But the thing is, they don’t know what they did. “What did I do?” Because to know, you also have to be an artist. You have to realize what a good song is. And if you can’t spot the trash, it’s hard to know what a good song is. And it’s time to help you become a master craftsman.
In the current model of pop composition, you have groups of authors, with separate roles as an assembly line – someone beats, another melodies. Is that good for music and good for songwriters?
For me, those songs have mostly become productions. No feeling, this is coming from someone’s heart. Take Elton John and Bernie Taupin, “Goodbye Yellow Brick Road”. It is not a product; That is something else. I like the people you feel this is the one who is sending this song to the people – you get some parts of them too.
I can hear that those pop songs sometimes have really good content, are unprofessional and sometimes very engaging. But they lack that character, I think.
Which musician do you like today?
Billie Eilish is interesting. And of course I also admire Taylor Swift. And Rihanna. I think that’s the whole package – how they evolved and how they got involved in composing and creating an art entity. I find that very interesting, much more interesting than the pop packs, Disney goods. [Laughs.]
Is it a coincidence that you mention all women?
I think it is. But perhaps subconsciously I choose women. Maybe because I was in the studio with two women not long ago.
Benny and I have written some new songs, and there will be some new ones from Abba released this fall. But I am forbidden to say anything more about it. I’m sorry. I told you everything, but I couldn’t. All I can say is that it was great on set because it was like yesterday. It was weird walking into that studio and the four of us looked at each other and thought, “What is this?” All back.