Per Gessle interview and “The Loneliest Girl In The World” premiere on P4 Extra

Svjetlana Pastuhovic did an interview with Per Gessle on Swedish Radio on 2nd June. PG was guest of the day on P4 Extra and he talked about PG Roxette, the debut single, Marie, Roxette, the Roxette musical, Gyllene Tider and songwriting. The interview starts at 28:39 into the program. Listen HERE!

Svjetlana welcomes Per and introduces him as a small town guy who showed great interest in music at a very early age. His nerdiness led him to success and worldwide fame. Now he returns to one of his biggest successes, Svjetlana says. Per thanks for having him on the show. Svjetlana is uncertain, maybe „return” is not the right word when it comes to PG Roxette. Per tells one can say it’s a new chapter in Roxette’s history.

PG can be pronounced the Swedish way or if you want to make it sound cool, the English way, Per says. He laughs. Svjetlana asks Per how HE pronounces it. PG then pronounces the initials the Swedish way. The debut single is out the next day (3rd June), but Swedish Radio got the chance to play it for the first time on radio and they are very happy about it. Svjetlana asks Per how he feels about it. Per tells the whole PG Roxette project is a new chapter, as he already mentioned and it’s based on him and the old Roxette band. He brought in several people who helped him e.g. with the singing and production. It took about a year to record the album and it was much fun. He looks very much forward to release it. Per got very good response from those around the world whom he already showed the songs. It feels great.

Here they premiere the The Loneliest Girl In The World. Svjetlana tells she becomes happy when she hears this song. Per says it’s nice to hear. He tells it’s an ear candy. The album comes out in September. Mr. G tells he tried to write an uptempo album and it’s a challenge to write such pop songs. Especially when you are getting older, because it’s something that you do very easily when you are 20. It becomes harder when you get older, because you have written so much and you become too sophisticated in your writing when you know all the tricks. Svjetlana is curious what Per means by this, if it means you get more serious when you get older. PG tells pop music builds very much on instant energy and it’s just there when you are younger. When you have written hundreds of songs, you learned all the crafts very well and it’s hard to write these 3-chord pop songs when you get a bit older. Per thinks Svjetlana probably has also noticed it regarding other artists that the finest and fastest songs they wrote in their twenties. Svjetlana asks PG if he was struggling with this a bit. Per tells he had the idea that he would make a sibling to Roxette’s albums they recorded at the end of the 80’s, beginning of the 90’s, so he tried to think about how he was working back then. Then he sat down and spent time with writing. Actually, it went very well. The Loneliest Girl In The World was the third or fourth song he has written that immediately felt it had a great chorus.

Svjetlana wants to know if it was an obvious choice to go on as PG Roxette. Per tells it wasn’t obvious at all, because it was really tough when Marie passed away in 2019, so he didn’t really know what to do with Roxette. He knew there is the legacy of Roxette that someone has to take care of. Also, he devoted 30 years of his life to Roxette and he has written almost all the Roxette songs and it would have felt weird not to go on with Roxette in a way. He has the ambition to take PG Roxette on tour and play the old Roxette songs. There is a huge amount of people around the world who still like those songs.

Svjetlana tells Marie was ill for many years and she is curious if Marie and Per talked about the future of Roxette. Per asks if Svjetlana means about the future without Marie. Svjetlana says yes, because Marie was ill for a long time, however, when she got better, they went on tour together again. Per tells Marie was ill for 17 years before she passed away. She never really got better, but despite the doctors’ advice, she went on tour between 2010 and 2016. It was fantastic that she did that. In 2018 Per went on a European tour that was called Per Gessle’s Roxette and Marie had no problem with that. She thought like Per, that someone has to take good care of the legacy. If you look at other artists who kept their audience, they worked actively, e.g. Queen with the Bohemian Rhapsody movie or ABBA with the Mamma Mia! musical and movies and now also with the Abbatars in London. Per thinks you have to work actively to keep the legacy alive. You just have to let it go on and who else could take better care of the legacy than Per himself. It’s not about replacing Marie with another singer – even if Per worked together with several female singers on this record. Dea Norberg and Helena Josefsson appear the most on this album. Both of them worked with Roxette as backing vocalists on tours. But there are other female singers as well, so it has Per and his songs in focus.

Svjetlana asks how it was to look back on the 80’s and 90’s, those crazy times when they were touring so much with Roxette. Mr. G says it was crazy indeed. They had their peak for 8 years between 1988 and 1995. They were touring all around the world, they had 4 US No. 1s and they were the most played artists for 3 years in a row. It was a fantastic period. Svjetlana asks how they could cope with their success. PG tells when you are in the middle of it, you don’t think about that. You are working, you go on. He was anyway triggered by it back then. When they toured with and promoted Look Sharp! he wrote Joyride, when they toured with Joyride he wrote their next album, Crash! Boom! Bang!, etc. Svjetlana notices that Per wanted to do more and more. She asks how he felt about it back in the days. PG says he travelled all around the world, but didn’t really see much. He was mainly in hotel rooms and at the concerts. When you are in such busy period, you just can’t make it. After the pandemic it’s fun to travel to cities he knows he had been to before, but doesn’t remember much. When you wanted to keep everything at the same high level as they did their things, you had to work 24 hours a day and stay focused and keep yourself in top shape. It’s like what sportsmen do. They enjoyed being up on stage every night and perform to tons of people who loved what they were doing. That’s the best reward ever. It’s a fantastic job Per has, he says. Even if it was tough at times, it only has positive sides.

Svjetlana says it’s almost unreal what happened with Roxette abroad, all their success. She asks if there is melancholy besides pride when Per thinks back at those times and if such thing can happen again. Per says it can’t happen again, because we live in different times now. It’s 30 years of his life he has devoted to Roxette and he is very proud of Roxette. As he already said, when you are thirty, you are at a certain stage in your life, now that he is 63, he is at another stage. He of course hopes that the new album works well, but it’s not the most important, it’s not why he made it. He made it because he wanted to have fun and he tries to follow his way as a songwriter and artist. He is doing several things at the same time. He has just finished an acoustic tour in Sweden with 31 gigs, they had a Gyllene Tider tour earlier, many other things.

Here Svjetlana plays What’s She Like?, which she knows is a special song for Per. After playing it, she tells how wonderfully Marie sings. Per agrees, she sings fantastically. Svjetlana asks if this song will appear in the Roxette musical. Per laughs and says it’s a very exciting project. There is a very nice script that the musical will be built on, a book written by Jane Fallon. Per thinks that Roxette’s music matches very well in such a conetxt. There are so many nuances in the Roxette song catalogue, one could use really many of them. It’s gonna be tricky to match the songs to the story though. What’s She Like? could be one of the songs used, they both think.

Svjetlana tells Roxette sold more than 80 million records, they had an international career, there are millions of Swedish crowns on their bank account. She is curious what is Per’s driving force still. PG tells it’s about finding your place in life. He is super grateful that he could work with music fulltime, writing songs and playing them since he was in his teens. It’s not just a way he is following all the time, it’s not like he has plans that in 5 years he has to reach this or that. He has a lot of ideas and tries to implement them as well as he can. Svjetlana says, so it’s not fame, not money, not such things. Per says it mattered when he was young, e.g. when they started Gyllene Tider. When they played at schools, they dreamed about playing in Stockholm or Gothenburg, when an album became gold, they wanted a platinum, when they had a platinum, they wanted to have a double platinum. That’s how people work. It was the same with Roxette. The idea at the beginning was that they wanted to go abroad, because he himself felt he covered Sweden with Gyllene Tider’s success. But when Marie and Per talked about abroad, they meant Belgium, Germany or the Netherlands. Or maybe playing in Copenhagen. Svjetlana laughs and asks „no South America or China in your thoughts?” Per laughs and says no and also not the success that they had in the US.

Regarding keeping the legacy alive, Svjetlana asks Per if he is doing it because he thinks Roxette would be forgotten. Per says he knows there is a fantastic power in Roxette’s music. Also in his Swedish music. It’s not that he thinks that „oh, maybe in 30 years we would be forgotten”. He wants to experience it again, to be standing on stage, singing his songs and feel the communication with his audience. It’s the most awesome feeling. The acoustic tour he did was one of the most amazing things he did so far. It was so intimate in those small theatres in an acoustic arrangement. Sometimes it was so quiet you could hear a pin drop. In certain songs he played only one string at a time, because it was so quiet. It was awesome that people were sitting there and listening. It was also fantastic that he played some old Gyllene Tider songs in a totally new arrangement. Lyrics of songs like Ljudet av ett annat hjärta that he wrote when he was 22, had a totally different meaning, both  for him and for everyone else, now that he sang it as a 63-year-old. There is another thing in there what wasn’t there in Gyllene Tider in 1981. There is a different energy as well, but the core of the song changes. And it also feels good for Per as a songwriter that the time goes by and the lyric becomes a different thing. It’s the same with What’s She Like? When he wrote it, he wrote it for Marie, because he knew that when Marie sings it, it will have a totally different meaning when he sings it. If he sang it, it would have been What’s He Like? That’s awesome in music. You can change it all the time.

Svjetlana tells she asked people about Per and most of them said he is an ordinary guy. She asks Per if that’s correct. Per says he doesn’t know what „ordinary guy” means and it’s hard for him to judge, but he is happy that people think so, because he doesn’t think he is an unusual guy, even if he has had an unusual life. He had much luck in many ways, but he is also very ambitious. His family and friends often say that he is working too much, but that’s in his personality and he knows you have to work much to get to where you want to be. He is not talking only about commercial success, but also about his writing. He wants to do his best all the time, otherwise he can’t sleep well at night. He laughs. Svjetlana notices Per has high expectations of himself. Per agrees. Svjetlana says the other thing people mentioned was they were wondering how Per keeps himself in shape. PG says he tries to pay attention to what he eats. When he was a kid, he looked quite like a meatball at school. That was always his Achilles heel, but especially during the past few years he tried to shape up. Svjetlana asks if Per is training. He quickly reacts he isn’t at all. He is rather walking and listening to things he is working with or tries to hatch an idea and to find answers to all the weird and stupid questions about his projects. So he sticks to his headphones, he is antisocial and he is in his own bubble then.

As a last question, Svjetlana asks Per about Gyllene Tider. PG says it’s a nice little band. Svjetlana thinks it’s a damn good band. Per says it’s also something he is very proud of. He is very proud of them being good friends and that they have fun when they meet. He can’t promise anything, but he hopes that there will be more Gyllene Tider in the future. But he doesn’t know anything yet.

Svjetlana thanks Per for coming to the show, PG also thanks for having him.

Per Gessle on P4 Extra

Per Gessle was a guest on P4 Extra, Swedish Radio last Friday. Host Erik Blix asked him about his new solo album, Gyllene Tider, Marie Fredriksson, Roxette and his new project.

Erik asks Per what the album title, Gammal kärlek rostar aldrig means to him. Mr. G says it means to him more or less what it says. He realized that this album is an old love that’s still there. One can say it’s a pandemic album, because he started recording it while he was isolated in Halmstad. Erik says it’s Per and Paul McCartney (who did the same). Per laughs and says there are more who did the same. Per had the idea to record acoustic songs and play as many instruments as possible himself. He didn’t have any material for that, so he thought he should dig deep into his archives from the 80’s, 90’s and 2000’s. There are a lot of songs he thinks didn’t come out of their shadow before. He says it was exciting.

They play Ömhet here. Erik says Per sings together with Helena Josefsson. Mr. G tells Helena is fantastic and it would have been difficult to record this song without her. She is awesome. Ömhet was written right after Mazarin was recorded in 2002. The text remained the same, but he wrote new music to it for Gyllene Tider’s Dags att tänka på refrängen album, but they never recorded it. Then it was lying in the drawer until now. Erik asks how many songs Per has in the drawer. Per reacts: ”You don’t want to know!” And laughs. He himself doesn’t know it exactly either. There are tons of sketches. Before he starts a new project, he is listening to some of his old stuff to get inspiration. He has been writing songs for such a long time and he felt that slowly but surely his style is changing a bit. Erik asks if it can happen that a sketch matures, that earlier Per thought nah, it’s not good for anything, but now it seems to work. Mr. G says it can happen, for example that the text in a verse has a good idea, but it doesn’t reach the goal or you couldn’t make it in 1986, but maybe now you can get your teeth into it. On GKRA it happened that Per corrected verses he thought were clumsy. And there is also the fact that if you write a song when you are 25 and sing it when you are 61, it gets a different meaning. Erik asks if it was the case with Ömhet. PG says not really, because there the lyric is straightforward, but Tända en sticka till is a good example. It was released on Per’s first solo LP in 1983, he wrote it in 1982, so when he sings it today, there is a sentimental, nostalgic feel to it. It changes the text’s angle.

Per tells he works together with Helena since Mazarin. She came to sing backing vocals on 1 song and ended up singing on 10. He knew he wanted a female voice and they did a little audition at the studio in Skåne. Helena was the first he heard on the audition and he said he doesn’t want to listen to the others. She was the one he wanted.

Erik asks Per why he decided to make this album an acoustic one. Mr. G says he wanted to make it personal and organic and he wanted to play as many instrument as possible himself. There is mainly piano and acoustic guitar. He also tried playing bass and drums, but he realized his limits. Erik adds Paul McCartney plays all instruments himself. Per says he knows it. He is very curious about Paul’s new album. He is amazed that at his age, Paul is so sharp and he is doing this recording in his home studio alone.

Erik asks Per if he rewrote any of the lyrics for the album. Per tells he rewrote certain verses. There are songs in the drawer that have a text Per was not satisfied with, but now he has the capacity to make them relevant.

Mr. G tells now he is making an English album and he’s got a kick doing it. Erik asks when it will be released. Per says when it’s ready. They laugh. Erik says it sounds like a good startegy.

They play Du kommer så nära (du blir alldeles suddig) here. It’s a duet with Uno Svenningsson. Erik asks Per when he wrote this song and what it is about. He wrote it for En händig man in 2006. First it was mostly just an observation that sometimes things get so close that they get really blurred and you can’t really take it in. Per tells he didn’t know Uno too well. He called Per in summer and asked if they could meet and have dinner together. Per said sure, just he has to sing on one of his songs first. Then Per quickly changed the key in the song so that it suits Uno’s and Per’s voice. Mr. G thinks Uno is a lovely person and he has a fantastic voice.

Erik tells Per is more acoustic during these recent years and his music is softer. He asks if Per became softer over the years. Mr. G laughs and says he doesn’t know. It’s hard for him to answer this question because he thinks he is the same as he has always been. PG says he is lucky that he has a big tree with a lot of branches: Gyllene Tider, Roxette, solo in English and in Swedish, Mono Mind. Many different things. His classic singer songwriter side is reflected in this new album.

Erik asks Mr. G about Gyllene Tider and says he opened the door to a comeback. Per smiles and says: ”That I can never keep quiet…” They did their last tour last year, but who knows. There is nothing planned. He loves the guys in GT and he loves playing with them. When the five of them play together, the outcome is always something very special.

The guys start talking about Roxette. Erik asks Per to describe his friendship with Marie. Per says it’s hard to describe it shortly, but they got to know each other when they were teens, at the end of the 70’s. They shared a rehearsal studio in Sperlingsholm, outside Halmtad. Per was in Gyllene Tider and Marie was in Strul. So they have been friends since then. That friendship became a musical partnership in which they could develop their good sides. The basic idea with Roxette was that Per writes the songs and Marie sings. Marie could sing fantastically and Per could write OK songs. Sometimes it felt like 1 and 1 makes 3. Per says he is incredibly proud of the journey they were on together and feels honoured to have worked together with Marie over so many years. Erik tells Roxette started out as a game with a friend. Per tells they had the ambition and dream to succeed outside Sweden. They loved pop and rock music and they liked the same bands and artists, David Bowie, Joni Mitchell, The Beatles. When they were sitting and chatting in Per’s apartment in Halmstad, they were talking about Germany, Norway, Denmark or Belgium. To succeed in the US and play there and in South America and Roxette being global surpassed their dreams. They had their heydays between 1988 and 1995. Then Marie had her second child and wanted to have a break, so they had a break after the Crash! Boom! Bang! tour. During those 8 years they were together 24 hours a day and worked. Erik adds they travelled around the world, but probably didn’t see anything. Something like that, Per confirms. They were constantly travelling to another city, another country or were locked in their hotel rooms, spent their times at airports.

Erik asks Per how much he misses Marie. Per says it’s difficult to talk about it. It’s almost a year ago that she passed away. There is emptiness. When you lose someone very close or your family member, there is emptiness. It’s difficult to deal with it. Even in Marie’s case when they were kind of prepared, because she was sick for a long time. But still, when it happens, you know that you can’t get prepared for that. Erik asks if Per misses the partnership as well, to work together with someone the way they worked together. Mr. G says of course he misses it, however, the last albums they recorded in a different way than they recorded before Marie’s illness. It wasn’t such an intensive cooperation as during the years before her illness. But there is something special when you are working together with someone or with a band like GT. There are things that only they can share, something only Marie and Per could discuss, Roxette’s success, since it’s them who achieved it with a lot of people’s support around them. There was an enormous tightness between them, so of course he is missing it. He misses calling her and chat and fight and joke around. Erik asks if they did that often. Per says maybe not as often as they should have, but one thinks about it only now. After Marie got ill in 2002, she of course became much more private and he respected it.

Erik asks Per about his musical partnerships, how those work. Per says he is much of a lone wolf, mainly in the creative part of his work. He writes alone and he doesn’t take orders easily if someone wants to tell him how this or that should be. It’s hard for him to write music for someone else. It’s difficult to keep the balance. But then he of course needs other musicians and other singers and other producers who help him on the way.

As an end to the conversation, Erik asks Per to pick a Roxette song to play. Mr. G chooses Let Your Heart Dance With Me that was released recently. A leftover song from their last recordings. He says it’s so nice to hear Marie on it again.

Per Gessle interview on P4 Extra on Mother’s Day

Titti Schultz did an interview with Per Gessle today on P4 Extra on Swedish Radio. It starts at 1:42:42. After Titti welcomes Per, he says it’s an adorable weekend and the weather is fantastic on the Best Coast (West Coast). He is in Halmstad during corona time, because he lives there. He laughs. He has been home since Easter. Titti asks Per if he is thinking about corona or if everything is as usual. Mr. G says his life hasn’t changed a lot, because he most of the time works alone or only with a very few people. So it’s rather business as usual for him, but he has been very productive during this period. He wrote a lot of English songs and in between, Mamma and Pappa poppud up on a sunny Tuesday morning. He was dealing with a totally different type of music and then suddenly an idea came to his mind that shit, it’s mother’s day soon, so why not writing a song about a mom. It went quite easily and then he thought he should write a song about a dad, too. It was much harder. He laughs. He booked the studio, he worked there for 2 afternoons and then came Helena Josefsson to sing and then it was ready. It happened only in 2 weeks and it never went this fast before.

Titti says she knows Per’s mom is not among us anymore and asked Per if he celebrates her mom on a day like this. He said it doesn’t happen like this directly. Now there is another mom in his family, his wife, so it became rather her day. Per says when you are young, you don’t care too much about Mother’s Day, but by getting older, you think more about how it is to be parents and that kids are growing up. He thinks it’s a nice day. Tradition in their family is to give flowers and cake.

Titti asks Per if he thinks Mother’s Day has more meaning now for other families during corona time. Per thinks it could be. He thinks it’s a very special period we are going through now. It’s something we haven’t experienced before. When there is uncertainty, family and friends are more in focus and you realize that you can’t take any basic things for granted.

Per says he read that there were a lot of weddings cancelled. During this time people either still get married after the social distancing period or they get divorced. Titti says there can be a baby boom too.

Titti gets back to the songs and asks Per about the English songs he has been writing when Mamma and Pappa popped up. Mr. G tells he has Mono Mind, an electronic pop music project, but he was also writing guitar-based classic pop music. He doesn’t know yet what the future brings, but he wants to continue touring and play and make himself heard in a way. What he is writing now is based on the music he grew up with, the 60’s and 70’s (as usual) mixed with modern music. He can’t say anything about when this music will be out, but maybe next Mother’s Day. He laughs.

Titti asks if Per wants to say anything before she pushes the play button for Mamma. Per says just sit calmly and listen to the lovely lyrics and

Mom is the best!

Per Gessle interview on P4 Extra – ”There were so many Maries”

Swedish Radio P4 Extra did an interview with Per Gessle on 25th January, the day when the tribute concert was broadcast on TV. You can listen to it HERE. It starts at 34:10 and lasts until 54:38.

The program leader, Svjetlana Pastuhovic asks Per about the tribute event and if it was like a farewell. Per says it felt like a farewell, in a weird way. It was a strange evening. It was fantastic and tough at the same time. The hardest all the artists thought at the rehearsals was to see all those old videos between the songs for the first time. But later when there was the recording they rather closed themselves into their professional bubbles, so it became a bit easier. Per and Marie have been friends since the end of the ’70s and they did this fantastic journey of Roxette together. Those videos and pics made them remember Marie’s greatness. When you do such a concert it’s even more concrete and of course you get under its effect.

Here you can hear It Must Have Been Love from the tribute event. Only the first part that Per was singing alone, playing his guitar, accompanied by Christoffer. The program leader asks Mr. G how it was to play this song. Per says it was OK. He played it in this arrangement earlier too, so it wasn’t really new. But this is Marie’s song. He wrote it for Marie. One can hear it’s a hard work for him to sing it, but for Marie it was a piece of cake. She was singing it magnificently. Svjetlana asks what IMHBL means to Per. He says it is one of Marie’s signature songs. When you hear it you immediately think of Marie. It’s important in Roxette’s history, the Pretty Woman movie, how it all happened. All their songs have their own history, but this one is maybe their biggest ever. Then comes Listen To Your Heart and The Look.

The program leader asks what Per thinks was Marie’s secret of having an effect on so many people. Per doesn’t really know, but he says there were so many Maries. She wrote so many songs, she was a fantastic songwriter. She wrote and sang about things everyone could relate to. She was a talented artist on stage too, one of the best Per has ever seen. She owned the stage and the crowds even in huge football stadiums with 50-60000 people in the audience. That requires a special personality. And one of course one can’t forget about her amazing voice. She was a very complete artist, but at the same time she stayed a small town girl. All this was in her DNA and Per thinks people felt that.

Svjetlana shares her memory of a concert where she went with her mother. It was at Brottet, in Halmstad. Then she asks about how it was to work with Marie. Per repeats that there were so many Maries. She has always been very ambitious, mainly at the beginning. Mr. G tells the story that they printed T-shirts with the text ”Today Sweden, tomorrow the world” when they were recording their first album. They had a common dream. From day 1 they wanted to conquer the world. Everyone wanted Marie to concentrate on her solo career, but she wanted to work with Per. They were very good friends and had much fun together. They were a team where 1 + 1 makes 3. Per had the capacity to write all those songs and Marie had the capacity to sing them. And the better Marie was singing, the better songs Per was writing. They triggered each other. The last album before Marie got ill was Room Service (recorded in 2000) and until then everything worked like this. Later it became different of course, she was good in another way. The comeback she did in 2009 and lasted until 2016 was absolutely incredible. The doctors advised her not to tour, but she wanted to. She was longing for the stage and meeting her fans, as well as making a new Roxette album.

Here they listen to Den ständiga resan and then they talk about the fact that Per mentioned Marie was like a sister to him. Per says many thought over the years that they were a couple, but they never were. They were very close friends and it was more like a sister-brother relationship between them. But when you are working together so intensively, the friendship changes with time. When they were on tour constantly, it wasn’t Marie who Per called first when they finally got home. This is how a good marriage or a good friendship works according to Mr. G.

The program leader asks if they liked fame. Per says they could do another program about fame. Svjetlana is happy to invite him for another program where this would be the topic. Haha. One wants to achieve success with his music and at the same time you have this pop star dream. There are many negative things around when you are famous. For example, you go out and you always have to take selfies with people. It’s a special life, but it’s OK. Per thinks those who want to become famous don’t know what it is all about. But once you become famous, you can’t rewind the tape. Svjetlana asks if Per regrets it. He says absolutely not, but it affects your life all the time. In 1991 they did 1800 interviews in 7 months. But this is how the music industry works. Marie disliked all those promotional trips. It was very tough for her. Per tried to understand that this is how the industry works, so they need to do that to be able to compete with other bands. Marie didn’t like it, but she was a pro. They did all those many TV shows, back then it was playback almost all of them. You can find them on YouTube.

Many of Roxette’s songs are still played on the radio. Svjetlana asks how it feels for Per. He says he wrote all these songs, they are his babies and of course he would like to perform them still. He is very proud of them. But he also knows the soul in those songs was Marie. He tells he was touring with his own band in 2018 and played a lot of Roxette songs. It worked, but it was a different thing. One has to accept that Marie is not there anymore and it will never be the same as it was, but life goes on in a way.

They finish the interview with Things Will Never Be The Same which Per asked to be played.

Per Gessle and Micke Syd Andersson on P4 Extra

Per and Micke Syd were guests on Swedish Radio P4 Extra. Listen HERE! Their part starts at 28:40 and lasts until 53:35.

Reporter Titti Schultz asks the guys how long they have known each other. They say too long. Titti asks Micke if he worked at a bar before and what he did there. Micke Syd says he did everything except for doing the washing up.

Titti is curious if it is really going to be the last tour and the guys confirm it is. She asks how many summer songs they promise to release on the new album. Per says he doesn’t know, but there will be a lot of summer songs on tour.

Det är över nu is played and Titti shares with the listeners that Micke was air drumming in the studio during the song. Per says Det är över nu and also Sommartider, Det hjärta som brinner or Tylö sun for example are songs that can’t be rehearsed, because it’s a bit comic without an audience.

The guys say it’s the ’90s when they sounded the best. It was the period when they came back for the first time, with songs like Det är över nu, Kung av sand, Juni, juli, augusti, Gå & fiska!

Titti says one of her absolute favourite GT songs is Juni, juli, augusti and asks the guys if they have any favourite GT songs. Micke Syd says Juni, juli, augusti is much fun to play live. Per picks Faller ner på knä.

Talking about the new album, Samma skrot och korn, Per says it’s a bit more adult, more thoughtful and also sentimental and sad vs. their previous albums. It’s very nice pop music. The title refers to the band members. The guys recorded it in France and they went through a creative process that couldn’t have happened in a studio in Stockholm.

Regarding the tour Per and Micke say there will be some unexpected happenings, surprises, but they can’t tell anything about it yet. Micke Syd jokes there will be pole dance. Haha.

Titti asks if the guys are sentimental and feel nostalgic now that all this comes to an end. Micke Syd says he became sentimental already in France. At last there is a song again that HE sings, Låt denna trumslagarpojke sjunga! Titti asks if she can get a little snippet a capella. Per jokes that then he has to go away.

To the question if they get together often, the guys replied that they didn’t meet the five of them together since the last tour, but the recording sessions in France were fantastic and much fun.

About the new single, Jag drömde jag mötte Fluortanten, Per says there is a little Van Morrison turn in it, which is a little unexpected. Titti says this must be the very first song about a Fluortant. The song is played on the radio.

Titti asks Per if he could write a song like Flickorna på TV2 today and Mr. G replies he couldn’t. Titti asks if they will play it this summer. Per says for sure, because it’s great to play it. Regarding the setlist Per says they circulated a list of 51 songs that they will narrow down to 25-26 songs. There are 17-18 songs that they MUST play, but then they also want to include surprises and songs from the new album. The concerts are planned to be 2 hours long.

Titti thinks fans in the ’80s were different than fans today. Per says they are not, it’s juts that we live in a different era. It’s just that there is social media and mobile phones nowadays. Titti asks if there are groupies around, Micke Syd says no, they never really had the talent for that, to have groupies waiting for them at the hotel.

Faller ner på knä is played, but cut short due to news.

Titti asks Micke Syd if he has become a better drummer over the years. Micke says he has, just not technically, but how he plays. When he plays elsewhere, even when he played for Roxette in June Afternoon or She Doesn’t Live Here Anymore, it’s different vs. when he plays in GT. In Gyllene Tider it’s like coming home. In France for example the recordings went so fast, because they went with the flow.

Titti asks how they know a song is ready. Per says a song develops all the time. When they play it live it becomes different. He thinks sometimes it’s a pity that one writes a song, they record it in the studio and take it to an audience only later. It could be the other way around, playing the song for an audience 20-30 times before recording it.