Review: Elyce Phillips. Photos: Laura Manariti
Contemporary music has a long history of artists who have chosen to embellish their material by performing with an orchestra, from superstars like Kiss and Elton John to local acts such as Birds of Tokyo, Jet, The Cat Empire and Russell Morris, all of which have presented these kind of shows as one-off special events or tours. However, for some artists such as Iceland’s Sigur Rós and their cinematic soundscapes, the pairing of band and orchestra is clearly a natural fit. Their current album Átta is built completely upon orchestral ambience. It’s no surprise that tickets for their 2025 Australian tour featuring backing from various state orchestras have been the hottest tickets in town.
For the first Melbourne show at Hamer Hall, it was the Melbourne Symphony Orchestra gracing the stage with the Icelandic trio comprised of Jónsi, Georg Holm, and the returning Kjartan Sveinsson. On Monday night the Melbourne Symphony Orchestra consisted of a 41-piece ensemble, featuring touring conductor Robert Ames, principal for the London Contemporary Orchestra.
Beginning with the stunning Blóðberg from the Átta album, the song showcased Jónsi’s evocative falsetto vocals in a performance of pure beauty. The sombre Ekki múkk, a more reflective piece from their sixth album valtari followed, seamlessly merging strings with electronics. At times Jonsi’s voice reminded me of Jon Anderson from Yes in his finest moments.
Fljótavík from the 2008 album Með suð í eyrum við spilum endalaust featuring a more traditional song structure, delivered a refreshing diversion from the unwavering sonic waves of strings that had proceeded it. Starálfur also seemed to be a first half favourite for many. Staging-wise, the design was simple but oh so effective, with flickering lightbulbs dotted throughout the orchestra in a haze of mist. The musicians, mostly stagnant on stage wore basic black attire. Although the show was billed as Sigur Rós with orchestra, it’s impossible to strip the two apart as they play as one collective, elegant music making outfit. The delicate Varðeldur from valtari ended the first set, leaving the audience in awe.
Opening the second half of the show, they performed Untitled #1 – Vaka, a piece of music which represents a post-apocalyptic world, where children leave school, wearing gas masks in order to play “safely” outside, depicting the current reality for many children in the world. Over the band’s career, most of their recordings have been accompanied by video presentations. In this situation however, with no screen projections it was all about treasuring the music in its naked form. And while it’s easy to appreciate the gorgeous, lush orchestral arrangements, it’s the deep, human feelings, whether it be joy or sadness that the music summons which cuts through the most. If you’re not feeling something, you’re surely not upright and breathing.
The epic Skel from Átta showcased the grandness of the orchestra’s string section and Jonsi’s amazing vocal range. That and a surging Hoppipolla attracted significant applause from the crowd. A quick thank you from Jonsi, I believe his first words uttered of the evening led into their final heroic tune Avalon from their second album Ágætis byrjun, completing a night many will never forget, from a band whose majesty elevated our senses and transported us away momentarily from any of our regular life woes.
