Erlend Øye, the Norwegian musician whose career has spanned decades and continents, offers a candid reflection on his journey from Bergen to global stages. With The Whitest Boy Alive reuniting for a tour marking the 20th anniversary of their debut album Dreams, Øye delves into the band's creation, their unexpected success in Mexico, and the personal challenges that shaped their path.
A Musical Chameleon Across Europe
If you were to chart the evolution of European indie music over the past few decades, Erlend Øye would appear as a constant, weaving through diverse scenes with remarkable versatility. From handing out flyers for his early band Peachfuzz in mid-90s London to fronting the folk duo Kings of Convenience, which spearheaded the new acoustic movement, Øye has been a pivotal figure. His presence extended to Norway's "Bergen wave," Berlin's post-millennial club scene, and even Italy's chamber pop revival with La Comitiva.
This cosmopolitan approach is epitomised by his debut solo album, Unrest, recorded in ten different cities. Yet, among his many projects, The Whitest Boy Alive has proven to be the most enduring, particularly on streaming platforms like Spotify. The band's reunion this spring and summer will see them perform in South America and Europe, celebrating two decades since Dreams first captivated listeners.
From Berlin Beginnings to Global Recognition
After Kings of Convenience's success with Quiet Is the New Loud, bandmate Eirik Glambek Bøe chose to stay in Bergen to study psychology, prompting Øye to relocate to Berlin. Despite the city's cool reputation, Øye found it a "wasteland for actual played music," where many turned to DJing rather than live performance. It was here he met Marcin Öz, a Polish DJ, and together they formed The Whitest Boy Alive with keyboardist Daniel Nentwig and drummer Sebastian Maschat.
Dreams remains a standout album, blending melancholy indie pop with deep house rhythms. Described as Joy Division fronted by Art Garfunkel, it offered a 21st-century answer to Everything But the Girl—music that could both move listeners to dance and introspection. However, initial reception in the Anglosphere was mixed, with critics offering lukewarm reviews. Øye shrugs this off, noting that many bands praised at the time have not stood the test of time.
The Band's Name and Unlikely Success
The name The Whitest Boy Alive, born from a self-effacing joke in a German interview, ironically hindered their early success in the US, where audiences were wary of racial connotations. Yet, the music itself defies such labels, drawing on diverse influences like Brazilian bossa nova and reggaeton rhythms. Their track 1517, a love song about the Reformation featured in a FIFA video game, exemplifies this eclectic style.
While their tour includes stops in Potsdam, Paris, and Copenhagen, it is Mexico where the band has found its most fervent following. Øye recalls a 2021 festival where 8,000 fans sang every word, creating an "incredible party." This contrasts with the band's breakup in 2014, attributed to internal strife and Øye's health issues, including tinnitus and hyperacusis, which made loud environments challenging.
Reflections on Norway and Identity
Øye's perspective on his homeland is strikingly critical. Having grown up in Norway, he describes it as "grim," with barren landscapes and a cultural ethos shaped by the Law of Jante—a code emphasising modesty and conformity. He contrasts this with his current life in Syracuse, Sicily, where he spends half the year, appreciating its year-round greenery.
When pressed on Norway's cultural achievements, from film to football, Øye acknowledges pride in egalitarianism but highlights Erling Haaland as a symbol of change. Haaland's star power, he argues, represents a shift away from traditional Norwegian modesty, allowing individuality to flourish. This theme resonates with Øye's own journey, as he sought creative freedom across Europe.
The Reunion and Legacy
The decision to reunite The Whitest Boy Alive stems from a belief that no other band can replicate their sound. "It's still only The Whitest Boy Alive who can do The Whitest Boy Alive," Øye asserts, rejecting comparisons to his nomadic career. As they prepare for upcoming shows, including dates in Potsdam, Copenhagen, and Paris, the band's legacy continues to inspire a global audience, proving that music can transcend borders and expectations.
