER / AGENCY Nordiska ApS / Jimmy Fun Music

 

All photos in the article have been taken by Patrícia Peres