Magnus Uggla, a stalwart of the Swedish music scene, recently celebrated 50 years in the industry with a new show, ”50 år på tronen” (50 Years on the Throne), at Göta Lejon in Stockholm. While Uggla has successfully diversified his career in recent years, embracing roles as a drinks expert, podcaster, TV personality, and author, his anniversary show leaned heavily on nostalgia, focusing primarily on his extensive catalog of hits. This reliance on past glories, while undoubtedly pleasing to long-time fans, left something to be desired in terms of artistic innovation and exploration of his multifaceted persona.
The show’s structure mirrored Uggla’s 2018 performance, ”Varning på stan nu mår kung i baren illa igen,” which similarly revolved around his popular songs, with actors portraying characters from his lyrics. ”50 år på tronen” opened with the explosive ”Varning på stan” and proceeded to deliver a rapid-fire succession of chart-toppers. The script, penned by Håkan Johansson, offered little beyond perfunctory introductions between songs, further solidifying the concert-like atmosphere rather than a more elaborate theatrical experience.
The stage design evoked a faded grandeur, complete with a throne, where Uggla, accompanied by an eight-piece band, powered through a setlist packed with familiar anthems like ”Fula gubbar,” ”Jag skiter,” ”Jag mår illa,” and ”Värsta grymma tjejen.” The relentless pace and high-octane energy were palpable, with the violinist even resorting to playing a solo on their knees during one of the early numbers. While the band clearly aimed for a rock-and-roll vibe, their performance unfortunately veered into an almost parodic rendition, diminishing the overall impact of the show.
This over-the-top, Wallmans Salonger-esque presentation clashed with the inherent creativity and playful wordsmithery that defines Uggla’s artistic identity. His lyrics have always demonstrated a willingness to push boundaries and challenge conventions, but his musical arrangements and production often lack the same adventurous spirit. This disconnect between lyrical ingenuity and musical execution was evident in ”50 år på tronen,” preventing the show from reaching its full potential. Uggla’s rebellious core, which has fueled his career for five decades, could have been better served by bolder arrangements and a willingness to explore deeper emotional territory.
A poignant reflection on his deceased father and a subsequent performance of the powerful ballad ”Jag och min far” (Me and My Father) provided a brief glimpse into this unexplored depth. The song’s lyrics, referencing ”uniting in the earth,” became a meditation on mortality and the passage of time, resonating with a profound emotional weight that was largely absent from the rest of the performance. While this introspective moment offered a welcome shift in tone, it also highlighted the missed opportunity to infuse the show with more substance and artistic merit.
Ultimately, ”50 år på tronen” felt like a missed opportunity to celebrate Uggla’s extensive career in a more meaningful and innovative way. While die-hard fans undoubtedly relished the opportunity to hear their favorite songs performed live, the show lacked the artistic depth and creative exploration that could have elevated it beyond a mere concert experience. The overreliance on familiar hits, coupled with a somewhat cheesy band performance and a lackluster script, left the audience with a sense that the biggest joke of the night was on them – for having paid for a ticket to a show that offered little more than a glorified karaoke session. Uggla’s diverse talents and artistic potential deserved a more fitting tribute than this ultimately hollow spectacle.
