Songs for Nina and Johanna is the beautiful new album from James Yorkston, his sixteenth on Domino and his third to be recorded in Stockholm in conjunction with members of The Second Hand Orchestra. Nina Persson (The Cardigans), who teamed up with James on his previous critically-acclaimed album, The Great White Sea Eagle, this time divides singing duties with Johanna Söderberg (First Aid Kit), the two of them singing separately with James on five and four tracks respectively. How does an artist approach a new album after over two decades of releasing music? In James Yorkston’s case, he focuses on the things that matter to him; these are songs about family, love and parenthood. He writes gentle, tender melodies that soar and swoop in equal measure and, of course, he ends up being accompanied by two of Sweden’s most recognisable female vocalists. “Who wouldn’t embrace the chance to sing with two great Swedish voices? When the idea for Johanna to join the fold was suggested, I leapt at the chance. Nina and Johanna, they complement, yet never compete. And me? I tried not to get in their way, tried to give them space to interpret the songs as they felt.” Recording sessions began in January 2024 at Studio Rymden under the watchful eye of studio owner and co-producer Daniel Bengtson, who steadied the ship after a sudden illness meant that Karl Jonas Winqvist, leader of The Second Hand Orchestra, was not present during the bulk of the recording. His absence led to an agreement to not use the band’s name for this release. However, members and associates of the collective appear across the record, including guitarist Peter Morén (Peter Bjorn and John), violinist Ullis Gyllenberg and whirlwind saxophone player, Lina Langendorf. Once again, they were joined by drummer Lars Skoglund, who also worked on The Great White Sea Eagle. “I tried to steer us towards as much as structure as possible, and to create a less chaotic vibe in the studio compared to the previous album,” Bengtson explains. “James has a very clear vision which enables whoever is in the session to capture whatever emotion needs to be captured. It made for a very vibey and productive recording session.” Yorkston, appreciative of the feeling that Bengtson creates in the studio, explains, “a studio, for me, should be a place where every idea can be explored and given its own time. A place where musicians can suggest ideas knowing they’ll be listened to and considered. Daniel understands and provides that open atmosphere.” Whereas the band’s previous work with Yorkston was characterised by its improvisation, the sessions for Songs for Nina and Johanna were more structured. “This time James did send a couple of demos, and I felt there was a clearer intent around the album,” explains Morén. As with The Great White Sea Eagle, Yorkston chose to write a number of songs on the piano despite being a more conventionally-talented guitarist. “His limitations as a pianist create a cool style that set the tone for the album,” suggests Bengtson. With the framework and songs in place, the recording process was all-consuming. “We recorded most of the material live in the room, all together, at the same time. It was intense. The energy in the room really comes through on the album, and it’s something that can’t be recreated afterwards. When you get the right take, it’s an amazing feeling,” describes Söderberg. The first fruits of Songs for Nina and Johanna began with Yorkston and Persson, whose extensive touring as a duo had led to the early composition of one song, ‘With Me, With You’. “We could play and hone it on tour. It was nice to work a song before it had been produced,” she recounts. With her trademark voice that fits so seamlessly with Yorkston’s, Persson has never been preoccupied with trying to make Yorkston’s songs her own. “I think of myself more like a storyteller or actor. I enjoy not being a subject and more of a craftsperson in this format.”