Forty Years of Treat, Rock Resilience, and The Wild Card

Forty Years of Treat, Rock Resilience, and The Wild Card

From opening for Queen in a rain-soaked stadium to headlining melodic rock festivals across continents, Swedish rock veterans Treat have lived a life most bands only dream of. With their new album The Wild Card, guitarist and founding member Anders Wikström proves the band is far from finished—they’re just getting started on a new chapter.

In this exclusive interview, Anders reflects on four decades of music, the hunger behind their debut Scratch and Bite, the rebirth sparked by Coup De Grace, and the emotional depth of their latest release. Along the way, he shares stories of unexpected covers, surreal gigs, and the creative fire that keeps Treat roaring into the future.

First of all, you’ve got a new album coming out, The Wild Card. Is there any overall story or concept behind the title?
In a way, yes. Our last album was called The End Game, so a lot of people assumed it might be our final record. But we thought, “Hey, maybe we’ve got one more card up our sleeve.” That’s the wild card—though I’m joking a bit there. We came up with this Joker character who’s featured on the album cover, and we wanted the title to tie into him somehow. I threw out “The Wild Card,” and the rest of the band said, “Yeah, that’s cool—let’s go with it.” It’s simple, memorable, and very much a Treat-style title. While the title itself doesn’t have a long backstory, the album does carry a deeper narrative.

Let’s talk about a few of the songs and maybe we can uncover that story. Starting with the single, “Adam and Evil”—what inspired that one?
We chose “Adam and Evil” as the first release because it’s the opening chapter of the album’s story. The record is loosely autobiographical—it traces the band’s journey from the beginning to where we are now. “Adam and Evil” is rooted in my own childhood, when I first realized I wanted to be a musician. I grew up in a musical household, but I remember the exact moment I decided, “This is it—this is what I want to do.” The song reflects that turning point. The title plays on duality—me as Adam, and then Evil enters your life and you become a rock musician. That’s the simplified version, but it kicks off the album’s timeline.

One of my favorite tracks is “1985.” Tell me about that one.
The band actually started in 1983, but 1985 was the year we released our debut album, Scratch and Bite. That record really put us on the map in Scandinavia—it was our breakthrough, with a couple of hit singles. Robert and I, as founding members, wanted to revisit that pivotal year in a song. We’d never done that before, so we went all in—writing lyrics about 1985 and capturing the spirit of that time. I think we nailed it. The response has been amazing; people tell us it brings back memories of their own youth. So for once, we decided to go full circle—back to where it all began.

And the final track, “One Minute to Breathe”—what’s the story behind that one?
That one’s a bit different. It carries a serious, emotional message. It’s about loss—whether it’s a parent, a friend, or someone you love—and learning to celebrate the time you had together rather than mourn. As you get older, you start thinking about life’s purpose and the importance of cherishing every moment. We talk about that a lot in the band: making the most of the time we have, because one day we won’t be able to do this anymore. We’re incredibly grateful that we’re still making music and playing live after more than 40 years. That’s what “One Minute to Breathe” is really about—appreciation and presence.

Has Treat ever played in the States? Would you like to tour here in support of the new album?
We’ve actually been to the U.S. a few times. We headlined Melodic Rock Fest in Chicago a couple of years ago, and we’ve done the Monsters of Rock Cruise twice. That cruise starts in Miami and features a lot of American bands and fans, so it’s a great way to connect with the U.S. audience. Of course, we’d love to come back and play more shows here if the opportunity arises. Right now, we’re planning a pretty extensive tour for next year, hitting territories we haven’t visited in a while. Playing more in the States would definitely be a bucket-list item for us. It’d be amazing.

Let’s talk about a few anniversaries. First up: 15 years since Coup De Grace. Looking back, what does that album mean to you now?
I’m really proud of that record. I handled all the production myself, and honestly, I’m not sure I stayed sane through the year and a half it took to make—but it was worth it. We’d been away for a long time, and when we reunited in 2006, we played a bunch of shows and released the compilation Weapons of Choice. Then we said, “Either we make a new album or we call it quits.” Everyone was on board, but we knew it had to be good—really good. We owed that to the fans who’d stuck with us.

With Coup De Grace, I think we created a new audience and evolved our sound. We took things up a notch, and I’m proud of that. It’s still one of my favorite records. It has great songs, and even though it was a labor of love, it paid off. Fans still cherish it and often say it’s one of our best.

In 2005, In Flames covered your song “World of Promises” on their album Clayman. Have you heard it, and what did you think?
Yeah, I’ve heard it. I actually spoke with the guys in the band about it—I met the singer once and we talked. I didn’t know they were planning to cover it until someone told me afterward. But I’m proud they chose that song. They loved it, and they gave it their own twist. They didn’t use all the lyrics, focused more on the chorus, and made it heavier, which fits their style from that era. I think it’s cool. It gave Treat a bit more respect from different corners of the music world.

Let’s go back 35 years—well, technically 36—to Organized Crime, released in 1989. What are your thoughts on that album today?
I really like that album. It followed Dreamhunter, and by then two members had left, so we brought in two new guys. That shifted our direction a bit. I moved from playing both guitar and keyboards to focusing solely on guitar, which allowed me to concentrate more on performance.

We wrote it fairly quickly, and it has a cohesive feel throughout. Some of the guys in the band still consider it a favorite. It’s raw, not overly produced, and very close to how we sounded live back then. It has some great songs and was especially successful in Japan—it’s actually our biggest album there.

Treat opened for Queen in 1986. What was that experience like? Did you get to meet them?
Quite surreal, actually. At the time, we were touring Scandinavia in support of our second album, Pleasure Principle. We shared the same booking agency as Queen—kind of like today’s Live Nation in Sweden—and they were handling all the major shows in the country. One day they asked us, “Do you guys want to support Queen at a stadium show?” My reaction was, “Are you kidding me? Of course!” Queen has always been one of my favorite bands.

The funny part was that we already had our own show booked for the same day. But we said, “Forget it—we’ll do both.” So we played the stadium show in the afternoon, then traveled to perform our own gig late that night. It was a long day, but absolutely worth it. Playing in front of that massive crowd, opening for Queen, was an experience I’ll never trade for anything. It rained a lot, but that only added to the atmosphere. And knowing it was Freddie Mercury’s final European tour makes me even prouder to have been part of it. Truly unforgettable.

Let’s go back 40 years. Of course, we’re talking about Scratch and Bite. Looking back, what are your thoughts on that debut album?
There’s a lot I love about that record. When I think back to that time, it’s filled with fond memories. Everything was new—we were riding a wave of success at home, had songs on the radio like “Get You On the Run” and “We Are One,” and we were just figuring things out as we went.

We had very little studio time and didn’t really know how to produce an album properly. The production isn’t top-notch, but there’s a charm to it. There’s hunger in that record. We were young, and somehow we managed to connect with an audience early on. I’m really proud of that. For a lot of people, it brings back powerful memories—and that means a lot.

What’s kept you so passionate about Treat and music since the band’s beginnings in 1981?
I was the youngest member when we started, and for me, music has always been a constant. I’ve written professionally for other artists and worked full-time in songwriting and production over the years. When we reunited in 2005–2006, I just kept going.

I’m a very productive person—I write all the time. That’s why we’ve never really hit a wall creatively. I always have songs ready when it’s time to make a new record, and I’m grateful for that. I have a studio at home, and it’s just part of my daily rhythm.

I think staying creative keeps you young. It keeps you sharp. And I’m proud of the band we have today. Even as we get older, we still deliver like a young band—on record and on stage. As long as we can keep that energy going, I’m happy. Of course, there will come a day when we say, “This is it,” but for now, my songwriting drive is a big part of why we’re still here.

Are you currently involved in any other bands or projects outside of Treat?
Yes, though there are a few things I can’t talk about just yet. I’m in touch with a lot of people—friends, other bands—and sometimes someone will ask, “Want to collaborate?” and I’ll say, “Sure, let’s try.” You never really know where it’ll lead.

Over the years, I’ve worked with many artists across different genres. I was a pop producer for quite a while, especially in the late ’90s into the 2000s. I did a lot of work in the U.S. and was signed to an American music publisher, so I’ve spent time working stateside as well.

Any message for Treat fans in the U.S. who’ve been following you all these years?
Absolutely. I didn’t realize how many fans we had in the States until we came over. It’s not a massive fanbase, but it’s solid—and loyal. There are people who’ve collected every album and supported us for decades, and I truly appreciate that.

It seems to be growing, too. I’m hearing more from American fans and media as we release this new record. I’m really happy they’re out there, and I hope we can come back soon to play more extensively than we have before. That would be amazing.

(Interview by Ken Morton – Treat Band Photo Credit: Anders Fastader)

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