Sigur Rós at the Royal Albert Hall: “Hearing Ára bátur was a full-circle moment”
It’s a full Royal Albert Hall for the first of four nights by Sigur Rós, on their orchestral tour conducted by Robert Ames, which is visiting some of the world’s most significant classical music venues. The show opened with Blóðberg from Átta – strings straight out of a Max Richter score, mood-setting, intense, under smoke and red light, Jónsi Birgisson standing in the middle of the orchestra: a very cinematic moment.
With brass easing into the melody of Ekki Múkk, the singer entered quietly, leading into the song’s delicate yet explosive chorus. It’s one of those pieces that transports you somewhere else entirely, and here it did so with the trademark Sigur Rós dream-state.
Fljótavík, which starts off as a piano-and-voice duet – perhaps played last night with a touch too much pace in the phrasing – found its space as it went, the strings and horns joining in and building to its high-pitched chorus. It felt shorter than usual and the lyrics slightly changed. Then came 8 – the band embracing their most orchestral and cinematic sound. All players came together in a piece that had the structure and feel of an album closer, which it is on Átta.
From there, the set jumped back to their beginnings with Von, from the eponymous album, soon to turn 30. Birgisson played electric guitar with his violin bow, and it struck again how that sound – their sound – remains so distinctive and fresh after all these years. The Icelandic post-rockers were truly innovators; hearing this song confirmed how that originality still holds. The artistry of the ’90s bands is bound to stay a reference point for years to come – something made clear this gig season, with Oasis, Radiohead and Coldplay all dominating ticket sales.
The first nod to Takk…, which celebrates 20 years, came with Andvari, gentle, built around a guitar hook reminiscent of Mogwai’s 2 Rights Make 1 Wrong. The orchestra gave it incredible presence. Then Starálfur, a fan favourite that received applause on its very first note.
The second half began with two of the most emblematic songs from (), the untitled 2002 album that became a soundtrack for so many films. First was Untitled #1 (Vaka), its rendition here built around a cello line that really recalled On the Nature of Daylight. Then Untitled #3 (Samskeyti), driven by its hypnotic piano pattern – a simple loop that builds a slow, steady crescendo as Jónsi’s bowed guitar rises around it, pushing the piece to its final height.
Ylur, a great, almost oneiric symphonic moment from ÁTTA, followed – rich and expansive, the kind of piece that seems written for this format. On the delicate All Alright, the brass and horn elements of the melody were explored far more than on the record, thanks to the orchestra – a new dimension for the sombre closing track of Með Suð Í Eyrum Við Spilum Endalaust.
Being there for the live debut of one of Sigur Rós’s most special songs, Ára Bátur, was an honour – 17 years after I first heard it on the radio during its release week, driving at night, and then through countless listens in the months and years that followed. It was a full-circle moment and an absolutely spectacular performance, with the Cardinal Vaughan Memorial School choir joining for its mesmerising finale. It’s also a very London song, recorded at Abbey Road Studios with a local orchestra and choir, and hearing it in this city, in this hall just made complete sense.
Lapwood and the choir stayed for Hoppípolla, the most well-known and uplifting piece in the band’s catalogue. It was a celebratory, feel-good moment, and the ensemble gave it the full sound it deserves. Finally, Avalon from Ágætis byrjun closed this wonderful night at the Albert Hall, and it was clear that Sigur Rós’ music naturally suits an orchestra – even the songs not written for it feel as though they were waiting for this format. Everything came out beautifully.
Filippo L’Astorina, the Editor
Photos: Virginie Viche
For further information and future events visit Sigur Rós’s website here.
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