Interview: Bernhoft

Bernhoft Image
Norwegian singer-songwriter Jarle Bernhoft, known as simply Bernhoft, has been on our collective radars since his 2011 viral YouTube hit, C’mon Talk, aired, now boasting over 4 million views. His soulful one-man renditions earned him a Grammy nomination in the R&B category for his third solo album, Islander, in 2015. Slow to label himself as just an R&B artist, Bernhoft has been reinvigorating the genre with his unique blend of sounds. Now touring with his band the Shudderbugs, Bernhoft will be performing at The Cedar on May 16th with opener Jonny P.
We chatted with Bernhoft to learn about his experiences in music.
Q: How did you start experimenting with looping and one-man performances?
A: It felt like a necessity more than a ‘woohoo, look at me’-type thing. I had a band, but they all resented getting up to do early morning promo. I thought of myself as kind, letting them off that hook, but it rendered them kind of obsolete, so so much for that kindness. Then it became cool to see how far I could push myself.
I must underline though, that I’m bringing a fabulous band with me to Minneapolis, the Shudderbugs, so it’ll be the first time people there can experience the songs with more meat to the bone than the one man flea circus I’ve travelled with before.
Q: What is the biggest difference you have found in your solo career compared to your past experiences as a member of a band?
A: I certainly enjoy more artistic freedom and control now. I’ve always been democratically aligned, but when burdened by dictatorship, I gladly dictate. Though sometimes I miss the musketeer attitude that comes with a band. That is truly something special.
Q: You have been identified by many as an R&B artist. Do you agree with that or would you describe your sound differently?
A: I’ve always had trouble defining the genre I’m in. When put to the spot, I’ve used tastes, colors and textures to describe my music, but I guess R&B is as good as any. I play the music, let someone else name it.
Q: How has your life and career changed since being nominated for a Grammy last year?
A: My life hasn’t changed at all, but my career might’ve though. I honestly don’t know, I’m not too good at gauging these things. I’m good at going with the flow, and terrible at deconstructing said flow.
Q: How would you compare the Norwegian music scene to the U.S. music scene?
A: Again something I’m not really good at, finding out what the scene is and where it’s at, haha. There is certainly a lot of buzz about Norwegian music right now, it seems we keep pumping out young tropical house maestros (and then shipping them all off to LA), but there is also a lot of confusion. The formats keeps throwing people up in a tizzy; Is the album still a thing? Is the guitar dead? Who gets what in a streaming economy? The physical format was dead a year ago, and suddenly it came soaring back. People are scratching their heads bald. But me, I love confusion.
Q: What is inspiring you right now?
A: I’ve just experienced two profound episodes of the Tim Ferris show with Joshua Waitzkin, and off the back of that I’ve read ‘Zen and the art of motorcycle maintenance’ by Robert Pirsig. Life-transforming stuff. And I get a kick out of playing piano these days. And I listen to Anderson.Paak in between. That’s my weeks at the moment.


While touring the world over the past few years — and captivating crowds with his stunning looping power as a one-man-band act — the Norwegian retro-soul singer/multi-instrumentalist, Bernhoft found his music taking on a whole new level of meaning. “On the last tour it was very strange for me to come from a country that’s incredibly well-off and unaffected by the recession, and then perform in places where a whole generation is out of work and there’s a real feeling of hopelessness,” says Bernhoft. “I felt like I was trying to reach out and lift people’s spirits, but at the same time I was always aware that I was very much in a separate place from them.” On his new album “Islander,” Bernhoft explores that disconnect by amping up his groove-laced soul elements with frenetic tension captured through deeper and richer sonic textures. His guitar riffs, piano chords, and lyrics on Islander, embrace both heartbreaking raw emotion of reality and soulful positivity. Escapist yet challenging, “Islander” emerges as an album that dares to reimagine what’s possible in pop music.

To record the follow-up to his critically-lauded sophomore album, “Solidarity Breaks,” Bernhoft took to another island locale; England’s Isle of Wight, home to the legendary music festival of the same name. “Isle of Wight is just a magical place, almost like a time machine that brings you back about 30 years,” says the singer, noting that the island’s distance from electronic-centric London culture helped to foster “Islander”‘s warm, organic feel. Working at Chale Abbey Studios (a vintage-equipment-packed facility converted from a former monastery), Bernhoft teamed up with producer Paul Butler — a member of beloved alt-rock band The Bees whose past production work includes releases by Michael Kiwanuka and Devendra Banhart.

Inspired by everything from Swedish pop to the trailblazing soul of Stevie Wonder and Sly Stone and the intricate folk-rock of Carole King, “Islander” begins by elegantly flaunting Bernhoft’s sweet, yet masterful, vocals on the lead single “Come Around.” “That song came to me while I was driving from San Francisco to L.A. and blasting the radio and just being reminded of what music can do to you, how much it can affect you,” says Bernhoft. From there the collection brings smooth, feel-good numbers like “Wind You Up” (a song whose kaleidoscope of rhythms includes Bernhoft’s deft beatboxing), “Everything Will Be Alright” (a funk masterpiece driven by slinky guitar riffs and vocal-group harmonies), “One Way Track” (a blissed-out dance track that blends disco beats and razor-sharp storytelling) and “No Us, No Them” (Bernhoft’s smoldering love-song duet with GRAMMY Award-winning R&B artist Jill Scott). “Islander” pushes deeper into emotional territory with the beautiful slow burn of “Don’t Let Me Go” (a guitar-drenched soul ballad) and the album-closing “I Believe in All the Things You Don’t” (a quietly stirring epic that warns against jaded cynicism with lines like “You cut your arms off at the elbows thinking all was lost/You couldn’t be more wrong”).

Describing himself as “still basking in a ’60s and ’70s sort of soundscape,” Bernhoft notes that he took a decidedly old-school approach to the recording of his new album. “We just went to the studio and belted it out for a solid month,” he says. “The vibe and the chemistry were so great that we just kept at it for long hours, which I think gave the songs a really cool intensity.” To that end, Bernhoft also snubbed in-studio perfectionism for a looser, rawer approach to performance. “There are lot of tools and technology that we chose not to use so that we’d have to limit ourselves to natural musicianship and musicality,” Bernhoft says. “Paul and I were very much in agreement that we’d much rather use a whole take and end up with a beautiful mistake than try to be perfect all the time.”

In 2008 Bernhoft made his solo debut with “Ceramik City Chronicles” (a love/hate homage to his native city of Oslo) and — in touring in support of the album — quickly garnered a reputation as a must-see live performer, ultimately scoring an opening slot for blues-rock legend Joe Cocker. In early 2011 he released “Solidarity Breaks,” featuring the beatbox-infused, acoustic-guitar-laced single “C’mon Talk” (whose video has earned more than 7.3 million views). The following year, Bernhoft continued his breakout success by nabbing the Best Artist and Best Male Artist of the Year awards at the 2012 Spellemannprisen (Norway’s equivalent of the Grammy Awards). And in 2013, the singer broke through in the U.S. by flooring audiences at SXSW, appearing on NPR’s “Weekend Edition,” and making his late-night-television debut on “CONAN.” Soon after his new found American success, Bernhoft signed with Paradigm Agency’s label Big Picnic Records here in the States.

“Solidarity Breaks” has now racked up more than a quarter-million sales worldwide, a feat largely accomplished on the strength of Bernhoft’s awe-inspiring live show. With Bernhoft wielding his loop station to weave in lush layers of harmony and magically reproducing the sound, feel, and energy of a complete band, his live performances proves to be both stunningly complex and beautifully simple in its emphasis on pure-hearted vocal performance. In building such an intensely intimate atmosphere onstage, Bernhoft envelopes his audiences in the same joyful mood that imbues the soul of “Islander.” “As I was writing for Islander a lot of the lyrics had references to boats and water and bridges,” says Bernhoft. “It’s almost like I was saying, ‘Hey, come on board, I’m gonna take you for a ride, and hopefully for the next hour you can forget about your troubles.’ That’s the kind of album I most want to make; one where the songs are in good spirits, and maybe they can help give you a new sense of hope.”