Agnes Obel at Somerset House

Agnes Obel returns to Somerset House as part of the Summer Series with American Express, the open-air courtyard festival that every year brings new crowds to the London landmark. The elegant setting perfectly suits the Danish-born, Berlin-based artist who has spent the last decade and a half carving out a world of her own, across albums like Philharmonics, Aventine, Citizen of Glass and Myopia.

Obel and her band stride onto the stage right on time and, without a word, begin their opening number, a meditative instrumental piece called Red Virgin Soil. The droning piano and keyboards, vibrant percussion and looping cello set the tone for a spellbinding performance. After this short, relaxed introduction, Obel addresses her audience: “We’re gonna play a lot of new material tonight, unreleased material. Except this next one, this one’s old.” The crowd cheer as the first notes of Fuel to Fire, from her second album Aventine, ring out.

They move through the setlist as dusk gathers, and the light show tinges majestic Somerset House in crimson red, hot pink and ocean blue hues. Each song builds its own microcosm of textured tones and colour. Marie-Claire Schlameus’s cello brings depth and foreboding shade, compounded with skilful use of a loop pedal. Julian Sartorius’s percussion is nothing like the usual bass and snare, full of subtle and unusual bells and whistles that create a serene, touching experience. Multitalented Hinako Omori adds a careful blend of synths, keys and backing vocals. Topping it all off, three-part harmonies reverberate throughout the mix.

Alongside Agnes’s entrancing vocals, the strings and percussion stand out most, laying a rich, intricate foundation for the keys to build upon. In Stretch Your Eyes, for instance, the pizzicato cello opens before the piano takes over. Obel’s style is singular, one could say monotonous, or more generously, characterised by repetition with intention. The wealth of new tracks makes for a captive audience, quiet but not still, swaying with each number.

After a brief interlude, the four-piece reappear to play Agnes’ top hit, Riverside, a hushed piano ballad. In the spirit of the night, a few words of her popular track are forgotten. Rather than muddling through, however, Obel slows her piano and pensively blurts out a soft “that’s not right”, which amuses rather than frustrates the audience. Sartorius then rejoins for the final song, The Curse, with its staccato finger-picking and mesmerising beat. Hardly anyone feels the need to sneak out early.

It’s a bold move to build a show around fresh material rather than what’s already loved, but Obel pulls it off with grace and flair – proof that her new chapter is one worth waiting for.

Benedetta Mancusi
Photos: Courtesy of Somerset House

For further information and future events, visit Agnes Obel’s website here.

Watch the video for Riverside here: