A-ha: A Lifeline from the Dark

Posted by in Culture, Music, Record Cover Design


November 1985, as I stare forlorn into the crackling bonfire just over the chest high wall in the wilds of the local pub’s garden there was only one thing going through my mind. That melody, That video. It was of course Take on Me – then on its third release and finally a hit. This time we were all taking notice.

Morten Harket really was the personification of the hero (as per the video). He could have perhaps pulled off a decent James Bond had Timothy Dalton and Pierce Brosnan not beaten him to it but alas music was and is his and our (the fan’s) main interest.

And so Hunting High and Low appeared at the end of 1985 and was quickly added to my collection. Strangely I didn’t buy any of the singles from it. The next one, The Sun Always Shines on TV, utilising the same drum programming that Scritti Politti used on Absolute, became a number one (Take on Me had stalled at two in the UK) and I noted the similarity between Train of Thought and Icehouse (not knowing that the two bands admired each other until fairly recently).

Ticketmaster DE

The title track was ok but I much preferred the song that followed it – The Blue Sky eternally 1985 as Cry Wolf – from their next set Scoundrel Days would be to 1986. Even the melancholic waltz of Living a Boy’s Adventure Tale shone through with Morten’s falsetto again soaring to heights even Slartibartfast (The Hitchhiker’s Guide to the Galaxy’s resident designer of planets and Norway’s crinkly coastline) could only dream of.

And You Tell Me was the first sign that perhaps these Norse lads could be Beatles fans? Dressed in eighties synth and a mere minute and a half long but unmistakably owing to the Mersey men. A fact not lost on their record label WEA in the States who named one of their promos A-ha Days Night!

Love is Reason and Dream Myself Alive did little for me and were even then a little too close to euro disco; somehow Laura Brannigan made euro disco her own with Self Control but I digress from thy parish of A-ha. Here I Stand and Face the Rain – ahh yes this was more like it.

Sombre Synth-pop emitting a warm glow at the same time. The album remains a classic but I’d opt for its follow up, the aforementioned Scoundrel Days.


Hitting the shelves in October 1986 I didn’t dive for it immediately because the same week Howard Jones delivered his third One 2 One. My loyalty proved in vain as it was utterly abysmal (sorry Hojo) save for All I Want and the second track. Only when I did correct myself did I see A-ha not only put out the better album but one of the best they would ever deliver (a tough call between Days and Major Sky, Minor Earth).

That’s not to say Scoundrel Days doesn’t have its moments of stomach churning ‘oh christ what is this’ I still can’t stand Manhattan Skyline to this day but at least they dared to be different. Unlike say Germany’s Alphaville who stayed within the borders of synth pop for much of their career (though Marian Gold is another very good singer).

The whole set was fronted up by a stunner; I’ve Been Losing You proving they were no one hit flash in the pan or fluffy muppets and were serious musicians. They did not rely on melody but depth and mood – the same way Depeche Mode did with Stripped (the same year).

Though the first thing that came to my mind when hearing it as a new release back in ’86 was The Police Can’t Stand Losing You, only A-ha updated it into a muscular strut. Asked why A-ha were so revered by their peers Mags said ‘because they never tried to do Take on Me 2!’ And ‘Losing You’ really hammered home the point with with bells on – and crashing drums!

The cover art was handled by Jeri Heiden with photography by Knut Bry. On the sleeve that panorama of landscape showcases the profundity of A-ha, in their ethos and lyrics, their very essence, their very being.


Nature would come to represent a big part of A-ha’s repertoire; Soft Rains of April, The Weight of the Wind, Sycamore Leaves, Cold River, Rolling Thunder, Angel in the Snow, Summer Moved On, Foot of the Mountain, Summer Solstice and even Mother Nature Goes to Heaven.

Nature is thus a kind of silent partner imbuing a pastoral soundscape to their catalogue similar to that of Cocteau Twins. This in turn would influence another British band KEANE e.g. Under the Walnut Tree, Snowed Under. At last an English A-ha!

In terms of the sleeve design, it is unfortunate that those at WEA did not capitalise on continuity and that the album imagery did not expand to the singles save for I’ve Been Losing You which utilises the image on Scoundrel Days back cover above. The single covers by and large are flimsy until Analogue but this was standard for WEA artists, even Madonna.


Back to chronological events in the eighties and album three Stay on These Roads is preceded by its title song which Mags calls a ‘cornerstone’ of their catalogue. Coincidentally it would be their last top 10 in the UK until Analogue in 2005! The album was their third straight to dock at number two.
Another single was the unforgettably catchy Touchy! (I played the intro on tape for about 45 minutes one day I was so enthused, constantly rewinding it back to play it again) and a deep cut and long held fave, Hurry Home.
Their bond theme, Dalton chosen ahead of Harket, the first Norwegian Bond 😉 was due to rights issues, a re-recorded version of The Living Daylights and a bit of a disappointment – a fate reprised on Memorial Beach with Move to Memphis.
Only Out of the Blue Comes Green made an impact on me from the second side (of my vinyl copy) and the first signs of an A-ha ready to move toward longer spacious material further visited again on Memorial Beach (Cold as Stone) and Analogue (Halfway Through the Tour). All in all ‘Roads’ was a disappointing third, I guess fatigue from constant magazine articles and radio interviews had set in by then.
A distraction for sensitive souls who had to embellish earlier demos from as far back as the early eighties to make a whole albums worth of material! If only there had been time to get into the swing of things. But history is history and things could only get better. Well, the music did but the artwork…


Into the nineties and their popularity begins to wane, while lead off single Crying in the Rain made good by reaching 13, Early Morning barely dented the top 80 – unusual for A-ha in the UK. Bands on their fourth album always have this problem in my trend obsessed homeland even if they are British (Duran’s Notorious, Tears for Fears Elemental for example).

So East of the Sun, West of the Moon named after a collected book of Norwegian fairy tales became their penultimate album of the nineties. It also had their most abysmal cover art coupled by a dreadful logo (the later Analogue logo would have really suited it) hence my own version above using the Crying in the Rain single sleeve as my point of reference.

It’s this album that introduces them to producers Ian Stanley (by this stage a former member of Tears for Fears) and Christopher Neil. Love Slender Frame and the title song from this one. The sessions are home to one of their most cheesy lyrics ‘money talks, and hey I’m listening’ and unfortunately it wouldn’t be the last time.

Their unashamed ripping off of others followed suit on Minor Earth, Major Sky. The Sun Never Shone That Day – a pastiche of Garbage’s Stupid Girl and Waaktaar living in New York for some time had been paying attention to the US sitcom Friends for ‘you’ll never get over me, I never got under you.’

But sometimes this worked in reverse, could Early Morning’s slide guitar have had an effect on U2’s The Edge? Listen close to Even Better Than the Real Thing and Bono’s impassioned yelp of ‘TOUCH ME’ on Beautiful Day. Sound familiar? The Sun Always Shines on TV – U2 even acknowledging this at one of their Oslo shows.


A-ha are a band that pretty much wear their faces raw and to the fore. Dark is the Night (for all) tells it as it is ‘it’s time we said goodbye’ from ‘Memorial’ Beach, both clues to a hiatus lasting the rest of the nineties. The logo reverts to their classic design (they seemed to do this every other album, Memorial being the last time until Cast in Steel).

The locust in fiery flame is particularly arresting. Cold as Stone sees the band push themselves to an eight minute epic; wide screen Americana done by Norwegians with Morten doing a very good Jim Morrison. They also wear their influences on their sleeves.

Analogue’s Cosy Prisons where Morten resembles George Harrison and Little Black Heart’s bridge of ‘You say it’s getting better, You say it’s alright’ and ‘You say it’s getting better, We just never got it right’ more than reminiscent of the Moody Blues Justin Hayward and on that note let’s move on (just like summer) to their next outing and first of the new millennium Minor Earth, Major Sky.


From the outside, it seemed A-ha had abandoned the nineties in its entirety, in reality it was a four-five year break, much needed to recuperate from the band and in 1998, rejuvenated, they began recording what would be one of the highlights of their album career.

The fact they use a plane on the front doesn’t do them any harm either. The logo is as futuristic to the year 2000 as Malcolm Garrett’s sleeve designs were to the New Romantics in the early eighties. Within, the band shots show them relaxed and looking like long lost brothers reunited (which is kind of true) and all on board for the ride.

This really comes through in the music kicking off with the electro-boogie of the title track which live is turned into a weighty rocker! A second hand Velvet borrowed from Savoy, sits comfortably in third position; you could say that A-ha’s version is polished, pretty and ready for the ball while Savoy was more heavy, gritty, warts and all (just take a look at Lacklustre Me’s cover art if you need the proof).

To Let You Win is A-ha in relationship mode, albeit one that’s fractured and failing (see also Turn the Lights Down from Lifelines). In an unusually low register, Morten croons ‘You know I always had the strength to fight, but I got tired of the wars at night, thinking they would end if I gave in, but I wasn’t strong enough.. to let you win’ only on the ‘win’ does his vocal tune upwards into the Morten H we recognise.

The ding ding dongs of Mags keys are there but this is not so much the swing of things but the midlife mid-tempo crisis of things. Mags own I Wish I Cared though a tortured song becomes somewhat comical toward the end with Morten’s ad-lib of ‘yes I really do’which always makes me laugh! I wonder if it was intended that way.


My other affinity for things Scandinavian comes from design and architecture and the next two releases would cover these. For the Lifelines cover shot the band use a building which looks middle eastern but could be used as a metaphor for a gum and teeth! Not sure why it was chosen to represent Lifelines. Maybe the sweeping lines and curves that life can throw at you.

The inner images present anything from a cool car to a grimy New York subway. These are interspersed by lyrics and portraits including a striking shot of Morten. As for the Oscar Wilde quote, perhaps this was a wry indicator that while they were no longer young they were just as vital.

Lifelines the song (also a single) leads the way and is another of their elegant tunes in the galaxy of the Moody Blues, maybe even Paul McCartney and rather underrated on listening to it now. You Wanted More and Forever Not Yours are traditionally downbeat electronic rock pop.

There’s a Reason For It perks things up a bit dipping into Beatles territory – especially on the bridge. Did Anyone Approach You? Is sassy Scandinavian cool much like The Cardigans meeting the girl who kicked the hornet’s nest. Lifelines hosts one of A-ha’s most psychedelic songs; Oranges on Appletrees and the seventies simplicity of Afternoon High.

But the album slides into filler for Less Than Pure and A Little Bit before regaining ground with the aforementioned killer ballad Turn the Lights Down which I used as one of the story titles in Beats Per Minute, the cover of which was inspired by Analogue.

Likewise Because of SE has Between Your Mother, Your Sister and Yourself – the title based on Memorial Beach’s Between Your Mama and Yourself. But Lifelines is too long, too many songs, too many producers and too many ideas for it to be as successful as its predecessor and even MEMS, though a strong return from the wilderness, with a running order of 13 songs was stretching it.


And speaking of the Analogue cover, for me it’s the most visually stunning in the band’s entire history and I wish I could include it all here but editorial licence requires me to be selective. No expense has been spared on the level of creativity put into its production.

The album itself is a marked shift in the weather, in terms of musical direction with indie and acoustic instrumentation (Don’t Do Me Any Favours, Over the Treetops, Keeper of the Flame) alongside more traditional A-ha terrain (Holy Ground, A Fine Blue Line).

In December of 2005 in Cardiff on the last night of the European leg of the Analogue tour I finally got to see them live – this is documented in my Remember That Night blog as is the encounter with Paul after their ‘Evening with..’ show at London’s prestigious Royal Albert Hall.


Foot of the Mountain with cover art by Slartibartfast – just kidding – but joking aside you can see again the importance of nature in their work. The Bandstand reminds me of my own youth in the Welsh valleys, a 17 year old walking through Pontypool park (around the time of Stay on These Roads) and later when I first moved to Cardiff near Victoria Park (Lifelines era), the bandstand was always a feature.

Here it’s in a grey as dark as the valley sky with synths to the fore. My own penchant for things Nordic are not the only cultural connections between Wales and Norway. The writer Road Dahl (born in Cardiff to Norwegian parents) and Cardiff’s pretty and pointy white Norwegian Church perched in the bay are other reminders. This birthed the poem Under Coal Star which will be included in Dating the Page to be released in due course.

Riding the Crest was premiered at the Royal Albert Hall show so I knew it before the album promo reached me. Pleasant blippy-bloppy synth-pop recalling early Depeche Mode. What There Is is elegantly designed euro-pop. Sleek by design but run of the mill. There is nothing special or memorable about it. The title track? More in the vein of Justin Hayward.

The next gem is Real Meaning, a true beauty I still play regularly along with Bandstand. Shadowside was the other new song the band performed at RAH. The strings at the end are magnificent! Start the Simulator is emotive electronica even Kraftwerk would be proud of. Overall though this is to the noughties what Stay on These Roads was to the eighties, a moderate success cobbled together and yet it made the top 5 in the UK.

Cast in Steel – as much as it pains me to say it, is their weakest offering; A-ha by numbers. The slimline font utilised for the album’s title is fine, the band shot is good but is it really a front cover!? When you consider the designs they are (via outsourced designers) capable of and are known for.

Hunting High and Low is often found in album cover books and I believe Scoundrel Days made it too. Minor Earth, Major Sky, Analogue and Foot of the Mountain raised their graphic and visual identity further still. 

Back to CAST IN STEEL and again the band return to their classic logo for this unfortunate edition to their ouvre. Highlights? Door Ajar sounds like the streamlined synth rock of Savage Garden with an almost stocky strut.

Giving up the Ghost shows they’ve lost none of their endearing engagement with the English language ‘giving up the ghost, that’s what hurts the most’ but that’s about it, I can’t even remember most of it. There is for those with the expanded edition, a neat remix of Foot of the Mountain.

However it’s the versions co-arranged by Anders Tjore which particularly caught my attention. Losing You is given a fairytale touch with strings and twinkling keys; if on a winter’s night a trio of Norsemen. This Alone is Love reborn via a Stranglers Golden Brown sixties harpsichord feel, both effective and brilliant!

Living a Boy’s Adventure Tale shimmers bright in a new lighter key to its autumnal original version. The set opens with a new song This is Our Home (written by Mags) and it’s as cosy as a warm fire in a living room and quintessential A-ha.

Another newbie is Paul’s A Break in the Clouds. Surprises occur courtesy of a Echo and the Bunnymen’s Killing Moon and Summer Moved On with Alison Moyet.

Summer Solstice finishes up with Take on Me this time arranged by long time producer Martin Terefe but… it’s an arrangement devoid of its signature riff and the fact they can pull that off and the song still stands is testament to their musicality when during the eighties some dismissed them as blonde fluffy bits.


The compilations fare reasonably well, 1991’s Headlines and Deadlines more or less covers what the casual fan would want and though the typography on the front tries to be too clever, the inner layout is neat and something I may have designed myself back in the day.

The next compilation didn’t appear til 2004 and this one uses the future logo as on MEMS and Lifelines against two black and white photographs juxtipositioned; one of the band as silhouettes facing away, and the other the band in their then present facing us (or at least Mags is).

The inner type is again stylish but you may need a magnifying glass to see the essay. Three montages of each members faces are also a nice touch.

Next up is 2010’s 25 which features no band shot – nature again taking the helm – on the cover but a rather flowery logo used only on this compilation and the accompanying Butterfly Butterfly single. Finally there’s 2016’s Time and Again featuring a standard run through of hits and a second disc of remixes (discs reverse the pale blue and sand colour).

Once again the classic logo is used on a compilation for the first time since Headlines and Deadlines. Band shot in hats on the cover and it goes to show how much they’re regarded to have only one compilation for 13 years then another three in the space of 12 years.

It took an eternity for Hunting High and Low to get the deluxe treatment, a feat now bestowed on the first five albums. According to A-ha HQ MEMS and Lifelines are soon to get the upgrade and appear on vinyl for the very first time. Funny how these things have a habit of happening while I’m writing the blogs or piecing these shapes that go together.

The deluxe versions feature the usual demos, alternate takes and annotation giving further insight into the albums creation and the tensions between them. Nothing much that we (the fan) didn’t already know as the band are fairly transparent, so let’s move onto the solo and related work (well most of it).


The who’s who and who did what between Memorial and Minor Earth and since is as multi-faceted as their facial expressions above. Loosely speaking Morten and Mags went solo, while Paul teamed up with his wife Lauren (and drummer Frode Unneland) to form Savoy.

To complicate things further Mags then formed Apparatjik with members of Mew, Coldplay’s Scottish bassist and producer Martin Terefe. As expected when three highly creative souls disband there is bound to be a sense of discovery to what each bring to the a-ha table and hence some cross-pollination of material.

Dragonfly from Lifelines was originally a Magne F recording and single. Velvet originally by Savoy and more indie alternative flavoured – this was also a single and made it to their first album, the somewhat risqué titled Mary is Coming – but this is generally the most commonly seen of all the Savoy albums as it had the backing of WEA. Between the three of them stands another mass of material so I am only going to glance over these releases here.

Morten’s first English language album (2nd overall) follows on neatly from Memorial Beach, but this is not an A-ha album, even if the voice is clear and recognizable and it was recorded in Norway. It also reunited him with Christopher Neil who did, as always, a reliable and commendable job on production.

It’s an album I was aware of but skipped at the time due to discovering new music, other artists and a dislike of Christmas Card. Spanish Steps was a single but I can’t remember hearing it on the radio. Nowadays it’s one of my faves from Wild Seed.

I like the imagery of Morten waking with the typewriter and the alternative rock and neo-hippy imagery isn’t so far away from what Simple Minds were doing with their Good News From the Next World album – also passed over at the time – and in a similar sepia tint. So other than Spanish Steps, what are the highlights from Wild Seed?

Well Los Angeles is as the song states beautiful, the political East Timor has a melody that Peter Gabriel might have come up with and Graham Gouldman’s Ready to Go Home is a wonderful ballad given great respect by Morten and the perfect way to close out the album.

A common thread with band members as we’ve seen with my Polytown blog is to release work within ear shot of each other and so to Savoy and Magne F who unleashed new offerings in 1996 (Mary is Coming) and (Hotel Oslo with Kjetil Bjerkestrand) ’97 respectively.

This would also occur in 2004 (Savoy and Past Present Future Tense) and 2008 (Songbook, A Dot of Blue… – more of below).  Both Savoy and Magne traverse a lo-fi hinterland behind the more lush soundscapes of the fuller A-ha.

For ‘Past Present..’ Mags presents a (mostly acoustic) record rich on lyrics, opener Obsolete is a highlight; that he should hook up with Coldplay (or a member thereof) makes perfect sense in any tense and although it’s amazingly well written I can’t help think that it might have been better as an EP.

But if you like say Graham Coxon or curiosities like David J’s Songs From Another Season – or Savoy, you’ll really get something from these recordings and you can see this really feeds into the Analogue album more so than any other. Payne’s Gray is a promo CD comprising album excerpts given away at one of Mags art exhibitions. Now let’s continue with Morten.

Between Seed and his next excursion to Egypt saw another Norwegian language album Vogts Villa with some beautiful imagery more so in its booklet than the front cover though a happy Morten is ok by me.

This is followed by a guest spot with Earth Affair featuring a nice shot of the aurora borealis. Not sure if Slartibartfast’s skills ran to lighting design but if it occurs in Norway, might as well milk it for a cover image eh? I did for my own Where I’m Calling From, a collaboration with Portuguese artist O Atlas.


It must be said Savoy are a very strange band; kind of indie alt rock Carpenters in a way fusing Lauren’s girly voice with Paul’s gentle Scandinavian tones. They are part indie, part grunge (Tears From a Stone), part kookie sweet (Karma Boomerang) part prickly psychotic electronic (Fearlist) and yet Paul’s romanticist vision comes through on things like Best Western Beauty and Reasons to Stay Indoors ‘you’ll get accepted into Yale, but they’ll excuse you when you fail’. Make that romantic melancholic!

It’s when Savoy plough this area they run parallel to the whimsy of The Innocence Mission’s more dreamy cinematic imagery, That Was Another Country for example. And then there’s the spiritual (Whalebone) ‘Oh weeping night, Oh grieving sky,Oh rabbit wind, You just flew by.’ 

Mountains of Time, since repackaged with a brilliant design in black and white; an hourglass with a mountain in the lower half. And on that same album is the brilliant Star (I’m Not Stupid) which I first heard on the Homecoming DVD. Songbook features two versions of it, the second is the one for me. 

Mags Black Blue Bliss record lasts only 38 minutes and includes the lovely acoustic Running Out of Reasons and the more A-ha flavoured Too Far Too Fast on which Mags really does sing like Richard Pleasance! The interesting thing about Mags and Paul’s work (with Savoy) is that their lo-fi indie songs are so far removed from the polished sheen of A-ha.

At the same time it’s clear, as mentioned, some of the materiel bleeds into said band so does this mean A-ha make the dirty and unkempt pure and clean? It would appear so and perhaps this is why Mags ended his set as Royal Albert Hall with A-ha’s Summers of Our Youth.


Of all three members it’s Morten who produces the closest in terms of sound to A-ha. Not just because of his voice but also the material – no surprises then that most of his output hits the top spot in Norway. 2012 saw Morten release Out of My Hands, more poppy than his other albums.

Keep the Sun Away and the Bronski Beat synth-pop of Just Believe It – the winners for me, and proof of life beyond A-ha’s prematurely announced retirement though I do admire their irony calling it the Ending on a High Note (think Take on Me) tour and live album.

This was followed by Brother (don’t mention the artwork) a couple of years later. The title track kicks things off and is tried and true blue, in other words it’s ok. ‘You are still my brother, til the end of time, no one else can take your place, difference is divine.’

Musically this is Harket harking back to Wild Seed or Egypt terrain – more so the latter – slow and stocky balladry with a technologically refined seventies vibe. First Man to the Grave, though written by Ole Sverre Olsen, his own Memorial Beach and a continuation of the theme of immortality (There are Many Ways to Die). A man with the name Morten, you can’t blame him for the constant reminder.


As for A-ha, it wasn’t the end for them either, they like so many bands reunited, bizarrely it took a tragedy in their homeland to do it and the less said about such incidents the better. Culturally speaking, A-ha have kept Norwegian music in the spotlight for over 30 years with articulately crafted songs in another language, that is to say not their mother tongue (except Mags whose mother was, I believe, an English teacher).

You could say that way they are as relevant as ABBA are to Sweden. They have also kept the door open for other Norwegian artistes both contemporary and classical and had an impact on tourism, drawing people from around the world to Oslo and to Giske for example.

Most recently Savoy have been back in action singing the praises for drab hometowns everywhere, well I suppose I can identify with that ‘see the beauty in your drab hometown, hidden underground, lost and can’t be found, an urban battleground’ (no offence Newportonian’s) and Night Watch, possibly their most A-ha-like moment, a more poppy Analogue (song).

A-ha in the main continue to tour with the album that started it all; Hunting High and Low. 34 years later they still want us to take them on and if Morten and co can still do it then so be it. Just remember there’s never a forever thing.

*I think Slartibartfast might have retired by now.


Thanks for reading here. For those interested in my work; principally writing, photography, and teaching. Please see my MEDIA and UNIVERSITY pages. Meanwhile, stay tuned with Kulture Kiosk via The Atlas for other culture related articles. Or on Twitter, Facebook, and Instagram where you can see some of my photos from around the world. Playlist and credits follow…

Take on Me (Video Version)(from Hunting High and Low: the Early Alternate Mixes) – A-ha
The Sun Always Shines on TV (from Hunting High and Low) – A-ha
Absolute (from Cupid and Psyche 85) – Scritti Politti
Train of Thought (from Hunting High and Low) – A-ha
One by One (from Primitive Man) – Icehouse
The Blue Sky (from Hunting High and Low) – A-ha
Living a Boy’s Adventure Tale (from Hunting High and Low) – A-ha
Here I Stand and Face the Rain (from Hunting High and Low) – A-ha
Forever Young (from Forever Young) – Alphaville
I’ve Been Losing You (from Scoundrel Days) – A-ha
Can’t Stand Losing You (from Outlandos D’amour) – The Police
Stripped (from Black Celebration) – Depeche Mode
Cico Buff (from Blue Bell Knoll) – Cocteau Twins
She Has No Time (from Hopes and Fears) – Keane
Out of Blue Comes Green (from Stay on These Roads) – A-ha
Touchy! (from Stay on These Roads) – A-ha
Hurry Home (from Stay on These Roads) – A-ha
Early Morning (from East of the Sun, West of the Moon) – A-ha
Slender Frame (from East of the Sun, West of the Moon) – A-ha
East of the Sun, West of the Moon (from East of the Sun, West of the Moon) – A-ha
Dark is the Night for All (from Memorial Beach) – A-ha
The Sun Never Shone That Day (from Minor Earth, Major Sky) – A-ha
Stupid Girl (from Garbage) – Garbage
Cold as Stone (from Memorial Beach) – A-ha
Cosy Prisons (from Analogue) – A-ha
Little Black Heart (from Minor Earth, Major Sky) – A-ha
Minor Earth, Major Sky (from Minor Earth, Major Sky) – A-ha
Lifelines (from Lifelines) – A-ha
Turn the Lights Down (from Lifelines) – A-ha
Between Your Mama and Yourself (from Memorial Beach) – A-ha
Analogue (from Analogue) – A-ha
The Bandstand (from Foot of the Mountain) – A-ha
Real Meaning (from Foot of the Mountain) – A-ha
Start the Simulator (from Foot of the Mountain) – A-ha
Neon Lights (from The Man Machine) – Kraftwerk
Door Ajar (from Cast in Steel) – A-ha
Giving up the Ghost (from Cast in Steel) – A-ha
This Alone is Love (from Summer Solstice) – A-ha
Living a Boy’s Adventure Tale (from Summer Solstice) – A-ha
Take on Me (from Summer Solstice) – A-ha
Dragonfly (single) – Magne F
Velvet (from Mary is Coming) – Savoy
Spanish Steps (from Wild Seed) – Morten Harket
Hypnotised (from Good News from the Next World) – Simple Minds
Ready to Go Home (from Wild Seed) – Morten Harket
Obsolete (from Past Present Future Tense) – Magne F
Anyone (from Letter from Egypt) – Morten Harket
Karma Boomerang (from Songbook) – Savoy
Reasons to Stay Indoors (from Songbook) – Savoy
That Was Another Country (from Glow) – The Innocence Mission
Star (I’m Not Stupid Baby)(from Mountains of Time and Songbook) – Savoy
Running Out of Reasons (from A Dot of Black in the Blue of Your Bliss) – Magne F
The Summers of Our Youth (from Analogue) – A-ha
Keep the Sun Away (from Out of My Hands) – Morten Harket
Just Believe It (from Out of My Hands) – Morten Harket
Brother (from Brother) – Morten Harket
This is Our Home (from Summer Solstice) – A-ha

Photo Credits:
discogs and wiki
a-ha 2020 tour image from a-ha official Facebook.