Sigur Rós live performances are transportive and deeply absorbing experiences in which the pieces and cadences continue to be unravelled days after the performance and infinitely longer.
It’s music like theirs that leaves a profound, lasting impression that rebels against the increasingly short-attention spans of modern society and challenges us to go deeper, longer, and further into unknown and introspective creative spaces.
Sigur Rós’ transcendental music abounds in chilling crescendos and trademark swells. With a mastery of ebb and flow, Sigur Rós move beautifully and hauntingly from orchestral solemnity to euphoric build-ups filled with deep expanses of space, soaring rapture and mind-expanding atmospherics.
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Jónsi Birgisson’s sublime falsetto and inimitable vocals, which are sung predominantly in Icelandic and Vonlenska/Hopelandic, are intrinsic to the Reykjavík group’s ethereal, haunting sound. Jónsi fronts a remarkable ensemble of multi-instrumentalists, including bassist Georg Holm, keyboardist Kjartan Sveinsson (who re-joined the band this year) and drummer Ólafur Ólafsson. The world tour marks the 20th anniversary of their third album, (), and follows the announcement that the revered post-rock group are working on their highly anticipated eighth studio album.
From tinkling glockenspiel and breathtaking vocals to an ominous swell of noise, the music of Sigur Rós in their live manifestation conjures both the foreboding and spiritual, shifting from eerie ambience (Untitled #1 – Vaka and Smáskifa) and tranquil chimes to the unnerving (Untitled #7 – Dauðalagið) and brooding (Kveikur). The songs build with gradual tension and burst in an explosion of shuddering guitar distortion, rippling, frenetic keys, thunderous drums and powerful flourishes that reverberate through the venue.
The stage resembles an art installation and enthralling sensory experience with its geometric lights, rope sculptures and poignant vignettes. The meticulous lighting and imagery compliment the compositions with luminous shapes and figures depicting nature, humanity, geographic vastness and the expanses of imagination.
Untitled #3 – Samskeyti is soul-stirring as its glorious piano melody rings out in its resplendent beauty. Svefn-g-englar – a composition about a newborn from their 1999 second album, Ágaetis Byrjun – explores new depths in its live interpretation, augmented by its hypnotic light globe flashes and Jónsi’s cello-bowed guitar reverb. Ný batterí showcases the band’s supreme command of tension and catharsis while Glósóli and Sæglópur – from 2005 fourth album, Takk… – reach celestial heights with the former’s soul-stirring crescendo and the latter’s glistening, water imagery and majestic climax.
The reflective melancholy of Fljótavík – from 2008 fifth album, Međ Suđ Í Eyrum Viđ Spilum Endalaust – is particularly affecting, and new songs Gold 2 and Gold 4 evoke a similarly emotive, mournful air with added intensity to its soulful yearning. The concert ends with the epic Untitled #8 – Popplagið and a sharing of applause between the audience and band; what we experienced within those few hours will reward, challenge, and move us upon each reflection.
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