It’s an incredibly gloomy time in Copenhagen, so why wouldn’t we make it a little bit gloomier or even gothy with the help of Twin Tribes?

If that didn’t hint already what type of music Twin Twibe creates, let me be much clearer. The music is dark wave and new gothic rock. So basically perfect or a gloomy night with a smidge of romance. The lyrics are full of poetic symbolism, while the melody itself would get anyone dancing - dramatically obviously.

This American duo consists of Luis Navarro and Joel Niño, Jr., but don’t let the small number of band members fool you. The music is incredibly multilayered, beautifully combining multiple instruments with vocals - an aspect I am especially excited to experience live.

I was surprised to see how full Loppen was. Considering that this wasn't a sold-out gig, I thought that I would have had more space or better visibility, but I was wrong. Between the pillars holding up the ceiling and the mass of tall Danes around me, I could barely see the stage most of the time. This is why it is even more impressive how great of a time I was having.

The duo seemed to be having fun on their last gig of this tour, which really transferred to the crowd. The style of performance was just as intense as I could've wished for and even more. I rarely get to see people with bigger facial expressions than I do, but Joel Niño, Jr puts my face in shame. I think it’s obvious without saying that this type of show is extremely entertaining to watch. As if this wasn’t enough, the use of a good old smoke machine and light design ensured that we didn't lack drama.

The band didn't really converse with the audience, but the connection was absolutely incredible. Obviously, the fantastic music helped, but there was simply something special about the band's energy that made them magnetic. And as I mentioned before, this was my experience without even seeing too much. I can only imagine how it felt to be one of those tall dudes in front of me, capturing every moment.

The gig was quite short, but since it was midnight on a Thursday across the city - I didn’t really mind that, and nobody else seemed to either. Actually, even this shorter length somehow suited the whole night. Every single aspect of this gig just came together beautifully.

So did I get what I was promised, a gloomy but fun and gothic night? Not really, because gloominess was left at the door, but the amount of fun I had covered this and more. Now I just need to go and get even higher platforms for the next gig so I can experience what those gigantic Danes do.

twin Tribes - loppen, copenhagen - 28.11.2024

Photos: LAURA IOANA V

Words: Hanna Koivunen

A simple stage setup, simple lights, and just three dudes. What else could you need to have a great night?

Apparently nothing, if those three lads make the punk band The Chats. You don’t need to guess too many times where this band is from when you start listening to their songs. Most of the songs are somehow related to their homeland, Australia, which obviously means that many jokes completely go over most Nordics’ heads.

Did this language (or maybe cultural barrier) matter last night in VEGA? Absolutely not. The band still managed to create a fantastic bond with the crowd through short intros to short but high-energy songs that got everyone off their feet. The energy was absolutely incredible, as it should be in punk gigs like this and obviously, the night was full of crowd surfing, pits, and all the fun stuff.

Do you feel a bit nervous about mosh pits or perhaps are feeling a bit sleepy since it’s Wednesday, and possibly had a bday party the day before? Worry not! Just head upstairs where you could enjoy the show from a safe distance. The best thing is, that since the atmosphere was truly electric, this transferred to upstairs as well. You didn’t need to feel that you were missing out on anything (besides maybe getting some new bruises, which I can skip from time to time).

In my opinion, punk bands don’t need to be the absolute highest quality when it comes to singing, since that can be even part of the charm, but actually, Eamon Sandwith (the vocalist) does a really good job even with this. Or at least for a punk band. Sure, maybe he is not the same level of singer as some of the most talented vocalists, but he really doesn’t need to be. Overall, if you like The Chats, you will absolutely love their live show.

A short review for a simple gig, but as The Chats showed us last night; sometimes short and high energy is all that you need.

the chats - store vega, copenhagen - 19.11.2024

Photos: LAURA IOANA V

Words: Hanna Koivunen

It’s a dull time for weather this time of year in Denmark, which is thankfully the best season for concerts. With that, I was excited to begin the weekend at almost full K.B. Hallen and let Black Pumas take my mind off this week.

I have noticed lately that Black Pumas is a criminally unknown band here in Denmark. This American psychedelic soul band deserves much more attention than they are seemingly receiving. The band is formed by the singer/songwriter Eric Burton and guitarist/producer Adian Quasada - and oh my what a duo they make. The music is a magical combination of clever lyrics, groovy beats, and the pure talent of the duo, and I was clearly excited to hear all this live.

Other than the music itself, I wasn’t sure how the band performed live. I went to the gig blindly, not really knowing what to expect. Maybe that is why I felt like I was practically slapped in the face with Eric Burton’s charisma. I knew that both of the artists were hugely talented and surely hardworking performers. But you know when someone just has that certain charisma that can’t be learned from anywhere? Eric Burton has exactly that - and to be honest it could have been used ass the only pulling power of any show. But Black Pumas are more than that.

If the strong vocals and playful riffs already tinkle your toes when you listen to the band’s music recorded, it would absolutely knock your boots off hearing it live. All the strongest notes are even stronger and the softest sounds somehow even softer. The whole night was mainly focusing on the music, skipping most chit-chat, and to be honest, I didn’t mind it this time. You could really just focus on the most important thing and let the music take you with it.

You can feel the influence of the church in the band’s music, and especially Eric’s performance. Longing reaches toward the ceiling while singing as strongly as he can, it is hard to imagine that most people wouldn’t feel at least something.

For me, it all felt almost transcending. I caught myself multiple times closing my eyes, focusing on the music while dancing around, almost forgetting that I was supposed to take notes for my review. But I guess that is a perfect explanation of how the gig was - it made you forget everything else besides that moment.

As expected, the whole venue ripped with the very first chords of Black Pumas’ most popular song, Colors. Hearing it live was an amazing experience, listening to the whole crowd singing it back to the band even without being encouraged to do so. Even though the whole gig was packed with amazing performances after one another, the connection between the band and the crowd during the last song was absolutely unmatchable.

Once the song ended, thunderous applause took over the venue one last time, and of course, I was one of the people clapping vigorously. The band deserves their flowers and so much more, and I just wish I could thank them for the night. Now go and listen to Black Pumas, please.

BLACK PUMAS- KB HALLEN, copenhagen - 08.11.2024

Photos: LAURA IOANA V

Words: Hanna Koivunen

It was a cold and windy Halloween evening when Baroness had their night at AmagerBio. While kids were running the streets dressed as evil nuns and various other types of creepers you could imagine, a huge group of fans seeking a heavy guitar sound decided to forgo trick-or-treating in favour of the concert.

The co-headlining tour consisted of Graveyard and Baroness, supported by Pallbearer.

As a Baroness fan, I did not pay that much attention to the first two groups. I have to admit that Graveyard sounded really good and provided a great performance; the crowd gathered in the venue definitely had a blast. For me, it was a time to shake some hands, check the merch, and drink some beer.

Baroness, led by John Dyer Baizley, a guitarist, vocalist, and painter who created all of the band's album covers (in addition to many other album covers and tour posters for bands including Kvelertak, Metallica, and Kylesa), hit the stage a few minutes after 10PM. It was their first performance in Denmark since the

COVID pandemic, and their first headlined show here since a quickly organized show on the AmagerBio stage — BETA — back in 2019, if I remember correctly, this date popped up around 10 days before the show.

So, coming back to the show — Baroness simply ran to the stage and without further introduction started with the opening notes of Last Word’ from their 'Stone' album. Gina Gleason, the band's guitarist, clearly enjoyed herself, filling the venue with the fuzzy sound of her guitar while her face shone with a huge smile.

The band continued with material from ‘Stone' jumping into 'Seasons' next. Both songs were warmly welcomed by the crowd, but the real party began when the opening notes of 'March to the Sea' erupted from John's guitar.

At this moment, the stage lit up in colours of yellow, echoing the album's theme — a clever nod to Baroness' tradition of titling albums after colours. 'March to the Sea' is a fan favourite from the 'Yellow & Greena' album, so naturally, these were the dominant lights used for the song. Leaving the light show behind and getting back to the music — the audience finally got their moment for a proper sing- along.

The first line of the song, 'There was an anchor, there was a silver-sweet refrain' was loudly sung not just by John but by most of the audience, and certainly by those packed into the first few rows. The stage colours transitioned from yellow to green as the band performed the instrumental 'Green Theme' from the same album, which was followed by another colour change to purple in line with the songs played, with

emotional renditions of 'If I Have to Wake Up' and the explosive 'Shock Me'. The main set concluded with 'Isak' from the 'Red Album,’ after which the band briefly left the stage, only to return for their final song of the evening.

And it was not just another song; it was one of their main hits, 'Take My Bones Away'. Following this, we got, "Thank you, Copenhagen", and it was time to wrap up the evening.

Baroness provided almost one and a half hours of explosive performance, filled with mean, distorted, and fuzzy, face-melting guitar accompanied by a body-shaking bass line. All band members left the stage with smiles on their faces, as did the fans, leaving the venue.

Honestly, this was what I expected, as Baroness is one of those bands known for leaving their guts on the stage. Skipping the Halloween sweets for Baroness's 'silver-sweet refrain' was undoubtedly the right decision.

Baroness - amager bio, copenhagen - 31.10.2024

Photos & words: kasper pasinski

In the wooden concert hall of DR, which boasts some of the best acoustics among venues in Copenhagen, Interpol stopped by on their 20th-anniversary tour of Antics. Their second studio album, Antics, solidified their place in the rock music scene.

With the support band DUST from Newcastle, Australia, the five-member band, playing contemporary post-punk, made their debut in Copenhagen with a stirring performance. Dust's time on stage was a blend of post-punk infused with free jazz elements, angular drumming, and light use of electronic samples, all while guitar riffs and bass remained dominant. I was pleasantly surprised to see the saxophone as a permanent part of the band, and it blended seamlessly with the genre they played. Personally, I really enjoyed DUST, despite occasional difficulties hearing the guitars due to distortion. I think DUST has become one of my discoveries of the year, along with English Teacher.

Not knowing that this will be a sitting concert, I enjoyed it a lot. Sometimes enjoy the concert on a different level, when sitting. Interpol's 20th-anniversary tour of Antics was a night charged with nostalgia, sharp musical precision, and a sea of red light.

The set was divided into two halves, where the first was entirely dedicated to the notable album of Antics and the celebration of its 20th anniversary which has the audience sinking into the moody, brooding sounds that defined their early 2000s rise. After a short intermission, the band returned for the second part of the set, which was a cross selection of other albums, such as Turn on the Bright Lights, El Pintor, Our Love to Admire, among others.

As always, the band stayed loyal to their iconic, monochromatic dress code, exuding that unmistakable air of cool detachment. The stage was often drenched in vibrant red hues, and combined with mirror balls reflecting the spotlight to the whole space, it wasn’t always easy to catch a clear glimpse of the band members’ faces. However, that only heightened the allure. The occasional shadowy presence of lead guitarist Daniel Kessler, moving with smooth, dance-like grace, added a hypnotic layer to the performance.

Musically, the night delivered everything an Interpol fan could want: great guitar riffs and driving bass lines intertwined with razor-sharp drumming. And of course, Paul Banks' voice remains one of the most distinct in the alt-rock world—deep, haunting, and emotionally resonant. However, not all of the lyrics were easily decipherable, so for those familiar with the tunes but not the exact words, following along was a bit of a challenge.

Another aspect I found unappealing was the 360-degree setup, which made me realize that part of the audience was facing the back of the band for the entire concert. While I was seated on the opposite side, I wouldn't have wanted to be in a seat where I had to face the band's back for the whole performance.

Still, that sonic haze was part of what made the night special—Interpol’s music is as much about atmosphere as it is about words. Ending the evening with the song Obstacle 1, the evening captured that perfectly, offering a potent blend of sight and sound that left fans swaying in dark reverie.

interpol - dr konserthuset, copenhagen - 20.10.2024

Photos: Francesca Garattoni

words: Karolina Čurová

Last night Vega hosted The Grand Union Tour - a gig with two quite different performances; Barns Courtney and The Struts. You could imagine that two sets would bring twice the number of people to the venue, but this was not the case. At least, the crowd’s smaller size was balanced out by how diverse it was. Also, I am never one to complain about having some extra room for dancing around.

So, let’s start with the first artist of the night, Barns Courtney. Barnaby George Courtney (yes, that is his real name) is an alternative rock artist from England. His music combines great vocal skill with a heavier beat and quite standard lyrics that are just interesting enough to make his music perfect for basically any Netflix-series soundtrack.

The gig started early, and right away he got the crowd extremely hyped. You could really see who was there to see Barns Courtney, and who wasn’t. Still, even the ones who weren’t getting overly hyped for the artist seemed to have a great time. This is not surprising, since he really is a great singer and has fantastic charisma. Barns kept on singing and performing while getting accidental electric shocks multiple times, and he just seemed to really enjoy himself on the stage.

I must admit, that in the beginning, I was also very into his kind of assholey vibe, but thankfully he crossed the line, so I could snap out of his spell. Not that he did anything outrageous, just the standard “drinking from a bottle of wine” buffoonery, which is such a cliché that it bores me. Anyways, he still is (otherwise) entertaining to watch and an amazing singer. So if you like his music, most likely you would love him live.

I must admit that the change between the bands was quite confusing. When Barns Courtney ended his performance, most people ran away from the room as if the whole night had ended. The change was so stiff that I even started doubting myself, whether I was supposed to stay and wait or not. This wasn’t helped by the fact that it took quite a long time. I understand that setting up for a completely different band takes a moment, but maybe this could be planned to be a bit smoother (and hopefully shorter) in the future.

When The Struts finally started, all of my confusion and tiredness went immediately away. I wouldn’t have been able to stay any longer for many artists, but the Struts really gave me more energy than any Redbull ever could. To my own surprise, I started dancing and jumping immediately from the first notes.

I saw the Struts last year, and I couldn’t stop gushing over how simply fun their gig was, and thankfully this year was exactly the same. The band is just as great as ever, their music is just so fricking fun and full of innuendo, and all the band members are incredibly charming.

Luke Spiller, the vocalist of the band, never stops dancing and his smiling spreads joy again through the crowd immediately. The last hour of the night felt like a minute or two, and wherever I looked around, people still looked like they were on cloud nine.

Sadly even the most fun needs to come to an end at some point, and so did last night. Both bands were fantastic, but the vibe during the last part did outshine the other. Thankfully saving the last bits until the end is often the best solution, and all of us left Vega with the biggest smiles on our faces. I am obviously absolutely exhausted today, but I have zero regrets and would stay up for The Struts any time I needed to.

Barns Courtney & The Struts - store vega, copenhagen - 15.10.2024

Photos: LAURA IOANA V

words: HANNA KOIVUNEN

I haven’t been around this many teens for the longest time, because well… why on earth would I? But this Sunday evening, the teens and I share something in common; being incredibly excited to see the indie queer legend, girl in red.

If you weren’t aware before, girl in red is a Norwegian singer-songwriter, and her actual name is Marie. She is especially famous for her queer- and mental health-themed songs, which always carry a lighter vibe even if the theme would get heavier.

As mentioned, girl in red fanbase seems to cover all ages, but the gig was mainly full of teens (and even preteens) with their parents. With this knowledge, you can imagine how amazingly high the energy was. The whole crowd was screaming their lungs out when they had even a whiff of the Norwegian indie darling.

This was especially apparent because the singer took a good moment to enter the stage. You could really notice that this wasn’t purposeful, because at some point the DJ’s track was even repeating itself. The young fans persisted, as teens tend to do, and every time DJ seemed to be done with the song, they got just as excited as the last time.

Thankfully, in the end, this did not last long and the crowd could finally rejoice when Marie entered the stage. One could have thought that her energy would have never been able to match up with the young fans’, but one would have been incredibly wrong. If girl in red’s songs are upbeat, her energy is straight-up chaotic. From the opening song, she was running around and jumping like no tomorrow and this really didn’t end at any point. Actually, even when the crowd got a little calmer, Marie kept on going even stronger.

This fantastic chaotic gay energy was incredibly entertaining - so much so that her not being the best singer was completely OK. Don’t get me wrong, she is not even close to being a bad or mediocre singer, but I must admit she is not the strongest one. Nevertheless, just as I said - her entertaining energy really balanced this out in a way that it didn’t really matter.

The setlist was a really nice mix of the older popular songs and tracks from the newest album. Actually, I was a bit surprised at how many older songs she had decided to perform, but clearly, nobody in the crowd was displeased about this. Also, Marie being incredibly good with transitions between the songs built great bridges for all the songs to go well together.

She has learned to embody her chaotic vibe to work as a charm or maybe she was born with it. To be able to take basically any situation and use it as an introduction for a song through humor is a really incredible skill that she should be proud of.

Sunday Night with girl in red included plenty of surprising moments such as a moshpit and an accidental mic throwing (everyone seemed to be fine in the end), but thankfully one thing was just as I predicted. The whole gig ended with the first song I ever heard from girl in red, “i want to be your girlfriend”, and dancing to a song written for my namesake, was just as amazing as I expected it to be.

girl in red - tap 1, copenhagen - 29.09.2024

Photos: LAURA IOANA V

words: HANNA KOIVUNEN

Under the grand roof of VEGA, Jordan Rakei’s concert unfolded like a slow-burning revelation. Rakei’s hour-and-a-half set took us through a tour of his six studio albums, with his latest release, The Loop, at the heart of the night. For an artist who effortlessly weaves through reggae, R&B, funk, soul, and electronic textures, the grandeur of Store Vega seemed like the perfect canvas for his expansive, thoughtful sound.

Opening for Jordan Rakei was DHRUV, accompanied by Josh on a range of instruments, creating a laid-back, easy-listening indie pop atmosphere. While the set felt relaxed and enjoyable, there was a sense that the sound had room to grow. The duo's recent formation—having met only two weeks prior—perhaps explained the minimalistic performance, and it left me wondering how a fuller band might have expanded the experience. Despite this, DHRUV’s performance showed promise, offering a smooth and chilled prelude to the evening, with a direction that, though still developing, is clearly heading somewhere interesting.

It was Rakei’s another time in Copenhagen, and though the audience was seated throughout the performance—more akin to the classical concerts often held in the venue—there was a charged stillness in the room. There was a shift, a quiet intimacy that settled over the space, magnifying the vulnerability in his music. It wasn’t your typical contemporary gig; there wasn’t a dancefloor to lose yourself in, but that didn’t seem to matter. Each note felt sharper, each lyric more direct. The occasional head bop from the audience, and a single brave dancer in the stalls, were the only signs of outward movement.

Opening with “Learning,” a poignant ballad that seemed to stretch across the hall, Rakei set the tone for a night that would be equal parts introspective and ambitious. Tracks like “Everything Everything” and “Wildfire” brought the funkier edge of his catalog into the spotlight, while “Add the Baseline” got an extra groove that begged for dancing. Yet, despite the upbeat numbers, the seated arrangement lent itself more to contemplation than celebration. In a way, it felt appropriate—Rakei’s music often asks you to lean in, to listen closely to the emotions he lays bare. “Eye to Eye2, which is my personal favorite, was played as well, even though I didn't see it written on the setlist - which is a great surprise that the setlist is improvised a bit and spontaneously changed from show to show.

For me, the night’s highlights came from Rakei’s collaborations on stage. Supporting vocalist and keyboardist Eliza Oakes brought an ethereal quality that blended perfectly with Rakei’s own voice, while Flo Moore’s bass provided a deep, grounding rhythm that held everything together. There’s something remarkable about seeing a performer so at ease with their band, moving between instruments with grace and celebrating the talent around him.

Rakei himself seemed to appreciate the atmosphere, thanking the audience for their respect and acknowledging the dynamic nature of playing to a near-silent hall. The space, with its vastness and elegance, elevated his sound to new heights, while the intimacy of the setting brought out the subtle, introspective elements of his songwriting. His encore felt personal, a quiet reflection to end a show that had spanned genres and emotions effortlessly.

Jordan Rakei is an arresting performer—polished, thoughtful, and deeply connected to his music… and to me this was one of the best concerts I have been to in my life - the intimacy of his sound, great musicality and talent, kind and warm approach to the audience. This was nothing short of extraordinary.

Jordan RAKEI - STORE VEGA, copenhagen - 17.09.2024

Photos: KASPER PASINSKI

words: Karolina Čurová

You know that something great is going to happen, when Amager Bio is sold out, and metalheads have taken over the small island. Even though I wasn’t the most excited to spend one of the last summer days inside, I was more than happy to come back from summer break with this fantastic Swiss avant-garde metal band.

Indeed, it can be slightly difficult to explain what type of music Zeal & Ardor creates. Some songs are raspier almost like garage rock, some good old metal, and some more like satanic gospel. This makes the band a perfect fit for anyone who is into a multitude of different rock genres. And hey, in every genre this band dabbles, they do well, so I have zero complaints about this diversity.

The last time we saw Zeal & Ardor was in Copenhell one year ago, and you can see that the word of them has traveled fast. The whole crowd was getting hyped up (and a bit tipsy), and the energy would have gotten anybody charged up. Now we simply need to hope that the band will meet that energy level for the whole night.

Thankfully, Zeal & Ardor absolutely delivered in this stance. Not only that the band is full of talented artists, but they are also incredibly wholesome and cute. In the beginning, the lead vocalist, Manuel Ganeux, was even cussing us off for making him smile too much, and he ended the night thanking the crowd countless times for making him feel special. I truly hope he knows and understands that feeling goes both ways.

Obviously, the main focus of today’s setlist was the new album GREIF, which I will be blasting for the next few days to an obnoxious level. These songs were naturally balanced with some older tracks, but to my surprise, the crowd seemed to be almost just as familiar with both types. This tells a lot about the album’s popularity, considering that it only came out this year. The whole gig was just back-to-back bangers, with almost no breaks at all in between.

Overall the whole show was great. The songs were performed beautifully and the band’s rough-looking dudes were softened with cute pastel lights when needed. Everything was seemingly very well thought out, besides maybe the band’s outfits. Who on earth made them wear capes when the floor was literally getting slippery from sweat? Anyways, props for not ripping them off at some point, as I would have,

Before I get to the very last note, I wanted to give a little shout-out to the support band, NYOS. Their instrumental noise music was absolutely fantastic. Just a little too slow for my mood at the moment, but I already know it will suit me perfectly for more relaxing evenings during the fall.

And here comes the not-at-all-surprising last note; Zeal & Ardor is a great band that is fantastic live, and I would recommend seeing them if you can. This was a great way to come back from a summer break, and Zeal & Ardor has put the bar high, so I hope fall gigs won’t let me down. Now I don’t feel bummed at all to spend a sunny day inside - quite the opposite!

ZEAL & ARDOR - AMAGER BIO, copenhagen - 28.08.2024

Photos: THOMAS VRAABY

words: HANNA KOIVUNEN

There is something about this band that puts them in a slightly different league than the rest. For the past 20 years, The National has provided us with a reflection of modernity in our lives. Perhaps it is precisely that reflection that has made them one of the essential bands of the indie rock genre… and their mark is significant. This is the review of The National at Royal Arena with Clang.

I usually write a few words about the support band, as my belief is that, no matter how big the main band is, it is important to also shed some light on the support out of respect. The special guests for this special concert – we will get back to this later – were a Danish rising band called eee gee.

The opening of the concert focused on a centerpiece on the stage that looked like some extraterrestrial rock, which reminded me of the clitoris. The lead singer came on stage in a very pompous dress made in a very astro and space-y style. It took me a while to notice that her musicians were wearing space uniforms, which helped me understand the concept of this concert and the musical elements used.

I hadn't seen eee gee before, but from the opening song that gave me goosebumps, I didn’t lose attention and really enjoyed the concert. I felt that the ballads had a stronger impact, amplified by great vocalists who gave them a monumental feeling. Occasionally reminded of the voice of Sia (the older version of her) and with music lingering between indie-rock, country, and future-vintage-astro, eee gee is something people should experience. And together with them, “dreaming about new life,” which I definitely did.

In the past, for unknown reasons, I resisted the music of The National, and up until now, I don’t know why. I believe it was in 2017, when I saw them performing at HAVEN KBH festival, where the Dessner brothers were co-organizers, that I started to like their music and let it get to me.

The concert yesterday started with the album cover-inspired image from Laugh Track. While the song of Talking Heads - “Slippery People,” we saw on that same back screen a live video of the band standing in front of the stage door, talking and mingling. I really liked that, seeing how it looks backstage a few moments before they get on stage.

I love the transformation of Matt Berninger on stage. He comes up in a suit, looking like a classy fella, introverted-looking, and after just three songs, Berninger gets into the mode of a beast singer, extroverted, adored by others, and constantly interacting with the audience. His unique dance moves just add to the singer's charm. That explosive and expressive singer also went into the audience during “Space Invader,” where the tech guys really needed to make the cable long enough so he could go at least 20 meters into the audience. I loved it! I could see that Berninger was in such a trance that it was difficult for him to stay on this Earth, which is why he was standing on amps, boxes, and similar things that were around.

A significant part of the interaction was completed by Aaron Dessner as well. And why was this a very special concert for them? Well, as some of you may know, Aaron’s wife is Danish. Berninger’s wife also came to this concert, and I could sense this family-oriented feeling in front of the band. Many members of the band’s families were mentioned. We got to know that Berninger's wife wrote some lyrics for their songs or that the song “I Need My Girl” was written about many women in the band's families.

The song “I Need My Girl” was the first calmer moment of the concert and the connecting bridge between emotions and the venue. The song came after “Arianna.” As a musician, it reminded me that a very simple guitar riff can create a powerful song that opens up the emotional senses of the audience and the band. The same goes for my second favorite song, “Light Years.” The simple piano melody that repeats itself and then varies a bit creates a moment of introspection and melancholy. It was beautiful, though yes, the cliché phone flashlights happened. Even though I don’t usually like it, this time, I did not mind and enjoyed it. It looked beautiful, it was photogenic, and lights usually work for people.

The band also threw back to older songs. They went down memory lane and mentioned their concert at Loppen in 2004, and asked how many people were there. Then they started playing “The Geese of Beverly Hills.” Older songs also included songs that they hadn't played much or ever.

There were seven of them on stage, and I really liked that there were two trumpets that made these very nice, often subtle soundscapes in the background of the songs, but of course, had several moments where you could hear them powerfully. I also loved the moments where musicians switched instruments during the song. Guitar went to piano, bassist took guitar, synth person went somewhere else. It shows the trust and coordination of the band after many years of being together and being great musicians.

The set’s duration was around 2.5 hours, and among the songs that I mentioned above, you could hear “Bloodbuzz Ohio,” “Day I Die,” “Murder Me Rachel,” “Mr. November,” and ending with the song “Vanderlyle Crybaby Geeks” that was performed acoustically with the audience singing.

The National, but not nationalistic. The last song before the encores was “Fake Empire,” where Berninger said they wrote it when things in the country were going downhill and now, it is a bit better, but you never know…. Fascist America (note of the writer: paraphrased). Sometimes, I am not so sure how to approach music and politics, but this was another reminder that we should be reflecting mirrors of what is happening in society.

The National is a band that can take you through chaos, melancholy, and mundane turns of life, all wrapped in music that leaves you touched and transported, whether out of this world or inside of yourself. The lyrics are vulnerable, poetic, and complex, yet fairly easy to understand. Seeing this band was inspiring because Berninger’s time during COVID was tough due to depression and writer’s block, which resonates with me. Now, the creative explosion was something we witnessed again. They know how to make your emotional strings resonate.

THE NATIONAL - ROYAL ARENA, copenhagen - 06.08.2024

Photos: FRANCESCA GARATTONI

words: Karolina Čurová

When looking back at all my visits to Roskilde Festival since 1996, this exact Thursday in July 2024 contained all what I associate with being at Roskilde: Heavy rain and thousands of people creating mud pits at one moment, sunshine and summer temperatures the next, state of the art music experiences with both new and well known acts, great (and bad) food, tired feet – all together with that very special feeling of letting loose, going with the flow and surrender to a certain kind of beautiful chaos that, at least in my experience, can’t be found anywhere else.

Roskilde has always been like that – and I think that the festival’s slogan “The Orange Feeling” refers to this exact state of mind and body. Let me start out with a trip back to the start of July, 1996. I was 16 years old and had only been into music for a couple of years, but I hadn’t yet experienced my first proper rock concert – which I did that summer in front of the iconic Orange Stage, when Psyched up Janis kicked off the festival with a beat and a bass and a guitar which cut through the air towards my ears and through the ground towards my heart with such power, that I can still get the chills some times remembering that feeling of being overwhelmed and completely focused in the experience.

It's fair to say, that Roskilde Festival left an impression on me, somehow changing the young person I was. So… With this backdrop, let us move fast forward to Thursday July 4 th , 2024.

For me, looking at this year’s festival line up was, in fact, a bit disappointing. Many of the artists is performing in genres, which is a bit far from my most preferred. Or at least.. That was how I felt at my first look at the festival schedule. I think that I forgot, that going to Roskilde is, in fact, not just a question about necessarily being familiar with the names or even the genres.

Roskilde is really all about atmosphere and that special feeling of letting go on conventional, convenient and reducing matters of taste. I have attended Roskilde so many times without being that familiar with the artists in both music and other performances – returning with a much larger perspective on art, music and ways of thinking. And this particular Thursday in July was exactly like that. I can mention a bunch of concerts from my day at Roskilde, that stood out as excellent shows.

Tokyo based metal artists Love Bites, dessert bluesy Khruangbin and the beautiful tones and lyrics of Kara Jackson is among these. But for me, the biggest experiences was standing close to Orange Stage at gigs with artists that I know fairly little, observing people for who these exact artists might have been what they were mostly excited about.

Many people might not understand my own experience as a 16 year old way back in 1996, standing in front of that exact stage. And maybe I don’t fully understand other people’s excitement about some of the artists, myself. That’s just how it works.

But I have to fully acknowledge the obvious joy, excitement and “Orange Feeling”, that I saw in the audience standing in the front rows waiting for their (maybe first) experience of being overwhelmed by sound and vision. Just like I did.

roskilde 2024 (Thursday) - Roskilde, copenhagen - 26.06.2024

Photos & words: Thomas vraaby

Who didn't ever have an after festival blues? Copenhell 2024 is over and there is this feeling of something ending, well… we have decided to cure it with more metal. And what's a better remedy than meeting with a Metal God himself? Rob Halford and Judas Priest visited Copenhagen's Royal Arena just a few days after the festival and this sounded like a good cure for that post festival depression.

The whole show started just a few minutes after 9pm when the huge flag with the entire band hiding behind. When the first notes of ‘Panic Attack’ were played, the crowd immediately started to cheer and raise the horns in the air. The crowd consisting of the older generation of the fans - Judas Priest has been spreading the metal for over 50 years - was quite vivid with its initial explosion of ecstasy when the band started to play one of their evergreens - ‘Breaking the Law’.

Even though it was the 4th song on the setlist, Rob Halford managed to change his suit 3 times by then. Starting the night in the silver, light reflecting coat, evolving into a leather jacket just to quickly change into a long, spiked leather coat - I do think some pop stars need to improve to reach this level.

This was also the moment when the huge Judas Priest cross was lowered down. Huge band logo, until that moment, was just hanging above the stage, illuminating the band members from time to time. Now the huge logo became a main attraction and the sea of hands raising the horns evolved into a sea of phones raised up trying to capture this element of the stage.

The atmosphere at this moment was at its peak, and the band pushed through the setlist with no unnecessary breaks. Guitar peaks were flying around. Some fans were lucky to catch one, some fans were asking security to pick it from the pit between stage and crowd. One can say that the band was doing their best to make the fans happy.

When the temperature started to chill down, Rob, this time wearing a very shiny golden coat, provided a great performance during ‘Turbo Lover’ and even the crowd on the seats started to rise up and bang their heads.

Main attraction of the night was saved to the end. Obviously whoever knows Judas Priest and is familiar with their music knows that ‘Painkiller’ is the thing. Obviously Judas Priest saved the best for last. And the performance during this song was just awesome, Mr Halford proved during this one why he is called the Metal God. All the high notes were sung almost as good as you can remember from the record. Of course fans joined their idol screaming their lungs out. This was clearly the highlight of the night.

The band moved out of the stage, only to get back to play 3 song encore, with the ‘Hell Bent for Leather’ and ‘Living After Midnight’ with the obligatory Harley Davidson on stage.

No surprises there for those who know Judas Priest and their shows, but it would be a disappointment if this element would be missing. After almost 2 hours of a metal spectacle the show was wrapped up and it was time to move back to reality.

And as the last words about the show - He (still) is the painkiller, this is the painkiller.

judas priest - Royal Arena, copenhagen - 26.06.2024

Photos: JP Molloy

words: kasper pasinski

The atmosphere was electric as throngs of metal enthusiasts flooded Parken Stadium in Copenhagen for what was billed as one of the biggest metal events of the year. The event had an unusual format, which included a two-day concert with an unique setlist and two major opening acts per night. As someone who holds ‘’Master of Puppets’’ and ‘’Kill ‘Em All’’ in high esteem, but also finds a lot of their mid-90s to newer outputs less inspiring, I approached the event with cautious optimism. Even with the promise of their critically acclaimed latest release, ‘’72 Seasons’’ it surely would be difficult for them to perform two unique setlists, without having to go a while between fan favorites.

The show erupted with the blistering "Whiplash", an iconic opener that sent a jolt of excitement through the crowd. Their high-octane energy was impressive, even though the sound, unfortunately, came across as muddy and compressed, making it challenging to distinguish each instrument. Despite this, the fervor of the crowd was undeniable, setting a promising tone for the night.

As the first chords of "For Whom the Bell Tolls" reverberated through the stadium, followed by the thunderous "Ride the Lightning", everyone was hooked. The nostalgia was powerful, and the band channeled their signature 80s thrash metal era with such intensity, that my cautious optimism now seemed almost silly, because come on, this is Metallica!

Even the sound quality seemed to improve, whether due to the sound tech making adjustments or my own acclimation to the acoustics.

"King Nothing" from the 1996 album Load, came as another surprise. Hetfield's commanding vocals blasted through the enormous stadium with persuasive power. The soulful and bluesy delivery added a new dimension to the track, transforming what many consider a low point in their discography into a compelling live experience.

"Lux Æterna" and "Too Far Gone?" felt lackluster and quickly faded into the background. But honestly, it might be because the show was about to take a turn for the worse.

Hetfield and Lars Ulrich left the stage, and what was supposed to be a heartfelt homage to a local artist, resulted in a tonedef, cringe-worthy performance that had me rolling my eyes with the other critics. It was a moment of unintentional comedy, as Hammett and Trujillo attempted a cover of the Danish national treasure, Gasolin’s "Rabalderstræde". Yes you read that right, ‘’Rabalderstræde’’ in Danish. I suddenly felt like I was trapped at a bad karaoke night, with a drunken accountant named Bob, taking the stage.

Yet, in a surprising twist, I overheard two women in the bathroom line express their ecstatic appreciation for the gesture. It was a humbling reminder that not every moment needs to be critically dissected; sometimes, the joy is in the attempt.

The latter part of the concert felt like a rollercoaster of highs and lows. A heartfelt monologue from Hetfield about suicide prevention was a poignant and important moment, but the subsequent inclusion of ‘’The Call of Ktulu’’ and “Inamorata”, weighing in at a staggering 20 minutes total, was met with noticeable disinterest from the crowd. It wasn't until the closing tracks like "One" and the grand finale "Enter Sandman" that Metallica truly reclaimed the audience's fervor, delivering a powerful and unforgettable end to the night.

In summary, the concert was a mixed bag of highs and lows. The setlist left much to be desired and the crowd's reactions were divided. Metallica's attempt at humor and novelty didn't land well with everyone, but the energy was high and they undeniably succeeded in moments of pure, unadulterated thrash. While the show didn't quite live up to it’s astronomical hype, it had flashes of brilliance that reminded everyone why Metallica remains a titan of the metal world.

metallica - parken stadium, copenhagen - 16.06.2024

Photos: JP Molloy

words: Nina massara

From Atlanta, Georgia, to Copenhagen on her tour, 26-year-old singer and musician Faye Webster graced us with her soft and smooth music.

For the support act, Webster brought her friend Bennét, who took the stage with just his guitar. I always say that when a singer performs solo with an instrument, it is the ultimate test of the music's strength, as there is nothing to cover or hide. Bennét proved himself.

The sound of his music was warm with great intonation. Paradoxically, while he claimed his songs were sad, they evoked a warm and fuzzy feeling. He ended his set with people flashing lights, creating beautiful scenes.

When Faye Webster started her set, it was in a very dark setting, and the only visible elements were two blue dots. At first, I thought she was wearing a huge costume, but soon it became clear that it was a statue of a torso with blue eyes resembling the singer herself, evoking an Ancient Greek style.

The opening song "But Not Kiss" was a powerful start that promised a great show. The second song had a definite country vibe, which set the tone for the concert, blending country and easy-listening indie genres. As a guitarist myself, I appreciated that Faye didn't just play chords but also showcased her skills with riffs and solos. Her musicality was evident.

She not only switched guitars but also played the piano-synth. Another highlight was the band's instrumental space throughout the concert. These sections allowed listeners to contemplate the music and added to its dynamic quality.

I loved the drummer's solo; it's been a long time since I've experienced one. Another standout moment was the second synth player, who also played saxophone and violin!

There was only one minor critique I noted towards the latter part of the concert: the use of the lap steel guitar. While it fit the music, it became a bit monotonous for me at times. However, this did not detract from the overall great concert.

Ever since Faye Webster’s concert was announced, I knew I wanted to go. It was inspiring, relaxing, and musically of a high standard.

Faye webster - store vega, copenhagen - 23.05.2024

Photos: Nikolai bransholm

words: Karolina Čurová

A previously quite unknown band to me, LANDMVRKS, pulled an electric night in Pumpehuset.

LANDMVRKS is a metalcore band from France, Marseille. The band is celebrating its 10th anniversary this year, but as I mentioned, they are a relatively new acquaintance for me. Therefore I really had no idea (besides the guesses I could do from their music alone) how the band is on stage.

Shortly put, they are amazing. The energy of the band itself is enough to run a small city’s lights for a week or two. Every member of LANDMVRKS was running around and jumping like Duracell bunnies on …let’s say Redbull. This was matched with the same level from the crowd, so you can be sure that the night was incredibly fun. Everyone was sweaty, jumping, screaming, and obviously singing the whole show so you just couldn’t stop smiling.

Not only that the LANDMVRKS has some of the greatest vibes I have seen in a bit, but also the band can back this up by being great artists. Florent Salfati’s singing is beautiful and growling is clear, which is accompanied by other band members’ talents. As one could imagine, the songs were mainly “harder” metalcore, but the band had made a small twist by adding a softer acoustic part to one song. This moment was stunningly highlighted by the rest of the songs going back to the usual metalcore.

Florent is a charismatic performer, even though he doesn't talk a lot during the gig - only some jokes here and there. Still, he has the crowd exactly where he wants it, even dividing a full sea of metalheads quietly, with a simple hand gesture like Moses wearing a cap.

The only even slightly negative thing I have to say is that the whole gig lasted a little less than 1 hour, and this even included an encore. The night did go super fast due to how great it was, so less than an hour felt even shorter. Then again, when you consider that there were three other bands before LANDMVRKS, maybe one hour(ish) is enough?

On that note, this is the second time I have experienced Pumpehuset metalcore (or similar genre) night, and I must say, these events are always incredible. From the main band to all the fantastic supports, you can always be sure to have a bloody fantastic time in these. I hope the venue keeps on having more of these nights, so many more get to experience them as well.

Landmvrks was a fantastic band to hear and see live, but I do hope that the next time the fun will last a bit longer. Merci beaucoup.

landmvrks - pumpehuset, copenhagen - 07.05.2024

Photos: laura ioana v

words: hanna koivunen

O my. Yes. They did...... “Bring the Thunder!”.

Again.

This is not my first rodeo with the D. I first saw them back in 2007 at the Horden Pavilion in Sydney Australia. A smaller venue that could barely contain the epicness of Jables and the Rage Kage.

It was 6 years after in 2013 in the Sydney Opera house that I finally saw them in a venue that matched the grandeur of the moment. It was this day that Jack Black really impressed me with the power of his voice and not just his stage and comic chops.

So, third times the charm, right?

As the lights dimmed at the Royal Arena, the air was thick with anticipation. Fans from all corners of Denmark had gathered to witness the comedic rock, powerhouse as they brought their “Spicey Meatball Tour” to the masses.

As always from the moment Jack Black and Kyle Gass stormed the stage, it was clear that the audience was in for more than just a concert; they were about to experience a full-blown rock opera. The duo, known for their irreverent humour and robust musical chops, did not disappoint.

The setlist is a little “paint by numbers” at this stage and the hardcore fans will know the routine inside out but that’s all part of the charm. Its an old school almost vaudevillian performance.

The setlist was a perfect blend of Tenacious D classics and fresh tracks from their latest material such as Video Games and the Mario teamed Peaches went hand in hand with classics like “Wonderboy, ““Tribute” and “Double Team” that had the crowd singing along with every word. Recent covers of Chris Issacs “Wicked Game” also proved to be big crowd pleasers.

As the final notes of “Fuck her Gently” rang out, and the ‘D’ the crowd erupted in applause a Tenacious D had delivered an unforgettable night of rock and comedy, proving once again why they are the self-proclaimed “greatest band on earth.”

The verdict? “2 kings” reign supreme.

Tenacious D - ROYAL ARENA, copenhagen - 02.05.2024

Photos: j p mOLLOY

words: FRANCESCA GARATTONI

Up and coming Copenhagen post-punkers called 'Users' lit Loppen up on Saturday evening with an energetic performance and we will be paying close attention to this Danish 4-piece.

I found out about these lads by accident on instagram, from a video they shot for the song "For you" and I instantly clicked with it from the first chords.

I'm a sucker for post punk and bands like Idles and Fontaines DC and they reminded me of both of their early tunes, still a very young and raw energy, so I was sure I wanted to see them live. It definitely did not disappoint.

It was night filled with raw energy, moshing, jumping from both the audience and the band (especially their guitarist Esbjørn, that I'm surprised is in one piece after this) and great tunes that oozed anti capitalist messages shouted by lead singer Sean who has a very cool and commanding stage presence.

If you missed it don't worry, they're scheduled to play First Days at Roskilde Festival this year, Frigjort fest in Christiania, Spot Festival and we're sure we will see them on even bigger stages in the future.

We're hold great excitement for 'Users' and hope to stay close and see their journey in the future.

USERS - LOPPEN, copenhagen - 27.04.2024

Photos & WORDS: LAURA IOANA V

In 2024, it's been three decades since the debut album "Swell" by Psyched Up Janis hit the shelves. Often likened to Nirvana's iconic "Nevermind," released three years prior, it stands as a significant milestone in Danish music history.

The band disbanded at the decade's end but has reunited multiple times since,

This spring presents a chance to relive the band's magic, marking thirty years since their iconic debut album of 1994. Joining core members Sune Wagner and Jakob Jørgensen is Jesper "Yebo" Reginal, a longstanding member since 1996. Reginal contributed to both the studio album "Beats Me" and the live release "The Quiet Album."

Psyched Up Janis took the stage at Store Vega in Copenhagen, delivering a mesmerizing performance that electrified the audience. The venue buzzed with anticipation as fans eagerly awaited the iconic Danish band's return, and they were not disappointed.

From the moment Psyched Up Janis kicked off their set, the energy in the room was palpable. The band effortlessly blended elements of alternative rock, punk, and grunge, creating a dynamic sound that captivated the crowd.

Lead vocalist and guitarist, Nikolaj Juel, commanded the stage with his raw vocals and infectious stage presence, while guitarist and backing vocalist, Martin Sunddal, delivered blistering riffs that reverberated throughout the venue.

The band treated fans with classic hits. Tracks like "I Died in 1995" and "Where the Lights Come In" resonated with the audience, eliciting sing-alongs and enthusiastic cheers. One of the many standout moments of the night was when Psyched Up Janis performed their hit single, "Shudder." The song's anthemic chorus had fans chanting along, creating a powerful sense of unity and camaraderie.

Throughout the performance, the band maintained a tight and energetic stage presence, feeding off the energy of the crowd and delivering a performance that left a lasting impression. The seamless transitions between songs and the band's undeniable chemistry on stage showcased their years of experience and dedication to their craft.

In conclusion, Psyched Up Janis delivered a phenomenal performance at Store Vega, solidifying their status as one of Denmark's most beloved and influential bands. With their electrifying energy and infectious music, they left the audience wanting more and proved why they are a force to be reckoned with in the Danish music scene.

psyched up janis - store vega, copenhagen - 26.04.2024

Photos: thomas vraaby

words: Karolina Čurová

The singer who is trending on TikTok, or at least one of his songs, attracts a weird mix of crowds. There's lots of screaming and the sound quality isn't great. These are a few of the things I would sum up from the concert.

The rain was pouring as the long queue was waiting to get into the concert. The audience was predominantly female. We got soaked. Unfortunately, most of us missed the support band that supposedly played covers.

Artemas's latest album, "Pretty," starts strong but then loses momentum. It's not the most unique record, but in several places, it is well done. If you like pop-rock with a fashion-forward guy looking hipster-ish, with a regular structure of music, or if you feel stuck in the 2010s visually and sonically, then Artemas is for you.

There were two songs that I don't know the names of that sounded good, and surprisingly, another song that I actually liked the arrangement of was a cover of Prince’s "Kiss" that later evolved into his song "Just Want U To Feel Something."

I was surrounded by couples making out and screaming people. It was definitely louder than the music itself. Also what mix of demographics. I could not hear what he was saying between songs and what is worse, I could not hear what he was singing. This was due to the bad sound but also him having a lot of filter on his microphone, sounding like singing through a megaphone.

I can see that Artemas is good-looking and has charm. I also believe that he is an OK singer. It is just a pity that he did not stand out so much due to the bad sound. His songs peaked in the charts in many countries, so they definitely resonate with many people. Unfortunately, they did not translate to me.

ARTEMAS - PUMPEHUSET, copenhagen - 23.04.2024

Photos: Laura ioana v

words: Karolina Čurová

I have missed Nils Frahm several times when he was in Copenhagen. I heard a little bit of his concert at Roskilde Festival 2015. I didn't manage to get in but sat outside of the stage and tried to catch whatever tone I was able to hear, as I really appreciate his musical artistry. This time, Frahm came to Copenhagen offering three-day concerts with the name of Music Til Danmark. Clang attended the first sold-out night at Vega on 19th April.

As support, Josefine Opsahl took the stage with her solo cello show. Josefine Opsahl is an artist, composer, and cellist who has been appearing more and more over the past few years. The most noticeable for me was Roskilde Festival 2023. However, she has also received several accolades and prizes. At her concert, Opsahl took us on a cinematic journey of a one-woman show, with just her and her cello. I loved the use of the looper and perhaps a few samples in the background. It was a 45-minute journey of calmness and storm, with energy and devotion.

Nils Frahm took the stage just a few minutes after Opsahl finished, which was nice. I like when there is a smooth transition, especially with music like these two composers have. When you get into the state of mind and ambiance of it, you don't want to wait 30 minutes and get out of that zone. The concert started with Frahm playing this unusual instrument that I did not have knowledge of - but turned out to be the glass harmonica.

Looking at the stage, Frahm did his magic with over 10 synthesisers and pianos present. It felt like many ingredients to combine and use to create a delicious meal. And Frahm is a very good cook, using aphrodisiacs and playing ‘strings’ that resonated within and made us feel emotional and out-of-this-world.

There was not much said, but it was not needed. The one time Frahm talked to the audience was to incorporate us into the next song, where he asked us to make animal sounds. After the first try, it sounded like a crazy animal farm, so he said we should switch to the insects from the ‘dinosaur era’ and that was better. What happened was that he used the tape looper, added reverb, and pitched it down. They incorporated it into the song and it was actually magical.

Frahm’s music could be characterised by great textures, entangled melodies, and immersive soundscapes. It is a blend of classical, ambient, electronic, and experimental music that invites introspection, expanse, and 'unconvents' the conventional. Humble with the sensitive approach that makes you feel emotional, soulful, and warm around your heart... To let go, which is what I did.

Nils Frahm - store vega, copenhagen - 19.04.2024

Photos: thomas vraaby

words: Karolina Čurová

“Welcome to your gay awakening,” Fletcher laughs in the most charming manner, knowing that she has been exactly that for many people in the crowd tonight.

Indeed, this Jersey-born pop star is an absolute icon in the WLW circles. For many years now, she has been providing pop hits, representation, and some fantastic tea, taking over whole subcategories of TikTok by releasing a song about how hot her ex’s new girlfriend is (insane behavior? Absolutely).

The fans have been waiting for this gig for what felt like forever, it being postponed twice for health reasons, so you can only imagine how excited everyone was to finally experience the night.

This is why I was so surprised that there was no queue outside at all - but I found out the reason for this immediately when I got in. The crowd was so excited for the gig, that they had filled the space up 30 minutes before even the support band started!

Since the crowd was this excited, it was impossible not to get hyped up as well. When the lights finally dimmed down, people started screaming, and I feel like some fans didn’t stop until the gig was basically done.

Fletcher participated in the premiere season of the American X Factor, and even then she was a great singer, only improving ever since. Her strong vocals already got my skin on goosebumps through Spotify, so when she started belting on stage, I could feel my heart wanting to leave my body and run to her. Even her songs that I am not actually a big fan of, I truly enjoyed when she was performing them live.

The setlist was a nice mix of songs from many of her albums, which I appreciated as an older fan. The albums go very nicely together because even though their style alters slightly, most of Fletcher’s songs focus on the same topics. Love, heartbreak, and being horny as hell, often even combining all three. All of them are very easy to just sing along to, dance to, have fun to, and of course, sometimes scream your heartbreak to.

Fletcher’s fans clearly absolutely adore her, and it’s very easy to see why. Not only that she sings stunningly, but she is also charming, funny, and witty. If the crowd was already honey in her hands before, with every naughty joke she threw at us I could feel melting for her even more.

After this long wait, I was really hoping for a fantastic night, and thankfully nobody seemed to be disappointed. After the encore, some fans even needed some convincing that she is seriously not coming back anymore, and I don’t blame them. I could have easily kept on dancing for an extra hour or so!

fletcher - store vega, copenhagen - 18.04.2024

Photos: kasper pasinski

words: hanna koivunen

The British singer-songwriter made her mark on the Amager Bio stage in Copenhagen on April 17th, 2024, delivering a performance that left the audience electrified. The venue was pulsating with energy and anticipation as fans eagerly awaited Becky Hill's headline show in Copenhagen.

Becky Hill, who participated in The Voice 2021 in the UK, managed to get through the stereotypes of contestants of such shows and made her way to become a music powerhouse. As the lights dimmed, Becky Hill emerged onto the stage, greeted by thunderous applause from the crowd.

Kicking off with her opening track "Crazy What Love Can Do", accompanied by two backing vocalists, she immediately captivated the audience.

The audience responded with fervour, singing along to every word of her hits like "Gecko (Overdrive)" and "Last Time", setting the tone for an unforgettable night.

Adding to the spectacle, Becky introduced a string section and brass section on stage, showcasing a unique musical arrangement that elevated the performance. From crowd favorites like "Piece Of Me" and "Back And Forth" to newer releases like "Afterglow" and "Disconnect", every song resonated with the audience, creating a euphoric atmosphere.

'Disconnect' which is my personal favourite, also because the track is made with Chase & Status. So we had a taste of UK’s DNB and jungle.

Between songs, Becky engaged with the crowd, showcasing her down-to-earth personality and infectious energy. As she introduced hits like "Lose Control" and "Never Be Alone", she shared anecdotes and insights, further endearing herself to the audience.

The momentum continued to build throughout the night, with covers of "Heaven", "You Got The Love", and "You Make Me Feel (Mighty Real)" keeping the energy levels high. As Becky announced her final songs, "Wish You Well" and "Remember", the crowd reached a fever pitch, singing and dancing with unbridled enthusiasm.

Becky Hill's performance at Amager Bio was a testament to her talent and charisma, delivering a flawless blend of drum and bass and EDM-pop with vocals that soared. The audience transformed the venue into a pulsating nightclub, united by their love for her music. The overwhelming reaction guarantees that she'll be back again soon.

becky hill - amager bio, copenhagen - 17.04.2024

Photos: kasper pasinski

words: Karolina Čurová

It’s hard to believe that Mother Mother’s gig at VEGA was not sold out. The venue certainly looked full, and the queue went all the way around the building - which also already tells about the age of the crowd.

Indeed, it’s impressive that a band that has been playing for 19 years, has a fan base that is on average the same age. This is obviously due to two of their songs trending on TikTok some years ago, which helped this fantastic band to reach new audiences.

Mother Mother is a Canadian indie rock band, formed by siblings Ryan and Molly Guldemond (and a friend who is no longer part of the band). The music is very vocal forward, and you can certainly recognize a Mother Mother song from how it sounds immediately.

I must admit, I have been looking forward to this gig incredibly much for a very long time, which obviously means that my expectations were insanely high. Even before the gig, I was declaring that I was expecting to cry, jump, and scream all night long. And thankfully I did.

The thing with gigs where the crowd is very young is that the energy is stupidly fun. From the very second Mother Mother made their angelic entrance to the stage, people could not stop screaming and clapping - and this was only the beginning. If the energy was incredible from the very beginning, the second song (Arms Tonite) lifted it to absolutely ridiculous levels, only to be followed up with Hayloft II, which made sure that we would never come down from this high.

The setlist was a fantastic mix through all of the band’s discography. Obviously, we got to hear both Haylofts, Grief Chapter, Verbatim, and Oh Ana. What was more surprising was the two mashups, one of them combining even six songs together, ending in one of my absolute favourite songs from the band.

Also, the band was switching between acoustic and having the full band multiple times, which created nice variation of different tones and moods of the music. All this was topped off with an acoustic cover of Video Games, which was like a beautiful treat (and also a very unexpected one).

Admittedly, Ryan was in a chatty mood through the gig, but not to a bothering level. Also, he was mainly just praising the crowd, encouraging us to believe in ourselves, and talking about how he loves to perform with her sister - can’t be too mad about any of that right?

I guess the only thing I could have wished for was a little extra energy from the band on stage. But I must admit - this wish might also be created through the contrast from the incredibly energetic crowd full of youths.

Now I just really hope I get to see Mother Mother again at some point in my life, and if you still have not stumbled into this great indie band - I highly recommend checking them out.

mother mother - store vega, copenhagen - 01.04.2024

Photos: laura ioana v

words: hanna koivunen

It seems like almost everyone has left Copenhagen for Easter, and anyone who is left is at Pumpehuset tonight for Polaris (or at least everyone who is into metal core).

Indeed, I am incredibly happy that we are having some days off because going to a gig that starts at 11 pm on Thursday would otherwise feel practically impossible. Nevertheless, there I was after way too many coffees and energy drinks, in the absolutely packed venue. I was not surprised that Polaris could pull a soldout gig in Pumpehuset easily, but somehow the venue seemed even more packed than usual… Maybe it was all the big hairs metalheads tend to have.

Polaris is an Australian metalcore band from Sydney. The band was formed in 2012 and they have gained increasingly popularity throughout the years. Not only that they have a big international following and loving fans all around the world, but the band has also been critically acknowledged multiple times. Even their very first debut album “The Mortal Coil” was nominated right away for an ARIA Award for Best Hard Rock.

Technically speaking, the band is clearly on the top level. But how about their stage presence and performance? Does it really surprise you if I say that a popular and famous metalcore band is incredibly entertaining on stage? It should not.

Every member of the band really seemed to have the time of their life which is always the best to experience. I really couldn’t even see the stage all the time due to being surrounded by 2-meter-tall men, and the band still wrapped me around their fingertips perfectly. Imagine being in the front row in a show like this!

Polaris started a tiny bit early, and from that moment on the energy was incredible all the time. Any time the band went quiet for longer than 5 seconds, the crowd started to cheer and shout for them, and thankfully the band never made us wait long. The love and admiration from the fans were evident, but obviously in a very (adorably) metal way.

For outsiders, the gig might have seemed less “loving” or “wholesome”. There were moshpits after another, crowd surfing, jumping, screaming, moshing, and the list goes on. But believe me, even though this seems very aggressive, the vibe and energy inside of it all is simply joyous. This is both due to the band and the crowd attending - and this is how metal gigs should be, and I am very happy that I was not disappointed at all.

Instead of having just one support band, Polaris had three metalcore bands on the stage before them. More than just one gig, the night was like a small metalcore festival - introducing one great band after another. So if you are looking into new metalcore bands to check out - I highly recommend Paledusk, Thornhill, and Silent Planet. And if you already knew the bands, but haven’t seen them live - I would advise doing so!

Everything was great, the night was really fun, but I do feel the tiniest bit of wishing for something more. Yes, sure technically everything was fantastic and the vibe was extraordinary but I guess I wish I was hoping for a little surprising wow moment, which was completely missing. I think the biggest highlight was our photographer telling a story of a friendly metalhead giant who helped her in the busy crowd - and sure that is cute and all, but I do wish that the shiniest highlight would be from the actual band.

Still, the night was fantastic and totally worth drinking all that caffeine before, and now I am ready to cover my neck in Voltaren so headbanging won’t cause me a headache later on.

Polaris - pumpehuset, copenhagen - 28.03.2024

Photos: laura ioana v

words: hanna koivunen

Underworld visited Copenhagen's Forum this Saturday. Duo heading from the UK gained

popularity in the 90s and many people connect their classic hits with another thing that strongly influenced the culture of the 90s - movie ‘Trainspotting’.

I was curious to see if they still have enough fuel to drive through a few hours set, as well as to see if their Fandom got younger.

The venue was quite packed when the band hit the stage. Precisely as planned at 20:00. And throughout the whole evening - all was taking place according to the plan. Like in a perfectly tuned machine.

Talking about the band, both guys just took their spots on stage and started a beautiful techno rampage. Loud bass with the nice explosion of lights filled in the venue. The party started with the gentle bit of ‘Low Burn’. The crowd started to wave rhythmically to the beat. It was quite discreet in the start, but the party took off quickly with most of the audience dancing and enjoying themselves.

And when talking about the audience - as I expected it was mostly an adult crowd, but these ‘kids’ still know how to enjoy themselves. Fans were following their music idols through this few hour-long journey through colors and sound.

Performance was, as expected from an electronic band, bit static and I mean it without negative connotation – there is no guys running around with guitars, but we got a dance of lights and lasers as a substitute. Entire first set, which lasted for around 1 hour, was played with both guys hiding behind the deck. You could see their faces on the screen but even Karl Hyde, who is the main vocalist, didn’t show his full performance during this first hour.

Rick Smith, as a main music creator, has camped there for the whole show. Walking across the crowd I noticed it was not a big issue for anyone. Music was good. Sound was great (taking into consideration experience with this venue). Visuals were spectacular. You could still see both musicians on the screens from time to time. I allowed myself to drift away and enjoy the music with the rest of the crowd.

As planned, the 21:00 sharp first set was finished and the Underworld duo left the stage, leaving their fans half an hour to grab a bottle of water (or beer), and rest a bit.

Second set started with a bang, more lights and finally we got the full visual on Karl Hyde while he was running across the stage. Two lights operated by the crew in the front of the stage were capturing him anytime when the vocals were provided. The second set was drastically longer.

I have a personal feeling that it was more synth-ambient than the first one, which was by the choice of the tracks more club-like. I definitely have enjoyed it a lot. Still the sound was great as well as the visuals. A person could feel, while looking at the stage, that it is like a movie with a soundtrack being played to that. And this state lasted for whole 90 minutes.

And Underworld still got it.

And Underworld fans still can party.

underworld - forum, copenhagen - 23.03.2024

Photos & words: Kasper pasinski

Hard rock hallelujah am I right?

I am finally fulfilling my Finnish destiny of seeing Lordi on stage. After years of Danes asking me “Is Lordi your favorite band?”, I think it’s about time I find out if they could be.

Lordi is a Eurovision-winning, Guinness world record-breaking (it’s true - check it out) hard rock band from Finland, specifically from Rovaniemi where Santa Claus lives. If you have never heard any songs from Lordi (besides Hard Rock Hallelujah because c’mon) you might think that the band dressed as monsters from the underworld would play very hard metal music.

This is not the case at all. Lordi’s music is much more in the hard rock genre than anything else. And even in that, it’s certainly on the funnier side of hard rock. Additionally to their monster music, the band is also well known for their showmanship - just like many other similar types of hard rock bands.

Due to the venue being Pumpehuset, I didn’t expect to see any pyro, but thankfully there are many other ways a band like Lordi can put up an exciting show. And immediately when I arrived at the venue - I could notice that I was not the only one who was expecting a great performance.

Pumpehuset was absolutely packed with people and the excitement was palpable. Even before Lordi began their gig, the venue was incredibly hot inside and fans were getting impatient waiting for the monster band to enter. But to be fair - seeing their detailed scary set, anyone would get excited to see the show performed on it.

When they finally entered, the excitement absolutely exploded. Mr. Lordi is a very charismatic performer who got us in his (disgusting-looking) hands the whole time. He and the rest of his band members move surprisingly well considering their outfits - and they clearly love to perform. This is clearly what they are best in - surely the music itself is also good, but it’s certainly not anything groundbreaking. But the way the band plays around with all of their props and gimmicks makes you not even notice that.

The band did have quite many short breaks, but I didn’t mind most of them since they were entertaining solos. Some of the other crowd members did seem to get a little irked by this - shouting for mr Lordi to come back on stage. Other than that, everyone seemed to be in a great mood the whole time.

The whole gig was like a well-constructed story, that started with the narrator entering the stage to welcome the band, ending when they finally left. Through this time, we journeyed through twists and turns - experiencing all kinds of mysteries of the underworld like a dead Barbie and an… aggressive fisherman. The whole night was simply fun but in an unserious way, which you should keep in mind if you are thinking about seeing the legendary band on stage.

Is Lordi the very best hard rock band in the world? No. Neither did they make their way into the list of my favourite bands. But do they put on an absolute killer show? Yeah. And most importantly, I did have an absolute fucking blast screaming shamelessly Hard Rock Hallelujah.

lordi - pumpehuset, copenhagen - 16.03.2024

Photos: laura ioana v

words: hanna koivunen

I like to be challenged sonically. I like when the music is not straightforward, but should be processed and taken apart, layer by layer. For those, who have not managed to see Radiohead live (like me), this seemed to be an exclusive chance of seeing Thom York and Johny Greenwood live and about, doing their thing, doing what they are great at. The concert felt like a journey of the sound and hot air, of 3 people fainting, and of getting into a very trance-like state… and CLANG couldnt miss it.

But as per usual, let me say a few words about the support, which is James Holden. British producer, electronic musician and DJ. From being a DJ to moving extensively playing live music is also what we could witness at this gig. Duo that was on the stage was Holden on electronics and synths and he was accompanied by percussionist Camilo Tirado. I loved the combo.

This was not stereotypical 30 mins of just DJ or musician ‘pressing buttons’, but the percussion definitely emphasised the elements of live performance. 30 mins of instrumental electronic music that I could easily imagine at the rave and also just encouraged me to continue with my productions. A lot of arpeggios and movements.

The Smile started approx 10 minutes after 21. What is based as a trio was now a quartet - Thom York, Johny Greenwood and Tom Skinner were accompanied by Robert Stillman - saxophone and other wind instruments.With the huge screen - the wall - of not eyes but in this case dots and lines running around and another screen divided into four, where we could observe each musician - this gave a chance to the rest of us sitting or standing further away to see the actual faces of the musicians.

The set was almost literally equal to their two releases - Walls of Eyes and A Light for Attracting Attention. This concert was a transcendental journey through so many genres and feelings, that if someone claims that we are NOT in the post-genre era, this person must not be an erudite. This concert could observe art rock, post-rock influenced by Sigur Ros, samba and other latin-inspired music, jazz to noise and probably 5 other genres.

Somewhere, after the quarter of the gig, the song ‘Skirting on the Surface’ is being played, and I finally see York dance moves that we could witness similar to Radiohead’s ‘Ingenue’. To me, this is one of the secondary aspects that I admire and find attractive about Yorke.

We also got a glimpse at ‘Instant Psalm’ the newest song of the band that had a great brass intro. The brass element was actually quite awesome in many songs, it skilled up spaces in the songs and added the value of freedom and chaos (maybe for some), but positive chaos is not a bad thing to encounter, in my opinion.

the smile - k.b. hallen, copenhagen - 13.03.2024

Photos: Thomas Vraaby

words: Karolina Čurová

Regardless of whether you recognize Sophie Ellis-Bextor’s name and her hit song Murder on the Dance Floor from the movie Saltburn or good old MTV, there is a high possibility you wanted to be in Vega to experience the hit in real life.

A legend, an icon, and a blast from the past are just some of the names that have been used to call Sophie Ellis-Bextor (yes- I do feel compelled to use her whole name) and all of them are very well deserved. Sure, she might not have a whole repertoire of world-recognized disco hits, but the ones she does keep on rising to the top time after time again.

I must admit, regardless of her status, I had slightly underestimated Sophie Ellis-Bextor. I was expecting fun times, preparing myself to disco and boogie the whole night long, but that’s about it. I wasn’t ready for such creativity in regards to her setlist.

The setlist was a fun combination of her own songs - old and new - and some well-known covers. Just like that, the setlist is solid but pretty basic - which clearly is not good enough when we are talking of this level of an entertainer.

Indeed, the whole concert was based on an idea she had gotten during quarantine. The name of the whole tour is Kitchen Disco, which already hints at in which room this idea was created. Apparently, during the lockdown, the singer had started a new project with her husband and kids. This was streaming live concerts from their kitchen during which their kids would shout the songs they wanted the cover of.

Sounds chaotic? Well, apparently it was. And how does this even transform into a concert and an actual live performance (no, the answer is not by bringing the kids on stage)? With a fun game of spin the wheel!

Yes, they had brought with them an actual wheel, that Sophie would spin to choose the next song. Obviously, these songs were added to the base of a ready set list but it still spiced up the concert. You could really feel the difference in energy when the wheel was brought up the first time and after that, it only kept on rising.

The gig was basically a fun disco party from school years - the only differences were that now the party people were of all ages, (legally) tipsy, and of course listening to a fantastic live performer instead of a school DJ.

Sophie Ellis-Bextor was very entertaining to watch and she certainly got everyone dancing. Sure - maybe her dance moves could have had something more than just her shimmying around, but this is now starting to be nitpicky. This added to the fun factor of the wheel and fantastic disco covers, the night was all in all really solid.

It has been 21 years and 3 weeks since she was last time on the stage of Vega, and her admiration for the venue was heartwarming to see. After tonight, I can easily promise, that if I am there the next time she shimmies on that stage, I will be expecting one of the most fun nights I have had in a long time. Never underestimate her.

SOPHIE ELLIS-BEXTOR - STORE VEGA, copenhagen - 10.03.2024

Photos: Laura ioana v

words: HANNA KOIVUNEN

I am surprised about how few people know about the Dead Poet Society. I had been living in the belief that this rock band from Boston had endless numbers of fans in Denmark, but maybe I just think they should.

Dead Poet Society is formed by two Jacks, Dylan and Will who play together angsty dance rock. Some call it alternative, to me it’s more of a “dance your depression away” type of tunes. And what is a more suitable band to listen to after a long-ass depressive Nordic winter?

I was super excited for the gig - which can be dangerous considering the expectations it raises for the concert. Thankfully, I can spill the beans immediately: I wasn’t disappointed by Dead Poet Society at all.

Even though Dead Poet Society seems to fly under the radar of most people I know, they had collected a quite nice crowd in Pumpehuset. The size of the crowd did not really matter anyways, because when the band entered the stage, the energy made it feel like we would have been double or even triple the amount.

From the first entrance until the band left the stage, they kept us all wrapped around their fingers. Then again, the singer did jump into the crowd already during the second song, so I guess it makes sense why we were all so amoured by them.

The presence was overall insanely good, and you can really feel that the band consists of four mates, who have fun together. Between songs, the band members were bantering, spittinh jokes and even got us cheering for all electric engineers (weird - I know). Basically we all just had a really good time - spiced up with some more emotional moments, which makes sense due to the subject matter of most of the songs.

Jack Underkofler (the singer Jack), has very strong vocals and is very enjoyable to listen to on a gig. Same goes for the rest of the band, basically they are all great and did a fantastic job, not too much to say about that. If you like them on Spotify (or what ever you use), you will absolutely love them on a gig.

In the end of the gig, we got to hear the band covering a song by Tame Impala, which they hadn’t done before. I must say, this was my least favorite part of the gig, but even this was good - or at least alright. You could hear that this was the first time they played it for an audience, but thankfully they have time to practice before playing it on live television.

So all in all. Dead Poet Society is a fantastic band to dance home alone to when you are feeling like life is kicking a bit too hard. If you are able to see them live, you should do so to get even better affect. And what comes to my seasonal depression? I could feel it letting go of me when the band started, and KO’d it out of my body with the final screams to “intoodeep”.

DEAD POET SOCIETY - PUMPEHUSET, copenhagen - 04.03.2024

Photos: Laura ioana v

words: HANNA KOIVUNEN

There are some concerts where, even though I make notes in my concert diary or in my mind, it is really difficult to put those thoughts on the document via my keyboard. One of these was the concert of Helado Negro that sold out Loppen in Copenhagen. Yet, I am here trying to put it in a cohesive text.

The support for Helado Negro was the band called Devon Williams that brought a sitting performance, of emotional music that had a raw approach to various topics such as cancer, which made some audience members cringe a bit. However, it was a very interesting entrée to see what many people came there (to Loppen) for.

Helado Negro came on the stage with two musicians to accompany him. One of the very first comments that was made was about the proximity of the audience to the band, which I understand and saw that previous venues were more ‘typical’ with people having a distance from the musicians. I believe that proximity brings vulnerability and openness. Proximity can be a great thing if the artist decides to use it to their advantage.

The music played was a nice blend of, at least, the three albums, like the latest one Phasor, Far in, and This Is How You Shine. If this is cosmic synth folk, then I want to be part of it. I found it nice that there were re-arrangements of the songs, from purely acoustic recordings to more electronic and synth-centred live performances. I also heard from one of my acquaintances that these rearrangements were a disappointment. The voice of Roberto himself when just speaking was very soothing and calming throughout the concert, a very attractive voice when speaking as well. Combining the message of the singer and his movement, it was so in line with the people that I have been standing around in three different places. I had so many cute people around me, swaying to cute songs with a subtone of sensual touch and intimacy. I believe the comment was made that it was cold for the band before, but now we all made it hot together (ADD many FIRE EMOJIS).

Phasor songs were more bass-heavy than the rest and I could feel it in my chest for the most part. In this way, I want to give kudos to the sound engineer, Jorge. I think the sound was excellent in all the places I have been standing. Continuing to give kudos, these also go to Christy - welcoming merch person, whom I briefly met, and Andy - the guitar/bass player whom I managed to exchange a few words with. It is always nice to meet the musicians and get a feeling of what they do and get inspired.

If you want to experience groovy, attractively rendered music with the nostalgia of the past and witty intimacy and romance, then Helado Negro is the music you should give a try. There is a certain softness to it that you can meditate on and on: “Streets flood with your love/Cars flowing down like mud/Sun barely under clouds/Heat so soft it sounds like”... P.S: also… Pais Nublado left me low-key emotionally crying, LOVED IT!!!!

helado negro - loppen, copenhagen - 02.03.2024

Photos: Laura ioana v

words: Karolina Čurová

We’re all here for one reason. At least I’m pretty sure we are. Aren’t we? You know the song. We all know it. “Save Tonight”, the one delightfully smooth hit that had us asking “do you have more?”. I first heard it on a low budget surf movie that was circulating in Australia and heavily infringed on copyright. It’s four-chord pop perfection that rivals anything Ed Sheeran might’ve put out in the 27 or so years since it dropped. It still holds up perfectly well today, and it’s 97% of the reason we’re all here at Slagthuset again tonight.

In stark contrast to the night before when Norwegian Kaizer’s Orchestra blasted a full house with romping insanity, we’re here to see Stockholm’s Eagle-Eye Cherry deliver a solid show of soulful pop-rock to a maybe half-full room of misty eyed devotees and their spouses or colleagues that they convinced to come along.

First things first: Yes, that’s his real name. On discovering his Native American heritage it makes a bit more sense. The remaining pieces fall into place when perusing his family tree, an ensemble containing all kinds of successful artists. His father Don, a pioneering free-jazz trumpeter, and his mother an insanely talented textile artist came together and spawned an impressive array of musical prowess.

Siblings Eagle Eye and Neneh Cherry the most successful among them, both topping domestic and international charts at different times. While Neneh went the R&B and Hip Hop route, younger bro Eagle Eye stuck with traditional, semi-acoustic rock with tinges of blues and soul. With the smash-hit success of Save Tonight as the lead single on his debut album Desireless in ’97, it’s still doing a lot of the heavy lifting today. It appears to have served him well with moderate success across three decades, and his work ethic is likely the reason for the continued prosperity.

The man and his band tour relentlessly and the show is a well structured, enjoyable rendition of, well, a fairly average remaining catalogue of songs.

Maybe I’m a bit cynical, but these songs just aren’t hitting for me. Despite a dynamic, heartfelt performance, hooks like “Falling in Love Again” and “Indecision”, just seem to fall a bit flat. Clearly, however, many folks in the audience were a little easier to please than this hipster snob. There were young-ish, starry eyed couples swaying to the slow jams, 70-somethings rocking along while they still can, sequinned mothers and daughters, sports-coated schmoozers on the white wines and even the odd bloke rolling solo, pumping hist fist and hooting during the guitar solos.

It seemed obvious to my eye that the super-talented band were the real stars of the show. Four very Scandinavian looking fellas whose apparent skill and enthusiasm for rock music really put some meat on the bones of these just okay songs with some impressive honky-tonk and wah-wah action. They all performed strongly enough to pass a good hour and a half going from strength to strength, with little banter between songs and a few generic moves from the guy up front.

And then, rather abruptly, it was done. Just like that. Thanks very much… But wait, the song! What about the song? The reason we came out! Surely they wouldn’t bail before handing that one over, right? After a decent showing, some may have felt satisfied enough to hit coat check and head home, but it was like they were holding it hostage.

Moment’s later though, barely enough for a sip of water, they predictably trotted back onstage and picked up right where they left off. Some slightly familiar song that many seemed to enjoy, but at this point we were all just waiting. And then sure enough, without much ceremony, those four beautiful chords began strumming and humming from the stage, through the crowd to the back of the room, and at a pace slightly ahead of the record.

A collective relief could be felt as the crowd moved and grooved, closing their eyes and signing along. We made it. And it was real nice. It perhaps lacked the softness of the original and had a slight “going through the motions” vibe. He’s been singing the same tune for almost 30 years so pretending to still love it must be tough, but they were pretty convincing. The crowd, ever patient and forgiving, drank it in. Without further adieu, our boy exited stage right as the band jammed the outro for another minute or two and knocked it on the head, catching a hearty applause in return.

If I learned anything tonight it was that sometimes you gotta push your analytics aside, enjoy what’s in front of you and don’t ask too many damn questions. I guess that’s the message in Save Tonight, too. If you’ve got something good right there, hang onto it, stretch that shit out for as long as you can. Our man Eagle Eye has been living well on the back of this one classic for ages! So when I ask “do you have more?”, I simply hear in response,”what makes you think you need more?”.

eagle eye cherry - slagthuset, malmo - 02.03.2024

Photos: joe miller

words: blair elton

Entering Malmö’s premier concert hall, Slagthuset, the crowd, diverse and orderly, seemed only subtly aware of the impending spectacle last Friday. I, however, remained oblivious. Choosing to approach the show with fresh eyes and savour the novelty of it all, I conducted only cursory research on the band's essentials. Attempting to pin down the crowd proved as challenging as categorizing Kaizer Orchestra’s sound.

Among the attendees were beer-bellied bikers, steampunk hipsters in suspenders, glittered-up gal pals, and middle-aged mothers. It appeared the Kaizers must have shared rotation on playlists alongside artists as disparate as Taylor Swift and Rammstein.

But this comeback tour, after a ten-year hiatus, signaled continuity in the band’s raucous sound and energy, unaltered despite shifts in the music landscape over the past decade.

They stormed the stage to uproarious applause from the packed room and lurched into their wistful ballad “Hjerteknuser” (Heartbreaker) to swaying and smiles from the audience. Charismatic frontman Janove Ottesen wasted no time working up a sweat, moving about the stage like a man possessed, demanding equal fervour from the audience. Following was the funeral procession “Begravelspolka,” pounding the stage as if attempting to break through to the underground. This was real music to raise the dead.

For almost two hours, the self-proclaimed “No-Hit-Wonders” powered through an impressive list of classics and deep cuts, leaving the enthralled crowd barely a moment to catch its collective breath. While resembling an uncontainable industrial-sized riot, one could discern the serious work invested in making it sustainable, given the rigorous tour schedule across Europe deep into autumn 2024.

Having completed a slew of shows in their home country last year before embarking on a European tour in 2024, the Norwegians have hit their stride. Tightening their act into a brazen, post-apocalyptic cabaret of total chaos, they blend the loose, haphazard spirit of a New Orleans marching band with the feisty energy of a Scandinavian metal outfit, all stuffed into a cannon with dashes of punk and paganism, exploding back out onto the stage.

The visibly older band of brothers maintained impressive stamina throughout, switching instruments and taking turns jumping around and bashing their signature bronze 44-gallon drums with crowbars and baseball bats, smoke billowing out like a scene from some depraved Stanley Kubrick imaginarium.

With the world seemingly falling apart at the seams, war at the door, and economic collapse looming, the band's return to the stage seems perfectly timed to deliver us a much-needed release of positive, primal energy. As they played the night's final anthem “Kontrol På Kontinentet,” our fearless comrades led the (translated here) chant:

“Control on the continent, He's ruling with an iron fist, But his kingdom is crumbling, his grip slipping away

"The people are rising, they won't be held down!”

As they proceed south and eastward across European territories, by the time they wrap up in Milan, Italy, in April, they’ll have gathered a cacophony of fans old and new to march alongside them. However it shakes out, be it aliens, Armageddon, rebellion, or riots, Kaizer Orchestra is well-qualified to provide the soundtrack to the revolution!

Kaizers orchestra - slagthuset, malmo - 01.03.2024

Photos: joe miller

words: blair elton

It is the end of February, and we need to get through the last part of Danish darkness and rain… Last night, we attended Lille Vega where indie-rock was the queen of the night.

The support band of the night, which was mentioned several times throughout the evening, was WINTER, an indie-rock band led by Brazilian singer Samira Winter. Thanks to that, the band is known for bilingual songs. It was a bit difficult to hear the voice and lyrics, but maybe that was the intention. I overheard the people behind me saying, “there is not much happening on the stage - just red lights and no movement.” That depends on what the listener is expecting from the music - performance, or highlighting the music? I think the atmosphere was very nice and chill.

The opposite was happening during Beach Fossils. What sounds very chilled and gentle in the recording takes on a new version live. A 4-member band from Brooklyn has been to Copenhagen before, yet after their research, it seemed that most of the audience was attending the concert for the first time. Dustin, the lead singer of the band, seemed very shy, which was in contrast to the rhythm guitarist Tommy, who was very talkative and kept the attention and interaction with the audience.

Having 2 guitars, bass, and drums leads to the belief that the band needs to be very precise and exact about creating the riffs or chords that will fill up the space that is usually filled with the synth. In this case, Beach Fossils added a few pre-recorded samples, occasionally piano, and used very nice sounding reverb on the mic for the vocals.

I spoke briefly to Tommy and Anton about the process of composing, especially on the last record, and Tommy said that by this time, they have ‘one brain’ and that the creation of the songs is full of arguments in order to get the best out of everyone. What sounds on record as chilled music became almost aggressive and expressive on the stage, which Tommy agreed was because of the “we give what we get” energy from the audience.

The nice ending of the concert was with 3 encores and Dustin’s words to stop surrounding yourself with people that have negative energy. Surround yourself with people that inspire you, and you inspire them. Which resonated with me a lot… And I hope as you are reading this, it will resonate with you as well."

beach fossils - store vega, Copenhagen - 28.02.2024

Photos: Laura ioana v

words: Karolina Čurová

Monday night jazz pop anyone?

Who would be better to serve this than a 24-year-old GRAMMY winner - Laufey? This multi talented Chinese-Icelandic artist has charmed more and more listeners in the past couple of years, but her achievements reach further than that. Only at the age of 15, Laufey was performing as a cello soloist with the Iceland Symphony Orchestra, she certainly deserved her spot as one of the most celebrated current artists.

Laufey’s voice is incredibly soft, and her music stunningly combines jazz and pop music. The songs will take you to a completely different time, the golden era of jazz, but the lyrics are more contemporary, both heartbreaking and hopeful all at once.

I have been very excited and interested to hear how Laufey sounds in real life and whether she would able to make the 'always warm' VEGA even warmer through her romantic but heartfelt songs.

It’s safe to say I wasn’t disappointed at all. Laufey’s soft singing gets much more depth and power when she sings live, so much so, that I was even surprised. Most songs were soft and soothing, but she also added some more rougher notes here and there. Especially this rendition of “Lovesick” resembled more of a rock-pop song, rather than jazz-pop.

Not only is Laufey a fantastic singer, but she also plays beautifully. Whether her instrument is guitar, cello, or piano, she masters it, which looks incredibly easy and effortless. She was skipping and hopping through the stage from one instrument to another as if all of them would be simple to play. This only added to how charming and sincere Laufey seems to be, which makes her performance even more enjoyable.

Apparently, Laufey is also not the only musical talent in the family! Her twin sister joined the stage twice, playing violin and dancing around. Their sisterly sweetness and love could be felt through the air, which was very fitting with the whole evening.

If you are looking for a more energetic gig, Laufey might not be for you, but sometimes, a softer sound and warmer vibe are perfect for an evening - and Laufey is basically perfect for this. She charmed everyone in the crowd, and I am sure that most people would be completely Bewitched by her just as easily.

According to Laufey, her goal is to bring jazz and classical music to her generation. This is obviously a big goal to have, but looking at the young crowd that filled up the whole VEGA, I have zero doubts about her reaching it.

Laufey - store vega, Copenhagen - 26.02.2024

Photos: Thomas Vraaby

words: Hanna koivunen

It's metal night and Amager Bio and I've gotta say, the evening unfolded very different with each band on stage. The headliner and our focus was Tesseract, British progressive metal band from Milton Keynes, that are apparently also credited as pioneers of the djent movement in the prog genre, which to be fair, I have no idea what means because I have no technical music background and I'm mainly a photographer but after watching a youtube tutorial of a dude playing some different levels of palm muted weirdly distorted guitar riffs, it seemed legit.

The night had varied levels of chaos, first we started with The Callous Daoboys that were chaotic but in a playful way, then we continued with an organized chaos with Unprocessed and finished off with calculated sequences of different paces with Tesseract. All 3 bands quite different experiences but it felt like it worked well together and somehow it paved the way to the headliner. It felt like a progressive journey, and after all it's prog metal night at Amager Bio anyway right?

I think if we look up the definition of chaos a picture of the first band, The Callous Daoboys will probably pop up. There were intros of 00s bangers, pig squeels, lead was meowing at some point and there was an electric violin player on stage stomping on every beat. I liked it, I think it was cool for the younger generation where we all probably have some form of adhd or short attention spans.

The second band on stage, Unprocessed, was definitely more calculated, and it flowed nicely in between more melodic parts and more aggressive metal-core sequences. I don't know why but some of the guitar riffs reminded me of some game where you're the main character and you're supposed to slay a dragon.

By the time Tesseract was ready to take the stage, everyone was warmed up and excited, including some of my photographer colleagues in the pit that are into the band, hehe. From the moment the lights dimmed and the first notes reverberated through the venue, the atmosphere shifted into a realm of intricate rhythms and ethereal melodies.

The audience seemed hooked, even though they were pretty static, but the whole room echoed in a "forever" chant when they played "War of being" followed but Daniel's high pitched vocals and very contrasting screams. Seriously, lead singer Daniel Tompkins has a wider vocal range than a chameleon on a rainbow and keeps surprising you throughout every song when he effortlessly transitions between silky soaring cleans and beastly guttural growls.

The crowd definitely warmed up after a while and we could see come crowd surfers coming towards the pit even though there were signs that it wasn't allowed. But who can blame them the music was a wave of ups and downs (haha) so I guess it's fitting.

I think overall it was a great performance and If you ever get the chance to catch these guys live and are into the prog genre, do yourself a favor and jump on it. You'll probably enjoy it a lot like all the folks at Amager Bio seemed to tonight.

tesseract - amager bio, Copenhagen - 16.02.2024

Photos & words: laura ioana v

Depeche Mode, the band that made its mark on the history of music, especially the one coming from the UK, came to Copenhagen as part of their tour Memento Mori. The sold-out Royal Arena was a celebration of life, knowing memento mori - remembering one must die, so why not celebrate the remaining days in style and dance?

Once I entered the arena, I felt like there was a disproportion between the stage and how many people were in... and that is still sitting in the privileged press area. The stage, in this case, was on the right side from me, as opposed to when I attended other concerts and the stage was in the centre. I was hoping for the same. It was a very interesting feeling to enter the hall and see people everywhere; I felt overwhelmed. The feeling got a bit more intense when the opening song started, the song “My Cosmos is Mine”. I am always critical towards big arenas and the acoustics in them. However, this time, I have to say, the sound was done very well.

Even the fact that there were only 4 people on the stage, which felt empty in a moment, made the thought of the disproportion linger in my mind. It was this ambivalence between the expectations of a big stage, a big band, and a huge hall, to the actual reality, of these 4 pals being great enough to make enough sound and fill up the Royal Arena with people, but also sonically. I did not lack anyone else on the stage, and that is a big kudos for the band. That 4 people make a sound big enough that you don't lack anything. Prominent M shape and the visuals were a mix of contemporary and throwback videos and images.

I appreciate Dave Gahan’s energy and still the momentum of dancing and turning that seems a significant move of his. Considering their age and how many concerts they have played in their life, I also understand that Gahan took a break from some songs when Martin Gore stepped up and sang songs like “Strange Love”. Musically, another great aspect to the songs were the new renditions and remixes of their old hits. “In your room”, “pain that I am used to” gave a very refreshing take.

I personally love the music from 80s UK. The range of post-punk, new wave, and synth-pop (but a good one) always made me feel like I wanted to be my age but in those times. What I appreciate with DEPECHE MODE is the definite pushing of gender norms and androgynous look, exploration of one’s identity. Moreover, the lyrics that I am sure many queers of that time appreciated, the lust, desire, and self-expression inside-out.

I love that throughout the concert the sexual undertone and overtone were present and made, at least me, feel those feelings of desire. I just LOVED the use of synth and a variety of ways of the use… and the movements and dances of Gahan and Gore just added to that a lot. I think it is great that these lads are still presenting these topics and pushing those gender norms of men in their age.

The setlist was a nice combo of songs from their discography albums like Memento Mori, Songs of Faith and Devotion, Music for the Masses, Violator, Playing the Angel, just to mention a few. It was also a dedicated crowd that knew and sang all of the songs, and I felt like I am an outsider with already my knowledge of songs and lyrics.

The grand finale for me was the ending, when the band decided to leave the best of the best. Singing the song of how I got to know Depeche Mode “Enjoy The Silence” actually got me teary as it was a very soulful performance full of emotions and also power singing with 17 000 people; and also I was just truly vulnerable. Continuing celebratory “I Just Can’t Get Enough” that took us a bit away from dark synth waves.

This song shows how different the spectrum of one band can be. Ending with the great seduction of “Never Let Me Down Again” and reaching the auditory crest with “Personal Jesus” that gave me goosebumps. I think the ending could not be juicier and more eargasmic.

Memento Mori was also a definite tribute to Andrew Fletcher who was prevalent throughout the concert, but also as mentioned before, general celebration of life and the production of great music that Depeche Mode delivered to us.

Depeche mode - royal arena, Copenhagen - 10.02.2024

Photos: Kasper pasinski

words: Karolina Čurová

Most people might know First Hate for their 2017 album debut, A Prayer for The Unemployed – a sugary and dreamy explosion of synth pop kept in light moods.

But my first encounter with this two piece group was at Vegas Udvalgte a couple of years before their 2017 release, where they played in the corner of a small room with only a synthesizer and a microphone – and where the moods were far from light and sugary.

With their introverted and dark waved post punk synth, I took them into my heart instantly. On their debut EP, The Mind of a Gemini, you can find this unique, yet inspired sound.

And with the group’s 2022 release Cotton Candy, First Hate hits the notes from their earlier days with a twist of club melancholy and are IMO back on the right track.

With this really eclectic catalogue I was curious to experience First Hate at Store Vega, far from the small rooms above where I saw them last time – curious to witness what they had become. And I must say that I was carried away.

Having Joakim Wei Bernild behind the knobs, the show started out with heavy beats and synth soundscapes for several minutes, which immediately turned the atmosphere and gave a clear message: Tonight, Vega is not a concert venue, it’s a club! And the audience was carried to new dimensions. And when Anton Falck’s characteristic vocals started to wave around us from somewhere backstage, the dance was on.

I can’t say that I will ever change my impression of the A Prayer for the Unemployed album, but when what hit us was a handful of songs from that album to start out with, I must say that they worked really well in this specific setting and was given different life, also with the help from Anton Falck’s cool dance moves. When he shouted “Store Vega” just before a drop, we went wild – and First Hate had us as one organism.

That feeling continued through the entire show, where First Hate took us on a journey from their sugar pop, over dark wave, house and at points elements of pure techno. What a party!

Through the show we had company from a number of visitors on stage performing with First Hate, including two giant toy rabbits.

Then, Lina Rafn entered the stage, I was a bit surprised, since she is mostly known for the 90’s project Infernal (besides being a judge in X-Factor), which definitely has a more mainstream appeal than First Hate, With the words “Vega! I ser så fucking dejlige ud lige nu! Kan jeg få jer til at hoppe lidt mere?” in the end of the show, First Hate played their last song – and left us with endless endorphins buzzing in the room.

What a night!

FIRST HATE - STORE VEGA, Copenhagen - 02.02.2024

Photos & WORDS: Thomas Vraaby

Gothenburg, Sweden's very own freakshow Avatar brought their metal circus to Amager Bio Copenhagen (After a late change of Venue) on Saturday night.

Avatar is touring in support of their most recent release, 2023’s Dance Devil Dance. This was the album that brought Avatar to my attention, and I have to admit, much of their work has been on rotation in my house since.

Led by the charismatic frontman Johannes Eckerström, Avatar delivered a performance that oozed excitement, skill & pantomime/Carney grunginess.

The band opened the show in grand fashion with title track to "Dance Devil Dance '' and it was banger after banger from there on out with “The Eagle Has Landed” and "Valley of Disease ''. In fact, much of the set was made up of tracks from the new album which makes sense considering its popularity.

The lighting and stage production was top notch for a tour of this size. The haze accentuated the lighting and for the most part did not drown out the performers. The lighting really added to the almost freakshow burlesque nature of the show.

At one stage Lead singer Eckerström took to the crowd in the balcony for an impromptu animal balloon show and trombone solo on the song “Puppet show”

After the main set list the capacity crowd at Amager screamed the house down for more and Avatar of course Obliged after teasing the crowd. They returned to the stage and offered a three-song encore including new fan fav “The Dirt I’m Buried In” and “Smells Like a Freakshow” from 2012’s Black Waltz and then closed the night with the title track to 2014’s Hail the Apocalypse.

Avatar has set the 2024 gig bar very high. Let's hope the rest of the year lives up to this.

AVATAR - AMAGER BIO, Copenhagen - 27.01.2024

Photos & WORDS: jp molloy