Inside Guilty Pleasure: A Conversation with Grand’s Mattias Olofsson

Inside Guilty Pleasure: A Conversation with Grand’s Mattias Olofsson

Few bands capture the shimmering heart of modern AOR quite like Sweden’s Grand, and with their brand‑new album Guilty Pleasure on Frontiers Music Srl, the trio continues to refine their melodic craft with cinematic flair, heartfelt storytelling, and unapologetically glossy hooks. Vocalist Mattias Olofsson has had a whirlwind year — not only steering Grand into their next chapter, but also stepping into the role of lead singer for progressive metal favorites Seventh Wonder, proving his versatility across two very different musical worlds.

In this exclusive conversation, Mattias opens up about the making of Guilty Pleasure, the inspirations behind key tracks, the joy of performing ABBA classics across the United States, and the creative chemistry that fuels his partnership with bandmate Jakob Svensson. From stripped‑down ballads to stalker‑themed AOR anthems, Grand’s latest release is a celebration of melody, emotion, and pure musical joy.

We’re here with Mattias from Grand. First off, where are you based, and what is your local music scene like?
I’m based in Stockholm. The music scene here is great — all kinds of genres, lots of concerts, and always something happening. It’s the capital, so there’s pretty much everything going on.

The new album is called Guilty Pleasure. Is there an overall story or concept behind the title?
Yes, actually. It started with the song “Guilty Pleasure.” I came up with the idea about three years ago — the riff, the story, everything — and I knew right away it needed to be a music video to capture the whole concept.

When we began writing the rest of the album, it felt fun and even a bit lighter in places. As we discussed possible titles, Guilty Pleasure just felt right. There’s no guilt for us — we love this sound — but many bands tend to go heavier over time, while we keep going lighter. So the title became a little statement: this is who we are, and this is how we like to sound.

Let’s talk about a few songs on the album and the inspirations behind them. Starting with “Wild Heart” — what inspired that one?
It began with the keyboard line. I was playing around on the piano with different bass notes, and the vocal melody came almost instantly. The song kind of wrote itself.

I keep a list of titles and phrases on my phone, and I had the line “I could never tame your wild heart.” It fit perfectly, so I built the story around that. Some songs take a lot of twisting and turning, but this one just flowed.

I also wanted a different structure — not the usual verse, pre‑chorus, chorus — but something that built like the story. It ended up being a great opening track because it feels a bit cinematic.

Next, let’s talk about “Amelie.” What inspired that one?
I’ve always wanted to have a song with a woman’s name on every record — it feels very AOR to me. Jakob and I agreed we needed one. But instead of a love story or heartbreak, I wanted something different, so I wrote it about a stalker.

It’s not based on anything that happened to me. It’s more a story about someone you maybe had a small thing with at first, but then realized it wasn’t good — and she can’t let go and starts stalking you. A darker twist on the “woman’s name” tradition.

I always like to check out the final track on an album. Let’s talk about “Love Me or Leave Me.” What’s the story behind that one?
We’d talked on previous albums about wanting a stripped‑down acoustic song with some organic elements, but we never wrote one. This time we said, “We have to do it.”

I started writing it on piano, but Jakob came up with great guitar lines, so we decided to make it acoustic. Then we brought in a fantastic cello player, and it turned out exactly how we wanted. We’re really glad to finally have an acoustic, stripped‑down ballad.

Now the big news — you’re also the new lead vocalist for Seventh Wonder. How did that come about?
They contacted me about two years ago. They were looking for a new singer, had heard Grand, and liked my voice. They thought it would fit well with the band.

We started collaborating. First, I sang on one of their older tracks. Then we wrote a song together and felt it was going to work. They decided they wanted me as the singer, and we began writing and recording the new album.

I think they heard “Kryptonite” by Grand and thought, “This could work for Seventh Wonder.”

You’ve already released a single — “Eternal Flame,” a John Norum cover. Tell me about that song and why you decided to release a cover first.
While working on the new album, we wanted to introduce me as the new singer and show the new lineup without giving away anything from the album yet — both we and the label wanted to wait.

So we were asked to choose a cover that could work. There were lots of opinions, but we ended up with “Eternal Flame.” Andreas and Johan had played that song for years during rehearsals, and Andreas had John Norum as a bass teacher and mentor.

I listened to Europe a lot growing up — they’re one of my big inspirations — so it felt like we all met in the middle with that song.

Would Seventh Wonder and Grand ever want to do a show together? The music is so dramatically different.
We haven’t discussed doing anything together like touring, but of course we could end up playing the same festival someday if it worked out. It’s actually fun that the bands aren’t close to each other stylistically — Grand is one thing, and Seventh Wonder is something completely different. It’s exciting to explore those different universes.

Going back to Grand, what do you think makes you and Jakob work so well together?
In the beginning, it was our shared love for AOR. Jakob had been in Wigelius, but they hadn’t done anything for years, and I’d had the idea for an AOR band for a long time. When we formed Grand during the pandemic, it was because we wanted to create something from the heart — and AOR was what we truly wanted to do.

We both have a huge passion for playing and writing this music, but we also have great chemistry. We’re very honest with each other about ideas and songs, and we’re not afraid to say what works or doesn’t. That’s really important.

We also tend to think alike. I can send him an idea, he sends something back, and it’s always great. If something doesn’t click, he might have another angle, and in the end we find the right middle ground — or we go with his idea if it’s best for the song. That’s the key: passion for the music, trust, honesty, and having fun together. That’s the recipe.

Were you a fan of his previous band Wigelius, and were you familiar with the two albums they released?
Yeah, actually. When we met — which was a year or two before Grand — I hadn’t heard Wigelius before that. But once I listened, I really liked it. I love AOR and melodic rock with strong melodies in the vocals, keys, and guitar solos, and they had that in a big way.

Prior to Grand, what were some of the bands or projects you were involved with?
When I was a teenager, I had a hard rock band — very ’70s and ’80s influenced. After that, I started pursuing my freelance career. I did concerts, musicals, studio work, songwriting — everything you do to pay the bills. I loved touring and writing music, but I had to balance fun with making a living.

There wasn’t space to do my own band, and then I had kids, so time became even more limited. It wasn’t until the pandemic, during lockdown, that I finally had the time to start the project I’d always wanted to do — without worrying about whether it would pay the bills. We could just play around with it.

So I didn’t have any major projects in this genre before Grand. But I’ve been a professional musician for over twenty years, with lots of projects, stages, and studio work — just never my own band. It was really fun to finally have the opportunity to do that.

Has Grand ever played here in the States, or is that something you’d like to do in the future?
We’d love to come over and play. We haven’t done it yet. I’m in the States a lot touring with an ABBA tribute, so I enjoy being there, and I’d love to come with Grand as well. We hope for that someday.

That was actually my next question — are you involved in any other bands or projects outside of Grand?
Yes. As a freelance musician, I do a lot of different projects both in Sweden and abroad. I write a lot of music for Japan, and I tour with an ABBA tribute a couple of times a year. I’m a sub, so I go when they need me — mostly in the States, sometimes in Sweden.

I also do corporate gigs in different constellations. And of course, Grand and Seventh Wonder take a lot of time now. We’re really hoping to get out and play with both bands in the near future. We’re working on that.

ABBA has some amazing songs. Is performing ABBA material fun for you, or is it more of a job?
I love doing it. Like you said, it’s great music — well‑crafted pop. As a sucker for melody, and as someone who loves melodic rock and AOR, it’s very similar to what we do. Great melodies, harmonies, instrumentation, arrangements — it’s pure joy to perform.

I think most Swedish pop, rock, and hard rock since the ’70s has been influenced by ABBA in some way, including me. And it’s similar to Grand: big melodies, vocal arrangements, harmonies. So yes, it’s great.

Absolutely. Even some extreme heavy metal bands from Sweden have covered ABBA.
Yeah, it’s amazing. And touring with the ABBA tribute is incredible, especially in the States. I’ve been in about twenty‑five states, playing great venues and theaters. It’s amazing to stand on those stages — I don’t think I’d get to play venues like that unless you’re a big act. I feel privileged.

So Grand has a new album out — what’s next for you guys?
Right now we’re really focused on getting out to play. We meet, rehearse, and get ready for the stage. At the same time, we’re trying to book gigs. It takes time, but we’re working on it.

We’re also doing social media, and we’ve started writing more songs whenever inspiration hits. It’s all driven by joy — me and Jacob always said we do this because it’s fun. So we take our time. Right now the phase is: the album is out, so we’re working on gigs, getting the music out there live and on platforms, and keeping up with social media.

Do you have any messages for Grand fans here in the States?
Play and share Grand so more people can feel the AOR love. We’re doing this with pure joy and passion, and we hope that comes through in the music. Spread the AOR love with Grand, and hopefully we can come play over there in the future.

In Conclusion

With Guilty Pleasure, Grand continues to embrace the melodic spirit that defines them, delivering an album built on passion, honesty, and the sheer fun of making music. As Mattias balances his work with both Grand and Seventh Wonder — while touring the world with an ABBA tribute and writing for international markets — his enthusiasm for melody remains the driving force behind everything he does. And for fans in the States, the message is clear: keep sharing the AOR love, because Grand is eager to bring their music across the ocean. Whether it’s a club show, a festival, or even a Monsters of Rock Cruise, the band is ready for the next step — and the future looks bright.

(Interview by Ken Morton)

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