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Welcome to Museo Lokal podcast

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, thank you , and how it enriches their lives

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. Every week , I invite a new guest to

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talk about their relationship to music and

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how they live and influence the music

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Insight , inspiration

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and , hopefully , some fun and exciting

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surprises . Welcome to the

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Museum and Locale podcast Music

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Meet Drug and

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welcome to Karen Rosenberg , thank

1:01

you . Earlier just Karen , yes , or just Karen

1:03

Just it didn't you have ? Earlier just Karen ? Yes , or just Karen Just ? It

1:07

didn't sound very good , peter , karen

1:09

, we know each other

1:11

a little yes , we do , and

1:14

have met a few times .

1:16

Over a long , long time .

1:18

Over 24 years . Yes , can

1:21

you remember the first time ? No , no , I thought

1:23

so . I can actually . No , I thought so . Can you ? I can actually . Oh , okay , it's

1:26

exactly 24 years ago . Yes

1:28

, where you were just released with

1:30

your first album . Yes , and you were

1:33

supposed to perform on P3 . Yes

1:35

, in . Funktion

1:37

maybe no , no , no , no , it's before that

1:39

. It's the portal in Greve . Maybe

1:41

, yes , until Saturday morning , something

1:46

called With Jesper Bernds , yes

1:49

, do you remember that ? Not at

1:51

all . We'll meet there .

1:53

Yes , okay , we'll meet there . It's

1:55

a little over a year ago .

1:57

It's 24 years ago , Karen

1:59

. I'll

2:02

tell you two things .

2:03

Yes , tell me I have two other things .

2:06

You're the only one who's responsible

2:08

for me stealing something .

2:10

Okay . Is that something I've been asked to do ?

2:12

No , you haven't been asked to do it but I stole it voluntarily

2:14

, the only time I've stolen in my life . Okay , and

2:17

then you're the only one who , apart from my mother and my wife

2:19

, has comforted me so much where

2:21

I was so scared .

2:22

Oh , it sounds pretty wild

2:24

, doesn't it ?

2:25

Yes , that we don't really know each other . That well , yes , well

2:29

, but Karen , 24 years back , but

2:33

I think that's two wild things

2:35

but also in

2:39

a way , it's great that I've

2:41

gotten you there . You've gotten

2:43

me out of where it's worst , obviously .

2:45

Yes , I can feel that .

2:48

Karen , 24 years ago the first album came out . It

2:50

does . You became

2:52

Denmark's R&B

2:54

queen . I do you

2:57

were nominated for three Grammys on

2:59

the very first album . Yes , and you won

3:01

. Yes , I won one . You

3:03

won one .

3:04

Yes , how did all this start

3:06

? Well

3:08

, it started with me

3:11

wanting to make R&B in Danish , and that hadn't been done

3:13

before , and that started

3:16

with me finding

3:18

out how I was supposed to do it in 1997

3:21

or something . Yes , I

3:24

loved American R&B , but

3:26

I always wanted to sing in Danish . I always wrote in

3:29

Danish , and it wasn't because I had written

3:31

a billion songs before

3:33

, but I've written songs since I was little . So it's

3:35

and I've

3:38

been able to sing

3:40

since I was little .

3:41

Yes .

3:42

And I've really gotten a huge love for this genre . Siden er jeg også for

3:45

lille Og har så virkelig fået en kæmpe

3:47

kærlighed til den her genre . Som rullede

3:49

undergrund kan man sige , altså

3:51

, det var jo ikke noget , der blev spillet på radiostationerne

3:53

, som sådan Ikke endnu .

3:55

Det kommer sådan lige efter Det begynner

3:58

.

3:58

det er sådan Lauryn Hill kommer ud med

4:01

Miseducation of Lauren Hill , which was

4:03

a huge , groundbreaking record

4:05

, and then it started

4:07

to roll all

4:10

this modern soul you could call it the modern

4:12

R&B the electronic

4:14

part of modern

4:16

soul and I

4:19

wanted to do it in Danish . And all

4:21

that very explicit

4:24

way of expressing myself , expressed themselves

4:26

, was super cool . I had listened a lot

4:28

to Salt-N-Pepa and Vogue

4:30

and so on

4:32

. It was just in your face

4:34

and I really liked it and

4:38

I tried to find someone

4:40

. I had lived in Singapore

4:42

, had come home to Denmark and I'm not Copenhagen

4:45

, had moved to Copenhagen , didn't know anyone

4:47

, but I knew someone from Helsingør

4:49

, where I had lived when I was younger , and tried to make

4:51

some demos with them and it wasn't quite like

4:53

I wanted to have it , but it was at least a

4:56

set-up . And then

4:58

I contacted some different record companies

5:01

One of them was EMI and they said

5:03

we think you have something , so we'll put you together with

5:05

some different people . And one of them was

5:07

him who

5:10

was in White Chocolate , called Lasse , and

5:12

him who's called Saki , who's a producer and

5:15

also produced for Atlantis or was involved with Atlantis

5:18

at that time .

5:18

It was mostly at the same time . You came right . It was completely

5:20

at the same time . You were actually in the same program there . It was completely the same . You were actually in the same program there .

5:24

Yes , because we followed each other a lot in the

5:26

beginning , because we came out on the same stage about

5:29

four months in between and

5:31

we also played in the same studio , sake

5:33

out in Vandelys , and

5:39

then we clicked with the same and

5:41

they really wanted to put me together with all

5:43

kinds of others , but I clicked so

5:45

well with them that we said

5:48

it should be us three that should

5:50

make my record . And I think EMI was

5:52

a bit too . It wasn't poppy enough

5:54

.

5:54

Okay .

5:55

And then I said , okay , then I won't sign

5:57

with you . And then it ended with

5:59

that . I made a whole bunch of demos and

6:02

was signed to BMG and

6:04

that's how the record

6:07

came out . Daniel Vangsgaard yes

6:09

, he was my promoter Very

6:12

, very , very young .

6:14

Very young AKF radio promoter . It

6:17

was him we were through when we got

6:19

you on the radio program .

6:20

Exactly so

6:23

. It was a very self-taant way

6:26

to get into the music industry .

6:28

Yes , I think it was right when you think it's your first

6:30

record you're going to make and you think you're pretty

6:32

stuck on what you want to do with it .

6:34

Yes , I have made demos in several Now . I'm saying

6:36

I haven't written as much as I had

6:38

written and

6:41

I had also recorded different numbers , but some from the musical

6:44

environment I knew in Helsingør and Isbergære and

6:48

was offered my first record contract when I

6:50

was 16 .

6:51

So I was still 9 years old .

6:55

And that's also because

6:57

there were just so many record

7:00

makers in the course of my

7:02

first meeting with the record industry

7:04

who thought they should have a meaning

7:06

about me . And that

7:08

had . I

7:10

mean , why would they do that ? So I've always been against

7:12

that , so that's why it was the

7:15

right time . When that record came out , I was 25

7:17

. And

7:20

I was well not an adult , but

7:22

I was an adult woman who knew what she wanted . We

7:28

wrote it ourselves .

7:30

There was no one else , and

7:32

that's the first thing that comes to mind in the R&B genre

7:34

not in Danish . We've

7:38

, of course , had solo music from Danish , but

7:40

we've never had the classic R&B we know from

7:42

the USA . No , that was the first Danish-born R&B we

7:44

know from the USA right .

7:45

No , that was the first Danish-born R&B that

7:47

came out . There have been

7:49

some English

7:53

editions from Danish artists , including

7:55

Shirley and .

7:56

Yasmin , if you remember , yes , that can be

7:58

good From the late 80s , I think Some

8:00

soul power things right .

8:02

Yes , that's right , but

8:04

the first time it was in Danish

8:06

.

8:12

Yes , wow , yes . And where does this interest come from

8:14

for music and singing and such things ? Is it something you are taught ? Is there

8:16

music there , where you grow up ?

8:18

We had a piano at home and both my parents

8:21

play really good piano .

8:22

Okay .

8:23

I have never gone gone to it myself . I was with Helsingør

8:25

, pigeard played the

8:28

horn and trumpet . Yes , thank you . I

8:32

didn't go to a special music school

8:34

. I went to a private school that was

8:37

much more civil than artistic . But

8:40

I went to what was called Asperger Youth School , which

8:43

meant a lot for my musical development

8:46

, because

8:48

there was something called Star Show , I think

8:50

, once a week , where you could stand up and sing what you

8:52

wanted to and then there was a band and

8:55

there I got tested what I was good at

8:57

and what I wasn't good at . And

8:59

were you brave ? I was fucking brave .

9:00

Nice , that's

9:02

something we've all been through our whole lives that we weren't

9:05

have At least that time I think I can

9:07

see that now when I look back .

9:08

I'm perhaps not so brave on other

9:10

points , but

9:16

that just

9:19

really hurt me and

9:22

I can also remember that . So of course there were currents . There was

9:24

a huge American wave which

9:26

you could say was

9:29

up through the 80's , but also the start of the 90's

9:32

, where I was a teenager . Which

9:35

we ate , it was too unsweet

9:37

, all that American pop culture

9:39

, MTV and music

9:41

videos and all that it was booming

9:44

at some point . And

9:48

for me it was , of course , the more

9:51

soulful part of it , and maybe it

9:53

was also because

9:56

I was good at singing and

9:58

practiced a lot .

10:00

And you know that early on , or do you discover

10:02

that early on ?

10:03

I discover early on that it's something I can do and

10:06

that others also think I can do and

10:09

then I've just improved a lot , and that's also

10:11

been to something like Whitney

10:13

Houston , and even though I might not be able

10:16

to sing it , it's a way to push

10:18

yourself to be , better at singing , but

10:20

I also loved Madonna , Janet Jackson

10:23

with Rhythm Nation . I remember I heard on repeat

10:25

Prince , a lot of Prince , but

10:28

then I also . The

10:30

older I got , the more I found out how much influence

10:32

my older brother had . Yes , you

10:36

could say he was three years older than me . I had this

10:38

what can you say ? Popped

10:41

angle on music . No

10:44

, we share Prince , him and I .

10:46

Yeah , yeah .

10:46

But he , we had relationships

10:49

up against each other and he has always gone insanely

10:51

high up in music and had a record player I didn't have to use because

10:53

of the pick-up and all that .

10:55

But you never had to with your siblings' things .

11:04

I've talked about . Frankie Goes

11:06

to Hollywood with . Welcome to the Pleasure Dome

11:08

and . You Read , and

11:11

Men Without Hats or

11:13

Simple Minds . It's

11:18

also from him I have my first record . Maxi

11:21

Sinklin' . Hey you , the Rocksteady

11:23

Crew . Yeah , that's right

11:26

and he got the doors opened to

11:28

something other

11:30

than what I saw on MTV

11:32

. Can you say yes , Also because

11:34

he was older than me .

11:37

Yes , yes , and that's what you look up to

11:39

a little bit .

11:39

Yes , even though we were like friends and

11:41

I also thought it was very annoying

11:44

. I can feel the openness about music and being able

11:46

to hear that music is cool , even though it's

11:48

from many different angles

11:50

. Yes

12:01

, exactly , and

12:03

still to this day , if I hear Safety

12:05

Dance or Relax

12:08

or War or anything with Frankie

12:10

Goes to Hollywood , it's

12:13

just as much my youth as

12:15

Like a Prayer with Madonna

12:17

is .

12:17

Yes , and it's only a few years before

12:20

.

12:20

You're not a special guy . You're 7-8

12:22

years old , yes , but he played it and

12:24

because he's always been so interested

12:27

in music and still is , and a part of

12:29

it . I don't know if you know it . It's called Bongo Rama

12:31

Music no . I don't know

12:33

. He has always been . I

12:35

mean always knows what's going on and knows

12:37

all kinds of underground music and

12:42

is mega up-to-date also today . So he's been

12:44

a kind of a bridge builder for

12:47

me . I think . Retro-perspectively

12:50

.

12:50

I can say yeah , that's something you say afterwards .

12:52

You could like your brother right .

12:54

First when you grow up , you can like your brother .

12:56

And then you can say when I started with

12:58

the whole R&B because that genre was new it

13:03

was a lot

13:05

of what filled it . And that was also what

13:07

I was . I mean , I

13:09

was the first to come out with it , so

13:14

it became a lot of that and it

13:16

became a lot of that environment

13:19

.

13:19

And that's also super cool .

13:20

I mean , we nerded it all the way in . Yeah , that's for

13:22

sure .

13:22

Yeah , it's

13:25

like 10 . It's ten years later . And how was it to follow up on this If you've nominated the three

13:27

Grammys and won one , and it's your first album

13:29

and you've been on the

13:31

mark for all of it and said it's supposed to be

13:33

like this , and it's me who's written it all , I've been part of

13:35

it all how was it to follow up

13:37

on something like that ? I think you're still . We

13:39

say you're grown up , but you're grown up but you're 25

13:42

years old . There's some success and something that both

13:44

should be controlled , but also should be

13:46

followed up on . And what ? Did it create , do you

13:48

think ?

13:49

Yes , it actually ended with me leaving BMG and

13:56

I left the two songs I read because we wanted different directions

13:58

and in relation to my own music , which has always been super uncompromising

14:00

and been just as happy

14:03

with what market forces

14:05

and all sorts of things said

14:07

. I should .

14:10

I also think a little about the pressure

14:12

that lies on oneself when you have done

14:14

your best , and that's what

14:16

you do when you do something . But

14:18

then you make such a good record , you get so

14:20

much recognition for the record . They

14:23

put pressure on oneself too . I think To

14:26

the next record company , don't they .

14:28

I didn't feel it right . Oh , how cool I mean

14:30

I felt To

14:33

do to stillness . I mean like when

14:36

am I now ? That's

14:38

what I'm supposed to do yes , and

14:41

that's been my starting point Just since . So you're still very brave Within that . Yes , and that

14:43

has been my starting point just recently .

14:45

So you're still very brave inside of that

14:47

. Yes

14:50

, maybe I don't know , but I'm just thinking , because

14:53

I've made music myself and I think the times

14:55

where we've been close or where there have been

14:57

some songs that went really well and things like that , then

14:59

you'd be good , you'd

15:02

be good there ?

15:03

anyway , I think yes , man skulle godt man ville godt

15:05

lidt derhen , alligevel synes jeg .

15:05

Ja altså , Selv om vi gerne ville lave det vi altså ja , det

15:07

, vi brænder for det vi brænder , for så ville man alligevel

15:09

også . Det er jo noget I den der erkendelse

15:12

eller den der . Hvad hedder det

15:14

respekt man får på det man har

15:16

lavet , because ?

15:18

my second record came four years later

15:20

and

15:29

it was . It was also a big success

15:31

and I also played on Roskilde

15:33

with it .

15:34

So it was .

15:37

I think when you get such a big success

15:39

from the start , it

15:42

only goes up in some way .

15:48

It's only later that you find out . Sometimes it goes down because

15:51

it can't be that we go up .

15:52

That's how it works . So it's more like what

15:54

do I want to do ? What kind of sound do I want

15:56

to have ?

15:58

What kind of music do I want to have ?

15:59

What kind of what do I

16:02

want to do myself

16:04

? What

16:08

kind of sound do I want to have ? What

16:10

do I want to convey ? That's been it . And

16:14

it's also that when you're both a creative and an extrovert

16:16

artist at the same time , then

16:23

it has to be right , or ? At least that's how I

16:25

feel . I have to feel my

16:27

heart because it's me . That's what

16:29

you have to do all the time . I agree .

16:31

That's why it can be . Now it sounds like you've been

16:33

insanely strong in that area compared

16:35

to the place you're in , because you can be pressed

16:38

insanely hard to say we lack a hit or we lack

16:40

that and

16:42

I think we should do more of this . But it sounds like

16:44

you've been insanely strong to say I'm burning for this

16:46

and I believe that what I'm doing here

16:48

is right .

16:54

Yes , but I've also done that and it's also something with the fact

16:56

that again , to go back to someone who wants to decide over you

16:58

, I really don't care . No , that's the only thing I care

17:00

about , so it's with you and someone who comes and says

17:03

I

17:06

think you Should be in a different way , or you should sing in a different way , it should be more in this

17:08

direction . Then I have it like it's

17:11

me . Who knows it ? It's my songs , it's me

17:14

who sings ? Them .

17:15

So Then

17:17

you don't need Some stupid

17:19

record label , no .

17:20

A record label man that should say no , and that's

17:22

why I made my own record After that

17:24

you did After the first two records After the

17:26

first one After the first one yes , wow

17:31

, because you make four R&B albums

17:33

, right ?

17:33

Yes , and the last three

17:35

, they come from you .

17:38

The last or the second

17:40

and third come together

17:42

with Vagn , who I make music with

17:44

, and also Kerstin , in

17:46

that period where we have a record company together

17:49

, top Hund .

17:50

Yes , like that .

17:52

And then I'm signed to Universal

17:54

with my fourth record . Yes , and

17:57

I'm there on that record .

17:59

Yes .

17:59

And now I have a record company again , which I only have

18:01

completely alone .

18:03

Yes , because there's one or the other thing when you are

18:05

making record number five . I have

18:08

read about it .

18:10

Yes , there is what is going

18:12

on . Yes , what the hell is going on . Well

18:14

, after

18:17

my no , also a little before , my fourth record

18:19

I have , for

18:22

the first time I have also I have

18:24

not only made my own records , I've

18:27

also made collaborations with Svendstrup Vennelboe

18:29

and Rune Erko and I

18:31

spend a lot of time on that . We're

18:33

really out on many discos around Denmark .

18:36

A hard chance , I think .

18:39

It's almost several years that we're still here

18:41

every weekend and

18:59

it's super funny and fun to

19:01

try more years than we still have every weekend

19:03

and it's super funny and fun to try . Then I start to be a top liner , that is , to write for others and thus also to write in English , and I think it's actually quite fun Because I get to run for something other than something that is me , where it's all so centered and needle nagel-piller-y , then I can put that away and say now

19:07

I just have to write something

19:09

. And I've

19:11

actually also been to

19:13

England , korea and out to write

19:15

. And then I get a son

19:17

and that

19:20

can't be accompanied by the

19:22

top-line and world heavy

19:24

life .

19:25

No .

19:27

And then I just sit and write , as I've always done . I

19:29

sit in the music program called Pro

19:31

Tools , which I've done for many years , and write my demos

19:34

. I've written some different

19:37

things in English which are

19:39

my own feelings and my own texts . And

19:41

then I was like shit man , that's fucking jazz what I've written . And

19:43

then I was like shit man , it's good as jazz what I've written . Okay

19:46

. And then I was like , okay

19:48

, well then I'll

19:50

go with it . Wow , and

19:53

then yeah , then I contacted

19:55

some jazz musicians and asked them if they wanted to

19:57

be part of it .

19:58

Yeah , and breaks completely

20:00

out of R&B and breaks completely out of all that and

20:02

goes from being called Karen to being called Karen

20:04

Rosenberg .

20:05

Simply , I'm going to take after the name yes

20:07

, you should Also , because

20:10

it's in English . So all of a sudden there's

20:12

also a larger audience you could

20:14

say , and that's a whole other way

20:16

than I've been used

20:18

to playing . Where I've

20:21

been with my previous editions I've

20:23

been very studio-like . It's there

20:25

also that the music has been created because it's electronic

20:28

and so on . So

20:33

this is a completely different way of going to the studio , because it's we practice

20:35

until we're in the studio , then

20:38

we go to the studio and then we record

20:40

the numbers all together in the room , live

20:43

on tape three or four times , take the

20:45

best and that's it Okay wow . And

20:48

that's another way .

20:49

That's another way than sitting and clipping and clipping .

20:51

he said and also in relation

20:53

to how I sing . I'm

20:55

not going to do some crazy phrasing and all

20:57

that stuff , but I just keep it down . The

21:00

text is recited

21:03

in the music . So , it's

21:05

, and

21:07

that's also me .

21:09

But is it the grown-up Karen that comes there ?

21:11

for 11 years .

21:13

No , but I've heard the

21:15

jazz record . Actually it's from 1922

21:17

, if that's okay and

21:21

it's very personal in a way .

21:23

It's all a diary .

21:27

Yes , about separation

21:30

, about sharing children about .

21:31

What do you call it now the ?

21:32

children are sleeping . Now we about ? What do you call it ?

21:33

now the children sleep now we can , and what do I know ? That's

21:36

how I've heard them in any case , yes , that was it Okay

21:38

good .

21:39

I'm just thinking is it

21:42

also because you get your sons and something else comes

21:44

into your life than can you say Arne

21:46

Biendahl , I know you sing about

21:48

sing your own personal lyrics in them

21:51

, but it's a different output

21:53

when you've had children and you become a

21:55

different person .

21:56

I simply don't know . But

21:59

the starting point for me as a creative

22:01

artist it's

22:06

always been a gut

22:08

feeling Just

22:12

go with it , with what

22:14

I have inside , and then follow

22:16

it .

22:17

Yes , that's very cool .

22:19

And that has both

22:21

done that . But

22:24

I'm not afraid of changing genres and so on . There

22:27

hasn't been any conscious action about it . No

22:29

, I

22:31

just went with it .

22:32

But what you wanted instead , and have

22:34

you infected your old audience and gotten a new

22:36

one ? I know that actually .

22:41

But it's nice that there are many who listen to

22:43

it , and that's nice , of course

22:45

.

22:46

Do you play with it too ?

22:47

Yes , I have , but not very much , and

22:50

I would like to play a lot more .

22:52

Have you played with DR Speakplane ?

22:55

No not with this one , but I have played with them . But

22:57

I have played for a

23:00

few arrangements afterwards , but I haven't

23:02

been on tour yet . No

23:04

, why ? Well

23:06

, to be honest , it's because

23:09

, yes , I'm

23:11

like I'm standing for everything

23:13

myself now . Because , I'm also a

23:15

playwright .

23:17

A playwright and a woman and

23:20

also both a

23:22

writer and A

23:24

coordinator and a player and

23:26

a booker , if necessary , and so on .

23:30

I have one who is like on my team called

23:32

Henrik Fuglsang , and it's him

23:35

who sits and like puts it out on the

23:37

different streaming services . He's totally

23:39

crazy .

23:40

Yeah , that's him you should go to if you're going to put something on

23:42

Spotify .

23:42

I'm so glad he wants me in

23:44

his bag .

23:49

Because that's him you use right now , if you don't ? Because

23:51

before that you had a record company that distributes your stuff

23:53

and stuff like that . I think that might have been

23:56

difficult before he , for example , came up with

23:58

streaming channels , Isn't that ? Because the first two

24:01

records you make at your own company , do you have

24:03

to go out and distribute them yourself ?

24:04

Yeah , but we have . We have a distribution

24:07

agreement with Playground at that time .

24:08

Okay , okay .

24:09

So we're not standing , but we're standing for printing

24:12

in Germany , as we were then , and

24:15

all that cover art and all that which

24:18

has become a lot cheaper .

24:20

It's become a little different and Henrik

24:22

is really good at translating it into the

24:24

right playlists and things like that .

24:26

But to book myself there's , maybe

24:28

I'm not

24:30

brave enough .

24:32

There is a lack of that , yes , where

24:34

I'm maybe brave enough on

24:38

my feelings and my musical direction .

24:40

So it's

24:43

about me having to book myself . That's the hard part . So

24:46

I have to find a booker .

24:47

Yes , I can understand that . But I think you're

24:49

brave enough that the choices you've made by saying I want this , I can understand that . But I think you're brave

24:51

in that the choices you've made to say I want this , I don't want to be

24:53

on the first record because you don't want what I want

24:55

, I want the next and now I want to make it myself and I don't want

24:57

to be with those you actually

25:00

made the first record with . You really make some

25:02

hard choices , I think . As a 26-year-old , I

25:05

think that's quite impressive . But I can

25:07

understand that it can be difficult to call and say

25:09

that they want to book you .

25:12

Yes , that's completely on you . So

25:14

there are some things where I feel like I'm

25:16

coming to a dead end and

25:19

it's okay that . I

25:21

don't know everything .

25:22

Yes that's how it is . Are

25:25

there any family restrictions ? You told me before

25:27

that your girlfriend , who you

25:29

have been with For seven years now .

25:31

Yes , we have some children that we have

25:33

made together . You have some children .

25:35

Both on the cross and across . There is also some that

25:37

needs to be coordinated .

25:38

Yes , but that's how it is .

25:40

Yes .

25:43

I have been a musician All my life , yes , so

25:45

it's just a part of my life . Yes

25:47

, and then we find out when it or you of

25:49

my life , and then we find out when it culminates , or you know it doesn't

25:51

culminate . That's a wrong word but

25:54

when I'm out playing or something , then you find out .

25:55

Yes , and how do you

25:58

try to impress the children with music ?

26:00

Well , I try

26:02

to play everything I

26:04

can like , yes , but I would also say

26:06

that they have a lot of their

26:09

own music taste .

26:11

Yes , on TikTok or something .

26:13

No , no , they're not old enough yet . But for

26:15

example , my son , he loves , for example , pt

26:17

Enya

26:22

with Sail Away . Wow , and

26:25

it's not because it's one that I've played for him , no

26:27

, no , he heard it somewhere and

26:29

just thought it was weird . Yes

26:39

, no , no . I also think you should give your children freedom

26:41

. I would never force him to go to

26:43

something or

26:57

get him . Should you be a

26:59

musician ?

26:59

No , no , no , I could never think of that . No

27:01

, that's not what I'm thinking about . It's

27:04

more about discovering the music and

27:06

the love that both you and I have for music . I

27:09

haven't tried to praise my children , but I've tried that there was music

27:11

and it was the actual things instead of it , som både du og jeg har

27:13

til musik , har jeg da prøvet ?

27:13

jeg har ikke prøvet at præge mine børn , men jeg har da prøvet , at der var

27:15

musik og det var tilgængeligt , tingene I stedet for . Altså

27:20

, vi hører meget forskellig

27:22

musik derhjemme Og

27:25

min kæreste , han er virkelig

27:27

sådan en altså 70'er

27:29

rock folk , så det er noget rock folk . So

27:31

it's something completely different , right ? Yes , where it's well

27:33

, he's not alone , he's all

27:36

kinds of people .

27:37

But there's a lot of music .

27:38

Yes , so I think also , at some point it's a

27:40

bit of a difference and as I can also

27:42

feel from my older brother , that

27:45

You've been deprived of your older brother . There's something coming

27:47

in right .

27:48

Yes , and you had parents who played . You get into something . Yes

27:50

, and you had parents who played as well , so you have

27:52

also been deprived of a certain degree of freedom

27:54

.

27:55

But they have never said that I should

27:57

have tried to press myself in a musical

27:59

direction .

28:00

No .

28:01

And I think that in reality , in relation to

28:03

children and

28:06

to be a musician , where you can say

28:09

there is a big difference in the idea

28:11

of what it is to be on a stage , skulle være musiker hvor man kan sige der er stor forskel

28:13

på ideen om hvad det er at stå på en scene og så rent faktisk

28:15

leve det liv som der følger

28:18

med og skulle stå på den scene . Og

28:20

det skal simpelthen komme indenfra .

28:23

Og det skal jo være lyst .

28:25

Det kan man ikke sige nu skal du . Altså , jeg

28:28

får helt kriller hvis det er . I get

28:30

goosebumps when someone says

28:32

you have to be a star .

28:34

Stop , stop , stop .

28:37

They have to grow up to find out If they want

28:40

to be on a stage .

28:41

Yes , I agree , I have never pressed my children to do anything . I

28:43

have tried to help them if I could when

28:45

they were interested and then give them access

28:48

. For example , if you were interested in a

28:50

drum set , then it would be nice to have a drum set in

28:52

the house . Absolutely , that's what

28:54

I think is very , very funny .

28:55

You also have to say , hey

28:57

, try this one , my

28:59

old trumpet . It's funny , but I could never

29:02

find a way to force it . No

29:04

, it's great . And just like you say

29:06

that there also

29:08

has to be a painting thing or all sorts of

29:10

other things so you can develop yourself

29:12

. My son , he also sits and finds

29:14

small songs .

29:15

Yes , that's right .

29:18

But I could never find a way to press

29:20

him to that .

29:20

We have to finish this so we can send it in to someone . Yes

29:22

, we have to go to Melodik og Brik tomorrow .

29:25

It has to come from yourself . But

29:27

in reality , I think with that and I think that's also

29:30

because it's something I've had a lot

29:32

of joy in is

29:34

that you hear a lot of different music and

29:36

that still inspires me in every way . I

29:45

can remember , when I was in high

29:47

school , my world was opened to soundtracks , and that

29:49

has been . You may not be able to hear it in

29:51

my music , but it has really been a great source

29:53

of inspiration for me without singing . Yes

29:57

, I think it started with Hans Zimmer

30:00

.

30:00

Yes .

30:04

And then I got a

30:06

huge love for Thomas

30:08

Newman and that

30:10

very emotional way to convey feelings

30:12

. It's been a huge inspiration for me .

30:18

Yes , have you used it more in jazz ?

30:19

than in R&B . No , but I've also used it

30:21

, maybe for when you're out for a walk to

30:24

listen to something because it's very emotional , but

30:26

without being told what

30:29

I should feel through text .

30:32

It opens up some things your head when you walk , I think

30:34

that's also special with

30:36

instrumental music . It can do something .

30:38

And it also applies to classical music . It

30:42

has , maybe not directly , but

30:45

inspired many of my chords

30:47

which I'm finding on

30:49

Some French romanticists like Satie and Debussy and such piano accords som jeg sidder og finder på , altså sådan nogle

30:51

franske romantikere som Satie , debussy

30:55

og sådan nogle

30:57

klavermennesker tilbage fra

30:59

over 100 år siden .

31:01

Er det fra forældrene her ?

31:03

Ja , det er også fra mine forældre , men

31:06

så

31:08

den der med ligesom at åbne op og ikke

31:10

være lukket , det

31:12

er I hvert fald noget so that thing about opening up and not being closed . That's something that Closed about one genre that's

31:14

what I like , so I don't hear anything else , I

31:17

try to pass that on .

31:19

I can understand that you should . How is

31:21

it , karen , with the old songs , show Me You're

31:24

my man and all those things Do

31:26

they play when you go around and play jazz ?

31:27

No , I don't think so . It's clear . You know the artists

31:30

they have . You have to go around and play jazz too . No , I don't think so . It's clear . You know artists

31:32

, right ? No , no , they've sampled Show me you're a man

31:34

to one of their songs .

31:36

No , I've never heard that . Oh how cool .

31:37

Yes , I mean , I

31:39

had it like this when I was 20 years old

31:41

. Yes , I had a 20-year anniversary

31:44

on my debut album some alarm around you . And

31:46

then Corona came , and then nothing happened . It was the one who got

31:48

me to steal something .

31:49

Can you remember that ?

31:54

Did you ?

31:54

steal it ? No , I didn't steal it . I stole

31:56

it on B3 , where you had done it live once . Can

31:59

you remember that ? With Funk Show

32:01

?

32:01

Yeah , and that version

32:03

I can remember . It

32:05

was a version where we got the chain

32:07

together with . Dansorkester

32:10

and it came back to me A

32:12

fucking cool version when we had

32:14

made Hold Der Langt Væk fra mig instead of . So

32:17

it was really pointing fingers up in your

32:19

face , but Dansorkester

32:22

didn't want it to come out , so

32:27

I think it became a bootleg CD that was played

32:29

all over Denmark .

32:31

It was in B3's archive while

32:34

I was at B3 . I thought , ah , it

32:38

was in Funkshow , so

32:41

I stole it .

32:41

I can remember that

32:44

we would like to give it away , but

32:46

the Danish orchestra wouldn't .

32:48

I can remember sending it to you .

32:51

It's many years ago , so it's your fault

32:53

.

32:53

I have stolen the only

32:55

time I have stolen .

32:57

You have given .

32:59

Thank you . I want to take that with me , but

33:04

they should not be used anymore . The songs Are you taking

33:06

a distance from them today ?

33:08

I am mega proud of everything . I have done , I

33:10

am not taking a distance from mega proud of everything

33:12

I've done .

33:13

I'm not at all away from it .

33:14

I mean , I'm not at all away from it but I I have

33:17

it mega good with these songs but is it

33:20

because they're done , when they're done and come out and I

33:23

mean it is in a

33:25

way , I have a lot of trouble not giving up on

33:27

the song and it's a little weird when I sometimes hear something slip

33:29

på sangen Og det er lidt mærkeligt når jeg nogle gange hører noget . Altså

33:31

, der kan jo gå mange , mange år imellem at jeg hører noget

33:33

af det jeg har lavet , hvor jeg , når jeg så hører

33:35

det , så tænker jeg Gud , har jeg også skrevet

33:38

det der ?

33:39

Man kan godt bli overrasket over det .

33:41

Altså hvor jeg slet ikke kan huske det Eller

33:52

et eller andet . Nej , men jeg tror

33:54

mere , at det er jo en anden tid . På en eller anden måde , Jeg

33:56

er også 24 år yngre . Men

33:59

det er jo en del af din historie , det er totalt meget

34:01

en del af min historie som jeg også er rigtig stolt

34:03

af , Og

34:05

så har jeg jo også skrevet rigtig meget musik der ikke er kommet

34:08

ud , Det kan man sige a lot of music that

34:10

hasn't come out , and that can be said . It's one of the things where

34:12

the music industry really has changed , and that is that

34:15

there was an enormous

34:17

strategy in when things

34:19

came out , how it came out , who you

34:21

featured on or not featured on , and I

34:23

said like no to everything

34:26

. The first year Okay , there

34:28

was , I got offers from A

34:30

lot of rappers . To say when it came out If

34:32

I didn't want to sing a song when I said I don't want to

34:34

. I only sing what I sing . I don't

34:36

want to sing your feelings , I want to

34:38

sing my feelings .

34:39

Yeah .

34:39

I don't want to be your lady

34:42

who's standing at the side . No , I'm standing here alone

34:44

and I'm fine with that . Yeah

34:46

, but I've also written a lot of things

34:48

that have been held , because

34:51

it would fit with the next album

34:53

, where

34:55

today , you just send out everything single . And

35:00

sometimes I can be a little sad that there

35:02

are some songs that were really good but

35:04

didn't come out .

35:05

That never got finished or didn't come out at least .

35:07

There's actually a special song that I

35:09

made with Rune RK . There's

35:12

actually a special song I made

35:14

with Rune RK it must have been 10-11 songs when

35:18

we knew this was the bomb and

35:22

he wanted to put it on his record and I was like

35:24

I want to save it for my next record . And

35:27

I was also offered when

35:30

they heard it Can we make it into a duet ? I

35:32

can sing . You know I had it like that's

35:34

my number . We

35:36

all know we're sitting here with some gold and

35:40

when I came out with the record , which

35:43

was probably in 2014 or something

35:45

, we couldn't get it to

35:47

fit in because it was a four to the bottom

35:49

. We tried to make it fit in , but it lost its

35:52

soul man ikke få den til at passe ind på

35:54

, fordi den havde , altså det var et fire

35:57

til gulvet . Ja , ja , Og vi prøvede at lave det

35:59

om så det passede mere ind , men så tabte det liksom

36:01

sin sjel , og så er det aldrig kommet ud , og det , hvis det havde

36:03

været I dag . Så er man jo bare

36:06

sindssygt .

36:07

Jeg skulle også sige er sted

36:09

med det ikke , it's a bit like a control and it annoys

36:11

me a little now . So it's actually both a strength

36:13

and a weakness . Yes

36:17

, in relation to that number .

36:18

Yes , in relation to that number when

36:20

I might have been a little more equal .

36:23

But isn't that something you discover when you get a little older

36:25

?

36:26

Yes , but

36:28

it has also changed a lot how you

36:30

express music .

36:31

And quite crazy . There has to be something constant and

36:35

it has to be all the time and you have to have

36:37

16 different features

36:40

on . It's

36:42

crazy . My big brother is making

36:45

R&B today , hip-hop R&B . They're

36:48

collabing across and sending

36:51

something out constantly

36:53

. There's something out all the time and then

36:55

they use that . Now

36:57

you're saying were it unknown artists

36:59

that did it ? They use it to

37:01

take their songs from 20

37:03

years ago . It's pretty insane to hear . At

37:05

that age you think what

37:09

the hell is going on now .

37:10

It just came out three days ago .

37:11

It's all new you have what the hell is going on now ? It just came out three days ago . It was brand

37:14

new . Now you have to stop . Yes , time goes by a little

37:16

too fast . Yes , but it's pretty

37:18

crazy , I think .

37:19

So you could say it made more sense that

37:21

time that when you came

37:23

out with an album there

37:26

were huge rebounds and it was completely

37:29

thought through because it was so insanely expensive

37:31

to give .

37:32

Yes , and also because you bought an album To listen to the whole album , and

37:35

that's not what you do today . Now you have a playlist with

37:37

the best songs . That's

37:39

also what Henrik Fuglesang is doing . When

37:41

you have a song , then

37:44

it has to fit on this playlist or on this

37:46

playlist . So it's much

37:48

more . It's a completely

37:50

different way To release music today , but of course

37:52

it's a whole other way of producing music today , but

37:54

it's of course also become easier .

37:56

It's become a lot easier , and that's cool .

37:59

But has it become harder to promote ?

38:03

You don't have a big company behind you no

38:05

, but there have been other ways

38:08

. You could say and that's cool , that

38:11

things can live their own lives

38:13

. Sometimes it can also

38:15

wonder me if you see a name you've never

38:17

seen before , that they're playing in Copenhagen , but it's

38:19

sold out , so they're playing extra concerts , Even

38:22

though it hasn't been promoted

38:24

and doesn't have a

38:26

huge marketing apparatus behind it

38:28

, then

38:31

it's obviously found its way out to a lot of

38:33

listeners , and I assume that it must be

38:35

via social media or a

38:37

streaming service , right ?

38:38

I think it is , I mean , absolutely insane , because

38:40

I've been to several concerts now because

38:42

my son is playing with me where I've

38:44

never heard about artists , but there's

38:46

a full Vega and

38:48

there are two concerts sold out . I mean , you just

38:50

think it must be the

38:53

way people listen to music today via Spotify

38:55

, tiktok , and how

38:58

you follow the artists .

38:59

There's one thing , because , apart from

39:01

being an outstanding and

39:04

sharp artist , I'm also a

39:06

radio host . I've been on P8 Jazz and

39:08

was on P3 , which started in

39:10

2001 . You made Hip Hop

39:12

R&B with Shirley right , yes , I

39:14

did , karna Shirley Honey Crook .

39:16

Yes , that's right On .

39:17

P3 . The first program

39:20

of that kind on P3 . Yes

39:25

, but

39:29

now I'm on P8 Jazz and make a solo program called Shell once a month , and before that I did regular jazz radio . And it was like when

39:31

I started doing solprogram som hedder Sjæl en gang om ugen , og før det lavede jeg almindelig jazzradio . Og det var jo kvæg at jeg begyndte at lave jazz . Så

39:34

havde det sådan okay , lad mig finde ud af hvad det her

39:36

det går ud på , og

39:39

blev ligesom forelsket . Den genre , og

39:45

det var det jeg lavede der and keep

39:47

being curious . I mean

39:50

, can the streaming services both help you with

39:52

? But at the same time it also

39:54

comes to a short term , because

39:57

sometimes I get a little irritated because I

39:59

use streaming services so much . So

40:03

it would like to give me something of what I've

40:06

already heard .

40:07

There's some artificial intelligence that comes to tell you what

40:10

your interest is .

40:13

And that's cool enough

40:16

, but it just looks like

40:18

each other .

40:18

Yes , exactly .

40:21

And there you can say it's all that

40:24

with radio and

40:26

it's dead and there's no one listening to it . But

40:28

one of the things that's cool about producing

40:32

music in that way is that it's

40:35

curated by a

40:37

person , so there's something that can come

40:39

behind you . So that's why I get a lot of my I

40:41

mean half of the new music I experience . I experience

40:44

it through not only Danish

40:46

radio stations but also foreign radio stations , where

40:49

there's someone who says listen to this . It sounds completely

40:51

crazy , it's different Spotify

40:53

or iTunes or whoever it is

40:56

. You listen to Tidal ? Never once

40:58

have they suggested it , no , exactly . But now you're

41:00

experiencing it here , because there are people who are saying it

41:02

yes , but that's the problem .

41:03

When I listen to music and have to buy music . There's a website I buy records

41:05

on today , but it suggests other høremusik og

41:07

skal købe musik . Det er jo at

41:09

så er der en side jeg køber plader på I dag

41:11

, men den foreslår så nogle andre ting . Jeg skal virkelig

41:13

sætte mig meget ind I det for at finde musikken

41:16

, hvor man I gamle dage kom I en pladeforretning eller

41:18

et eller andet og sagde hvad er der ? Og

41:23

så blev du spillet for

41:25

noget og så wow , hvad ?

41:26

er det der .

41:26

I've been looking a lot to find music that

41:28

sounds great .

41:29

Yes , but I can also see everything . It's

41:32

because I both use music . My son listens

41:34

to music on my

41:36

profiles . I listen to music myself . I also use

41:38

it when I make radio and

41:40

so on . So it's enormously

41:43

different music You're being proposed . Yes , but

41:45

at the same time , because I also use

41:47

it to find all kinds of

41:50

soul numbers

41:52

. Because I also use it to find all kinds of soul numbers

41:55

, then it becomes , as I can see it's

41:57

a lot of what . I've liked or put in a playlist or something I should remember or something

41:59

like that and you have

42:01

to use some time , you

42:04

have to study , because

42:06

an algorithm can never do that for you .

42:09

No , and it doesn't take away the feelings that

42:12

maybe a song has made that has chosen another song . It's not necessarily

42:14

the same feelings that it brings to you .

42:15

So it's a difficult challenge , or

42:17

whatever you want to say because , it's also super cool

42:20

that it's so accessible .

42:21

Well , that's what you have to say . I'm totally crazy about

42:28

how accessible it music . I don't

42:30

think so .

42:30

So I had actually considered if I simply

42:33

should delete it all

42:35

to start

42:37

over . So the algorithm

42:40

. But

42:42

I just have so many playlists that would be a

42:44

little sad .

42:45

Can't you make a new playlist , a new

42:47

profile ?

42:49

I'm just going to investigate a little .

42:51

I had considered it .

42:51

What's going ? Going to investigate a little , but I had to consider it . What's going to happen in

42:53

the future ?

42:54

Karen .

42:55

Well , I'm going to make my next record

42:57

. Yeah , and that's jazz .

43:00

And are you starting to write ?

43:01

I'm starting to write . Yeah , and

43:04

hopefully soon I'll be recording . Yeah , I'm

43:07

just going to have to gather those jazz musicians

43:10

.

43:10

That could be a bit . Yes , we can , and of course

43:12

, as you said before , it's a different way of making music

43:14

than sitting alone .

43:15

We should all do it at the

43:17

same time and we should also practice

43:20

.

43:20

Yes , it's a big process , right .

43:25

But it's also a

43:27

lot of . It's a lot of

43:29

. What can I say ? There's a lot of preparation

43:32

, but when you're in the studio

43:34

. As

43:37

I've also been out of it before

43:39

. It's a long process where you sit in the studio where

43:42

you both record and write the music in the same place , where

43:44

you've made more electronic music , where this

43:46

is , it's

43:50

now that it's happening , so we really have to be

43:52

well prepared when we get in .

43:54

There's some practice behind it . It's not like you just slip and

43:56

clip when you're there . It's the same way as when you've spent half a year in a studio

43:58

where you've been playing with things . Every time slætter og klipper det er når det er . Altså på

44:00

samme måde som når du har brugt et halvår I et studio hvor man har siddet and leit med ting hver

44:02

gang , ja , og kan gå ind og ta verset om eller

44:04

lægge noget kor eller sådan noget . Sådan fungerer

44:06

den måde at inspille Og sidder

44:09

du og skriver det hele , men

44:13

får musikerne noget at

44:15

sige . I det her Are you used to being on the stage

44:17

and producing ?

44:18

It's because I'm not a jazz

44:20

pianist . So you could say that I

44:22

produce a

44:25

demo from the fact

44:27

that I'm not a pianist .

44:28

So you're still making that on the computer .

44:31

Yes , I'm still making that on the computer and

44:37

then I pass it on to some and

44:39

they're really good at it . The

44:41

jazz musicians are insane also because

44:44

they're so full of music . I

44:46

think it's the ones who make the most money of

44:48

all the musicians , because they're just so crazy

44:51

at what they can do and they practice

44:53

and there's so much improvisation

44:56

in the jazz . It's just they're

44:58

so good in jazz , which is just

45:00

so good . So

45:04

of course I go there and my pianist

45:06

says I've written this and

45:08

then he can follow it out

45:10

, and then we sit and talk about the chords and so

45:12

on . No , that shouldn't be it . It should

45:14

be something else .

45:16

So you're still in the process .

45:18

Yes , yes , I would never ever be able to

45:20

get rid of that . No .

45:22

It doesn't sound like that in any case

45:24

, no , in all your history . No , I

45:27

think it's very nice that you've been so decisive in everything

45:29

. I really like that .

45:32

Yes , but that's also the only way to

45:34

live .

45:34

I think , yes , you're right , but I think it's

45:36

just so often you can get I think

45:38

it's easy to go along with something

45:41

when you're

45:43

in it , and especially with the success you've had . Then

45:46

it can be easy to say we're going to go this way again

45:48

because there's more to it , yeah , yeah

45:51

, no it's . Or have you taken some

45:53

proper sprints there ? I ?

45:54

think I have .

45:55

Yeah , that's great Thanks . That's

45:57

a Thanks . That's really cool

46:01

. And you said before you went out to play , now when

46:03

a record comes out , you

46:05

have to go out and present this record right .

46:07

I have to . I have to have found

46:09

a booker for that , but

46:11

I'm also in doubt if it should be a Danish booker in reality

46:14

.

46:14

Yes , Because it could well be something foreign

46:16

Helle .

46:17

Yes , it could be . So I'm a little in limbo

46:19

. So if there are some listeners who have some good ideas

46:21

, then If there's a good booker who can book

46:23

something in the whole world . A cool jazz booker who

46:25

can book in the whole world .

46:27

Yes , then it's now yes .

46:29

Yes , so that's it , and how far

46:31

are ? You , I'm

46:34

like halfway

46:37

. I always find songs , so I also

46:39

have to separate

46:41

the words from the books , because otherwise

46:44

it would be up to 100 songs

46:46

.

46:46

So you have a lot of songs when you choose to

46:48

sing . No , I just have ideas . I

46:50

get ideas every single day .

46:52

I get ideas for a melody

46:54

stump or a piano hall

46:57

or an intro or something .

46:59

I have to .

46:59

And that's

47:02

something I've practiced all my life , and that's

47:04

focusing instead of letting myself

47:07

be driven by something I've just found .

47:10

Yes , so you have a master plan . Well

47:14

, not quite yet , but no , no , it sounds like you've had it all the

47:16

time because

47:19

you've been so focused on

47:22

what you want . I'm not , can't compromise . No

47:25

, that I can't either . That's very cool that

47:27

I can't do that actually I

47:29

can't . But I also mean it's hard to pull a place . You

47:31

don't want , yes , but I don't want to no . No

47:34

, I don't want to .

47:37

No , I don't , course . Also , I have been

47:39

. Now there has also been talk

47:42

about there has been a lot with

47:44

women in the music industry and so on . Blah , blah

47:46

, blah , female producers or not , blah

47:49

, blah , blah . It's wildly important . Yeah , it's super

47:51

important and all that and all that part I have

47:53

also been a part of and also

47:55

put under for , under , for , can you say ? In the form

47:58

of that . There were really many who thought that

48:00

I couldn't do anything other than

48:02

to shake my ass .

48:03

Yes .

48:03

And and that and that and that and that and that

48:05

and that and that and that and that and that and that and that and

48:14

that and that , what I can and

48:17

what I can't . It

48:19

has always been important

48:22

to me because the music industry

48:24

is not a place you lean back into

48:26

and say now it's just running and

48:29

the pension order it

48:31

just rolls . It's just

48:33

another lifestyle . So if you don't have

48:36

yourself with you and you have

48:38

to , that's what I wanted to say before . There are

48:40

a lot of people who would tell me what

48:43

they think I should do and how I should look and

48:45

how I should sound and all sorts of things . But

48:48

it's not because of the money

48:51

, it's not because of fame , it's

48:55

one's self that's standing back to the end . It's

48:58

a compromise , not

49:00

only for artists

49:02

but also for everything else

49:04

in the music industry .

49:06

That it's just as happy

49:09

If you don't have yourself with

49:12

you all the way , then you don't

49:14

have anything .

49:15

So therefore it has always been very important

49:18

for me that as long as it feels right

49:20

, then I just shouldn't be there . No , Because

49:23

then I wouldn't have anything left ?

49:25

No , no , exactly that I can understand

49:27

. I think so . Is it because you're 25

49:29

years old when you get in ? Often

49:31

it's yes , you get caught a little

49:34

younger in it and then it can be a little difficult to think , ah

49:37

, now I'll do this because I really want to do

49:39

this .

49:39

I was involved with the record industry when

49:41

I was 16 years old and

49:44

I said no that time . And

49:47

I'm sure that if it was that I had

49:50

said yes to

49:52

signing that time , then

49:54

I would have been more modellable . So

49:58

that's why I'm really happy to be able

50:00

to look back and say that

50:02

was the right thing to do .

50:05

And I said no .

50:05

And there was also a bad feeling in my stomach , and

50:07

that was also because there was someone who said that

50:10

he thought I would be a pain in the ass with long hair . I

50:12

was like I'm going out of here

50:14

.

50:16

Did your parents help you at that time or

50:18

were you all alone with it ? Yes , had you helped your parents at the time or were you all alone ?

50:19

with it . Yes

50:23

, they

50:26

backed me up in fulfilling my dreams

50:29

. But

50:32

I would say , before I came out with my

50:35

debut album , I had really worked hard to find the right

50:37

partners and all that , but

50:40

I was in Miss Saigon , at Østergatsvær . All that , yes , but I was in Miss

50:42

Saigon . Prøster Gasvægt Theater .

50:44

Yes .

50:46

And there were my parents in and saw me and

50:49

knew well that there

50:51

was a circus in the way .

50:53

Yes , that was the way it went .

50:55

But it was actually first , when I won my first DMA

50:57

, that my father stopped me from

50:59

saying when are

51:01

you going to go to university ? When are you

51:03

going to have the right job when I first got my first DMA

51:05

, my father stopped saying when are you going to university

51:08

, when are you going to have a real job ? And

51:10

I come from one where both my siblings I have

51:12

a little sister and my parents , who

51:19

are theologians , both of them are priests .

51:20

I come from that kind of family where you've

51:22

gotten a university degree , where you've done something right

51:25

instead of it being music

51:27

, but they've never ever criticized it or

51:29

been pushed in some places .

51:30

I think the most important thing

51:32

has been that you're

51:34

happy with what you're doing , and then it was

51:36

also great for them going from seeing

51:38

that I actually succeeded with it .

51:41

Yes , I just think that seeing your children succeed and be happy , that's what we all go

51:43

after , isn't it ?

51:45

And I think that's what our parents have tried

51:47

, yes , so no matter what you find

51:49

out , because you can see your children thrive

51:51

and that they are

51:53

recognized , no matter what they do , for what they can

51:56

.

51:56

Yes , I agree , I always say just

51:58

because my children are happy , then

52:00

they must do it , they must behave . Yes , I agree

52:02

, I always say that my children are happy , so they

52:04

have to do what they want . The important

52:07

thing is that they are happy for it . Last

52:14

time I asked everyone what

52:16

they going to happen to their funeral

52:18

and the reason I just

52:20

said at the start it was actually a funeral

52:22

. You comforted me to yes .

52:27

And I can actually remember that .

52:29

I was completely excited and it's insane

52:31

. These days it's

52:34

first in the car on the way home

52:37

, you and me driving , that

52:39

it goes up for me that it's you who's sitting there . So

52:42

bad , I have it .

52:43

I'm so sad about it .

52:46

I just thought it's actually funny because you were so cute

52:48

to hold me in your hand . I sat between you and Le . I remember

52:51

I was so proud of the

52:53

team we were in . It was awful . I

52:58

just thought it's the first time I get out of the

53:00

car and we're talking and you're sitting in

53:02

front of me and I'm looking in the back window . It's

53:05

just the car . I'm sitting next to the whole

53:07

funeral . So

53:10

thank you for comforting me that day .

53:12

You're welcome . You're welcome . I hope

53:14

it doesn't happen . I hope it doesn't happen . No , I hope not

53:16

.

53:19

Are you going to play music for your funeral , and

53:22

have you ever thought about what it could possibly ?

53:23

be , I will undoubtedly

53:25

play music . It's

53:29

hard for me to say , despite the fact

53:31

that I'm a priestess and have been

53:33

to church a lot , when both of your parents are priests . You've

53:36

been sitting a lot on their weekends

53:38

.

53:40

That's what you've used your weekends for , and

53:43

then on a disco tour ? Yes , exactly .

53:46

So I have , of course , some psalms which

53:49

I think are extra beautiful and

53:52

also dramatic . Some of them I

53:57

can very well like Cielo . Yes

53:59

, I would think it would be beautiful if there was something Cielo

54:01

I can do that too , and I don't want to

54:03

have . It

54:06

would be fantastic to have a whole string quartet

54:08

, but I would

54:10

rather have live music and it's not something

54:12

that's recorded . That's played in some

54:14

speakers . Yes , because I

54:16

think that's the best , and

54:19

it's quite special with graves . I've

54:21

sung to several graves . Yes , how is that

54:23

?

54:23

Well , it's .

54:30

It's wild to do that , and I would

54:32

say , the times I've sung

54:34

there haven't been anyone I've known . It's someone

54:36

who's asked me about it , okay , so

54:39

that's why I can , of course , get it at

54:41

a certain distance . You're

54:44

, of course , always wildly touched by the reaction

54:46

.

54:47

It doesn't matter if . I know people or not . I can't

54:49

just sit there .

54:51

But just because if there's been someone who really

54:53

liked what I did or

54:56

had a special childhood song or something , then

54:59

it just gives so much good meaning . I

55:02

mean , it's not many times I've done it right ?

55:03

No , no but .

55:04

I can also remember that I was in Afghanistan

55:06

and singing for the troops . That time I

55:11

was in a DR program where

55:14

I sang a song down there , mad

55:17

World yes , and

55:20

afterwards there were several

55:22

of the soldiers who were down there who asked

55:24

if they could write me in their

55:26

I don't know what

55:28

it's called . They have some papers . What

55:30

will happen if ?

55:31

I die yes .

55:32

And I just had to say yes , of course I

55:34

would like to come , and sing that song , so it's risky

55:36

.

55:38

There's a real tour here in

55:40

the next year . I really hope so . No , I really hope so either .

55:44

But there's something I

55:47

mean . It's really sad , but

55:50

when people have asked me about it it's

55:55

not often , but it has given meaning and

55:58

of course it's not because I'm just going to sing to

56:00

a thousand millions of people . No , no , there

56:02

has , of course been some form of personal relationship

56:05

, but

56:09

it's just given meaning , so

56:12

that's why I think it should be . I

56:15

don't think I want anyone to come and sing a

56:17

song , but I would love it to

56:19

be .

56:20

Live that there were some who played something . Yes , that

56:23

gave meaning .

56:23

Yes .

56:24

Fantastic Karen . Thank

56:27

you so much for being here .

56:27

Thank you for letting me come here and be part of your

56:30

program .

56:30

Yes , that was so nice . Thank

56:34

you for listening to this week's Museo Lokale

56:36

podcast Music my drug

56:38

. I

56:41

hope you have enjoyed the music's fascinating universe and found inspiration for your own musical

56:43

journey . If you want to listen to

56:45

today's guest list over youth songs , you

56:48

can find the list on Museo Lokalt's Spotify

56:50

list on Spotify . I

56:53

look forward to exploring more aspects of the music's legacy in

56:55

the coming episodes . That can all be found on

56:57

Spotify and Podimo . So

56:59

until next time , let the music continue

57:01

to be your faithful guide . If

57:04

you don't want to hear good music and good sound

57:07

in the real world , you can find Museo

57:09

Lokal right under Natlub Museum in

57:11

Lille Kongensgade in the inner part of Copenhagen

57:13

.