Jade Ell
Acclaimed Swedish singer-songwriter and producer Jade Ell reflects on reviving a timeless song, navigating today’s music industry, and embracing her past while preparing an inspiring new creative chapter.
1. Bittersweet Dreams was originally written 20 years ago for the Danish film Den Store Dag, and you’ve now given it a fresh new life. What inspired you to revisit this song, and how has your perspective on its message changed over the years?
Being a songwriter and artist – you are constantly faced with highs and lows – and since I’m working a lot with other artists for their projects as well – I so know of the struggles and recognize the doubts and the excitement waltzing hand in hand. ”Bittersweet Dreams – you better come clean – now You’ve gotta save tomorrow…” Alsoo, when I decided to re-release this album – this was the one song – that is totally delivering the same frustration – though we’re all working on another scene now- being up against AI as well in so many ways.
2. The song explores the complicated relationship between artists and the music business, balancing ambition with disappointment. Why do you think that theme is just as relevant today as it was when you first wrote it?
As I mentioned earlier – we go through the same emotions – being super excited over songs – and we can never control the outcome. Nowadays we don’t even know if the nice comments are from real people…It’s more important than ever – to hold on to the genuine belief in what you do. The main thing in any artistry is to have strong faith – then people will believe in the words you say/sing.
3. This new version features Rhodes piano, omnichord, harmonies, handclaps, and Pauline Ramsby’s beautiful slide guitar. How did these new arrangements help capture the emotional atmosphere you wanted for the remake?
I wanted to create an honest and emotional journey throughout the production – and these sounds are both nostalgia and ’new’ at the same time…I also wanted to make it as dynamic as possible – in order to really draw in the listener into the story.
4. You’re re-releasing Methods of a Hostage Negotiator alongside previously unreleased songs before introducing your next project, Letters For Laura. What does it mean to reconnect with this chapter of your career before moving forward?
I sort of felt that some photos in my photo album were missing – and I wanted them in there – before continuing my story-telling – that in fact will go back even further – not when it comes to the actual songwriting (they’re complete new songs) – but they will reflect the hardships and dreams of my ancestors emigrating to the US at the beginning of the 20th century.
5. Your songwriting career has taken you from Billboard chart-topping Latin hits and Netflix placements to collaborations with artists across pop, electronic, and Nordic music. How have these diverse experiences shaped your own identity as a solo artist?
I think for me, as a started out as an artist – I’ve always known what is ’my voice’ and my expression. When writing for others – it’s always about capturing what’s right for them – and in many cases the song itself is the artist. I’ve always liked the ’theatrical side’ – being able to express myself though different genres. And that enriches my way of arranging – when I go back to my own projects.
6. Looking ahead, 2026 promises new music, KISS covers, and the deeply personal Letters For Laura. What can listeners expect from this next creative chapter, and what story are you most excited to tell through these upcoming releases?
Every album has its own vibe and reason why it exists. When I did my Ellen album – it was in connection when I had lost my biological parents and I found out so many things afterwards about their background and unheard dreams. ’Ellen’s the name of my grandmother on my biol. mother’s side – ’Laura’ was the name of my grandmother on my biol. father’s side. I have found letters and postcards – telling stories of the aunts and uncles having emigrated to Florida – and the contrast to the deep forest in Värmland(a region in Sweden) – was in itself such an inspiring starting point. I will use the accordion, add banjo and mandolin – to give a flavor of how the music scene was at that time. Still, I will always have a foot on the electronic pedals to my omnichord – and play my favorite piano sounds – which has always been my to go instrument. And just to set the scene: ”The words were few, but the distance they had traveled carried the weight of an ocean. She studied the postcard, its colors impossibly bright. The silhouettes of the palm trees were unlike anything she had ever seen. How’s the weather in Sweden? Did the harvest turn out all right?”