Holon is one of the musical outlets of singer, songwriter and guitarist Ronny Pedersen. Not bound by any genres, his influences reach into prog-rock, jazz, Frank Zappa and even world music. After 25 years after he found his initial connection with the guitar and started the Holon project.
Ronny joins us for a Why I Love on one of those influences and a great favourite of the ATB team, Frank Zappa.
For me, Frank Zappa is not just an artist I admire – he’s an entire way of thinking about music, art, and life. His work embodies complexity, humour, raw honesty, and sheer audacity, often all at once. He opened my ears, and maybe more importantly, my mind, to what music could be.
HEARING ZAPPA
The first time I heard Zappa was actually through the radio. In Norway, his song Bobby Brown was a huge hit, so it played often. I liked it, but it didn’t really prepare me for what was to come. The first time I “really” heard Zappa was when my stepfather borrowed a VHS copy of Zappa’s Universe from a friend. I must have been around 13 or 14, and I ended up playing that cassette on repeat.
I remember thinking: how could something be so melodic and hypnotic, yet so unconventional at the same time? It wasn’t built on traditional melodies, yet it worked in a way I couldn’t explain. It was like being under a spell. That was the moment when Zappa clicked for me – and when my fascination truly began.
What blew me away further was seeing how his live concerts were almost like improv theatre – playful, humorous, unpredictable. You never knew what you were going to get. There was a spontaneity to it all, but underneath the chaos was absolute precision. Zappa was a perfectionist who set the bar extremely high for his musicians. That combination of rigour and humour was incredibly inspiring.
EMBRACING CONTRADICTIONS
What I love most about Zappa is his ability to embrace contradictions. On one side, he could create accessible pop or rock songs – always with a degree of wit or satire in the lyrics. On the other, he could write atonal, rhythmically complex, almost academic pieces that demanded serious attention. And he made both sides feel authentic. He wasn’t limited by genre or expectation; everything bore his unmistakable signature.
Another thing I deeply admire is how he was an outspoken advocate for free speech. He fought hard against censorship of music in the 1980s, standing up to political figures and the PMRC who wanted to label and restrict what artists could say. He believed in the importance of art as a space for truth, humour, critique, and freedom. And that feels just as relevant today, when figures like Donald Trump openly talk about controlling the media or silencing late-night TV hosts who oppose him. Zappa’s voice in that debate wasn’t just about music – it was about protecting the right to question authority and speak freely.
Unfortunately, I never saw Zappa live, but through recordings and concert films I’ve experienced that energy: the razor-sharp musicianship mixed with humour, theatre, and unpredictability. He created not just concerts, but experiences.
If I had to pick favourites, I’d point to Inca Roads (for its surreal, playful energy and impossible musicianship), Moggio (a masterclass in rhythmic madness), The Black Page (the very definition of Zappa’s uncompromising complexity), and Sofa (which somehow manages to be both absurd and profoundly beautiful). Together, they show the breadth of what Zappa could do – from humour and satire to deeply moving, intricate compositions. That versatility is exactly why I keep coming back to his music.
Why do I love Frank Zappa? Because he reminded me that music doesn’t need to fit a mold. It can be playful and profound, serious and silly, complex and catchy – all at once. He gave me confidence that it’s okay to be curious, to question, to embrace contrasts, and to put your own stamp on everything you create.
Our thanks for the WIL insight into a musician who has many supporters and admirers at ATB
Here’s Love & Behold:
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