Per Gessle on Nyhetsmorgon on TV4 talking about Pugh Rogefeldt

Per Gessle was a guest on TV4’s morning show, Nyhetsmorgon on 13th October, release day of his new single, a cover of Pugh Rogefeldt’s Vandrar i ett regn. Program leaders Sofia Geite and Steffo Törnquist interviewed him.

The interview starts with premiering the song’s video and after they play a short part of it, Steffo says it’s such a good song choice, because one could think it could have been written by Per. It fits Per very well. PG agrees that it’s a fantastic song. Steffo says Pugh was great and Per discovered him early. Mr. G says the first time he saw Pugh must have been 1974 in Halmstad’s folk park. He played there with his band, Rainrock. He had a scarf on his head and a long ponytail and after a few songs he took off the bandana and everyone saw he had shaved his hair and was bald, just had the ponytail left. The whole audience was shocked. Per says you had never seen anything like that before. Pugh took a bet with his brother, but when his brother saw how Pugh looked, he withdrew himself from the bet. Haha.

The following year Pugh was on tour and played at Halmstad Theatre. There they played, among other songs, Vandrar i ett regn, Per says. Steffo says it’s a song that makes you happy and it’s lovely. PG thinks it has fantastic lyrics and it’s a wonderful song. Pugh was a great songwriter. Steffo mentions a word Pugh uses, “gamman” for happy. “Glad och gamman” in the lyrics, Per thinks it’s a nice expression. He had to check what that meant.

Steffo says Pugh was purely musical too and very innovative. Per agrees. He says Pugh actually created his own language, Pughish. That was even the title of his second album, Pughish. He simply wrote lyrics in his own language. It’s very unique. So there was a musical madness in all this fantastic melodic work he did. Per likes his songs a lot. He thinks there are similarities between Pugh’s lyrics and for example John Lennon’s lyrics. Sometimes there are these kind of nonsense lyrics that you can make your own and you can interpret them as you want. A bit like how Per tried to write The Look. That song isn’t about anything, but you can make it your own. That’s the cool thing about pop music and PG thinks Pugh was a master of it.

Sofia mentions that there will be a tribute concert for Pugh at Cirkus in Stockholm. That place has been chosen for a reason, also because it was where Pugh had his last concert. Per was there in the audience then. He says it was a great concert, but it was a bit strange, because Pugh behaved a bit odd. Per doesn’t know why. He says he was there with his producer, sitting in the first row of the gallery and at one song Pugh went out into the audience and sang the song. He caught sight of Per, walked up to him and then he hugged Per. PG doesn’t really understand why. It was a long hug and a bit magical in a way. In retrospect now it feels super wonderful.

Steffo says Gyllene Tider and Pugh toured together. Per smiles and says Pugh wasn’t a support act, because he was too good for that, he was a special guest for Gyllene Tider in 2004. It was a huge tour. They of course met during the tour, but they didn’t travel together. On a tour it’s when they play, you are in the dressing room, changing clothes, you are getting ready for your part, putting on your make-up and stuff, Per says, so you often miss out on each other.

Sofia says that the big hug Pugh gave Per must have been a surprise for PG, because he and Pugh didn’t have a very tight relationship. Per confirms he was surprised. Pugh was 5-6 metres away from him when he caught sight of PG, so he doesn’t know why he got the feeling. Sofia says probably this relationship meant a lot to Pugh.

Per tells Sofia and Steffo that Pugh asked him to help put together the setlist of what he would play as the special guest on the GT tour. He knew Per was a big fan. Mr. G made a list based on the early records that he loved, Pughish and Hollywood. Pugh always wondered why Per chose these weird songs that he had basically forgotten about. But those songs were so good.

Sofia aks Per what it was like to meet his idol when he was young. Because she knows PG had the chance to meet Pugh in some hotel foyer. Per says when Pugh played the folk park in Halmstad, he and his friends knew that they would be staying at a hotel in Vallås, outside Halmstad. They went there to the hotel and waited for the band to come. The band came and then they walked half a metre past. The guys sat there and were too shy to say anything at the age of 14. They just wanted to be close to the pop gods. Haha.

Regarding the Gyllene Tider movie, Per says the shooting lasts until next week and the movie is out next summer. Steffo asks how it feels. Per says it’s scary, but it’s cool. He has seen a bit of it and it’s amazing. The script is awesome, so he hopes the film will be as good as the script is. It’s a movie about 5 crazy guys in a small town who start a band. But in the end, it’s not like a documentary about Gyllene Tider. It ends with Sommartider released in 1982, so it’s kind of about how the band got there. Sofia asks Per if he recognizes himself or he sees new sides of him in the movie. [Here they show the group picture of Gyllene Tider and the cast.] Per points at the picture and says he recognizes himself there. Haha. PG says the actors interpreted the film well and they are incredibly talented. The director is also wonderful. The program leaders say it’s fun and they look forward to it. They also wish Per to have a good time at the Pugh gala.

Stills are from the morning show.

Per Gessle about the magic of songwriting and musical nerdiness – interview by David Myhr for

David Myhr did a wonderful interview with Per Gessle about songwriting. The interview appeared on in Swedish.

In the intro, David mentions that after ABBA, Roxette is Scandinavia’s biggest music export ever with their 75 million albums sold. Per Gessle’s success as a songwriter is monumental. He is one of only eighteen songwriters who as a sole songwriter had more than two No. 1 hits on Billboard’s Hot 100 list.

The guys met in Stockholm, in Per’s office on Strandvägen and talked about songwriting. Per thinks it’s always fun. Songwriting is an inexhaustible, hugely complex subject. At the same time, it’s also quite private in a way.

David says it has struck him that for all the incredible success, Per has often emphasized his musical limitations.

Per says:

I’ve always hid a little behind the fact that I was always the worst in the band, musically. Göran and I were always the worst in Gyllene! Because I wanted to write, I learned early on that I always have to work with people who are much, much better than I am. Even in Roxette, I handpicked everyone around me. And everyone was on a completely different musical level than I am. But… they can’t write my songs. I have used the fact that I can’t do many things to find other stuff.

David adds that Per believes that people who become too sophisticated and too good, easily lose the melodies, because they are looking for something else.

PG says a couple of his idols, e.g. Paul Simon and Joni Mitchell, are good examples of people who have overcomplicated their music. He thinks that knowing a little doesn’t have to be a disadvantage when it comes to songwriting. For those old songs that he wrote, “Billy” and “När alla vännerna gått hem”, from 1977-78, he didn’t know what keys and such things were. There he copied his role models without reinventing the wheel.

David says he has noticed that there is sometimes a superstition among some younger songwriters that they should invent something entirely their own, while everyone is in some form of tradition. That even The Beatles listened to Elvis, Buddy Holly or Chuck Berry.

Per says:

Everyone listens to everyone, sort of. You hear Woodie Guthrie when you listen to Bob Dylan… Of course you want to be unique and be yourself. But I wanted to belong to pop, the whole romanticism surrounding the pop world. Long hair on guys. The album covers. To enter another world in the headphones and listen to Pink Floyd’s “The Dark Side Of The Moon”. There was an amazing romanticism about pop that wasn’t there in anything else.

Per talks nostalgically about his older brother, Bengt, who made Per as a six-seven-eight-year-old grow up with The Beatles, The Hollies, The Kinks, Lovin’ Spoonful, The Yardbirds and The Spencer Davis Group. To then find his own stuff like The Monkees. He also got into the singer/songwriter genre early on.

PG says:

I was very much a loner when I was growing up and lived a lot in this parallel universe called pop music. For myself. So I could kind of never see myself as a musician or an artist or singing or playing in front of people. It was absolutely not important. However, I was into writing and expressing myself very early on. I wrote lyrics long before I wrote music. I think it came from my mother. She always wrote her own fairy tales for us when we were small and illustrated them. Just for us.

David tells that Per got a Spanish guitar from his mother in 1976 and started playing Leonard Cohen songs fingerstyle. Then he also developed his understanding of both text and chords.

Per tried to translate Bowie’s “Cygnet Committee”. The long, really weird song on “Space Oddity”. And “Memory Of A Free Festival”. He loved that record, but he still doesn’t understand those lyrics. He bought a sheet music and learned the songs because the chords were written in it. He learned C, G7 and so on. But he also remembers his sister sitting and playing “Für Elise” on the piano. PG somehow never connected that (Per hums “Für Elise”) it’s an A minor! He realized it only many years later. Per learned to play the piano from some old lady in Halmstad and thought it was the most boring thing he had ever done in his entire life. Because she never connected that music to what PG was interested in. Had she told Per, “Look at this! Beethoven. A minor, E major, and so on. It’s exactly the same key as “House Of The Rising Sun”, it would have been a little easier. But Per gave up on that. He wasn’t interested in it. He thinks what saved him and made him really take a step forward was when he got to know Mats in Gyllene Tider. But it was also when the punk era came. The new wave. Then it was okay to be lousy and that appealed to Per enormously.

Per about song lyrics

Per talks about inspiration to understand what a song text can look like.

Mr. G says:

Take, for example, “Famous Blue Raincoat” by Leonard Cohen. It’s a letter. It even ends with “sincerely L Cohen” in the text itself. And it’s fascinating that a letter becomes a song text, but it’s not really that strange. If you write a short and concise message to someone, you can repeat the most important thing in the message and it becomes a chorus. It’s not far-fetched. So I mostly think that I hadn’t really found or understood this thing about form, and that it becomes easier if you stay within a form. If you look at, for example, “Billy”, the verses are of different lengths. They kind of stop when MP took over with the guitar and started cranking with his solo.

Song titles as a starting point

David thinks Per is a master of titles and he imagines a song idea often starts with the title. PG says it can start with the title. Titles are important. The title is like the face of the song, what makes one curious. He tells he has an archive of titles or more stanzas than titles that trigger his curiosity.

David says a common songwriting tip is “write down ideas from TV shows or book titles”. He is curious how it works for Per.

PG says:

I do exactly as you say. I have learned – not only because of age – but also for other reasons, that if you come up with something that you think is interesting, you have to write it down or record it. My phone is jam-packed with messages, tunes and stuff. It could be a title or a stanza or something like that. Or a rhythm. You hear something. It could even be that I’m inside a store where they play music in the room. And then I think “damn this sounds good”. But why don’t they do this instead? And then I can record myself humming it. Although changed, in my way. And then time passes. So when I come home and listen to it after three days, I don’t understand anything. I learned that you have to count in first so you understand later where the one is. It can be very exciting. Because there will be something that triggers something in me. Then something else is created from it and it becomes a third thing in the end.

David understands that Per doesn’t like to work as hard on songwriting as many people say you should. Like Benny Andersson who goes to his grand piano every day and sits there week after week.

Per says:

No, I don’t get that. I love to write but I do it as little as possible. Because it must be fun! The most difficult thing for me is if, for example, you write a song in English. And then I realize that it would have been great if it was in Swedish. And then I have to start over. Because I almost always write music and lyrics in symbiosis – roughly at the same time – which means that melodies and consonants and vowels and everything kind of fit together. So when I need to translate, I get so locked into how it really was from the beginning. It takes an immense amount of time and very rarely turns out well. So I try to avoid it, actually.

David says it’s kind of an editor’s job to sit down and sift through all the hundreds of voice memos. He is curious about how Per is doing that. PG explains that as soon as he records an idea, he transfers it to the computer where he has a folder called “workshop”. Beneath that, there is a folder called iPhone and there are hundreds of recordings. Text fragments are in another folder.

When Per is in town or sitting in a taxi, then it’s his iPhone that applies:

If you hear a strange person at Bromma airport singing in the toilet, it’s probably me. I usually call this part of the process “antennas out” and it goes on 24/7.

David says he has read that Per thought Gyllene Tider sounded the way he wanted at first around “Kung av sand” and “Juni, juli, augusti”. According to David, there is kind of a late Tom Petty vibe to that thing that the guys got together with Michael Ilbert.

PG says:

It was something I had felt all along. It’s hard to talk about Gyllene, because we finished so early. Lasse Lindbom, who produced us at the time, also didn’t understand what we wanted to aim at. When I tried to explain something, I couldn’t. But Ilbert understood it immediately.

David wants to know if Per works on a project-by-project basis, so that he didn’t happen to write a GT song in the middle of the Roxette circus.

Per says:

When I wrote Roxette songs, I wrote almost all the songs for Marie. Then there were songs that she didn’t want to sing for one reason or another. It could be that she thought it was a little too pop. But it was difficult to put a finger on where that line was. “The Big L” and “How Do You Do!” it gets a little bubblegum. But it kind of depended on what mood she was in. She loved it when I came up with this “Queen Of Rain” and the bigger songs. And when I tried to do something a bit R’n’B like “Soul Deep” or “Cry”, then she got to stretch that style a bit.

David is curious how Per works with demos.

PG says:

I often do several demo versions of the songs. It also goes in waves. Sometimes I just do acoustic demos. But if I’m going to involve other people, I often do it on synths. Maybe just a little loop or something, so that’s easy to change key then. So I don’t do five hours of work organically and then have to redo everything. I’m trying to find as much of the identity as possible for the song to go to the production level as soon as possible.

Key changes are an effective tool

The guys start talking about key changes or modulations as they are called. There is a variation David has noted in several songs that he tends to refer to as the “Per Gessle trick”. The verse in G and the chorus in A. Then back. He thinks it’s damn effective. “Jo-Anna Says”, “Kung av sand”, “June Afternoon” are just a few examples of Gessle songs where the choruses go a whole key above the verses.

PG says:

It is almost never sought. Or… I don’t think much. Everything is about efficiency in a song. If the melody is cool but ends up wrong, then there are different paths. If there are different singers – for example a boy and a girl – then you can use different octaves. Then it is solved by just the speed. But otherwise, if you want to keep the melodies as they are, you might need a modulation to make it “kick”.

It’s damn neat and that’s lovely. But people skip it! No one dares to change the key. It is such a simple trick that is only in your favor. Because once you’ve learned the song, you can’t hear the song without it. The melody gets better. It becomes a hook just from the speed!

David is curious whether it was usually Per’s experiments that led to these modulations or it was something that Clarence threw in as a hint sometimes.

Per says:

It certainly has happened. But usually they were written that way. There are so many songs that there were no rules! Clarence has probably done a lot of that too. But the songs for Marie that I demo sang on, when I wrote them, I might not have thought that I would sing the lead. Because I sang everything back then. If it was her song, her verse, her chorus and I’m going to sing it, then I have a problem that I have to solve. Both Clarence and Christoffer Lundquist have always been damn nice to help out. Magnus Börjeson too, for that matter.

David asks Per if he is talking in terms of tonic, dominant and subdominant parallel, but Per doesn’t really know what David means by that. Now David sounds like Clarence and Christoffer when they talk. When they sit and analyze something Per has done, they can sit and talk among themselves. PG sits next to them and doesn’t understand anything.

PG says:

I’ve gotten old enough that I’ve learned what I like. That’s also why I’ve always surrounded myself with like-minded people. But when you are in it for a long time, you have to leave your little house sometimes and test yourself and do things. It was probably a little bit of that too, which I think made us have such a relatively long, great career anyway. Because Marie knew her jazz, she knew her blues and Clarence knew his prog rock and Jonas knew his stuff, Jeff Beck tricks. And I knew a little of everything, but not very much.

The beginning of a song

David asks Per to take us into a typical scenario when a song is created.

Per says:

I usually never start writing a song with a title. First comes a musical idea that you think “this is damn hooky” or “this feels great”. Or “I would like to write something in six-eighths”. I’d like to have a certain feel, trying to play around with chords and stuff. And then comes something vague. When you have found a little temperature in what you are doing, you can start looking in your small archive if you want. Or maybe you already have it. While you sit and look for these chords, you might start singing something. Which might be exciting or trigger your imagination in some way. What takes time – much, much longer – is writing lyrics. Because when you get to writing the lyrics, you have quite a lot of music already written. Because otherwise you won’t get to the text anyway. The only time I’ve written music for a finished text is when that text has had another music that I didn’t think was good enough. Then the text remains.

David wants to know more about the process: „You have felt the mood of the musical idea and you may be browsing through your notes for phrases or alternatively start singing along to something. And then you enthusiastically finish writing the melody. Then comes the tough work of finishing the text?”

PG says:

But it can also be the case that the melody is ready, but it changes because I get into a text flow that requires a different melody. Everything works in symbiosis with each other. So it’s not set in stone. It is never set in stone. I also think that you should take that into account when it comes to songwriting, that songs are never ready. When you then play them with another band or with other people, they sound completely different. They are a creature in a way. After all, it can happen that you record a song, and then when you sit and listen to it during the mixing, you think “damn how long this is… we’ll cut out half the verse”. And then you get a completely different text.

David is curious about how Per finishes the lyrics.

Per says:

I have a hard time staying focused so I try to write a text in maybe an afternoon. Or… it’s different depending on how complicated the text is. Some texts are very strong for one’s self and sometimes I feel that I have something on my mind that I want to get down. I’m 90% there, but something is missing. And I don’t know what it is. Then it must take time and at least one night must have passed. And then maybe for breakfast… and then I might not even remember how the song goes. I haven’t worn it out. But then I just read the text straight up and down. That’s how I feel: “Damn it! It’s damn good. ” or “That’s clumsy. That’s not good!” And then I go to my office or to the studio and then I sit down again. I red-mark what I need to redo. So I’m constantly trying to trick myself into being focused somehow. Because I don’t get better from kneading. The song doesn’t get better from knowing it better. On the contrary. I trust 100 percent in my gut feeling, in my spontaneity.

I notice that when I work in the studio with other people as well. What I’m good at is capturing their spontaneity. Because they are not good at it themselves. Because they don’t know what they are doing. Most of them are very good singers and musicians, they just play damn well all the time. But they have a very hard time understanding when they are extremely good. But it suits me just fine. It’s a subjective thing. I remember Marie saying that she always thought she sang best when I was in the studio directing her. Because she didn’t hear it herself. She always sang well, but that stuff that was exceptionally good, she couldn’t pick them herself. And so it is for sure with my stuff. I cannot judge the quality. It means a lot to me. But if it is commercial…? I’m the worst in the world at picking singles. What is a hit? How to write a hit? I have no idea! I’m interested in pop music and it’s in the nature of pop music to be catchy. But I’m not too fond of modern pop music, because I don’t think it’s particularly catchy.

About choosing not to move forward with a song

David asks Per if he is good at killing his darlings.

PG says:

I usually “kill my darlings” earlier than that. It’s very rare that I go so far as to record it, even as an acoustic demo. The reason I do an acoustic demo is because, for example, Clarence or Christoffer say: “We don’t want your bloody demos! Record the songs acoustically and we’ll do the rest. So we’re open-minded”.

David is curious whether Per ever speaks on the subject or gives any type of workshops, teaching songwriting.

PG says:

No, I talk about so many other things all the time. When I release stuff, I don’t really need to talk about it anymore. Then I don’t want to talk too much about being creative. Because it takes away a bit of the mystery, the creativity. I think it’s my thing.

To David’s surprise that he could come and talk to Per about songwriting PG reacts:

I think it’s fun to talk. It’s a little different these days too. Because I do so very little. When I sit in Nyhetsmorgon and talk or do TikTok stuff, I just talk about the new songs and talk about how they came about and I try to remember. Nonsense. But what we’re talking about now is fun!

What makes a good melody

David asks Per what a good melody is.

Per says:

I’m always looking for something that gets me hooked. It’s a kind of rush when you hit it right. I remember sitting in that room writing (points to the office) “The Loneliest Girl In The World” as it came to be called. I was just sitting there plinking and then I started singing this (humming) and thought “how cool is that”. I just felt – like all of me – cool chorus! And then it was like putting together a puzzle. How do I maximize the chorus? And then I wrote the verses that didn’t get in the way of the chorus. And “what’s it going to be called?”. Then this idea “the loneliest girl in the world” came up. And then I thought maybe it’s too depressing. But, no, because sometimes it’s really exciting if you have something dark in a text, although the music maybe is bright. And vice versa. A good example is “Every Breath You Take” by The Police, which everyone thinks is such a super pop song. But there is a hell of a lot of “doom” in that text. There are lots of such examples and I’m not particularly afraid of such things, but it is mostly that it should feel good to sing and that you should be able to write a story around it in some way. And how do you write a story? It’s fact and fiction. You pick things up. For some texts you write maybe three stanzas when you feel a certain way. And those texts might be very powerful for yourself. And you live with them. And then, all of a sudden, when you write something that goes at the same temperature musically, maybe those stanzas fit very well. And then you develop them. It may start with something that is sad. Or something that you think is unfair. Something you think is questionable in your life.

Especially during the Roxette era, I almost always did a so-called “middle-eight”, a bridge. And they were usually super hooky. I’ve always thought that a bridge should always be so good it could be a chorus. Like a B chorus sort of thing. “Listen To Your Heart”, for example, has a very good bridge.

David says „where the key goes up a notch! Nice modulation!” PG says you notice that at a concert. Everyone loves to sing that bridge. There are plenty of such examples. David asks Per if he no longer tries to do such bridges.

PG says:

No, I don’t anymore. Because I tend to keep up with my time. I make the songs shorter and shorter. And then there is almost no room for a bridge. It feels like the time of bridges is over.

David wants to know whether you get better and better the more you write or you get worse and worse.

Per says:

You don’t get better and you don’t get worse. You become different, develop. I will not say “against your will”. But you develop because time goes by. What we talked about at the beginning, it’s good not to know very much. The hardest thing when you are my age is writing uptempo songs. That’s kind of why I wanted to make the new Gyllene Tider album (“Hux Flux”). I know a little too much, I’m a little too sophisticated and usually choose a different means of expression, other types of instruments and other types of tempos. So that’s why it’s been a challenge and you like that sometimes. You can’t write young music when you’re old, but you can write music based on the music you liked when you were young. Although you do it in a different way.

10 things to learn from Per Gessle

1. Listen a lot and let yourself be inspired

– You have listened so damn much. And then you like a certain style. Or multiple styles. And then you make something of it your own.

2. Save ideas

– If you come up with something that you think is interesting, you have to write it down or record it. My phone is jam-packed with messages, tunes and other stuff. It could be a title or a stanza or something like that. Or a rhythm.

3. Always have your “antennas out”

– It’s 24/7. It can happen now as we sit and talk. You might say something that I think “shit, I could use that for something”. Although you don’t notice that I noticed it.

4. Don’t get lost in technology if you’re not interested

– I’m not technically interested at all. So setting up a mixing desk and start working… it takes too much focus for me, so I lose sight of what I’m actually supposed to be doing.

5. Dare to change keys in the songs

– I’m writing Swedish songs right now and I’m currently working on a song where, after the chorus, I don’t want a theme. So then I did a solo that is exactly the same chord as the chorus. Just lowered. If the chorus goes in G, the solo goes exactly the same way just in F. Which then means that when I go back to the original key, you get a lift. You experience it as a key rise to the chorus. And that’s it! But you haven’t raised as all the choruses are in G. You’re tricking the ear all the time like this.

6. Learn what you like

– I don’t like three-part singing. It’s mostly just that when I listen to it, I don’t like it when it gets too thick. When it comes to vocal parts, I prefer fifth harmony. Perfect! Fifth is always the best. And then you might find a major 7th or a sixth that colors in a special way. I like that!

7. Find and keep your essence

– We created the typical Roxette sound from all these ingredients that we come from. I don’t think people realized this until after time has passed. Today, when I hear a Roxette song on the radio, I can think “damn, that sounds special!”. But I didn’t think so at the time. I just thought it sounded like us. At the same time, when we broke through, EMI wanted us to move to Los Angeles or New York. Or at least London to be closer to the industry. But we said we don’t want to do that because then we lose our whole essence. If we remove Jonas and Pelle and Clarence and all of them, we would have played Richard Marx!

8. Dare to play around!

– You can play around and you shouldn’t lock yourself up. At the same time, you have to respect what makes the song strong. It could be that a melody is very strong. So if you want to change anything, you have to do it wisely and with respect. If you now want to max out your song, which everyone wants to, then you have to know what you’re doing.

9. Pick up the feeling and temperature from other songs

– It’s not like now I’m going to write a song like this and it will be the same. But it is the temperature in the songs that you can take with you. That temperature opens like a door in yourself in some way. If I listen to “You Make Me Feel Like A Natural Woman” and I get into it, I can’t write music like that, but I can write a song with the same feeling, in my own way.

10. Everything leads to the next thing

– My songs are very much me and I live to write songs. That’s what I am. My wife and son and friends will probably sign it. But it also means that everything I do leads to the next thing. Every riff that doesn’t lead to anything allows me to get it out of my system, so I can move on to something else. You learn. It’s a long, long process.

About David Myhr

Besides being a writer, David Myhr is also a songwriter and artist and wants to know more about the phenomenon of songwriting. As a university lecturer, he both teaches and conducts research in the subject. He has discovered that trying to put into words what actually happens in the creative process of writing songs is extremely difficult. But he has just as fully given it to trying to get some of the biggest songwriters to do just that.

For the original article in Swedish and more photos click HERE!

Gyllene Tider – Hux Flux – Vasa – 19th August 2023 – #20

Hux Flux, det är över nu. The very last gig on the tour happened in Vasa, Finland last night.


17:00 Doors open
17:45 KAJ
19:00 Fredrik Furu
20:15 Sanna Nielsen
22:15 Gyllene Tider

The stage looked the same as in Ekenäs the day before. Screens on the sides and backdrop with the tour visual. Vasa is also a bilingual city and Swedish is the first language of one third of its population. So it made sense to talk in Swedish between the songs. The amount of talks was approximately the same as on the first Finnish gig, but here Per told the audience that this is their last show on their summer tour. We screamed, but at the same time we were sad, because it’s the last one, so we mimed we were crying and Anders reacted the same way from the stage when he looked at us.

Per said they would do everything to make it the best show. And they put all their energy into it, really. They enjoyed themselves a lot and loved playing for one last time on this tour.

The ginger tea mix tasted a bit like grape and tequila last night, Per said. Micke said tequila, yes, it’s the last gig, after all. Haha.

Åsa came and sat down in front of us on the security fence’s step and stayed there and took pictures and videos of the stage during almost the whole show. It’s always lovely to see her also enjoying the concerts.

The setlist was the same as the day before. The songs that worked best with the Vasa crowd were Kung av sand and Sommartider. Loud sing-along!

At the end of the show, not only Per was throwing his remaining picks from the mic stand and Micke Syd his drumsticks, but even Göran threw his hat to the crowd. Very cool!

It was lovely to see after the concert, that Malin-My, Göran and Micke went to the technicians to hug them and thank them for the tour.

This gang never sounded as good live as on this tour. It was amazing to see the band enjoying themselves on stage and giving full power each night and hear the crowds cheering for them, singing and clapping along every night.

With this, the Hux Flux tour is over. Sad, but true. On a personal side note, I’d like to thank you all for following these write-ups here, for coming to say hi when you saw me on tour and for all your kind words regarding RoxBlog. Appreciate it.

Now only one question remains: when is GT’s 9th summer tour and 6th comeback tour??? Haha. I held up a sign at the end that said thanks for the 5th comeback tour and I’m looking forward to the 6th. The guys and girls on stage were laughing and showed thumbs up. Then after the show we talked to Micke and he said „you wish!”. Yes, I wish. But not only me. So many of us want to hear GT live again. We give you some more years to come back again, guys! Bring the girls too!


1. Gyllene Tider igen
2. Juni, juli, augusti
3. Det hjärta som brinner
4. Skicka ett vykort, älskling
5. Gammal kärlek rostar aldrig
6. Flickorna på TV2
7. (Hon vill ha) Puls
8. En sten vid en sjö i en skog
9. Flickan i en Cole Porter-sång

Band presentation

10. Kung av sand
11. Ljudet av ett annat hjärta
12. Ska vi älska, så ska vi älska till Buddy Holly
13. (Kom så ska vi) Leva livet / (Dansar inte lika bra som) Sjömän / Tylö Sun medley


14. Gå & fiska!
15. När vi två blir en
16. Sommartider
17. När alla vännerna gått hem

All photos in the article by Patrícia Peres

Per after the show:

Amazing finale of the Hux Flux tour in Vaasa!!!! Love this place! Thx all you 200.000 ppl showing up making this tour yet another Gyllene summer. Love to you all. We had a blast! Stay safe and sound, y’all!

Gyllene Tider – Hux Flux – Ekenäs – 18th August 2023 – #19

Gyllene Tider decided to add two dates in Finland to their Hux Flux tour. The big return to Finland after more than 40 years! One of the two festivals was in Ekenäs last night.

I remember we had a brain freeze when tickets went on sale last December, because the organizer, Nordic Live Productions provided only 2 payment methods – Walley for Finnish customers only and Finnair Plus points. Haha. 21st century at its best… They didn’t make it easy for international buyers to enter their festivals. Anyway, good to have fans in each country, so thanks once again to all the Finnish Roxers and GT fans who offered their help when we needed it.

Raasepori Festival’s first day, when GT was set to perform was sold out fast, already in January. They released some more tickets during the past few days though.

Planned schedule:

15:00 Doors open
15:30 Alan Parry & Mikko Sipola Duo
17:00 Sanna Nielsen
18:30 KAJ
19:30 Guitar Slingers
21:15 Gyllene Tider

The most entertaining among the bands that performed before our beloved headliners was KAJ. 3 young guys full of energy, enthusiasm and fun songs. Sanna Nielsen was very powerful too.

Because of KAJ and Guitar Slingers finishing their set later than planned, Gyllene Tider came on stage at 21:30, after the intro music was played without the cartoon this time.

Regarding the stage set, the difference vs. all gigs before was that there was no LED wall in the background, but the seaside picture with the car was there as a backdrop. There was no HUX FLUX sign either. On the two sides of the stage there were screens which were used by the festival cameramans and they screened pictures of the concerts there, so that everyone in the back could also see what’s happening on stage.

Another difference vs. other gigs was that the merchandise stand had a new neighbour. A Sex Shop was set up next to it. Interesting festival stand. Haha.

It’s the bilingual part of Finland, so the talks between the songs were in Swedish. It got much less talk vs. the other 18 shows. Partly because there were less songs played, partly because they probably had to keep the festival’s timing and from 23:00 a DJ was set to play.

Anyway, the band was in top shape and in a great mood. They loved being on stage again after almost a week off.

The tribute-to-their-favourite-Dutch-band talk remained with Micke playing „una paloma blanca” and the ginger tea talk, too. Per said his mix in the mug tasted like Finland. Micke now asked for help from a friend of his in Ekenäs and he said he got a bag of powder from his friend and poured it into the drink. So Per would play for 12 hours now. We wish! Haha.

Changes in the setlist meant the gang performed 4 songs less. They skipped Vandrar i ett sommarregn, Tuffa tider and Min tjej och jag, as well as Det är över nu. There was only one encore and there they played 4 songs. The order of the songs also changed a bit.

The band presentation was after Flickan i en Cole Porter-sång and the order of introducing the band members was different too. First the two ladies, then Anders, then Micke, MP and Göran. And there was no introduction of PG.

At the end of the concert, during När alla vännerna gått hem, Dea now sat next to Micke Syd and Malin-My sat in front of the drums. So lovely vibes during this song!

The songs that worked best with the Finnish crowd were Flickorna på TV2 and Sommartider.

The weather wasn’t the best. During the other acts there was a bit of rain and it drizzled during GT’s performance, but we survived. One gig like this out of 19 is not bad. However, we expect more summer on Saturday.

Next stop is Vasa, Finland on Saturday! Is it really going to be the last show already? Oj…


1. Gyllene Tider igen
2. Juni, juli, augusti
3. Det hjärta som brinner
4. Skicka ett vykort, älskling
5. Gammal kärlek rostar aldrig
6. Flickorna på TV2
7. (Hon vill ha) Puls
8. En sten vid en sjö i en skog
9. Flickan i en Cole Porter-sång

Band presentation

10. Kung av sand
11. Ljudet av ett annat hjärta
12. Ska vi älska, så ska vi älska till Buddy Holly
13. (Kom så ska vi) Leva livet / (Dansar inte lika bra som) Sjömän / Tylö Sun medley


14. Gå & fiska!
15. När vi två blir en
16. Sommartider
17. När alla vännerna gått hem

All photos in the article by Patrícia Peres

Per after the show:

Amazing gig in Ekenäs, Finland! Thx everyone for an unforgettable evening!

Gyllene Tider – Hux Flux – Fredrikstad – 12th August 2023 – #18

After finishing the 1-month-long Swedish leg of the Hux Flux tour and having a week off, Gyllene Tider visited Norway last night. The gang performed in Fredrikstad, a city not too far from the Norwegian-Swedish border. It was 4 years ago the band played there last time and of course, they wanted to top that 2019 summer night.

In Fredrikstad there were two support acts before GT. Minor Majority (Norwegian band) played from 18:00 and Uno Svenningsson from 19:15. This was Uno’s first time in Norway. Dea and Malin-My didn’t join him on stage for Under ytan, but to make it special, Uno sang part of the lyrics in Norwegian. On this tour, it was the last time Uno and his band warmed up the crowd. They did a fab job concert by concert. His songs are very catchy, the lyrics are easy to learn, so after a couple of concerts we could even sing along. Uno and his band made us look forward to their session each time. It’s always great to have a good support act. It makes it easier for us to wait for the main performers while having fun. Thanks for all the cool evenings, guys!

Gyllene Tider came on stage at 20:30. It was so amazing to see them again after a week of break! They also all seemed to be very happy to be on stage again. They left both Chrissie and Billy home in Sweden, but otherwise they played all other hits and the crowd sang along to the ones they knew the lyrics to.

In Norway, the talks between the songs were the same as previously. As you know, Norwegians understand Swedish very well and vice versa, so the guys of course talked in Swedish.

When it came to the ginger tea talk, Per said it tasted a bit like cucumber and lakrits. Micke asked him if it tasted good and PG replied „not really”. Micke said he even added a little Aquavit to the mix. Haha.

What’s with the in-ear systems these days? Hm. Earlier on tour we could see Per having problems with his in-ear, the fixing of it, now it was Anders who had some issues with it. After Gammal kärlek rostar aldrig he went to the side and technician Peter Fredriksson checked it, but it seemed that it wasn’t enough. Before Flickan i en Cole Porter-sång Anders walked to the side again and Peter quickly changed the whole system while Per was talking. It distracted everyone a bit, but once PG saw they could start the song, they started and Anders rushed back to his spot on stage. I can’t say the problem was gone for good, because when Tylö Sun came, Anders went to the side again, maybe to tell Peter to prepare another system for the encore break. Then it might got really fixed, because after that we didn’t see any further problems.

Micke dedicated Min tjej och jag to Erling Haaland, Norwegian football player, if I understood the name right.

It’s been a while since the last time we could see flying bras at a GT show, but Norway didn’t disappoint. Haha. Two bras were aimed at the stage, but they didn’t reach their final destination. Both landed in the area in front of the stage.

Anders Roos was there on spot, taking a lot of photos from several angles during the whole gig. Jan-Owe Wikström was also present. They are working hard on their upcoming GT book.

Next stop is Finland on Friday and Saturday for the very last two shows!


1. Gyllene Tider igen
2. Juni, juli, augusti
3. Det hjärta som brinner
4. Skicka ett vykort, älskling
5. Gammal kärlek rostar aldrig
6. Flickorna på TV2
7. Vandrar i ett sommarregn
8. (Hon vill ha) Puls
9. En sten vid en sjö i en skog
10. Flickan i en Cole Porter-sång
11. Tuffa tider

Band presentation

12. Min tjej och jag
13. Kung av sand
14. Ljudet av ett annat hjärta
15. Ska vi älska, så ska vi älska till Buddy Holly
16. (Kom så ska vi) Leva livet / (Dansar inte lika bra som) Sjömän / Tylö Sun medley

Encore 1

17. Det är över nu
18. Gå & fiska!

Encore 2

19. När vi två blir en
20. Sommartider
21. När alla vännerna gått hem

All photos in the article by Patrícia Peres

Per after the show:

Underbar kväll i Fredrikstad, Norge. Tack för all skönsång + positiv energi!!! LOVE TO YOU ALL!