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Once upon a time, we enjoyed glamorous ten-day European tours, featuring world-class accommodations (someone’s couch), fine dining (the DIY vegan pot of tomatoes and lentils with no spices), and sophisticated financial compensation—often up to a princely €200. Luxury at its finest.

One of our fond memories was playing in Bratislava, Slovakia. We were supposed to sleep at the promoter's place, and just needed to check if he had read the rider that said we were allergic to pets. And he said, "oh, but I have rats" like it was the most natural thing. We somehow ended up in another apartment and asked the people there where we were supposed to sleep. He pointed to the hardwood floor and said, "There", like it was the most natural thing. We spent the night drinking, did some surgery with a razor blade on Thomas's head and ended up sleeping three people on a sleeping couch.

These days, however, even this illustrious lifestyle seems increasingly out of reach. Our beloved venues—charmingly gritty clubs, makeshift basement stages, and legendary DIY spaces—are slowly disappearing. What used to be accessible feels suddenly elusive. Add parenthood into the mix, and the logistics become nearly royal-level complicated.

Throughout, we’ve toured extensively across Europe, Russia, and the Balkans—always driven by passion rather than profits. But the slightly chaotic venues we love have grown scarce since Covid, and now even the once-abundant €200 paychecks have taken on a mythical status.

And even though touring looks different now, we’re not stopping anytime soon. Just give us a stage (or something resembling one) and we’ll be there!

Det er sjovt med musik. Når man står udefra og kigger på kunstnere, som skifter genre, kunstnernavne, sammensætninger af bandmedlemmer og stil, så kan det virke helt mærkeligt. Hvorfor gør de det, jeg kunne jo godt lide det gamle? Men som musiker, så forstår jeg det fuldstændigt. Før denne plade lavede jeg elektronisk popmusik i navnet Theo X. Rystede med hofterne og havde grønt neonfarvet tøj på. Det var det jeg havde brug for på det tidspunkt tror jeg. Men til sidst blev jeg også træt af det. Jeg gad ikke at have en maske på, og jeg følte mig for gammel til de korte gennemsigtige shorts. Så hvis jeg skulle lave ny musik, så skulle det være pisse hamrende ærligt. Det blev det så. Jeg skiftede retning. Det blev folk-musikken som var referencen til historierne, og popmusikken som skabte melodierne, og det var med mig selv i centrum.

Jeg er virkelig spændt på at i skal høre den, og høre hvad i synes om den.

Den her plade med 9 sange har taget over 3 år at lave. I de tre år udvikler man sig jo stadig, og jeg ved allerede nu at det næste som jeg udgiver, også bliver anderledes. Men lige nu føles det ret magisk at have en udgivelse, hvor jeg kan se mig selv i den fra start til slut. Det har jeg aldrig prøvet før.

Kære Sleeve-peeps,

Jeg samler et stort band og spiller 3 koncerter i de 3 største byer på 3 af landets fineste scener. Der er PRE-SALE for jer lige nu og i 3 dage frem.

29.01.2026 ÅRHUS MUSIKHUS

05.02.2026 POSTEN I ODENSE

07.02.2026 DR KONCERTHUSET

PRE-SALE BILLETLINK LIGE HER

Jeg har ikke stået med et stort band siden før corona, så det her er virkelig særligt og jeg glæder mig meget til at fylde de her rum og omfavne jer med lyd. Storladent, nært, rockende, roligt - vi kommer med hele registret. Klik ind og find en god plads!

KH og vi seeees, Signe

We did it! Concerto Copenhagen performed at the iconic Carnegie Hall in New York!
The audience was thrilled, and for everyone involved, it was an unforgettable experience.

With the program Armonico Tributo, we celebrated the rich diversity of Baroque music - from Georg Muffat’s visionary compositions to masterpieces by Bach and Handel. A night where music connected past and present across borders, just as Muffat intended.

Here is a review of the concert:

"This concert was a pure pleasure, with beautiful music gracefully performed. Mortensen and his players deftly delineated the three composers’ stylistic differences, but equal emphasis was given to the similarities. If so, this was in keeping with Muffat’s intention, for he wrote, ‘The weapons of war and its consequences are far from me. Notes, harmonies, the sounds of music are my path. And when I combine the French, German and Italian, it is not to incite war, but in a desire for harmony between people and a cautious hope for peace’." - Rick Perdian, Seen and Heard International.

Read the whole review here: https://lnkd.in/dT-crWDD

Jeg fik lyst at dele den her lille video jeg har lavet hvor jeg sidder og spiller titelnummeret fra min seneste EP Nightlight. Jeg laver den her musik for at give dig som lytter en pause. Jeg synes der sker meget for tiden, man kan hurtigt få susen for ørene og mærke glemme at passe på sig selv. Jeg håber du vil tage en pause. Hvis du har lyst, må du meget gerne bruge min musik til at holde dig med selskab.

Hej Venner

Igår havde jeg en dejlig aften med bandet og Sleeve-moderen, Anna Lidell 🫶🏾🔥❤️

Jeg mærkede musikbranchen når den er bedst og når den er mest ufrivillig morsom 😂

Kram M