He lit up Europe with bands ranging from Peachfuzz to Kings of Convenience. But it was the Whitest Boy Alive that sent Erlend Øye stratospheric. As they return, the soft-singing, country-hopping sensation looks back
If you were to imagine the recent evolution of music in Europe as a series of scenes from a Where’s Wally?-style puzzle book, one bespectacled, lanky figure would pop up on almost every page. There he is in mid-90s London, handing out flyers for his first band Peachfuzz. Here he is in NME at the dawn of the new millennium, fronting folk duo Kings of Convenience and spearheading the new acoustic movement. There he is strumming his guitar in the vanguard of Norway’s “Bergen wave”. Then he’s off spinning records in Berlin nightclubs during the city’s “poor but sexy” post-millennial years. By the 2010s, he’s driving a renaissance of Italian chamber pop as part of La Comitiva, his bandmates hailing from the southern tip of Sicily.
It’s hard to think of a figure more musically cosmopolitan than Erlend Otre Øye, connecting the dots across a continent where national scenes rarely overlap – and making magic happen. No wonder his debut solo album, with 10 tracks recorded in 10 different cities, was called Unrest. Of all his reincarnations, though, the one that has best endured (if you go by Spotify) is his four-piece, The Whitest Boy Alive. And this spring and summer, they’re reuniting for a tour of South America and Europe to celebrate the 20th anniversary of Dreams, their debut album.
