From Gotthard to CoreLeoni: Leo Leoni’s Rock Legacy Lives On

From Gotthard to CoreLeoni: Leo Leoni’s Rock Legacy Lives On

Few musicians embody the spirit of Swiss hard rock quite like Leo Leoni. As a founding member of Gotthard, Leoni helped shape the band’s unmistakable blend of bluesy riffs and arena-ready anthems, carrying them to international acclaim. Now, with his project CoreLeoni, he continues to honor that legacy while carving out new ground — revisiting classics, reimagining deep cuts, and keeping the fire of rock ’n’ roll alive.

With the release of Live at Hallenstadion Zurich (out December 19th on Perception), CoreLeoni captures the raw energy of a hometown performance that doubles as both a celebration of the present and a tribute to the past. In this conversation, Leoni opens up about the making of the live album, the evolution of Gotthard’s sound, the return of beloved tracks like Sister Moon, and the band’s remarkable 35-year journey. He also shares candid thoughts on former collaborators, the challenges of touring, and his gratitude for fans worldwide who have stood by him through decades of music.

Let’s talk about the new live album. What made you decide to release this particular performance?
Well, actually we decided the day after playing a concert in Zurich. That night we shared the stage with Judas Priest, and we loved the atmosphere — especially at the Hallenstadion in Zurich. It’s a very important venue, almost like a mecca in Switzerland. The feeling was incredible, the audience was fantastic, and of course Switzerland is my home. With Gotthard, we played there many times before, so it felt very special.

We decided to record the show even before the concert, hoping the magic of the evening would be captured. And that’s exactly what happened. When we listened back to the tracks, it was clear the energy was there. So we mixed it down, spoke with the record company, and they agreed to release it. For us, it’s a great souvenir — a memory of that unforgettable night.

You mentioned opening for Judas Priest on that same night. What was that experience like?
With Gotthard, we’ve played many festivals where Judas Priest were also on the bill, so it wasn’t the first time we shared a stage. But usually we didn’t get the chance to talk to them much — aside from meeting the drummer and one of the guitarists briefly. Still, it was a great experience. As I said, it wasn’t the very first time, but it’s always special to share the stage with legends like them.

Albanian singer Eugent Bushpepa is phenomenal. How did you discover him and bring him into the band?
I first saw him during the Eurovision Song Contest back in 2017. Around that same time, we had parted ways with our former singer Ronnie Romero. I was blown away by Eugent’s performance — even though he was singing in Albanian, which I didn’t understand, I could tell he was an outstanding vocalist.

I thought, “Hopefully he speaks English.” When we split with Ronnie, we reached out to Eugent, and he was interested. To my surprise, he also spoke Italian, which is my mother tongue, so communication was easy. It all came together very naturally.

Jgor Gianola, a former Gotthard member who also played with U.D.O., is back with you in CoreLeoni. What’s it like working with him again?
Jgor and I grew up in the same area and have known each other since we were teenagers. He toured with Gotthard in 1994 during the Dial Hard tour, but later went his own way, joining U.D.O. for about nine or ten years.

We always stayed in touch since we live in the same hometown. There was always the idea that someday we’d do something together again. When I started CoreLeoni, I called him and said, “I think I have something, and I’d love to share it with you.” We went on stage together, and it felt like no time had passed — just like yesterday. It was great.

Ronnie Romero has been in countless bands, including CoreLeoni. What was it like working with him on those first two albums?
Ronnie is definitely a great singer and interpreter — very talented. Working with him was easy in that sense. But as you said, he had too many projects going on at once. I think he either didn’t know exactly what he wanted, or he knew and simply wanted more than one band.

Eventually we decided to go separate ways, which was easier for everyone. Hopefully he’s doing well, and we’re doing great with Eugent. Sometimes you can’t force things to go in a direction they don’t want to. That’s why the split happened, but it was fine.

I don’t really follow what he’s doing now — it’s not on my path. I did meet Vandenberg once at a festival, and we talked about Ronnie. He had the same impression I did: sometimes it’s better to just leave things as they are.

He was in Vandenberg for a while. I’m sure if you meet Michael Schenker you could share stories too.
Exactly. I think it’s the same situation. Some people don’t realize you can’t have different girlfriends at the same time — you pick one, you commit, and hopefully everything works out. That’s something not everyone understands. That would be my answer.

Gotthard released a new studio album earlier this year, Stereo Crush. How does it compare to the classic older Gotthard material, including some of the things you do in CoreLeoni?
Well, besides Stereo Crush, there’s More Stereo Crush coming soon — kind of a continuation of the album. To compare it with the early days, of course things are different now than they were in 1991 or ’92 when everything started. The lineup has changed, the singer is different, and life itself changes.

I think Stereo Crush goes a bit back to the roots — more rock-oriented, less rough, and not as bluesy as in the past. With CoreLeoni, I feel we’re closer to what Gotthard was about back then: more rock, more blues influences, and a touch of that ’70s hard rock and metal vibe. At the end of the day, it’s the music we grew up listening to, and it’s what we love to play.

Your previous Gotthard album, Number 13, was released right before the pandemic. What was that experience like?
Honestly, it was strange. We had planned to present Number 13 live in a club with fans and special guests, but of course we couldn’t. I think we were one of the first bands to promote a record live on the internet instead.

It was weird, but it was the only chance we had. The hardest part was waiting so long before we could get back on stage — almost two years. By the time we finally played live again, the album already felt old. We had to go back to the studio and start working on another record, while fans were already asking, “When’s the next one coming out?”

It was difficult, but many bands had even bigger problems. Some even split up because of the situation. We managed to survive that heavy period, and I’m grateful for that.

Looking back on Lip Service, which is now celebrating its 20th Anniversary, what do you think of it in retrospect?
I think it’s a great record. With Lip Service, Gotthard wanted to return a bit to the rockier side of the early days. That was the intention when we started working on it — to get back to something rougher, more rock-driven. I think it captured that moment perfectly. It’s actually one of my favorite records.

Let’s go back almost 30 years to 1996, when you released G., produced by Chris von Rohr of Krokus. “Sister Moon” from that album is on the new CoreLeoni live record. Looking back, what are your thoughts on G. and working with Chris?
The G. album was recorded at A&M Studios in Los Angeles, which was a legendary place. It was originally Charlie Chaplin’s studio, and so many famous bands had recorded there. I think it was later bought by a Japanese company, but back then it was iconic.

We spent a lot of time there with Chris von Rohr, and it was a great collaboration. G. was the third album we worked on together, and the memories are fantastic — great studio, great times, great music. If I had to pick one of the old records as a favorite, G. would definitely be among them.

Tell me a little about the song “Sister Moon” from G., since it also appears on the new live CoreLeoni album. You even open with it.
Sister Moon is a classic Gotthard track. It became a fan favorite because it has that rock ’n’ roll, bluesy vibe — almost a Zeppelin touch, though maybe a bit rougher and more rock-oriented. Of course, Led Zeppelin is untouchable, but the song carries that kind of spirit.

Gotthard fans loved it, and we as a band always enjoyed playing it live. Over time, Gotthard’s direction shifted, and Sister Moon wasn’t played as often. When I started CoreLeoni, I wanted to bring back those songs that had been left aside, and Sister Moon was one of them. It felt great to revive it and give it new life on stage.

Next year marks the 35th anniversary of Gotthard — congratulations. What goes through your mind knowing you’ve been doing this for 35 years?
Honestly, it makes me feel old! But more than that, it makes me happy. Playing music around the world for so long is a dream come true. If your dream stays with you for 35 years, that’s mission accomplished.

I’m deeply grateful for the support we’ve received — from fans, friends, record companies, and journalists. Without them, none of this would have been possible. It makes me very, very happy.

Is there any chance of CoreLeoni or Gotthard coming to the States, maybe Los Angeles?
I don’t know. It’s very hard. I wish we could, because we’ve recorded albums and played some gigs in the U.S. before, even on rock cruises. But overseas shows are expensive, and you need promoters and support on the ground.

Maybe one day a crazy promoter will say, “We want CoreLeoni here!” That would be fantastic. For now, I haven’t heard anything from our booking agents about U.S. shows. Canada has some great festivals, and we’ve had requests, but scheduling conflicts kept us in Europe. So the door is open, but it’s difficult to say if it will happen — especially with how complicated the world is right now beyond music.

I’ll keep my fingers crossed for those crazy U.S. promoters. 
That’s what we hope too. Honestly, it’s easier for fans to hop on a plane and come to Europe. Many American artists tour here because the scene feels more active at the moment. I’ve heard from people that the U.S. club scene is a bit quieter these days compared to the ’80s and ’90s. But who knows? Things can always change.

One final question — do you have a message for your fans, especially those in the States who are reading this?
My message is simple: thank you for the support. Without fans, none of this would exist. Whether you’ve come to shows or supported us from afar, I’m truly grateful. I wish I could meet every one of you, shake hands, and say thank you personally. Since that’s not possible, let me say it here: thank you for more than 30 years of support. I appreciate it deeply.

Outro

As our conversation winds down, one thing becomes clear: Leo Leoni’s passion for rock ’n’ roll hasn’t dimmed in the slightest. Whether revisiting Gotthard classics with CoreLeoni, celebrating milestones like Lip Service and G., or looking ahead to new chapters with Stereo Crush, his journey is a testament to resilience, creativity, and love for the music that shaped him.

Thirty-five years on, Leoni remains grateful — to the fans who’ve stood by him, to the collaborators who’ve shared the stage, and to the songs that continue to resonate across generations. Live at Hallenstadion Zurich isn’t just a live album; it’s a snapshot of that enduring spirit, a reminder that the fire of rock still burns brightly.

For Leo, the mission is simple: keep playing, keep sharing, and keep saying thank you. And for the fans, whether in Switzerland, the U.S., or anywhere else, the message is equally clear — the story of Gotthard and CoreLeoni is far from finished.

(Interview by Ken Morton)

CoreLeoni on Instagram
Gotthard on Instagram