Interviews: Philippe Kalfon
1. You have worked on more than 60 albums and performed all over the world. Looking back at such a long and varied career, is there a particular recording, collaboration, or performance that you feel changed you as a musician?
The recordings that meant the most to me were my collaboration with Eric Serra on the soundtrack for the 1985 film Subway and my first solo album, XI, in 2021; and as for live performances, my first show at Bercy in 1997.
2. Your career has covered everything from rock and metal to film soundtracks, radio, television, and instrumental music. How do you approach the guitar differently depending on the musical context you are working in?
I have a natural ability to adapt to different situations; you have to be versatile and put yourself at the service of the music. The important thing is to always play with a sense of enjoyment to find the right guitar part and the right vibe.
3. You contributed to the soundtrack of Subway alongside Eric Serra. What do you remember most vividly about that experience, and did working in film influence the way you think about composition?
I remember when I arrived at Ramses Studio, the warm welcome I received from Ramon Pipin, and discovering the song “Guns and People,” on which I played the solo. It was the first time I was played on the radio... A great memory.
4. You have been described by the press as a spiritual heir to Jeff Beck and Joe Satriani. What do those two musicians mean to you, and are there other guitarists who have had an equally important influence on your playing?
I discovered Jeff Beck when I was a teenager with Blow by Blow and Wired, and it was a very inspiring revelation. Then came Joe Satriani with his debut album Not of This Earth in 1986, and that was a real eye-opener. I saw him the first time he came to France at L’Élysée Montmartre—I have great memories of that concert. I also saw Jeff Beck at L’Olympia—a fabulous concert. And of course, there’s Gary Moore across all his eras, and Van Halen’s first album, which really made an impact on me!
5. Your music combines a high level of technical ability with a strong emphasis on melody and expression. When you are composing an instrumental piece, what usually comes first for you: a guitar riff, a melody, a particular sound, or an emotion you want to express?
It all depends on my inspiration at the moment. Usually, I start with a chord progression or a guitar riff and develop it as I go, with parts that come back, just like in a song.
6. Your third studio album was released on June 6, following your two previous solo albums and your 2025 live album. What makes this new record different from your earlier solo work?
I really focused on the arrangements and keyboards, and on this new album I included two vocal tracks—a first for my solo albums.
7. The title of one of the tracks is “Believe Me.” What can you tell us about the story or inspiration behind this song, and why did you choose it as one of the pieces to represent the album?
I've always loved the intro-verse-chorus-bridge structure of a song; I like it to be simple and effective, with a catchy chorus that's easy to remember. The lyrics were written by the singer; I wanted a pop sound with heavy guitars on the chorus, and I'm really happy with how it turned out.
8. Instrumental music has the challenge of communicating ideas and emotions without lyrics. Do you consciously try to tell a story through your guitar playing, or do you prefer to leave the interpretation entirely to the listener?
It’s especially with the ballads “Connection” and “Sweet Madness” that I want to move the listener. I love slow songs like Jeff Beck’s “Cause Ended as a Lover” or Gary Moore’s “The Loner” and “Parisienne Walkways.” In these songs, the guitar tells you a real story.
9. After decades of playing and recording, what still excites you about the guitar? Are there things you feel you are discovering about your instrument today that you didn't know when you started?
I still love playing guitar, and I enjoy coming up with arrangements for songs where I'm asked to create parts that fit the song. It's a really rewarding feeling when it works out and your bandmates appreciate your ideas.
10. Finally, now that your third studio album is out, what would you like listeners to take away from it, and what can we expect next from Philippe Kalfon?
Pour finir, maintenant que votre troisième album studio est sorti, que souhaiteriez-vous que les auditeurs en retiennent, et que pouvons-nous attendre de Philippe Kalfon à l'avenir ?
I hope the listeners and the audience enjoy it.
I’m working hard on an album that’s coming out soon with the band “SSB—Sloane Square Band,” which my friend Thierry Dagnicourt (sound engineer and keyboardist) and I have put a lot of effort into, and maybe another album once I have time to get started on it.
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