Plási: I felt the need to bring the Greek culture in to my music!

Plási talks about his new EP, the indie folk scene, and the future of his music: “Maybe it’s time for an album”

From beautiful folk melodies with acoustic roots to more electronic, pop textures, Plási has managed to craft a unique sound—somewhere between the light of the North and the nostalgia of the South. With roots in both Greece and Sweden, and now based in Amsterdam, his music naturally moves between worlds—cultures and genres.

With his upcoming EP, Camino, releasing on June 13, we spoke about how his sound is evolving, what he’s been listening to lately, his connection to Greek music, and whether we might ever see him at Eurovision. An artist currently in an experimental phase, with his sights set on the next big step.

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Welcome to Beater! Where are we catching you right now?

I’m in Amsterdam, on a lovely evening. Summer has just arrived, and we’re at a cozy bar very close to my home, since I’ve been living here for the past few years.

The last time we spoke was about 5–6 years ago. What has changed for Plási—or Michalis, however you prefer—since then, either musically or personally?

I’ve definitely taken many steps forward, especially musically. I started with a simpler acoustic folk sound, and now we’ve moved toward fuller productions—indie folk with a bit of indie pop—especially with my latest collaboration with Björn Yttling, which leaned more into indie pop. The biggest difference is definitely in production. I started out on my own in 2016, and in 2018 I released my first album, People, which I recorded by myself at home with a microphone and whatever instruments I had. The sound was mainly guitar with a pad and a strong focus on vocals. Later on, collaborators like Haness and Linus Hasselberg (Stuzzi) came in as producers and helped evolve the soundscape into something more cinematic, with bigger productions. We now perform live with drums and a full band, which was a challenge, but one I really enjoyed.

It seems like you’ve found space to experiment and develop your sound. Was there any fear in leaving behind the simple acoustic and vocal style to move toward a full band?

Yes, definitely. When you have something you know you do well and people like it, it’s hard to take the risk of changing course. For me, the “push” came with Björn Yttling on the previous EP (Salamina). I had a lot of respect for his work, and it was an opportunity I didn’t want to miss. When we started working together, I felt I had to let go of control and see where the process would take us. In the end, something really beautiful came out of it. I’m happy because my longtime listeners didn’t stop following me—on the contrary, they felt I was evolving.

Many artists find it difficult to do that and stick to the same pattern, so this is important. You also mentioned Björn — many of our readers might not know him. How did your collaboration come about, and what does it mean to you to have an EP like Salamina produced by someone like Björn?

It all started with my manager, Kalle Lundgren Smith, who I’ve been working with since 2018. It was his idea, and at first, I couldn’t imagine someone like Björn being interested in a collaboration. We made a list of potential collaborators, and Björn was among the top names. He’s one of the most important contemporary producers, having worked with artists like First Aid Kit, Lykke Li, and his own band, Peter, Björn & John. I grew up listening to that kind of music, so this collaboration meant a lot to me — you feel respected and acknowledged by the veterans of the music industry.

The Salamina EP has a very unique sonic identity — a blend of Greek and Scandinavian indie elements. How did the name and this fusion of sounds come about?

The name Salamina came up while I was in Athens playing as a support act for Efterklang, just before Foreign Sea was released. That’s when the need started to bring more of the Greek element into my music. The connection between these two sonic worlds — Greek and Scandinavian indie — comes from within, because I’m Greek-Swedish and grew up with influences from both cultures. I wanted Salamina to express this identity and create something that combined these two journeys.

Tell us a bit about how the idea to write music in Salamina came about, and what this place means to you.

I had this idea of writing more music while in Greece, so I arranged with Linus — who plays with me on stage — to take a few days after the show to go somewhere and see what would come of it. We didn’t have a specific plan, but we ended up in Salamina. It was totally by chance because it was May Day and the ferries weren’t running, so we couldn’t go anywhere else. A friend, Tasos, suggested Salamina, saying it was the only island we could get to that day and that the back part of the island had a really special vibe, very different from the urban front side that feels more like an Athens suburb.

When we got there, we found ourselves in this very strange yet inspiring environment: the town was completely empty, like a ghost town, with clouds, rain, and lightning. It was a unique setting that gave us massive inspiration. Salamina isn’t a tourist island, especially in May, and I felt like I was somehow “back in time” in Greece. I loved that vibe, and that’s how we ended up naming the EP Salamina. We hadn’t planned for it to have a Greek name — it just happened naturally because we were there.

How many songs did you write there?

Surprisingly many, for just three days! For example, the song Efiga started there, as did Waiting for Signs, which you’ll hear on the new EP. Salamina left a big mark on me, and I definitely want to go back — it’s a hidden gem.

You mentioned Efiga, your first Greek-language song. How did the transition from English songs to singing in Greek come about?

It happened very naturally. Before Efiga, I had already released a Swedish song, Ordna Sig, and then I felt the urge to write in Greek too. When I write, I usually start with the melody and the vibe, and then I try to understand what it means to me — I don’t always have a clear theme in mind at the start. With Efiga, the Greek element came effortlessly, both from the melody and the rhythm, which made me want to write in Greek. The initial inspiration came from Greece, and that helped a lot.

Will we hear more Greek-language songs from you in the future?

Maybe — why not! My main songwriting language is English, but if I strongly feel a vibe, like with Efiga or the Swedish Ordna Sig, I’ll follow it. The important thing is that I feel a strong emotional connection to the language and the song.

The new EP is called Camino and comes out on June 13, right? Tell us a bit about its content and its mood.

Yes, Camino includes five songs — among them the singles Heights and Efiga. It also features Father’s Eyes, Waiting for Signs, and the final and title track, Camino, which closes the EP. Father’s Eyes isn’t just about my relationship with my father, but more broadly about parent-child relationships. The song talks about how we often focus on our differences instead of seeing the similarities and learning from them. It’s an invitation to open our eyes to what bothers us in these relationships. That’s why I decided to shoot the videos and photos in Greece — I wanted to connect the music to my roots. Together with Amanda Gylling, a Swedish photographer I work with, we went to Athens to shoot the official video for Father’s Eyes.

Do you think your career in Greece could grow more now that you’ve released a Greek-language track?

I’d love that! I’ve done quite a few shows in Sweden and other European countries, but not many in Greece. I know it’s difficult because of distances and logistics, especially when you travel by van. But I hope that within the next year, with the new EP, I’ll be able to do one, two, or maybe even three shows in Greece. We’ve already started working with people there to see how we can gradually build my presence. Since Salamina, I’ve noticed more Greeks reaching out and listening.

Are there plans for a tour after the EP release?

Yes, we’re considering some dates in October, mostly around Central Europe. I want to reduce travel distances a bit, now that I live in Amsterdam and that’s my base — so I’ll tour around the neighboring countries. I’m also thinking about a tour that might include Greece, Turkey, and maybe Italy.

What have you been listening to lately? Any artists currently inspiring you?

Yes, lately I’ve been listening to a lot of music with more up-tempo or full production elements. Definitely Σtella, Amanda Bergman from Sweden, Blanco White… And I’ve always loved José González — even his most recent work still moves me. If you look at the new music that’s entered my life, it has that analog yet electronic vibe, more pop and indie pop. 

Do you listen to Greek music?

I do, but mostly when I have a connection to the band. For example, I know Gidiki, and I even went to their concert here in Amsterdam two weeks ago. I don’t actively follow the new Greek scene, but, for instance, Σtella is from Greece — so yes. Greek music is deeply within me. My father (Vangelis Bitzarakis) is a musician in Crete. I grew up with traditional and folk music. Even though I haven’t lived full-time in Greece since I was four, I spent all my summers there. That’s why I speak the language and understand the music. I have a good relationship with the country. Sometimes at night, at home, I’ll put on rebetika while I eat. That vibe is definitely there. But it’s not in my “most played” list.

Fun fact: Plási’s father, Vangelis Bitzarakis, wrote the song “Mathima Ellinikón” which came second in the Greek Eurovision national final in 1987.

Fun fact: Ο πατέρας του Plási, Βαγγέλης Μπιτζαράκης, έγραψε το τραγούδι «μάθημα ελληνικών» που βγήκε 2ο στον ελληνικό τελικό για την Eurovision το 1987

Eurovision. If next year artists are again invited to submit songs for the Greek national final, like this year, would you consider it?

I’ve thought about it — why not? If it’s about writing a song, I’d definitely be open. If it’s about performing it myself, I’d have to think more seriously. It’s important to be able to present yourself exactly how you want. Eurovision isn’t a priority for me personally as a performer. But as a songwriter, I’m very open. I write with others, and I rarely say no to an idea. If it doesn’t click, I just don’t continue with it.

What do you imagine is the next step for Plási?

It’s interesting, because I’m not sure where it will lead. I’m in a phase of experimentation. I have lots of ideas, lots of song beginnings. Now that the new EP is out, I think I can process them more clearly. Right now, I feel that the next step might be a full album. I haven’t announced anything, and I’m not officially working on it yet. But after two EPs, I feel ready. And I have enough ideas to take it there.