Erlend Øye is a name that pops up when you think about the recent changes in European music. He’s a musician who has been everywhere—handing out flyers for his band Peachfuzz in 90s London, playing with Kings of Convenience at the turn of the millennium, and even spinning records in Berlin’s vibrant club scene. His latest venture includes a reunion tour with The Whitest Boy Alive, marking the 20th anniversary of their debut album, Dreams.
Øye is known for blending various musical styles, which has made him a unique figure in a diverse landscape. His journey showcases how he connects music scenes across Europe, something not often seen. This is evident in his first solo album, Unrest, featuring tracks recorded in ten different cities.
One of Øye’s standout projects, The Whitest Boy Alive, gained a considerable following. They’re celebrated for their indie pop sound—a mix of melancholy and danceable beats. Their greatest hit, “1517,” was even featured in a FIFA video game, showcasing their appeal beyond just music lovers.
However, despite their talent, The Whitest Boy Alive struggled initially in the Anglosphere. Critics described their sound as lacking edge, with some comparing it to “the soulless moments” of Jamiroquai. Øye doesn’t seem bothered by this now, noting how many bands favored by critics have faded since.
The name “The Whitest Boy Alive” is a playful jab at his own taste in music. Øye notes it may have held them back in the U.S. due to concerns over potential racial implications, which he finds ironic, as their sound is rich and varied.
After a hiatus beginning in 2014, which Øye calls a “golden cage” of creative freedom turned too democratic, the band is back. Their recent tour in Mexico showed that they retain a loyal fanbase, emphasizing their impact more in some locations than in their home country.
While Øye has faced challenges, including tinnitus, he’s managed to stay connected to his passion for music. He currently spends six months a year in Syracuse, Sicily, a significant change from his native Norway. He reflects on how much he appreciates the green landscapes there, contrasting it with Norway’s often bleakness.
Interestingly, Norway is currently flourishing culturally, with achievements in film, literature, and even soccer, thanks to stars like Erling Haaland. Øye acknowledges the excitement surrounding Haaland but feels it’s essential to maintain the Norwegian spirit of humility.
In many ways, Øye’s story mirrors the evolution of a new generation of artists navigating between their roots and broader aspirations. Just like the football stars pushing boundaries, artists like Øye refuse to limit themselves to traditional sounds and expectations.
Øye’s upcoming shows in Potsdam, Copenhagen, and Paris promise to bring back their unique blend of music that only they can create. So, as they take the stage again, it’s a chance to celebrate not only their past but the future of a sound that continues to evolve.
