Going from Eivør's performance to Heilung should not seem like as much of a whiplash on paper as it was in practice. Heilung, in contrast to Eivør, go for historical immersion in overdrive.

The instrumentation, scene design and costumes all beg you to believe that what you're witnessing is an authentic iron age ceremony of Old Norse origin. They describe their group as 'amplified history', which is basically a fancy way to say that they use historical elements to create fantasy theater.

This they admittedly do very well too. I felt less like I was in iron age Europe, and more like I was on the set of an 80's barbarian fantasy movie. Antler helmets, face paint, bare torsos and all.

The whole performance is done in a mix of various old Germanic languages, including Norrøn, Old high German and Gothic, glued together with bits of Icelandic, which aims to further enshroud their audience in a veil of mysticism. Something they clearly succeed with as their rhythmic drumming and ritualistic chants fully captivated the audience, many of whom were chanting along.

As an outsider I was left feeling like there was some potential storytelling that was lost in the mysticisms of incomprehensible language. At the same time I knew enough of what was being said in these languages to break the immersion of it being cohesive sentences.

The strength of the performance very clearly lies in the beautiful stage design and visual performance by the artists. The stage itself, made to look like a little woodland enclave surrounded by trees, was beautifully lit up through the fog of the smoke machines to create stunning and quite diverse displays throughout the performance. The choreography was fluid and impressive. With the amount of people, it truly felt like a theatrical performance more than a concert. Partly also because the music itself was not enough to captivate or awe me.

Less than halfway through the show their songwriting formular was blatantly obvious, and it seemed like they were doing repeats of the same songs in different configurations. There's not too much to say about the instrumentation. It was drums. I did however wonder why the person playing the drums at the very front of the stage, was also the one the furthest back in the mix. Sometimes I could see him hammer on those things with all his might with no sound to be heard in the hall.

It was a breath of fresh air when the main female vocalists started to sing in beautiful Gregorian-like harmonies in what also sounded like Latin. It seemed like a fitting end to the show, both thematically, as the vocal style shifted to resemble a more medieval one, but also in terms of time. Watching a fantasy opera without subtitles for two hours can get a bit tiring unless you're really into the premise.

That being said, the harmonies between the various singers were always on point, and very impressive from a technical perspective. It seemed like they could've done more if they weren't hung up on the viking roleplay.

I saw a lot of people dressed up in LARP gear, and I do get it. It really does feel like being a part of a very high budget roleplaying game, which I can understand the appeal of. If that's what you're into, then Heilung is definitely something to experience.

Support on the night, came from Faroese singer/songwriter, Eivør, with her alternative nordic melodies.

Eivør's musical style and aesthetic is delightfully eclectic in a way that seems very honest about pulling inspiration from different cultural contexts. She switches between playing an electric guitar and a Sámi drum (at least I don't think that shaman drums are native to the Faroe Islands), which emphasizes this more playful approach to incorporating historic cultural elements from the wider Nordics into contemporary music. Because of this, you don't feel like she's trying to sell you a false narrative about viking music.

Her vocal performance is hauntingly beautiful, but the sound design makes you wonder how much goes on behind the scenes, as her voice seems a tad too layered and reverberating throughout the performance, which makes it feel overproduced even if live.

It ends up making you less immersed, which seems strange for an act that mixes analogue synth and electric upright bass with throat singing and drum chants. She is undoubtedly a great singer, and it makes sense that there's such a huge focus on her vocals as they carry most of the songs.

Really, I would boil this decision down to a style preference. The band consists of only two musicians besides Eivør, with a mostly electronic, minimalist setup. That to me seems like a great decision, as it both emphasizes the vocal talent and the eclectic nature of the music.

I couldn't help but smile when she introduced a song she wrote for the series 'The Last Kingdom' as a "show with some of those vikings in it" to an audience full of neo-pagan nerds, who care very deeply about pre-medieval Germanic cultures. It felt very down to earth, and at the same time uncompromising to how she perceives herself and her music. I may read a bit too much between the lines here, but I also saw it as her saying "Don't take it too seriously". After all, the song itself had vocalizations that to me seemed to stem more from Middle Eastern and North African music traditions.

Overall I'd say that Eivør delivers exactly the musical performance that she knows her audience craves, but with a presence and self-awareness that rubs off on you and makes it feel authentic, not in a historical sense, but as a genuine modern artist.

Heilung / Eivør - black box, copenhagen - 16.03.2025

Photos: laura ioana v

Words: Magnus Høst

The late '90s were rich with great bands in the realm of rock and alternative rock, especially in the UK. Bands like Placebo, Manic Street Preachers, The Verve, and Radiohead emerged and made their mark in music history. Skunk Anansie was definitely among them. Clang was at their concert at Store Vega in Copenhagen.

The sold-out show started with the support band So Good, who describe themselves as "ignorant brat pop." I would also add a mix of drill and pop-punk rock to that description. They were a five-piece band with a singer, two vocalists, and two musicians in pink balaclavas.

For a second, I thought—is this some Pussy Riot spinoff? Not at all. They had great energy, but their music didn’t resonate with me—perhaps just a few punk, rioting, ironic verses that caught my attention. Even though it wasn’t so good for me, I salute their achievement of touring with such a strong band like Skunk Anansie, as well as the audience for supporting the opening act.

The band kicked off with "This Means War," as Skin jumped onto the stage in a cool bomber jacket. I immediately wondered—isn’t she going to be way too hot in that? I expected an energetic performance, and I wasn’t wrong. The jacket was soon exchanged for a very cool oversized blazer that gave me Grace Jones vibes.

But let’s get back to the music. The setlist was a great mix of past hits and new songs from their upcoming album, The Painful Truth, set for release on May 23, 2025. We got a taste of it with songs like "Cheers," "Artist Is an Artist," and "Animal."

I have always admired Skin’s vocal range, the power of her voice, and her incredible lung capacity—she can hold a note for what feels like two minutes. That was my impression when listening to recordings, but hearing those timeless songs live? My admiration surpassed all expectations.

What’s even more impressive is that she does all this while jumping and dancing through the set. The only slow song of the night was "Hedonism (Just Because You Feel Good)," which, for me, was one of the most emotional moments of the concert.

Another highlight was before they played "God Only Loves You." This is where musicians can use their platform to inspire and make a positive impact. Skin spoke about the current situations in various countries—starting with the US, where she resides—where rights and religion are being misused to attack the most vulnerable.

She reminded the crowd that as a community, we can protect those who need it, resist oppression, and fight back against injustice. I’ve been to several concerts this year, and this is not the first time I’ve heard a musician address these issues—especially those from the US.

There wasn’t just one moment where the audience sang along. It wasn’t only during "Weak" that we all sang our lungs out—although that was definitely the cult song that brought the entire venue into harmony, making us feel every lyric. Many of Skunk Anansie’s songs remain as relevant today as they were decades ago—both lyrically and musically.

Skunk Anansie and Skin gave us an unforgettable show, filled with audience interaction (including Skin getting into the crowd), powerful messages, and music that will continue to inspire future generations.

skunk anansie - store vega, copenhagen - 16.03.2025

Photos: francesca garattoni

Words: Karolina Čurová

It is March and Spring is slowly entering the chat… At the same time, more and more concerts are happening, which is great. Tonight, we went to see two bands from The USA - julie, being supported by ROBBER ROBBER. Entering the venue, I started to feel a bit old, as the demographic looked average 24 years- & GEN Z-old with emo-esque appearances.

ROBBER ROBBER is a 4-piece band from vermont. I have to admit, I don't know much about Vermont or music from there, so it was nice to get some samples thanks to this band. Overally, it was a nice easy listening concert. I really appreciated that the band played several songs in the form that both of the guitarists played riffs, instead of the usual - one band riff and the other chords. I also really liked the sound of the bass, with and without the pedal used. The only negative thing for me was that for the most part, I could understand any lyrics, I could just hear some glimpse of the melody of the voice, which I find unfortunate. However, their music was fitting for indie movies from the past - which is a compliment.

During the changeover, it was an interesting choice of music, as it was classical with opera vocals ??? Interesting. Not that I mind, I love classical music, but I found it a bit odd and unfitting for the genres we were listening to.

julie came on stage with an energy that worked for the audience. I believe that people that came to see them - know them. julie actually accomplished to be the support band for Faye Webster (that CLANG review last year) and Alex G - which is great.

From the appearance and the first songs, I could see that there is a lot of punk rock and emo influences. The great thing about the concert was that there was no one lead singer, but Alex and Keyan were switching as lead singers in different songs, but also sang together. I am quite a big fan of this. I liked the elements of shoegaze and very passionate drummer Dillon. Also the sound of the vocals was better, as I could understand the lyrics of the songs and influenced my experience of the band.

I had a hard time with the transitions between the songs, as they took quite a long time, with the drummer trying to fill in the void. Nothing was really said by the band between the songs and thus made me feel disconnected. I was wondering if these long transitions between were caused by technical issues, or changing to different tuning?

I am definitely not the target audience for this kind of music, but was glad to attend to get to know new bands. I definitely could also see their music used in the TV shows from the early 2000s or playstation games such as Life Is Strange.

The evening of emo-influenced bands of GEN Zs was an overall good experience as I learned and heard how younger fellow musicians sound. It took me down the memory lane when I was in my teens and I was a big fan of this whole subculture.. and it was a good trip down memory lane for sure.

julie - lille vega, copenhagen - 05.03.2025

Photos: kasper pasinski

Words: Karolina Čurová

Oh well, if it is not another branch of capitalism - Valentine’s day… but how do you spend the evening if you are alone and single? Go to a heavy metal concert. I do not go for the gig with heavier music, but this year, I decided to switch it up a bit and as a person of experience I am, I was like “why the heck no?”. I joined our editor and photographer Joe and we watched a gig of URNE and Kvelertak at Amager Bio.

URNE is a British metal/metalcore/sludge trio formed in 2016. They are definitely not newbies in Copenhagen, having already performed at Copenhell in 2022. Their 45-minute set was quite impressive, as the sound they produced was remarkably full and wholesome, considering there were only three of them on stage. I always find that impressive. I obviously did not recognize any of the lyrics due to the vocal style (understand: growling), but I loved the bass and drums throughout the entire set.

Kvelertak stormed through Amager Bio, delivering a ferocious and electrifying performance that turned the venue into a chaos-fueled battlefield—or at least, that’s how it felt. Kvelertak has delivered plenty of unforgettable, high-octane shows over the years. I talked to some devoted fans of the band who reminisced about their iconic and ecstatic performance at Copenhell in 2011.

Back then, they were fresh off their debut album, a chaotic blast of punk-infused metal that felt like a breath of fresh air in the heavy music scene. This time, they proved once again that they are one of the most consistent forces in modern rock.

Though far from their home turf in Stavanger, the band made Amager Bio feel like their own backyard. The connection between the crowd and the band was instant: we were there, they were there. We were dancing, Nikolaisen was crowd surfing—it all just worked. For a moment, any doubts about their music’s impact, or how Kvelertak stacks up against their younger selves, disappeared in the sheer momentum of the night.

The venue pulsed with energy as the long, atmospheric intro set the mood, and then, like a hurricane, Ivar Nikolaisen took command—prowling the stage like a wild animal, feeding off the unrelenting energy of the packed venue. From the first riff, the audience was all in, embracing the band's signature blend of raucous energy and uncompromising intensity.

With their signature fusion of blackened rock ‘n’ roll, punk energy, and anthemic choruses, the Norwegian heavyweights had the crowd screaming along to every riff-laden assault. From classics like Mjød to their latest bone-crushing tracks, Kvelertak proved once again why they are one of the most exhilarating live acts in modern metal.

Necks snapped in rhythm, bodies moved relentlessly, and Amager Bio was alive with the kind of intensity that only Kvelertak can summon. This wasn’t just another gig—it was a full-throttle celebration of rock, the kind that makes you forget about tomorrow and wring out the last drop of energy from today.

Maybe, just maybe, there was a little rust on the moped after all. I enjoyed my Valentine’s Day, and I have to say, I wasn’t bored at any point during this concert, despite not knowing any of these bands.

kvelertak - amager bio, copenhagen - 14.02.2025

Photos: joe miller

Words: Karolina Čurová

Destroy Boys arrived from the USA and provided one of the most wholesome gigs I have attended. To be fair, I have grown to expect punk gigs to be the most heartwarming and unifying experiences when it comes to live music. Even so, I left Pumpehuset feeling a little extra fuzzy this time.

I wasn’t very familiar with the band before, so maybe a little introduction would be helpful for others as well. Destroy Boys is a young American punk band from Sacramento. Their songs cover many important topics, which makes me happy to see that the band has many young fans. They sing about creepy older dudes, not identifying with one's body and many other subjects that can comfort any listener.

Destroy Boys had pulled quite a big crowd to fill Pumpehuset, and as mentioned before, it was noticeably young. The energy was already pretty high before the band even started, and everyone seemed to be in fantastic spirits. Thus, the band was already in a solid setting before entering the stage.

When the moment finally hit, all the fans absolutely lost it. From the very first song, the energy was just great, and it didn’t drop down at any moment.

The whole band is full of fantastic performers, but it is hard to take your eyes away from Alexia (the lead vocalist). They possess a certain charisma, cultivated from their dramatic style of performing, which I immediately seem to gravitate towards. Still, the whole band is extremely entertaining to watch, and clearly their fans agree. I really can’t remember the last time, I heard such cute fan screams, as I did whenever Violet (backing vocals) went even remotely close to the crowd.

The love between the band and the crowd was beautiful. Of course, we were mainly having fun and dancing around, but Alexia also had some very important speeches in between. These were to encourage everyone to have fun in the safest way, and of course, hit some important topics about trans rights and immigration to name a few. To make sure that all fans could have a fun and safe experience, there was also a moshpit only for women and non-binary people, which was just a cherry on top. Nights like this really highlight how important unity, love, and joy are, especially when facing adversity.

All this combined with stunningly performed fun punk songs? A Tuesday night can’t really get better than that.

Destroy Boys had a stellar night, but the night had already started greatly before. This is because their chosen support band, Gaffa Tape Sandy, was really fun. This British garage band made me feel like I was in the middle of a cool Y.A. gig scene, and gave me a new motto: ” We only accept positive feedback because we are quite fragile”. Thank you very much.

destroy boys - pumpehuset, copenhagen - 04.02.2025

Photos: laura ioana v

Words: hanna koivunen

I have wanted to see the British rock band Nothing but Thieves for a good decade now, and last night, I finally got to do so at K.B. Hallen.

To be honest, there’s only a few things I can say about the whole gig. Before it even happened, I told my friend that I would probably dance a lot and cry, which basically sums up the whole experience.

Nothing But Thieves has been background music for my many heartbreaks, for a good reason. Their music switches from fun dancing rock to heart wrenching songs for screaming and crying your heart out to. While listening to them you feel like you can conquer anything in this world, while also wishing to be anybody else. Practically any mood you are in, Nothing But Thieves has a great song for it, which is why we went through all the emotions last night.

The whole setlist combines the most famous tracks from all of their albums. The night started with more dancy vibes with “Oh No: He Said What” and “Futureproof.” It then took a dive to the emotional side with “Sorry” and “If I Get High” in between, before shooting back to a more energetic side. It was a real rollercoaster of emotions accompanied by Nothing But Thieves’ biggest hits.

All songs were performed stunningly, and the connection with the crowd was beautiful. The memory of the crowd singing “Sorry” will be stored in my heart forever, even though after Conor’s singing, the lack of our abilities was even more highlighted. Thankfully, Conor showed mercy and sang the rest of the song with us, so we didn’t need to continue embarrassing ourselves.

And now that we are talking about it, Conor Mason’s absolutely incredible singing is the big pulling power of the band, giving them a very recognizable flair. His ability to go high and powerful with his notes is simply astounding, and he sounds even better in real life.

Therefore it also makes sense that he was very much in the front of the whole band. Nevertheless, one could have hoped that the rest of the band would have been at least introduced at some point. Leaving this out gave a bit of a funny taste.

Other than that, the night was simply fantastic. This band was truly worthy of waiting for almost a decade and I recommend trying to catch the band before they will go for their well-deserved break.

nothing but thieves - kb hallen, copenhagen - 03.02.2025

Photos: laura ioana v

Words: hanna koivunen

A new year and new gigs for Clang are here, and I have been eager to go and hear some live music after the slow holiday season. A few Clangsters and I gathered to see The Veils live at Ideal Bar on Monday evening for a rather intimate show.

The band has toured consistently throughout their over twenty-year history and gained the astonishing stature of one of the greatest live bands to see. Not to forget that the band has been praised by film directors such as Tim Burton, Paolo Sorrentino, and the now late David Lynch, who also used their music in their movie masterpieces.
From being signed to Rough Trade at around the age of 17 up until now, seven albums later, The Veils have evolved musically and now present their latest album, titled ASPHODELS (2025).

At Ideal Bar, one of the most common phrases I hear from musicians is that the stage is intimidatingly and unusually close… If I could just get 10 DKK every time I heard this at this venue! Without a support band—which I did not mind at all—but with a full, over one-and-a-half-hour-long set that took us down memory lane from rougher earlier albums to the latest songs from ASPHODELS. The new album of this indie/rock band, fronted by Finn Andrews, is named after the Ancient Greek flower of the Underworld, giving enough of an impression that this album is somewhere between and about love and death. This is clearly conveyed in the atmosphere of the songs from this album.

What was significant and audible for me was that Finn was switching between piano and guitar, the songs were switching between albums, and the energy as well… The guitar-driven ones resonated with me definitely more than those from the new album. However, songs from the new album, like The Ladder or The Dreamer of Life, gave me the impression of a folk singer-songwriter in a pub somewhere in the UK or Ireland—beautiful in its simplicity and poetic narration of love and death—with Mortal Wound also giving me hope. Lyrically, one can find Andrews’ inspirations from Lorca, and I caught myself having a tiny similar impression to Nick Cave when absorbing the music and lyrics that night.

Blending the new album with strong hits such as Jesus for the Jugular or Nux Vomica, we got back to the Finn of earlier days, who felt to me as a guitarist more experimental, avant-garde-esque, and melancholic in a whole different spectrum than ASPHODELS’ tracks. Although the musical energy might not have been consistent, his outfit with the hat and his charm were.
I am definitely more amused by the old songs of The Veils, but it was nice to be reminded of the melancholy of the piano and its modulations within the sphere of the love-and-death spectrum.

the veils - ideal bar, copenhagen - 03.02.2025

Photos: francesca garattoni

Words: Karolina Čurová

This being my first gig of 2025 might have an influence on how I am feeling right now, but goddamn I have not been this excited for a concert in a long time. Regardless of whether the lack of live music is impacting my feelings, I know that my enthusiasm is also due to the band I will see tonight.

One of the best gigs in Copenhell 2024 was Dropkick Murphys’, and tonight I will be seeing them again. The American Celtic punk band has started their new tour, and my expectations are very high due to my last experience. So, how will tonight be? Will it be even better than the one I experienced in Hell?

KB Hallen wasn’t completely full, but the band had managed to gather a fair amount of people. To be honest, this was actually better in the end because now we had more space to dance around as we pleased. The atmosphere was already absolutely fantastic, and when the band entered the stage, the whole hall exploded.

Dropkick Murphys combines high-energy performances and quality songs with very charming personalities. All in all, you could call the band the perfect package for a good night. All the members just seem so lovely, but Ken Casey especially has a brilliant persona. He really seems like a dude you would want to be friends with.

And what’s better than seeing people like that perform? Nothing really. The setlist was a fantastic combination of songs that kept us dancing the whole night. Of course, all the biggest hits were played, and as predicted, the crowd went crazy for them. Moshpit here, crowd surfing there, and the rest of us were jump dancing. Nights like these show that you really don’t need to calm down when you hit middle age - or even after. Just go to a rock gig and you are more than welcome to mosh like you did in your youth.

One of the really cool things about Dropkick Murphys is the variety of instruments they use in their music and bring to the stage—banjo, bagpipes, accordion, tin whistle, and the list goes on! I am sure I also missed some instruments used on the stage, but they really add an extra flair to the performance —especially when they are played beautifully.

The evening could have been called Dropkick Murphys and Friends, or something like this. As I mentioned before, the vibe before the main band entered the stage was incredible, and this was due to the two support bands.

The Scratch, an Irish rock band that combines traditional Irish music with metal was absolutely fantastic and a great way to kick off the evening. Followed up with Gogol Bordello, a huge punk band from the US making sure that everyone was already dancing, before Dropkick Murphys came up. Oh, and I don’t mean huge just with popularity, I also mean the literal size of the band. I think at some point there were at least 10 people on stage, and everyone besides the drummer was dancing.

From the moment the Scratch started, until the sad moment that Dropkick Murphys left the building, I was having a blast. It is hard to say if the gig ended up being better than the one during the summertime because they were actually incredibly similar. The only difference really was that this time I didn’t get rained on, and I got to listen to the band for an extra 30 minutes. So yeah, maybe this time wins.

Dropkick Murphys - kb hallen, copenhagen - 28.01.2025

Photos: Thomas Vraaby

Words: Hanna Koivunen

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