The Kölsch Dialogue: A Comprehensive Q&A

Rune Reilly Kölsch, known mononymously as Kölsch, has made a profound impact on the dance music world with his introspective and deeply personal music style. From performing at the peak of the Eiffel Tower to the floors of Ibiza’s Space, Kölsch has ticked off a massive number of successes in the industry. Growing up in Denmark, a country known for its broad musical influences, Kölsch absorbed a wide range of sounds from Drum & Bass to Indie. The long, dark Scandinavian winters played a massive role in developing his emotive sound, which he refers to as "Scandi noir." His albums, notably '1977', '1983', and '1989', are narratives of his life, encapsulating memories from childhood travels to early teenage years.

In the studio, Kölsch blends technical proficiency with tangible elements from his vast record collection, proving his hands-on approach to music production. His muses often come spontaneously—from snippets of overheard conversations to deep personal experiences—informing both his tracks and thematic album explorations. A collaboration with Coldplay transformed "A Sky Full of Stars" into a poignant expression of longing, emphasizing his skill in reinterpreting existing music to evoke new feelings. This connection shines in his live performances, where he adapts his sets to reflect the spirit of the venue and its surroundings, making each show a special experience for the audience. Our interview reveals the layers of his artistic persona and offers a glimpse into the mind of a musician who interprets the world through a distinctly melodic lens.

How has your experience growing up in Denmark influenced your musical style and production choices?

Growing up in Denmark influenced me in many ways. The scene here was and is tiny, so the musical influences were always very broad. I've been hugely inspired by everything from Drum & Bass to Indie over the years. The biggest takeaway from being in Denmark is the long dark winters. Most of my music is very emotional, and that stems from there. Scandi noir, if you will.

Can you describe your artistic flow when you start a new track or album?

That's two very different processes. An album starts with a feeling. An idea lingers and slowly comes to light, something I need to express and see come to light. My album 'I Talk to Water' was about the passing of my father, so all my albums stem from personal memories.

A track is more of a spontaneous process. It can be something I only make for DJ sets; it can be something that is inspired by a moment. It doesn’t always have to be so serious.

How do you approach collaborations with artists from different musical backgrounds, like Coldplay?

I always try to add another dimension to an original piece. With Coldplay, I wanted the song to take on a different meaning. The original is very hopeful and optimistic. I felt it could be a song about longing and feeling lost. I used the vocal in a slightly different way, and rewrote the music behind it. It's fascinating how context can change the meaning of music.

What was it like performing atop the Eiffel Tower, and how did that setting influence the performance? Do you have another bucket list location you’d like to play at?

The Eiffel Tower was something. My stepmom is French, so Paris has always held a very special place in my heart. I used to visit every summer, and a lot of my early life memories stem from there. The pure resilience of the city has always inspired me so much. I vividly remember performing quite closely after the terrorist attacks and just feeling this act of defiance.

The Parisians refused to be scared and partied even harder. I'm guessing this must have been very similar in New York after 9/11. My set at the Eiffel Tower was an ode to the city. I released the track 'Left Eye Left' at the same time, a comment on the act of no revenge and resilience.

Your albums often have personal significance, especially noted in their titles like '1977' and '1983'. Could you share more about the significance of these years in your life?

As mentioned, all my albums stem from personal experience. My first trilogy is about growing up. '1977' revolves around early memories from my childhood.

'1983' processes traveling with music during my early years. Finally, '1989' centers on my early teenage years, just before I got into making music.

It was all an exploration of early influences. I've always been fascinated by the tendencies we have to incorporate the most minute influences in our taste. An example is an old organ I played with at my aunt's place. That sound holds so many memories and is a core value of who I am.

What gear or software do you find indispensable in your music production?

A boring answer would be the laptop, but sadly that is very true. I have a perfect replication of all the hardware I have in my studio on my laptop, so it is easily interchangeable when I return to my studio. Another element I have been exploring a lot lately is my record collection.

I've been deep diving into sampling drums and small elements from obscure records that are long gone from streaming platforms. There is so much amazing music out there.

How do you prepare for a live set, and do you prefer festival stages or club environments?

I always focus a lot on creating a special experience for the city/venue of the performance. I'll create special edits or versions of tracks for that moment. A great memory was a NYC show some years back, where I felt the urge to play Stooges—I Wanna Be Your Dog. That song has always been pure New York to me. Thankfully, it was a shoe-in, and the crowd exploded.

What’s the most unexpected source of inspiration you’ve encountered in your career?

Second-hand conversations, I think. Plucking a combination of words from someone passing by you mid-sentence. May seem random, but often it can be poetic. Something really special. One of my favorites is still, “Give me back those words.” No clue what the context was, but an amazing saying nonetheless.

If you could remix any track from the 80s, which one would it be and why?

So many goodies. If I had to choose one, it would have to be 'Hypnotic Tango' by My Mine. It always struck me as being super underrated. Love that song.

Which one of your hats is your favorite to wear?

I only have one type of hat, as we started manufacturing them some years back. My favorite color would have to be the Yves Klein blue.

To wrap up, if you could only play one of your tracks to someone who's never heard your music, which one would you choose and why?

I would say listen to 'All That Matters.' It is such a beautiful and touching song. Troels Abrahamsen wrote the lyrics for his kids and told me many years later. The song has taken on a life of its own and feels more relevant than ever.