Mastering the art of writing a great song is never easy, but when it’s done correctly, it cuts through the noise like a compass in the dark. Luckily, Swedish songwriter and producer Kent Olsson has mastered his craft, building capable story-driven songs like his recent single Lipstick on the Exit Sign (which also features Italian singer Jolie on vocals). I wanted to find out a little more about Kent’s music and his songwriting process – see how we got on below!

By Jane Howkins

I believe this is our first time speaking to you. How has your 2026 been so far? All good I hope?

It has been a very busy but rewarding year. I’ve released quite a lot of music, worked with some wonderful singers and musicians, and probably spent more hours in the studio than I should admit! A big part of the year has been my collaboration with the Italian singer Jolie, which eventually became the three-song project The Art of Breaking Up. I’ve also continued working internationally with other artists during this year.

What I enjoy most is that even after all these years of writing music, I still have that feeling that the next song might take me somewhere completely unexpected.

You recently released a new single titled Lipstick on the Exit Sign. What can you tell us about the track and how has the reception been so far?

Lipstick on the Exit Sign is probably the most confident and playful song of the trilogy. It is about that moment when a relationship is truly over and you stop negotiating with the past. Instead of leaving quietly, the character in the song leaves with her head held high.

The title became a kind of image for that attitude – putting lipstick on the exit sign as you walk out the door. Jolie was absolutely perfect for it. There is a confidence in her voice that makes the character believable, and we built the arrangement around that attitude with guitars, electronics and lots of vocal harmonies.

The reception has been really encouraging. We’ve had reviews and interviews from several countries, and what has made me particularly happy is that writers seem to understand the story behind the song, rather than simply describing the production. Jolie’s performance has also received a lot of praise, which is very well deserved.

Lipstick on the Exit Sign wraps up a trilogy of songs (called The Art of Breaking Up) that also includes the singles Replay:me and Access Denied. What can you tell us about the trilogy and how did the concept come about?

The trilogy wasn’t completely planned from the beginning. Replay:me came first, and that song is about a relationship where two people keep returning to each other, even though they probably know it isn’t going to work.

When we made Access Denied, I realised that there was a continuation of the same emotional story. This time the door is beginning to close. There are boundaries and considerably more attitude.

Then Lipstick on the Exit Sign became the natural final chapter. There is no more negotiation and no need for another conversation. She simply leaves.

So the emotional journey is almost: Replay:me – “Maybe we can try again.”
Access Denied – “You don’t have access to me anymore.”
Lipstick on the Exit Sign – “Goodbye – and I’m absolutely fine with it.” Once I saw that arc, The Art of Breaking Up became an obvious title for the trilogy.

Do you have any more singles planned for release anytime soon?

Yes, there is always something happening in my studio! I’m currently working on new material, including a song which continues some of the confidence and humour that I really enjoyed in Lipstick on the Exit Sign.
I’m not announcing a release date yet though. I have learned over the years that songs tend to tell you when they are finished, rather than the other way around.

Do you have any plans to release a full-length album or an EP in the near future?

I have been thinking seriously about an EP, particularly around the songs I have made with Jolie. The trilogy already has a strong identity, and adding one or two new songs could turn it into something that feels like a complete little world of its own. I’m less certain about a traditional full-length album. I enjoy releasing songs individually and allowing each one to have its own visual identity and story. An EP feels much more natural to me at the moment.

You’re from Västerås in Sweden. What is the local music scene like near you?

Sweden has always had an interesting relationship with music. For a relatively small country, an extraordinary amount of music has travelled far beyond our borders.

I live in Västerås, but today my own musical world is actually very international. A singer may record in Italy, another musician somewhere else in Europe or the US, while I’m producing everything from my studio in Sweden.
Technology has changed what a ‘local music scene’ means to me. My studio is in Västerås, but creatively, my neighbourhood is almost the whole world.

Who are your main influences as an artist? What have you been listening to recently?

My influences are all over the place, which probably explains my music!

I grew up listening to progressive rock and bands such as Yes, where the arrangement and musicianship were incredibly important. But I also love artists where the storytelling is everything. Loretta Lynn is a wonderful example of that. Then there are records like Massive Attack’s Mezzanine, which showed me how atmosphere, production and sound design can become part of the storytelling itself.

I still listen that way today. I can move from old progressive rock to country, electronic music, film scores and contemporary pop in the same afternoon. I’m much more interested in whether something makes me feel something than what genre somebody has decided it belongs to.

Do you have anything else exciting coming up this year?

There are several new songs taking shape, and I’m also working with music connected to a motion-picture project, which allows me to use a slightly different side of my musical brain.

I love moving between songs and cinematic music. In a three-minute pop song you have to tell the story very quickly. With film music, you sometimes have the opposite challenge – knowing when not to say too much. So yes, there is plenty happening before I allow 2026 to finish!

Do you perform live much? If so, do you have any tour dates lined up in the UK this year?

No, I’m primarily a songwriter and producer these days rather than a touring artist, so there are no UK dates planned. The studio is really my instrument now. I enjoy creating the song, finding the right singer for it, building the arrangement and taking the production all the way to the finished record.

That said, never say never. Music has a habit of changing your plans.

Any last words for the fans?

Simply thank you.

There is an incredible amount of music being released every day, so whenever someone chooses to spend three or four minutes listening to something I have written, I never take that for granted.
And if a song like Lipstick on the Exit Sign makes someone smile, turn the volume up or perhaps finally walk through their own metaphorical exit door, then I think Jolie and I have done our job.

Thanks for listening – and there is definitely more music coming.

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