Online music magazine based in Copenhagen, Denmark

Tag archive

Bisse

LIVE REVIEW: Roskilde Festival 2018 Day 3, 06.07.2018

in Live Reviews by
David Byrne live at Roskilde Festival 2018

With the sun back in full force, Day 3 of Roskilde Festival 2018 was one for indoor sets. Klub Rå and Gloria provided us with much needed respite as well as moving electronic beats. We were ready for rock music outdoors by the time the sun started going down. Here’s how we paced our day:

The Lost Girls
Jenny Hval’s side project with long time collaborator Håvard Volden is an amalgam of the experimental for the sake of being experimental and pop songs that sound like they’ve been skimmed out of her catalogue. There are weird vocal loops and Norwegian spoken word, but then there’s Volden’s guitar helping him produce the kind of tracks that indie rock bands wish they could dream up for their adventurous electronica crossover albums. It’s also clear that this is a way for Hval to play with vocals and not necessarily follow strict song structures, which it’s only become apparent she does follow in comparison.

Having seen Hval, and by extension, Volden, perform together on several occasions under her name, seeing them positioned across a table from each other without props or costumes or backup dancers is a totally different experience. It feels like getting insight into something not fully fledged, something we a privileged few have been allowed to hear. — AF

Laurel Halo live at Roskilde Festival 2018

Laurel Halo
Laurel Halo’s impressionistic electronic music is not for everyone. She challenges the listener with oddly structured songs and unsettling vocals devoid of traditional pop hooks. Her effected spoken-word breakdowns are long enough to make you wonder when the payoff will come, and then… it doesn’t. But if you’re adventurous enough to succumb and allow yourself to be drawn into her world, it’s full of distorted beauty, musical precision and good old club music bliss. Halo’s set started with her unique avant-pop musings but quickly developed into a dance-floor friendly techno set combining Latin percussion grooves, FM pads, vocal samples as well as her live keyboard playing. Ultimately, Halo’s originality seemed lost on the crowd inside Gloria, but those who were eager to dance were certainly not disappointed. — MT

Bisse live at Roskilde Festival 2018

Bisse
Danish art rocker, Bisse (née Thorbjørn Radisch Bredkjær), whose catapulting stardom has as much to do with his eccentricity as his prolific recorded output (8 albums since 2015), brought an electric energy to his performance on the Avalon stage. Flanked by two incredibly tight drummers up front while his guitarist and keyboard player shredded behind him, Bisse sauntered around the stage with the same confidence as Mick Jagger or Freddie Mercury. Through multiple costume changes and an elaborate scenography with a mirrored telephone booth style box in the centre, his playful attitude and outward sexuality blended with the raw power of his vocals to provide an engrossing experience. Bisse honours his Danish heritage by singing in his native language instead of crossing over to the more commercial English. Yet, he is poised to be one of the defining artists of our generation based entirely on the strength of artistic contributions. — MT

Nick Cave and the Bad Seeds live at Roskilde Festival 2018

Nick Cave and the Bad Seeds
There is no ceremony when Nick Cave and the Bad Seeds arrive on the Orange Stage, there is just the deafening wail of “Jesus Alone.” It’s an instant command of the situation, demand for attention, an establishment of dominance.

So the contrast of Cave climbing the rail to the crowd, allowing them to grasp his hands and paw at him, is immediate. He’ll end up in this place, on and off, for what amounts to half the set. It’s physically giving himself (and on some occasions, his microphone) over to people, whether making himself vulnerable as on the heartbreaking piano arrangement for “Magneto,” or simply trusting them as when he conducts their handclaps for “The Weeping Song.”

There is also sheer ferocity in the band on the whole: Warren Ellis is shockingly cruel to his violin on “From Her to Eternity,” making an unholy noise in the process; someone is forever having to deal with Cave looming over him at the piano; and “Jubilee Street” built to an explosive end that many performers would have found difficult to continue after.

Ultimately, the Nick Cave song everyone knows is “Into My Arms,” and Cave takes this opportunity to orchestrate a sing along. It brings levity to it everything, and is admittedly the least weird song for there to be a sing along to. It was a beautiful moment amongst the murder ballads. — AF

David Byrne live at Roskilde Festival 2018

David Byrne
David Byrne appears on stage sitting behind a long table, holding a plastic model of a human brain. This is the most boring thing to happen all set, because singing to a plastic model of a human brain pales in comparison to an 11-piece backing band, bare footed in matching gray suits, jumping around like an outsider artist marching band.

Byrne’s set is built around songs that focus on the barely-there silver linings of his back catalogue and desperate search for positivity in his new album, American Utopia, best evidenced by the perfect pairing of “Everybody’s Coming to My House” segueing into “This Must Be the Place (Naive Melody).” He and his band are perfectly choreographed from the subtle hand flicks of his backing singers to arranged warrior poses full formation drum lines.

And if the collectivist rising evades you, if the lyrics to “Slippery People” don’t resonate as they should, he closes out the set with a  cover of Janelle Monae’s “Hell You Talmbout.” I don’t know how a song about police brutality in the United States translates for a European audience, but it felt very important to a transplanted American. It’s tying everything up with the heaviest moment, but it doesn’t take away from the fact that this performance is an absolute joy.

Words by Mikael Tobias and Amanda Farah. Photos by Morten Aagaard Krogh.

PHOTOS OF THE YEAR 2016

in Photos by
Mø

Photos by Morten Aagaard Krogh, Tom Spray and Amanda Farah

Mø (photo by Morten Aagaard Krogh)
PJ Harvey
PJ Harvey (photo by Morten Aagaard Krogh)
Fat White Family performing live at Loppen (photo: Morten Aagaard Krogh)
Fat White Family (Photo by Morten Aagaard Krogh)
Courtney Barnett (Photo by Tom Spray)
Savages
Savages (photo by Morten Aagaard Krogh)
Bob Hund live (photo Morten Aagaard Krogh)
Le Butcherettes (photo by Amanda Farah)
Action Bronson
Action Bronson (photo by Morten Aagaard Krogh)
Chvrches (photo by Tom Spray)
A Place To Bury Strangers performing at Loppen in Copenhagen
A Place To Bury Strangers (photo by Morten Aagaard Krogh)
Puce Mary (photo by Morten Aagaard Krogh)
Puce Mary (Photo by Morten Aagaard Krogh)
Bisse
Bisse (photo by Morten Aagard Krogh)
Jackie Lynn
Jackie Lynn (photo by Morten Aagaard Krogh)
Gojira (photo by Morten Aagaard Krogh)
Wiz Khalifa
Wiz Khalifa (photo by Tom Spray)
mac demarco live roskilde festival
Mac Demarco (photo by Tom Spray)
Angel Olsen Live in Copenhagen
Angel Olsen (photo by Amanda Farah)
guardian alien live roskilde festival
Guardian Alien (photo by Morten Aagaard Krogh)

 

LIVE REVIEW: Roskilde Festival 2016, Day 2, 30.06.2016

in Live Reviews by
savages live roskilde festival

Reviews by Amanda Farah and Jesper Gaarskjær

Courtney Barnett — Avalon

If what you want is high energy rock music, it’s hard to do better than Courtney Barnett. Her blues-driven slacker rock with big choruses is perfect for jumping around and wailing along. You could take ready cue from her bassist, who spends much of the set flinging his body from side to side like Muppets are made to when they’re dancing. Add to the to that the background projects of weird but amusing cartoons and there’s the feeling of a subversive kids’ show for adults.

courtney barnett live roskilde festival

It’s also clear where Barnett’s comfort zone is. It’s well into her set before she says anything to the crowd, though this is a kind group who’ve heard “No One Really Cares If You Don’t Go to the Party” on the radio a hundred times and are singing along to “Depreston,” a song about gentrification and property values. But when she plays a solo her body turns into a rubber band and she loses herself in something ecstatic.

It’s easy to imagine a day when Courtney Barnett will be headlining festivals. She has the songs and she has the energy. The ability to command a stage is still forthcoming, but you can see that she knows it’s something she has to work on. It’s growth we can look forward to seeing. — AF

PJ Harvey — Arena

PJ Harvey knows how to make an entrance. She walks out onto the Arena stage with her band in single file, including a mini drum procession, with her saxophone in hand and wearing an amazing black feather vest.

The Arena stage is filled from end to end with her band, no mean feat, and the crowd is spilling out from the tent. If Polly Jean doesn’t say much between songs, it’s because she has the sort of presence that allows her to get away with saying so little. The profundity of hearing songs like “Let England Shake” and “The Words That Maketh Murder” a week after the UK’s referendum is not lost, even if she doesn’t call direct attention to it.

pj harvey live roskilde festival

It’s not as the PJ Harvey is someone you go to see for lightheartedness. The shift away from political drama to songs from To Bring You My Love, including the title track and “Down By the Water” fills the space with a dark energy.

She closes with “River Anacostia” from her latest album, The Hope Six Demolition Project. Slowly, her band join her in a perfect line, singing the final lines together in a communion that’s almost spiritual. Though the crowd lingers, cheering for more, it’s too perfect an ending to follow up. — AF

Tenacious D — Orange

We went out to see Tenacious D thinking it would be a laugh, and it absolutely was. Jack Black on stage is essentially the guy from School of Rock, and Kyle Gass is the guy who is not Jack Black, i.e. an excellent straight man who deals with Black’s over-the-top emoting. For goodness sake, there’s a guy in red body paint and pair of furry trousers playing the part of Satan.

It’s 10 years since the release of The Pick of Destiny, and the set features heavily from the record. A rare outing for “Master Exploder” turns into a somewhat elaborate Milli Vanilli joke, and the segment culminates in “Phoenix,” which acknowledges that sales for The Pick of Destiny were less than stellar. Even if it’s heavy handed in the way that only main stage acts can be, the display of performance is admirable (Black’s repeated mispronunciation of “mange tak” is less so, but points for trying).

Despite the duo’s best efforts not to be serious at all, the crowd is definitely taking them seriously. This is typified in the mass singalong of “Tribute,” which explicitly states that it’s not the greatest song in the world. But if you can’t get in on the joke, what’s the point? — AF

 

JÚNÍUS MEYVANT (IS), Pavilion

It starts with a resounding “HU!” from the crowd. These days there is something special about everything from Iceland thanks to their football teams’ success at the Euro 2016 and their now legendary HU!-cheer. This event is no exception. Júníus Meyvant, on stage preparing for the first song, seizes the opportunity and gets the whole tent to roar “HU!”, and so a pleasant afternoon begins in the best possible way.

Június Meyvant has brought quite an orchestra to the setup. Eight people in all, including three of them playing wind instruments, kicking off with a surprising instrumental take, indicating that Június Meyvant has much more to offer than the soft, folky tunes from his celebrated first EP. The likes of “Gold Laces” and “Color Decay”. We got those beauties, of course, but the red-bearded Icelander takes the audience new places from song to song. Hushed tunes, full-blown orchestral compositions and solo appearances with only Júníus Meyvant on stage with his guitar.

At the center of it all, his trademark voice, both smooth, raspy and raw, adding some edge to the folky softcore. In between the melodies — during the sometimes too long breaks — he entertains with a profound sarcasm that stands in contrast to the songs, many of them taken from his forthcoming debut album. After this afternoon, that also ended with a “HU!”, expectations are mile high. JG

 

BISSE (DK), Gloria

There really is no one like Bisse. He blew up Gloria with a high voltage performance, making a clear statement: he is one to watch in the next few years.

He enters the stage as colorful and powerful as his music would lead you to expect. Glitter on one cheek, painted oversized eyebrows on the other, red lipstick, red nails, circular sunglasses, and — when he took the glasses off — a determined, piercing stare under the blond hair. And backed by a tight, intense three-man-band he delivered his shouting, rattling songs; this blend of rage, light, darkness, tenderness, new-wave and punk, that is nowhere else to be heard.

Photo by Morten Aagard Krogh

 

Bisse shouts more than he sings, flitting around  the stage, changing dress three times and dancing with a naked torso, sexy and edgy at the same time. And he has a lot to say to the world. He has released four albums in a single year, and though their quality can fluctuate a little, and though it often was hard to distinguish the words from each other in Gloria, he gives everything he has, an artist at his most beautiful, leaving the room breathless. Even when he announces that he is about to do some ballads, it takes only a few seconds before the first ballad turns into a raging roar.

Bisse, this highly gifted chameleon of emotions, attitude, chaos, sex and poetry, really makes the blood rush. JG

 

SAVAGES (UK), Avalon

I adore Savages. I adore lead singer Jehnny Beth, the black intensity in her eyes, her explosive moves and unbreakable voice, and this Thursday night she and her three bandmates underlined what has been obvious to the world the last three years: Savages is a ripping, gripping and ruthlessly beautiful live act.

Savages_DSC1674

Jehnny Beth is above all the mesmerizing star. Pitch-black backslick, red lipstick, pale skin and dark suit. When she stares or points, she leaves a mark of latent danger. She is known for her interaction with the crowd, crowdsurfing and crawling over them — I last experienced it this April in Boston, USA — but that dimension was unfortunately missing at Avalon.
That said, Savages lit the tent up with their energetic darkness and songs about anger and love turned bad, both in their ballads and in their tight punk explosions. JG

Go to Top