Marit Larsen on the Power of Nordic Pop Music and How to Cultivate a Cult Audience

Photo: Ingrid Pop

Marit Larsen is the hyper-talented Nordic pop heroine that many should-be fans in North America have yet to discover.

Marit Larsen

When the Morning Comes

Label: Warner Music Group

Norway has grasped something that most of North America has failed to realize so far. I am not just talking about universal healthcare, a fully multi-lingual society, and black metal. Norway acknowledges that one of their own native daughters, Marit Larsen, is one of the very finest pop songwriters, vocalists, and performers on the planet. From her delicate, haunting voice, to her bright, affective production, to her relentlessly catchy songwriting, Marit Larsen is the hyper-talented Nordic pop heroine that many should-be fans in North America have yet to discover.

Of course, Larsen’s success is not restricted to Norway. Much of East Asia has been carrying a torch for Larsen’s music since the early aughts when Larsen was one half of the teen pop juggernaut M2M. Pop fans in places like the Philippines, Singapore, and Malaysia continue to replay their well-worn M2M CDs and obsessively watch M2M’s Disney Channel Special on YouTube. On the streets of Manila or Kula Lumpur it is not uncommon to see young men and women pensively clutching copies of M2M’s Shades of Purple to their chests and gazing longingly to the Northwest in anticipation of Larsen’s return.

I had the pleasure catching up with Larsen recently to discuss her excellent new solo record When the Morning Comes, the undying international cult of M2M, and her future plans:

PopMatters: In 2006, I was teaching English at a high school in North-Central China. On the first day of class, one of my students stood up and asked if she could sing her favorite English language song. She preceded to sing an amazing version of M2M’s "Don’t Say You Love Me". That was back in 2006, but you still have a pretty devoted fanbase in Asia. The Philippines in particular appear to be a real hot spot for Marit Larsen fandom. Do you have any plans to continue developing your fanbase in Asia? How is touring and releasing music in places like the Philippines and Singapore different than in Europe or North America? How are audiences different?

Marit Larsen: That’s an amazing story. Some of my fondest memories from the M2M years were in South East Asia. My experience with releasing music in different countries has actually taught me more about our similarities than anything else. Music is a miraculous door-opener to friendship and connection. Due to being part of the restrictions and geo-blocking of the major label circus, I haven’t been able to maintain my relationships with my international listeners as well as I would have liked to. Now that I have my own record label all releases from 2016 and into the future will be available worldwide on the same day, at the same time. Watch out for new sounds in April.

PM: Your career has had a really interesting arc. At a very young age, you were part of a wildly popular group that was successful all over the world. Later, you experienced a lot of success in Norway as a solo artist, but not as much recognition outside of Norway, particularly in North America. Now, your new record is being released in the U.S. and you seem to be trying to make further inroads into the North American market. What would you like to accomplish with North American audiences? Would you like to tour extensively here, or mainly just have people in the U.S. and Canada hear and appreciate your records?

ML: It has indeed been an interesting experience. As an artist, in addition to creating this music, the most exciting thing is watching my songs travel and take on a life of their own. Wildly exciting, actually... I love the thought of being someone’s soundtrack -- be it for a day, a week or a decade. It’s an honor. Plans are in the works for a US tour in the fall of 2016, so as I always say, find me on Instagram and keep in touch.

PM: Back in the summer of 2002, I saw M2M open for Jewel at Red Rocks Amphitheatre in Colorado. Red Rocks is a pretty large venue, and you guys were pretty well received, but I got the impression that my brother and I were the only people there specifically to see M2M. What is it like performing for audiences that may not know your music? Is it an interesting challenge trying to win an audience over, or is it just stressful?

ML: You were there! This is one of those memories that give me chills and makes me chuckle at the same time. So much of what we experienced was completely lost on us, being so young and new to everything. We played freakin’ Red Rocks, one of the most amazing venues in the world; so much history. But we did know we were lucky to be there, and I felt like that tour was such a great match for us. In any case, being an opener is actually a pretty great thing. There is no real weight on your shoulders; you get to be the pleasant surprise or the new discovery, unless, of course, people walk away none the wiser. But it’s such a great way to sneak your way into people’s lives when the least expect it. And on those nights where you end up selling out your CD supply and people feel like you contributed something they didn't expect; it’s the best feeling in the world.

PM: Your new record When the Morning Comes just came out in the U.S. Were you trying to do anything artistically different with this record? Has your creative process stayed pretty much the same, or were you really trying to push your own creative boundaries with When the Morning Comes?

ML: I definitely pushed my own boundaries with this one. I have felt so intimidated, almost invaded, trying to invite people into my creative space earlier, but in the making of WTMC something just clicked. I met a few true artistic and musical soul mates and found myself being so endlessly curious what songs were still to be written, what was yet to come of these collaborations. I imagine people who start having children experience something similar to a certain degree: who haven’t we created yet?

PM: There is a definite perception in the United States that the Nordic countries (and Norway specifically) have exceptionally vibrant music scenes. Do you think that this is the case? How do you think your music fits into the Norwegian music scene? Is there a special tradition of musical creativity within Norwegian culture, or is this just a romantic idea that Americans have?

ML: This is a great time in Norwegian music. Since I’m so in the middle of it, it’s hard to observe us from the outside, but I do think the fact that we’re exposed to so much great music from all over the world in combination with having a really strong sense of being «all the way up north» and being legit outsiders allows for some pretty vibrant songwriting and artistic expression; the best of both, or two, worlds, if you will.

PM: Do you think that pop music has a special function or appeal to listeners that is unique from other genres? Do people get something out of listening to pop music that is different from, for instance, hip-hop or metal? Or is pop music simply entertainment? Why do you, as an artist, focus on writing pop songs instead of playing other forms of music?

ML: I firmly believe that pop music has the power to carry as much weight as any other genre -- and the phenomenon of the chorus, of trying to write something that invites you in right away but is intelligent enough that it decides to tickle your brain for a long time, is a craft and a science that I’m endlessly curious about. Pop music has changed my life many times already and continues to do so.

* * *

When the Morning Comes is out now in the United States and more new music from Marit Larsen appears to be on the way. It is just a matter of time before North America realizes what much of the rest of the world has known for some time: Marit Larsen is genuine pop royalty.

In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

Keep reading... Show less

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.

60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

Keep reading... Show less

This week on our games podcast, Nick and Eric talk about the joy and frustration of killing Nazis in Wolfenstein: The New Order.

This week, Nick and Eric talk about the joy and frustration of killing Nazis in Wolfenstein: The New Order.

Keep reading... Show less

Which is the draw, the art or the artist? Critic Rachel Corbett examines the intertwined lives of two artists of two different generations and nationalities who worked in two starkly different media.

Artist biographies written for a popular audience necessarily involve compromise. On the one hand, we are only interested in the lives of artists because we are intrigued, engaged, and moved by their work. The confrontation with a work of art is an uncanny experience. We are drawn to, enraptured and entranced by, absorbed in the contemplation of an object. Even the performative arts (music, theater, dance) have an objective quality to them. In watching a play, we are not simply watching people do things; we are attending to the play as a thing that is more than the collection of actions performed. The play seems to have an existence beyond the human endeavor that instantiates it. It is simultaneously more and less than human: more because it's superordinate to human action and less because it's a mere object, lacking the evident subjectivity we prize in the human being.

Keep reading... Show less

Gabin's Maigret lets everyone else emote, sometimes hysterically, until he vents his own anger in the final revelations.

France's most celebrated home-grown detective character is Georges Simenon's Inspector Jules Maigret, an aging Paris homicide detective who, phlegmatically and unflappably, tracks down murderers to their lairs at the center of the human heart. He's invariably icon-ified as a shadowy figure smoking an eternal pipe, less fancy than Sherlock Holmes' curvy calabash but getting the job done in its laconic, unpretentious, middle-class manner.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 All rights reserved.
Popmatters is wholly independently owned and operated.