With their signature blend of classic rock nostalgia and modern flair, The Night Flight Orchestra is back with their seventh album, “Give Me the Moon”. Following a period of personal and professional challenges, the band has crafted a record that pays tribute to their past while soaring into new musical heights. In this exclusive interview, we sit down with singer Bjorn Strid to discuss the making of the album, the impact of David Andersson’s passing, and what’s next for the band.
Busy Schedule and Challenges in The Night Flight Orchestra
Welcome! First of all, thank you for your time. How has this period been treating you? I hope everything is fine, especially with all the activity surrounding the promotion.
Yeah, yeah, it’s been intense! The end of 2024 was a whirlwind—I had so many things happening at once. I was doing interviews for Night Flight, producing vocals for The Haunted’s new album, performing in a Christmas show three nights a week, and, on top of that, we started renovating our kitchen. So, it was a lot all at the same time!
I understand! I moved to a new house this summer, and even just handling one kitchen is stressful, can only imagine juggling everything at once.
Exactly! You get it.
Upcoming Album: Give Me the Moon – A Major Milestone
So, let’s talk about the big milestone—your upcoming album Give Me the Moon, releasing at the end of this month. It’s your seventh album! That’s huge. Did you ever imagine reaching this point?
It’s a milestone, especially considering everything we’ve been through as a band. Losing our guitarist, David Andersson, was a massive personal and musical blow. He left behind big shoes to fill, but we managed to regroup and turn our grief into something empowering. Give Me the Moon is a testament to that journey. We dug deep, took time, and poured everything into this album. It’s multi-layered, emotional, and carries that signature Night Flight Orchestra dreaminess. I truly believe we couldn’t have done a better job with where we are now.
Finalizing the Album: A Balancing Act
When I listened to the album, I picked up on so many elements—classic AOR vibes from bands like Alien, Alias, and Europe, but also a diverse mix of sounds. It’s longer and more focused. How did you decide when it was time to finalize and send it for production? That must have been difficult.
Absolutely! When you’re a band like us with no strict boundaries, it’s easy to keep going indefinitely. We explore different genres within the same album, and our philosophy has always been that anything goes—as long as it serves the music. But that also means knowing when to stop can be tricky.
This time, we took the extra time we needed. Our guitarist, Sebastian, mixed the album, which gave us full control, and we made sure to get some distance from the songs to hear them with fresh ears. In the end, we had around 15 or 16 tracks, but we narrowed it down to 13 with the help of our label and friends.
Are you saving the extra tracks for a Japanese edition or bonus release?
Not this time around, but they’ll surface at some point!
Tribute to David Andersson
You dedicated this album to David Andersson. Was there ever a moment when you thought about stopping the band entirely?
Yeah. I mean, I had that conversation with him on his deathbed, and it was really important for me—not because I necessarily needed his blessing, but because I wanted to have that moment with him. I wanted to talk about it, to hear his thoughts, and to know that he was at peace with us continuing.
For him, it was only natural that we would go on without him. He knew we had so much more to say with this band, that our journey was far from over. And having that conversation gave me a sense of comfort. It was important, and in a way, it allowed us to turn something so heartbreaking into something positive—to make it a celebration of his life rather than just a loss.
Tribute to David Andersson part 2
Of course, he passed away far too young. He had so much more to say as well. But I feel like we have a responsibility to carry that forward, to keep his spirit alive in what we do. And in many ways, he’s been very present throughout the making of this album. We recorded in the same studio we always used, and it honestly felt like he was there. Not in a haunting way—nothing eerie—it was just this warm, familiar presence.
We shared so many memories while recording and we laughed, reminisced, and thought back to all the incredible times we had with him in that space. We could almost picture him walking through the corridors in his underwear, drinking a beer like he always used to. And that turned into something special—something positive. It became a true celebration of who he was. And I think you can hear that in the music.
The Jacket
I love the single. I love the video. And I have to say—I love your jacket! Sorry, I just had to mention that. But really, the video is amazing. Would you mind telling me more about the song and how you shot the video?
Thank you! Yeah, it was a lot of fun. It’s definitely over the top, but in the best way possible.
The Night Flight Orchestra –“Shooting Velvet”
Exactly! But it fits—it belongs there. The whole vibe of the video is just perfect. So, tell me a bit more about the song. It’s one of my favorites from the album.
That’s really cool to hear! Shooting Velvet is about how things seemed so much easier when we were kids—or at least, that’s how we remember them. The song is about holding on to that inner child, which becomes harder as we get older. The world changes, responsibilities pile up, and you have to shut certain things out just to stay sane. But if you shut them out completely, you lose yourself. So, it’s this weird balance between staying grounded and not letting go of that part of you.
The title, Shooting Velvet, symbolizes the impossible—trying to hold on to something you can’t quite grasp, like time slipping away. It was one of the first songs I wrote for the album, and I’d say it’s one of the most danceable tracks.
Shooting together “Way to Spend the Night”
As for the video, we wanted to capture that nostalgic, glossy, Top of the Pops vibe. Blondie was a big inspiration—I watched an old Top of the Pops performance of theirs, and I loved the colors, the energy, the whole aesthetic. That was the guiding star for this video. And I have to say, the director nailed it. It has that sleek, vibrant look while also really capturing the band’s energy.
We shot another video the very next day—for “Way to Spend the Night”, our second single. That one was just us having a night out in the city, and it’s probably the most authentic look at how we hang out as a band. Nothing staged, nothing fake—just us being us. So yeah, recording both videos back-to-back was intense, but the results were worth it.
Transition to Napalm Records: A New Chapter for The Night Flight Orchestra
“Give Me the Moon” is also your first album with Napalm Records after almost a decade with Nuclear Blast. How has that transition been?
So far, Napalm Records has been great! They think outside the box, which is exactly what this band needs. The Night Flight Orchestra isn’t just a side project for metal musicians—it’s a real band with a deep history. Napalm has a strong presence, especially in the U.S., and we’re enjoying working with them. That said, we’re very grateful for our time with Nuclear Blast. They believed in us when no one else did, and we left on good terms.
Anna Brygård and Åsa Lundman’s Role in The Night Flight Orchestra
I also want to highlight Anna Brygård and Åsa Lundman. They’re credited as backing vocalists, but they bring so much more to the band. How do you decide when to feature their voices more prominently?
No, no, not at all. They’re incredibly important to this band—not just as singers, but as a kind of social glue within the group. They’re brilliant people and fantastic vocalists, and they bring so much to the overall dynamic.
Back in the day, when we didn’t have backup vocalists, I handled all the harmonies myself using my falsetto. It sounded somewhat female, so a lot of people assumed we had female backup singers. That’s where it started. But I always felt it would be much more exciting to have real vocalists handling those harmonies—preferably women with strong, distinctive voices. It’s a classic setup. If you look at bands from back in the day, they almost always had female backup singers—it was part of what made a rock show feel complete. Even bands like Guns N’ Roses and Mötley Crüe had them in the early ‘90s, but at some point, that element just faded away.
We wanted to bring that back, but not in a way where there’d just be two voices in the background. We wanted them to have strong personalities and be an integral part of the show. And they do. They add an extra dimension to the sound, bringing something unique that enhances the entire experience. Plus, I think my voice blends well with theirs.
The Importance of Backup Vocals in Rock Shows
I think that’s something we’ve been missing. If you look at all the big shows from the ‘80s and early ‘90s, those backup vocalists gave everything a richer, more nuanced atmosphere. But now? You don’t really see it anymore. Sure, some of the biggest artists might have three or four backup singers, but when you look at small to mid-sized bands, they’ve almost completely disappeared. And that’s a shame because they add so much to the overall experience.
Yeah, I completely agree. I think a big part of it comes down to cost-cutting. Everyone’s trying to save money wherever they can. Instead of hiring a keyboard player, they just put the parts on a backing track. Instead of live harmonies, they rely on pre-recorded vocals. But that’s not what we want to do. We don’t want to compromise. Sure, we have to be mindful of making a living, especially with so many people in the band, but we’re also really stubborn about putting on a proper show—the way it’s meant to be. In the end, I think that approach will win out over just trying to cut corners and save every penny. In that sense, maybe we’re a little brave for sticking to it, but it makes us stand out.
Looking Ahead: European Tour with Primal Fear and Metalite
Speaking of live shows, your European tour with Primal Fear and Metalite kicks off at the end of this month in Tilburg. What are you most looking forward to?
Oh, I can’t wait! We haven’t done a proper European tour since COVID disrupted our Aeromantic I tour. This is our moment, and we’re beyond excited to bring this album to life on stage. Tilburg’s 013 is one of the first venues I played with Soilwork back in ‘98 or ‘99, so starting there feels special. We’ve been waiting for this, and I already know it’s going to be an amazing experience.
That sounds incredible. Thank you so much for your time! I hope to see you on tour.
Thank you! I appreciate the support. Hope to see you soon!