The last time the PLECtionary got updated was in August 2015, right before the last show of the European tour leg. Now one tour leg later, an update is due again. We hoped for new picks for the South African shows, but we couldn’t be sure there would be any new plectrums until Per posted the photo of the guitar pick they designed especially for South Africa (Roxette FB, Per IG, Roxette IG).
It wasn’t clear at first sight whether it was only one pick and Mr. G showed the 2 sides of it or it was 2 different picks, but soon it turned out they got back to the roots, making it more limited, so it’s only one pick with the South African flag on one side and GESSLE ON THE ROXXX on the other side. Looking good! Haute couture, as the master says.
Sandra was there in South Africa and she could now take photo of it to include the plec (No. 107) in the PLECtionary. More than that, thanks to her we can also add Per’s guitar technician’s, Micke N-S’s new pick (No. 108) and in the meantime Sandra could obtain one of the Night of the Proms plectrums (No. 26) she had been looking for since a long time, so it’s now in the PLECtionary as well.
Besides these 3 new additions, you will find a separate section for the misprinted picks. The misprinted ones mean something went wrong during the production and e.g. the design or the text is missing on one side. With this update you see 2 misprinted plecs, No. 77 and No. 96.
If anyone had told me in the past that one day I’d have the chance to do an interview with Per Gessle, I would have surely told them they were insane. But life proves, you should dream also those dreams you don’t dare to dream! Getting myself together after the positive shock, I must say that it continuously gets confirmed that I’m a fan of the most amazing and most caring Artist in the Universe and the fastest on Planet Earth! Well, what else could I expect from the Son of The Fastest Plumber in the West?
It’s an interview done via e-mail to keep Mr G’s quotes correct. Per, thanx a million again for spending your precious time with this! It’s much appreciated and you definitely made me feel being the luckiest, happiest and most grateful person on the Globe. Also thanks heaps to D&D Management for their cooperation!
The interview is about the customized plecs, info about the customizing process, stories connected to the picks, some details about the phrases on the plectrums, Per’s thoughts about the picks in general and how he is using them etc. So everything you wanted to know about the plecs and more! Don’t forget to check the PLECtionary again, because some ”Trivia from Per” can now also be found at the picks he talked about.
Now the intro is over. Go and read the real deal, Roxers! Enjoy!
Patrícia Peres: – First of all, thank you very much for taking your time and I hope you won’t get tired by all the plec questions, but we, Roxers are very curious about any tiny detail about these precious little items and stories related to them. We got very positive feedback from the fans and we are very happy that you also like the PLECtionary. Sandra did a fantastic job with it and we are very grateful to her that she made it possible to see all the picks at one place. She has an amazing collection! How does it feel that there is such a dedicated fan of your plecs?
Per Gessle: – It feels, of course, most rewarding. I encourage every form of extreme and meaningful hobby, like collecting rare snakeskin-boots or grey square Russian cars.
PP: – Haha. Rare snakeskin-boots! Now that you say it… When and how did it all start for you? I mean having your own customized plectrums. What was your very first idea to print on a guitar pick and which became the first customized PG-plec?
PG: – Oh, I can’t remember. In the old days it was very rare that you’d find customized picks. I think I hooked up as soon as I heard it was possible. It’s a great way of sharing a joke and showing off your humble personality!
PP: – Do more plecs exist besides the ones you can see in the PLECtionary?
PG: – No, I think everything is covered in the article. It’s a shame in a way but the sad and plain truth.
PP: – Have you kept at least one of each of your plectrums over the years?
PG: – Yes, I think so. I’ve looked for the ones Sandra is missing but can’t find any extras. Only the ones I keep in my archive. If I find more of them I will of course give them to her. She deserves the best. The best and the complete. I consider it a mission to help her find Plectrum-Nirvana.
PP: – Wow! I’m 1000% sure Sandra is gonna be extremely happy to hear this! I was just about to ask if you have those plecs she is missing.
PG: – Yes, like I said, I keep them proud and polished in my archive. Clarence pops in once in a while to sniff them. He likes the smell of vintage success.
PP: – How should we imagine where you keep your plecs? Are they in a box in a drawer or maybe in a big glass bowl in the hall or they are just lying anywhere around your house / apartment? OK, knowing how pedantic you are, this latter one is surely not applicable.
PG: – Oh, they are kept in a red Ferrari-box in a metal cupboard in my office. Next to the diaries I always write when I’m recording. I try to keep my life tidy and in order. My cupboards are holy ground. If you open them things will never be the same.
PP: – Ferrari-box, metal cupboard, diaries. Aaah, sounds like holy ground indeed. When it comes to brands, are you more into Dunlop or Fender guitar picks? Or does it matter at all? What kind of plecs were you playing the guitar with before you started customizing the picks?
PG: – It never mattered. It’s the feel that decides. On stage I have a softer pick for the acoustic guitars, in the studio I rarely use picks at all when I play acoustic. I don’t like my picks to be very thick. Then the sound becomes too hard, too rough. I lose the touch.
PP: – So no thick picks for Gessle. OK. Is it always your actual guitar tech – earlier Falken, now Micke N-S – who is in charge of making the plectrums designed and produced or did it work in a different way in the past?
PG: – Yes, in the past I ordered them myself. The Party Crasher-one (with the sleeve on it) I ordered myself from Australia. Nowadays, MNS is taking care of business. I tell him what kind of slogans or messages I want and then he comes up with zillions of suggestions and colours etc.
PP: – How does the whole customizing process work? Micke N-S mentioned in the interview I did with him during the GT tour that you usually give him a few lines you want to see on the plecs and he does the rest. Is it totally up to him how the design (plec colour, font type) will look like in the end or does he send it over to you several times during the development phase to check and confirm if you’re OK with it?
PG: – Yes, he comes up with layout suggestions most often based on the current tour logo etc. It can, for instance, be the same logo on my picks as Pelle’s got on his bass drum. I guess you’ve noticed. I know I have.
PP: – Haha. Well, you can’t have all the stars just for yourself. Regarding the phrases we can read on the picks, there are some quite obvious ones, like ”HELLO YOU FOOL I LOVE YOU” or ”HOW DO YOU DO!”, but other phrases are rather filled with humor, which is even more fun. For example, there are those early plecs with the catchy money reference: ”MONEY NEVER SLEEP$” or ”ANOTHER DAY ANOTHER DOLLAR” or ”CASH BOOM BANK”. I think I also read ”WE ARE IN THI$ ONLY FOR THE MONEY” somewhere, however, I’ve never seen a plec like that. Did it exist?
PG: – No, I’ve never heard of that one. It’s a bad phrase, too clumpsy, not my style.
PP: – True. It doesn’t sound too Gessleish. What was that about the money those days?
PG: – The ”money-picks” came from an idea to harass the Swedish media who always considered me / us to be too commercial and never could read between the lines. ”Money never sleeps” came from the ”Wall Street”-movie (a quote by Gordon Gekko), ”Another day, another dollar” was a phrase our American lawyer used all the time. It’s always rewarding to try to make fun of reporters, I think every artist agrees on that. Come to think of it, most humans probably do.
PP: – ”ART FOR ME IS JUST SHORT FOR ARTHUR”. Knowing you are very much into art, it’s too funny to read something like this from you. Is there any special story behind this phrase?
PG: – Yes, it’s a quote from Keith Richards. I thought it was pretty cool at the time. It’s very old. I wouldn’t use it today.
PP: – All the plecs are real gems, even if they only have the text ”ROXETTE – PER GESSLE 2011” on them. But there is one which we don’t know too much about. It says: ”TEDDE GOES 50! – WITH LUV FROM THE GESSLES”. Can you tell us who Tedde is?
PG: – He’s a dear friend to me and my family. We gave him a Les Paul as a birthday-gift and of course he needed his own guitar pick! Doesn’t everybody?
PP: – So now Tedde plays that Les Paul with another pick. Different number of plectrums were designed in the past and nowadays for one tour. Do you have lucky numbers? Or how do you decide on how many different picks to produce for one tour(leg)?
PG: – No, I suggest a few lines or slogans and then suddenly MNS comes up with 25 different suggestions. He likes things plenty. I think we should slow it down a bit in the future.
PP: – Talking about luck, do you have any plec you consider as a lucky charm? Do you believe in such things at all?
PG: – No, I only try to hit the right strings with them.
PP: – And you do it so right. At least most of the time. By the way, how many pieces of each plec are produced nowadays? Was it the same amount per plec in the past?
PG: – No, the editions are much bigger nowadays. We use them as giveaways a lot, I throw a lot of them out to the crowds. In the past it was more of an internal thing. Like those hidden messages on the vinyl records. ”Don’t forget you’re a rocker” etc.
PP: – Which is the all time favourite plec of yours and why?
PG: – They’re all part of my family tree. No personal favourites. Sorry.
PP: – I can completely understand you. Is there a guitar pick of yours you like the least? We know, for example, that you don’t really like baby blue plectrums, as you gave some of them to Chris to play with.
PG: – It’s not really true, I like blue plectrums. The thing is that I prefer lighter colours (white, for instance) because when you play, often in the dark on the stage, it’s really hard to know / see what you do with black picks. I’ve hit the wrong strings far too many times because of this. It makes you feel silly. And it sounds shit.
PP: – Now I’ll pay more attention to the shitty sounds next time you are playing the guitar with a dark plec on a future tour. The plecs related anyhow to Åsa are usually the nicest or coolest ones. E.g. the latest ”WOODY – VEM FAN ÄR VERA?” is one of your funniest picks ever. The design with that marbled blue base colour and that silver print looks fab! What is Åsa saying about the Woody / Åsa picks? I bet she likes them a lot.
PG: – She ordered them. I had nothing to do with those. It’s something she and MNS came up with.
PP: – Ahaaa, now that’s really cool! Well done, Fru Nordin! She was also the one who made the ”Ta mej… nu är jag din! / Åsa” plec produced as a surprise for you. Can you tell us a bit more about it? How many plecs like this were produced?
PG: – Oh, I dunno. There are always some goofy ones like that on every tour. It makes us smile.
PP: – Thanx to you, I’m a lucky owner of one of those misspelled ”WODDY / HEJ DIN TOK JAG ÄLSKAR DIG” picks. Which year is that from exactly? What’s the story of it and what was your first reaction when you saw the misspelling? Rumour has it, you gave these plecs to MP to use them. How come?
PG: – Can’t remember. It certainly wasn’t me who ordered them, I know howh too spel.
PP: – Yeah, sure you do! Was there another production of these plecs with correct spelling?
PG: – No, I don’t think so. We were poor in those days, one edition was enough to crash the budget.
PP: – Talking about MP and also Chris, did you encourage them to have their own customized plecs or was it them (or maybe their technicians) who came up with the idea to have their own picks?
PG: – Yep, it was their guitar guys who came up with those picks. It’s not really neither MP’s nor Chris’s cup of tea to order personalized plectrums. Trust me.
PP: – I trust you, Sir. Were there ever customized Marie Fredriksson plectrums back in the days when Marie was also playing the guitar? I remember a TV show – I think it was in Argentina – when the hosts found 2 ”HELLO YOU FOOL I LOVE YOU” picks after your playback was over. So that means Marie played the guitar with the same customized plec you played it with. Was it always the case?
PG: – Yes, I believe so. She used anything. Or wait. Maybe she had one of her own. It rings a bell. Let’s keep it ringing for a while….
PP: – Oh! It sounds exciting! Anytime the ringing is over and you find it out, just let us know. Sandra mentioned the gauge of the plecs you used in the early years was heavier than nowadays. Micke N-S said in the interview with him that he is using one gauge thicker plec than what you are using, because it’s more accurate to tune with. What makes you decide on what gauge to use? We can see you use the thin plecs for the acoustic guitar, but what about the medium and heavy ones? Does it make any difference to you?
PG: – Yes, I hate thick ones. It makes your playing very clumpsy and too ”masculine”. I like medium gauge for electric and light for the acoustics on stage. I’m a delicate guy! A ballet dancer. You know that.
PP: – A ballet dancer? Dunno, but a left leg stomper for sure and a delicate guy indeed. When you post pictures of the plecs on Facebook, fans get very excited and you can see many comments regarding how much we want to have them or how awesome they look like. You even mentioned in your 2012 Xmas message on roxette.se that ”… loads and loads of autographs signed, letters written, stamped and sent, guitar picks urgently needed by all of you”. How does it feel that we are so crazy about these tiny little picks of yours?
PG: – I think it fits the Roxers really well to spend quality time on stuff like that. I can fully identify with it. Groove is in the heart.
PP: – And we stomp on a stoop when we hear your pop loop. Now this might be a stupid question, but take into consideration that I’m not a pro when it comes to how to use plecs properly. What happens to the plec when you lick it? I think you did it the most often at the Snowpenair concert in Switzerland, kind of once in every 5 minutes. No clue whether it has anything to do with the cold or it makes a better sound or it just sticks more to your fingers.
PG: – It sticks to the finger. Normally (not necessarily at Snowpenair) you’re very sweaty everywhere (including your hands) so you tend to drop the pick if it doesn’t stick. It has happened a lot.
PP: – Ah, OK. Thanx for the clarification. Do you chew on plecs while writing songs or doing demos? I mean chewing like others chew on the end of pens.
PG: – No, I never use picks when I write. I actually never use picks at all playing acoustic guitar at home or in the studio, I only use my nails to get the right feel. On stage however, you need a pick to get the volume.
PP: – We often comment on Facebook that it would be great if you could include your plecs in the merchandise. Do you plan to include them in the future?
PG: – Well, yea. We try to come up with new things for the store all the time so custom made guitar picks, why not? We had guitar picks with the Gyllene Tider-cartoons on for sale last summer, didn’t we? In a tiny black box. I have a few of those in the cupboard.
PP: – Yes, that special pick collection is very cool. I have one of that tiny black box on my holy shelf, too. Well, OK, the more difficult to obtain the plecs, the more precious they are for us. I remember a chat where someone said he got a plec from you in Karlstad and asked how much you think that plec would worth in 20 years. You replied: ”The question is what Karlstad is worth in 20 years.” That’s a good one. There are people (mainly not fans, but traders) who are selling your plecs at a ridiculously high price on eBay, Tradera etc. and of course there are fans who are buying them. What do you think about this fact?
PG: – It’s like you say, the more rare an item is the more people want it. I don’t really have an opinion on this, some people sell, other people buy. The wheels keep on spinnin’!
PP: – Talking about catching picks at the gigs, you throw much more plecs these days than earlier (and definitely much more plecs than towels). During the GT tour Micke N-S even put an extra plec holder on the mic stand after some gigs to have 18 picks there instead of 12. Do you throw more just to make more fans happy or is it just cool throwing the plectrums and you do it automatically?
PG: – I throw them because I know a lot of people want them. And like I said earlier, MNS orders so many of them I might as well distribute them myself.
PP: – Keep throwin’ them! The adhesive tape on the guitar is of great help to have some plecs always at hand. Does it happen often that a plec falls out of your hand and you can’t pick another one quick enough during a song, so you have to play the guitar with your fingers / nails? OK, your nails are surely touching the strings as the nail polish almost disappears by the end of a show.
PG: – It happens but not that often anymore. I lick ’em!
PP: – Yeah, now we know lickin’ is of great help, too. There was a video you posted after Brisbane show in 2012, where Christoffer’s hand and guitar were covered with blood. Ouch! It has also made it to the Roxette Blu-ray. Did it ever happen that your fingers got hurt badly while playing the guitar?
PG: – Oh yea, many times. For me the most common injury is that I crash my right arm very hard into the body of the guitar when I try to look cool and do a massive sexy move hitting some adrenalin-droolin’ power chord. Oh, it hurts. It hurts to be alone. The plan’s gone wrong like a runaway train going down.
PP: – OK, Mr G… I can imagine all Gessle Girls are now sliding down a dream when you are mentioning your massive sexy moves in the same sentence as adrenalin-droolin’. Ehm… Come back to the original topic, PP… Last summer we saw a girl in Tele2 Arena at the GT gig picking up a Woody plec from the floor. She just found it there and the concert hadn’t even started. Do you usually throw plecs during the soundchecks, too? Checking how it works at the certain venue or how far you have to throw the plecs?
PG: – I was probably aiming at Pelle or someone who was running late for the soundcheck.
PP: – It must have been Micke Syd then. When it comes to throwing distance, do you pay attention to it before the concert starts? Do you try throwing your plecs into the crowd at venues where the distance of the crowd from the stage is quite long (e.g. China)?
PG: – Yes, it doesn’t really matter. I don’t have a system, I just throw them. Or I don’t. If the feeling’s right those picks have to go.
PP: – Was there any memorable moment for you regarding your throwing the plecs? Maybe 10 fans jumped on each other just to catch your pick or anything else?
PG: – No, not really. Most of the time it’s hard to see from the stage where they land. I try to throw them up in the air so I don’t hit anyone in the eye. Or in the mouth. Or, God forbid, what would happen if I make a scratch on a smartphone?
PP: – Trust me, if you would scratch any fan’s smartphone with your plec, that smartphone would become one of the most precious items of that fan’s collection. Oh, and that throwing moment at the end of Man blir yr video looks so hot! How many times did you have to record it to be this perfect?
PG: – It’s a first take. Of course.
PP: – Of course, silly me! Until now I asked you about YOUR plecs and those related anyhow to the Rox World, but I’m curious about the coolest guitar pick you have ever seen in your life. Could you describe it? Whose plec was it?
PG: – We have a great collection of Jonas Åkerlund’s photos of guitar picks at Hotel Tylösand. All of them are fab! Nikki Sixx’s ”Fuck The Fucking Fuckers” is pretty spot on, don’t you think?
PP: – Haha. A fab one, but let’s say I prefer your phrases on a pick. I’m not a Mötley Crüe type of girl. As a last question: do you have plectrums from any of your idols? Tom Petty or David Bowie maybe? Or from any other guitar players? If yes, how did you get them and where do you keep them? If no, would you love to have a pick of theirs one day?
PG: – I don’t actually. A Dylan-pick or a T.P.-pick would be nice. Or from Nick Lowe. But I don’t lose any sleep over it.
PP: – That’s nice to hear, but in case insomnia is reaching you because of this, I suggest you go to their concerts and stand in the front row. You might get lucky! Thank you very much again for taking your time. Can’t wait to see your next set of plecs (coming hand in hand with a next tour) and update the PLECtionary with them!
PG: – That makes it two of us! Cheers!
Update on 2nd February, 2014: Per shared 2 pics of a box in which he keeps plectrums in the guest bathroom. Check out pic No. 1 and pic No. 2.
From the title you might guess that the interview is about the plectrums. 😉
While we’ve been working on the PLECtionary, I did an interview with Sandra and she happily shared some more details about her passion, the guitar picks, as well as some further nice stories related to these precious little things. Enjoy!
Patrícia Peres: – First of all, huge thanx for your hard work with this PLECtionary. It’s awesome to have all plecs’ photos and knowledge at one place. How did it all start for you? Which is your first memory and which was your first plec?
Sandra Knospe: – You’re welcome. It was fun to do it. I love going through the plecs once in a while. It all started in Helsingborg 1996 at the second Gyllene Tider concert from the Återtåget tour. That was also the day when I got my first plec. I found it after the show, somewhere on the dirty ground. I saw Per throwing the plecs away during the gigs and I was just curious if I could find one. I knew chances were low. It was like searching a needle in a haystack together with all the other fans who knew that there might be something to find on the floor that’s worth to pick up. And it felt like a triumph when I finally succeeded, it was kinda thrilling. I was surpised to see that it was customized. I didn’t know that before. That made it even more interesting, of course. But back then I did not really start collecting in the way I do it today. I was just happy that I found it. The wish to make my collection as complete as possible came later in 2003 when I received an envelope from Per with 10 different plecs including real rare ones from 1989 and 1991. So I had a few different ones thanks to him and also from the Rox tour 2001 and Mazarin tour 2003 which I attended as well. I liked the design and little phrases on them and I wondered how many customized plecs by Per exist at all and wanted to find out how they looked like and from which tours they were. So I started some investigations. From then on the hobby turned into a passion.
PP: – So the first plec you got 17 years ago. Wow! How many picks do you have actually? How many of them are Per’s plecs and to whom are the others related?
SK: – Oj, need to count… Without the doubles it’s 114 different plecs (and 3 of them in different gauges). 71 from Per plus 2 from him which are not customized, 17 from MP, 4 from Christoffer plus 1 from him which is not customized, 4 from Micke N-S, 1 from Jakob Johnzén, 12 T&A studio plecs and 2 plecs of which the origin I don’t really know. One of these two could be a tech plec as well and the other one is dedicated to someone whose name is Tedde. No idea about it really, but on the other side it says ”WITH LUV FROM THE GESSLES”. So I guess it comes from Per at least. All together (including the doubles) it’s 224.
PP: – Who would have thought that there are so many plecs related anyhow to the Rox World. I know the whole collection is very close to your heart, as one day when a friend asked what you would take with you in a hurry if there would be fire in the house, you replied: ”The plecs, the plecs!” But which is the most precious item if you can choose only one? What is your story behind it?
SK: – Urmmm… I would rather get my ass burned before I would leave any of them behind in case of a fire. A fav plec? Hard to say, it even changes from time to time. Maybe the ”LOOK SHARP! / IT’S ONLY PLAYBACK” plec, because it’s probably the oldest one. Even if mine is not in top condition. I got it from a friend with the right connections. But then again, it could also be one of the plecs that have a more sentimental value to me, like the plecs Per sent me in 2003 that made me start collecting more purposeful. They are indeed very special to me. Tough question. So many goodies, really can’t decide. Sorry.
PP: – I can totally understand you. I can’t choose any favourite either, as all of them are beauties. Is there a pick you don’t like at all? Maybe because of the design or anything else.
SK: – I wouldn’t say there is a pick that I don’t like at all. I’m maybe not so much into the latest GT picks with the record and the cassette on one side and the GT emblem on the other. That might be because I am not a fan of pictures on plecs. I like it simple. A cool phrase is better than anything else. The ”WOODY / VEM FAN ÄR VERA?” pick for example is a great one. Great colour of plec and print and a cool note on it. Simply perfect.
I never thought I would buy something what is able to play a Blu-ray because of Roxette and not because of my fave actors. I also never thought I would buy it earlier than an LP player… But it just happened. And it was all worth it. Actually, the long long long long long waiting for the DVD / Blu-ray / CD was worth it, too.
As per the Blu-ray, I like how it looks like. I mean not the front cover, but how it is structured, the way the CD and the Blu-ray disc are placed in the case. Well, too bad that all the DVDs and Blu-rays seem to be produced in Germany (or at least most of them), since now we are all having this unnecessary and not too sexy stamp on the front cover. When I first saw it, I hoped it was a sticker which I could easily remove, but unfortunately, it’s printed as part of the design…
I started with watching the Gessle cam stuff & the guitar tech’s secret life from the Blu-ray as I thought most of the other 2 parts I already saw on TV last year.
The Gessle cam videos are still fun. What I like the most is that on the Blu-ray they, of course, have much higher quality than what we can see on Facebook. Even if you already saw most of them (yes, there ARE new ones), you can smile and laugh at what the guys & ladies are doing in the studio or backstage. Per was wrong when he corrected us that the ”So, Christoffer?” part is not 3 minutes, but 30. It’s really ”only” 3 minutes, but it’s a hilarious mix! 🙂
Then comes 12 minutes of ”Studio Work” from the recordings of ”Travelling”, the album. Scenes are from AGM and Atlantis studios with Clarence, Christoffer, Magnus, Pelle, Marie and Helena. Oh, and of course, Per. But you can mainly hear his voice and see him not too often. We got used to this during all these years.
The 3rd Gessle cam video, ”Travelling” is the longest, almost 30 minutes. It’s from several countries: backstage, soundcheck, food, some ”Jesus loves you!” and some more ”So, Christoffer?”, Clarence & Pelle & Magnus ice skating, band, Marie & Per, crew, etc.
The 4th extra is a 5-minute-long video of ”Mikael Nogueira-Svensson – The secret life of a guitar tech”. Micke N-S took care of the gear of Per, Pelle and Magnus during the tour. He’s talking about his job and shows interesting things backstage, like the Blue Swede Sex Machine is having problems all the time. He says he’s like a nanny for the musicians. 🙂 While talking, he is restringing a guitar.
After these videos I watched the documentary, ”It All Begins Where It Ends – The Incredible Story Of Roxette”. Most of it we could already see last year, but finally, Helena and Dea got their well-deserved part in the docu. Actually, this is the only difference I could notice. And it’s great as it is. No changes were needed besides the backing vocalists’ part. Oh, yes! Another important change is the subtitles. The English subtitles work well.
”Roxette LIVE – Travelling The World” I saved for last. Chris did an awesome job with the live mix, but we already said that when we saw it on TV. At the same time, I still get dizzy from the constant cuts and I thought a year should have been enough to change them, but Favela kept them as we saw it in the TV cut of the live stuff. No clue why. Whatever. Crowd scenes are still mixed, but at least those confusing titles with mentioning cities and countries are gone. There are now more relevant scenes between the songs than what we saw on TV: backstage moments, fans running to the front row, the drum kit getting dressed for success, etc. Besides these, now it’s more like a real complete show. Awesome to see those 9 songs too, which were not in the TV cut, but made it to the DVD. This way we can enjoy e.g. Marie’s touching performance of ”Perfect Day”, some more of Per’s left leg dance in ”How Do You Do!” and their lovely moments in ”Things Will Never Be The Same”. Richard Gere and Julia Roberts are cut out from the final ”It Must Have Been Love” part, however, Marie and Per are still cut in from the video clip twice. But that’s fine. Getting this front row feeling and reliving the moments of the tour, one starts / continues longing for a new tour.
Last but not least, I love having the songs on a live CD, too. Some fans hear Marie from far away or have other problems with the sound on the CD, but my ears are not too sharp for that I assume, since I’m fine with the sound itself. One funny thing is that the preview pic of the live CD is not the final cover, but another sleeve we saw when we were guessing which the final design could be. If I have to choose between the physical release and the digital one, I go for the digital because of having ”Silver Blue” and ”Church Of Your Heart” as bonus tracks there.
All in all, if you ask me what took a year to release this material after we could see most of it already in December 2012, I’m not sure I could tell you. Maybe choosing what to include in the extras from the tremendous amount of Gessle cam videos was a bit time-consuming or doing the subtitles. No clue. But it doesn’t really matter now that it’s in my hands and I could watch it and listen to it. I could do it 24/7. More than that, I want a Roxette tour! NOW!
Mikael Nogueira Svensson is the most well-known member of the crew among fans. Many people know him as Micke N-S, the guy behind the iPhone, taking the panorama pics we can see on Roxette Official and on Gyllene Tider’s Facebook site. We know his face and sometimes fans are chatting with him at the venues, but still, we don’t know too much about Micke, just that he is doing a fantastic job as backline technician.
He took his time between Gyllene Tider’s Örnsköldsvik show and 2nd Halmstad gig and was happy to share some more information about himself & his work and told us some interesting and funny stories, too.
PP: – On a Swedish drum workshop website I read this: ”Workshop leader is Mikael Nogueira Svensson, one of the most experienced and hired drum technicians in Sweden.” When did you start your work as a drum / guitar technician? What came first: drums or guitars?
MNS: – I started around 1997 with some local acts in the middle of Sweden, Dalarna. First it was only drums. The guitar bit of it came in the picture in around 2002, when I ran a rental company in Stockholm and had to go on tour with a band and also help the guitar player. And basically, it’s more common in Sweden that the techs help the guitar player more than the drummer.
PP: – Do you like working with drums or guitars more? Or does it depend on the person whom you are working with?
MNS: – It’s totally up to the artist I work for, so it doesn’t matter at all if it’s drums or guitars. But I toured with Prince between Roxette tour legs, which was more of a challenge, because then I did keyboards and piano for him.
PP: – Even keyboards and piano. Great! By the way, have you ever been studying music? Or you just learned to play the instruments by yourself?
MNS: – I’ve been studying at Stockholm Conservatory of Music for 3 years. But the fun part of it is that I decided to play the drums when I was a child, after meeting Pelle Alsing backstage in Gävle on the Joyride tour. And now I work for them.
PP: – Really? That sounds cool! What was Pelle’s reaction, when you told him you decided to play the drums because of him?
MNS: – Can’t remember. Nothing special I guess.
PP: – Oj, Pelle… Any other instruments you play besides the drums and guitar?
MNS: – I can only play the drums, can’t play the guitar. I only know a few chords. But I guess I can set up a guitar better than most of the guitar players out there…
PP: – You’re kidding! I thought it’s evident that you can play the guitar. Hats off then! Besides Roxette and Per Gessle you worked together with many other artists on tour (e.g. Peter Jöback, Carola) or played the drums for (e.g. Rod Stewart and the producer of U2). Who is the one whom you enjoyed to work together with the most?
MNS: – First, I didn’t play the drums for Peter or Carola. I was a tech for them. I played the bass on a singback performance with Peter Jöback once at the Swedish football gala. I kind of like to work with artists who are very aware of everything. It’s a give and take. I like to make it nice for them and they appreciate it. If it’s an artist who doesn’t care about anything, I don’t like it. You get no positive feedback then.
PP: – You are now on tour with Gyllene Tider. How different is it to work with them vs. Roxette?
MNS: – There’s no difference, except that I sleep at home from Sunday till Tuesday. We are the same crew and everything is the same.
PP: -Who is the easiest to work with in GT?
MNS: – I would say it’s equal. Everyone demands a certain kind of professionalism and everyone is just as kind as the other. But I’ve known Micke Syd for the longest time, so he is kind of the same ”father” figure for me as Pelle Alsing.
PP: – You are taking care of Per Gessle’s guitars, Micke Syd’s drums and also Anders Herrlin’s bass guitars, as well as many other things before, during and after the GT concerts. Which is the toughest part of your job now and what do you like the most?
MNS: – I wouldn’t say that I take care of many other things than Per, Micke and Anders. Actually, I only take care of them (their gear). And if you think that something is not connected to them, it is. No one would think about it, but it’s kind of boring to change strings every day.
PP: – Every day??? That must be boring indeed. When do you have to be at the venue on a concert day? What’s the daily routine? What are the first tasks and what is the last thing you do after a gig ends?
MNS: – I’m the last to arrive, at around 11 am. The stage is built the day before by the second unit crew. The riggers and light crew set up everything from 8 am on a concert day. Then I start building the drums, which takes about 1 hour including tuning, head change and miking the drums. After that I set up Per’s VOX rig and Fender amps of Anders. Then it’s lunch. After lunch I set up my tech world [see photo] and connect everything to the sound desk. Around 2 pm we do line check with the crew. Then we remove all the things in front of our risers, so Linnea and her band can set up.
PP: – You do soundchecks in the early afternoon with or without the band, but you are also checking the sounds before the concert starts. Were there any difficulties during this tour that you had to solve very quickly before a concert started to make everything work in the end? Or all is going smoothly during these soundchecks?
MNS: – There was no problem so far. Knock on wood.
PP: – I remember there was a moment in Karlstad, when Per looked at you and showed he has problems with his guitar. They were just coming back to the stage for the 2nd extra with Sommartider. You had to come up the stage and change the guitar settings from silent mode to normal, while Per was playing the guitar. It was hilarious. Are you and Micke Syd teasing him a lot with this since then? (At least in Örebro I saw you and Micke Syd were teasing him and showing the guitar was then set to normal mode.)
MNS: – Hahaha! Shit happens to everyone. And actually Syd is not talking about the guitar, he is just teasing me, because Per makes fun of me holding the guitars for so long. He’s fooling me and decides to wipe his face once again and have another drink. So I have to stand there and look like a fool. Sometimes I walk back before he can take the new guitar.
PP: – Now that’s too funny. Anyway, which is your personal favourite among Per’s actual guitars – Cherry Gibson, Blonde Gibson, Black Gibson or the Black Acoustic – and why?
MNS: – I like the Black Gibson, because it’s the easiest to work with. But I bought the Blonde for Per during the Roxette tour and that one has grown in my mind and feelings. (Also in Per’s, I guess, since it’s used for more songs now.)
PP: – Between the support act, Linnea Henriksson and the GT gig we see you on stage with a red plec saying ”Tänk att få sätta på” (part of the lyrics of Flickorna på TV2). Lookin’ good. Is it your personal plec? Is it an own design?
MNS: – It’s my personal tuning pick. It’s one gauge thicker than what Per plays with. It’s more comfortable and more accurate to tune with. I have had own tuning picks since Roxette started the tour. Purple ones.
PP: – We know that for the Roxette tour you had many ideas regarding plecs and Pelle’s drumkit with the star was absolutely your idea. How much have you been involved in designing this year’s plec collection and drumkit?
MNS: – I have designed all of them. Per gave me a few lines he wanted to see on them and I did the rest. The drumkit setup is designed by me. The front head design is Gyllene Tider’s official tour shield, not my design, but I made a few changes to it. It’s 3D, if you look closely at it. Peter, who printed and helped out with the Roxette drumkit, also did the graphic work and printing for this and the Leif on the small kickdrum.
PP: – Talking about ideas, we could see one of your greatest in the Roxette live concert film, namely the small cam on Per’s guitar. Awesome camera angle. Can we expect anything like this in the coming GT live film?
MNS: – No, but I pitched the idea for the show designer to add the GoPro wide angle cameras in the production inside the drumkit. But that is shown every night, so it’s nothing new.
PP: – Back to your past. Have you ever played in any band? Are there any plans that you want to leave backstage and come into the spotlight one day or it’s not your cup of tea at all?
MNS: – I was playing in a band during my years at the Conservatory of Music. We did a reunion in 2009 and played for 2 weeks in St. Anton ski resort. But there are no other plans and it’s nothing I want to do.
PP: – Do you already know what’s next, whose backline are you going to be after the tour ends? Or do you take a good rest and have some free weeks?
MNS: – I do all the pre-work for the Swedish / Norwegian talk show, Skavlan at our national TV station (SVT). I take care of the acts playing there when it comes to all backline work and logistics. It can be any artist: Foo Fighters, Take That, Alicia Keys or a local act. Funny thing is that Sinéad O’Connor asked me if I could get her a guitar for her performance. The only one who I knew he had a guitar Sinéad wanted was Per. So I called him and borrowed his guitar for that show. He told me to say hello to her, since earlier they met in another TV show (where she ripped a photo of the Pope).
You can watch Sinéad O’Connor’s performance in Skavlan show here. She was playing Per’s Gibson Les Paul Jr. /PP/
PP: – One last question came into my mind when I looked at your cover picture on Facebook – Bruce Springsteen throwing the guitar to his technician. Cool one! Who is the artist you would love to work with if you had one wish and why?
MNS: – Foo Fighters, because it’s good music and they are nice guys.
PP: – Fingers crossed for you to work with Foo Fighters then. Thank you for your time and for the fun stories. See you on a next Gessle-related tour!
MNS: – Thank you for coming to the shows. We are nothing without you. And who knows. There might be something in the future, or not…