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Kirsten and Judith met Jonas Isacsson in Hamburg for an interview. He just came back from a walk in rainy Hamburg. After short introduction, we went straight to work.

Yesterday we saw that you are also in the front when you played with Alan Parsons, not in the back behind the orchestra.

– Yeah! I have to come down and play with him as well. That’s fine. He’s an old hero of mine, he was assistant producer of Pink Floyd’s “Dark side of the moon” and he worked with The Beatles as well. So I’m honoured to play with him, actually. He’s a cool guy, and very big, I’m not that tall, I look like a dwarfs. He’s nice, but like 2 meters tall!

Alan Parsons is a new act in the show. There are other new things, for example, Sharon von Adel is not there anymore. So John Miles does “Stairway to Heaven” alone.  We miss her! I miss OMD as well. They played somewhere in town yesterday as well. They were supposed to come to the hotel after the show but they didn’t.

Is it exhausting to play during the whole show, it lasts three hours…

– No, it’s actually better than sitting in the dressing room and wait, because the other guys in Roxette and everybody else have to sit and wait for their moment, kind of boring. The only thing that disturbs me when I come in during the break is that the wine is gone! I’m sure it’s Pelle, Clarence and Christoffer!

Yeah!, We can see that on the YouTube videos.

– Yeah, that happens while I am up on stage you know. It’s kinda funny, stupid but funny. We have a good time anyway.

So we’d like to know about your career. How did you start to play guitar?

– Two elder brothers, Thomas and Mikael, were playing in bands. They both played bass, they would fool around with guitars too. I always tried to be better than them (laughs), so that’s how it started. I went to rehearsals with my brothers, saw the bands, and I liked the atmosphere with amplifiers and all that.

How old were you?

– I was five. There were guitars in my house all around. And my great grandfather played organ at the church, so there was always music in the house and started from there.

Do you play other instruments?

– Yes! Bass and drums. I learnt to play drums at the music school, I could play guitar before that, but drums were the first instrument I really had to learn, but it became boring. I can also play keyboards.

Is it true you played with Joey Tempest and John Norum’s as well, back in early 80ies?

– I lived in Upplands Väsby where they come from. John Norum had a band called W.C., Water Closet, with some friends of mine, he was a great guitar player but  he was a kid back in those days, he was very shy and stood with his back to the audience, but everytime I listened to him play guitar, I thought “this guy is great.” So we lived in the same town and grew up with those guys as well. I also worked with Joey’s first solo album.

You said you lived in Upplands Väsby, but where do you come from?

– No, I was born in Umeå. We’re nearly one age. We moved to Dalarna and I moved to Stockholm in 1975.

You also worked with Eva Dahlgren a long time. How did you start to work with her?

– I worked with Eva from her second album “En blekt blondins hjärta”, from 1980 till 1991. Eva’s producer Anders Glenmark and I were on tour with a band, we played in the same show, a bit like this show wi

th various artists, and Eva was backup singer in one band, so we met then and became friends. Then Anders and me started to work together and we formed a band actually, with Eva. Then in 81 we went on tour with Eva, the woman went rocket skyhigh immediately, with such great songs.

How was it working with her? You composed one song with her, “Älska mig”.

– It was great! We also did music for a children’s movie and worked a lot together those days. I miss her sometimes, to play with her. We have still contact, we live very close to each other in SouthernStockholm, we see each other shopping groceries, you know, so I see her a lot. But she has a new band and works with Lars Halapi, they seem to have a good working relationship, so I don’t want to go and mess things. But if she’d ask I’d say yes , of course.

How did you start to work with Roxette?

– Working with Eva lead to other jobs, I got to do a lot of sessions with other big Swedish artists. I was working in studio 4-5 days a week, with different people and different kind of music, including dance bands, lots of stuff. And Clarence, Pelle and I knew each other since 1977, from different bands, Clarence got the offer to produce a solo album with Per, which then became Roxette. Clarence said “I want to have this band,” which was me and Pelle, and Tommy Cassemar. So I worked with them since 1986, except for the 7 years where Marie didn’t play. That was tragic.

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