Sigur Rós

The current tour was advertised as “An Evening with Sigur Rós”. Performing as a trio, without the usual string and orchestra sections, the expectation was a stripped-down, intimate set. So when the venue change from Paramount Theatre to Ellie Caulkins was credited to production issues, curiosity got the best of me. I’ve seen some pretty elaborate stage shows at the Paramount (King Diamond built a multi-level house of horror in there a couple years ago), so what exactly did the Icelandic group have in store? As it turned out, the trio brought a stadium-sized light show with them. Without exaggeration, it might have been the best visual display I had ever witnessed; literally on par with anything I’ve seen at Pink Floyd concerts.

A lot of artists augment live performances with various visual elements, but the Sigur Rós show at Ellie Caulkins was the first time I’ve ever seen a band upstaged by their own production. Don’t get me wrong, the music was incredible. Two completely varied sets, consisting of almost two hours of music culled from across their entire discography, would have been worth the price of admission alone, even if they performed it under the bright white of a single spotlight. But when the soundtrack is emanating from a constantly morphing, multi-dimensional space that extends the back of the stage into an infinite abyss, it becomes an experience more than a concert.

Like musicians moonlighting as magicians, Sigur Rós (and their incredible production crew) were able create a layer of illusions with no explanation. Curtains consisting of LED beadlets separated the stage into sections. Rising and falling as needed to suit the scene of each selection, those curtains could solidify into solid, blinding colors one minute, only to settle into moving images the next. Messing with transparency was another little game they liked to play, but never all at once. As one curtain would disappear, others would come to life, thus creating a seemingly endless display extending well past the physical boundaries of the building.

The edges of outer space; ghosts of children like faded photographs; neon beings coming to life and growing to monstrous heights; virtual rooms in which the band could find shelter during the beginning of the second set. The technology that went into this living trompe l’oeil was extensive, yet the word technology never occurred to me while I was in the moment. The music flowing through the vision made everything feel organic. And although I don’t know why the Paramount Theatre couldn’t have hosted the show, I’m glad it was moved to Ellie Caulkins. As if alive, the illuminations danced upon the walls of the opera house while reflecting off the fog that was slowly creeping into the orchestra. Like the music itself, it was not confined to the stage in which it was made.

There is a part of me that still yearns for the time when Sigur Rós was an enigma. Back before they went on hiatus and Jónsi made a name for himself with his solo album and movie soundtracks. Back before Kjarri Sveinsson split from the band. Back when there were no faces or names associated with the music. If someone would have told me I’d be attending an ‘intimate’ Sigur Rós show, back when I first discovered (and had my mind blown) by Ágætis byrjun, I would have laughed. But Sigur Rós lost a little of its mystery long ago. The fact that real human beings are involved — human beings with creative differences and real ‘human being’ problems — took some of the magic out of the music. Instead of images of barren lands, and discovering whales humping during underwater explorations, I only pictured the faces of the men behind the sound. I expected Tuesday night’s show to reinforcement that humanity, but it did nothing of the sort. Sure, Jónsi and Goggi and Orri were standing right there, plain as day, but they seemed otherworldly; or at least from a future where advancements in the manipulation of light and sound had reached new levels.

Speaking of the sound, the first half was definitely the more ambient one. Each set opened with a new track, the first being “Á”. From there the show continued on with a good chunk of (); slowing building to the crescendo toward the end of “Dauðalagið”, but it wasn’t until the “Glósóli” climax when the trio proved they could reach the mountaintop without the help of additional musicians. As the sound filled the opera house to the ceiling, I couldn’t help but think they were hiding a symphony somewhere in the forest of lights swirling behind them.

The second set opened with “Óveður”, then went on to some of their more commercially successful tracks. “Starálfur” is still one of the most beautiful songs ever written, “Sæglópur” was as close as they got to true post-rock the entire night, and “Ný Batterí” found people closing their eyes just to take it all in without any potential distraction. Where the nuances in the first set were almost drown in imagery, the second set was much more varied, with a setlist guaranteed to keep the crowd engaged as it transitioned from the deep woods of “Vaka” to the wide open fields of “Festival” to the dark caverns of “Kveikur”. Jónsi would attack his guitar with that bow during one song, only to set it down so he could vocalize heartbreak in his signature falsetto; proving pain doesn’t need a translator. At one point he held a note for what seemed an eternity, letting it flow from a few feet behind the microphone, as if to protect us from its full force.

see more at http://ilistensoyoudonthaveto.com/2016/09/29/sigur-ros-ellie-caulkins-09-27-16/

https://livemusicnyc.org/2016/10/10/sigur-ros-sell-out-new-york/

Icelandic band Sigur Ròs, began a highly anticipated three-night stay in the New York area, kicking off to a sold-out crowd at the legendary Radio City Music Hall. Band members Jón Þór Birgisson (Jònsi) on guitar and vocals, Georg Hólm on bass and Orri Páll Dýrason on drums, filled the large space of the epic hall with some of the most beautiful arrangements that those walls have ever absorbed. It is not often that the magnificent beauty of the Donald Deskey art décor is overshadowed by three men on stage.ang_1730

From the opening song “A”, a new composition, the entire audience sat silently captivated by the moving power of the Icelandic trio’s ethereal sound —setting the tone for what was a unique two-set performance.

The first set was filled with calm, comforting numbers such as “Ekki Mukk” (Not A Sound) from their 2012 release Valtari and “Samskevti” (Attachment) from the 2002 ( ) album. It was a relaxing way to settle into our seats and drift off into a magical place. Jònsi’s falsetto sound and his gentle cello bow guitar style helped create the very emotional atmosphere with songs like “Glósóli” (Glowing Sole) from Takk and “Dauðalagið” (Death Song), also from ( ). One fan, Annie, who traveled 11 hours by train from Quebec to see the show, told me that she was so overcome with emotion that she “hadn’t cried that much for so long.” I think it is the first time at a concert that I looked around and did not see a single person using their cell phone, as everyone was in a deep, almost hypnotic trance. The only thing powerful enough to rouse you from their abstraction was their own special type of pyrotechnics, done with bright flashes of light timed with the loud blow of the drums.ang_1824

The start of the second set finds the three members behind a translucent screen, as the light show makes a dramatic transformation into a cutting edge special effects show. The opening song of set two, “Óveður” (Storm), a new release this year, exhibited what seemed like raining lightning bolt lasers shooting out from the back of the stage down into the hall. Award-winning lighting designer Bruno Poet and his team, including the great Sarah Hopper, featured what appeared to be large cosmic bodies floating overhead, and perceptive lights leading you back into the depths of the stage staggered with interstellar collisions and eruptions. The entire stage was as if you were living inside the most spellbinding sci-fi movie, completely taking you to the next level of grandness. Coupled with the bands massive sound, songs in the second act like “Sæglópur” (Lost at Sea) and Festival from 2008 Með suð í eyrum við spilum endalaust album. ang_1791

The night came to a close with the colossal “Popplagið” (Pop Song), featuring the booming drums of Dýrason, keeping the audience at the edge of their seats, and giving us one last amazing glimpse into the world of Sigur Ròs. Soon afterwards, as the three men returned to the stage to take their bow, you could only reflect in wonder how just three musicians could make such an enormous amount of music. Sigur Ròs, once again, revealed their utter brilliance and complete masterfulness of time, space and sound.

Hi - thank you for asking for our feedback.
this is my fifth time seeing sigur ros.
first time was in montreal in 2003 i think.
as always - they are an incredible band.
but i would strongly recommend some restrictions on the audience and more attention by the venue.
Massey Hall was a mess.
my seat, which i happily paid a good price for - was directly behind a huge pillar. i could at all times only see half of the stage.
given the band's light show and immersive environment, given our view, the experience was really stifled.
those seats should be priced for less. and sold with a warning.
also the entire first half of the show, given that it was the quiet part of the show - more mellow music - was drowned out by the sound of a million press camera shutters right next to the audience. there was tons of abrupt noise pollution by giant lens camera shutters. they need to be more considerate of the mood of the show.
finally - the people taking photos.
given the mood of the concert, like this one which requires a great deal of attention, the venue must makes full effort to discourage distraction. they need to make clear announcements emphasizing that NO PICTURES allowed and further more by using laser pointers at people taking videos. in this case little was done and every two second a giant bright phone would light up next to us or in front of our eyes to document the concert with video and photos and even with flash. tons of flash. given this band's sophistication and attention to creating an environment to carry an audience into an operatic grand experience with delicate silences and darkness - this show was honestly terrible ... but only due to Massey Hall's poor organization and lack of care. Sad to write a bad review as i bought my ticket the day of the ticket release and love their music and their good work.
thanks.
abbas

What should have been a pleasurable evening with friends was spoiled by earth-shattering amplification and mixing that mashed all sounds together into an ear-defeating cacophony.

The vocals were generally screeched out in falsetto with Birgisson's voice developing an unmistakable crackle late in the first half. His attempt to hold a high note in the second half was a study in hubris as he wavered increasingly off-note while the crowd - clearly never having witnessed your average classical vocal performance - went into enraptured hysteria.

The musical disappointment was somewhat offset by the interesting, though by no means groundbreaking, visuals and we couldn't help wondering whether the crowd were applauding that rather than the noise. Or perhaps they were sufficiently tanked up with opioids to deaden their senses.

What a shame and embarrassment when introducing some friends to this band. I kept having to assure them that I wasn't crazy and that Sigur Ros do normally have a really interesting sound.

The constant stream of people escaping the auditorium confirms we weren't alone in our assessment.

Having never heard Sigur Rós before, I went into this show a complete virgin to them. I was actually taking my mother to see them, as she's a big fan, and as I'm predominantly a hard rock/metal head, I was hoping for the best that I wouldn't be bored to tears. It began rather slowly and I thought I might be in for a long night, but by the end of the first half I was "getting it". The second half after the interval just exploded - utterly amazing. Judging by the applause as various songs started, I presume they were playing their more well known songs, but the light and graphics show that went along with the following hour or so was just stunning. What was really good about it was even though I'd never heard them before, and they are rather abstract and unconventional, they were also easy to follow and understand the music being played. Quality wise, they were outstanding - it sounded great, looked great, and the whole production was completely on point. Turned out to be a very enjoyable evening, well worth going.

Sigur Ros was, as expected, incredible. They're always good but it's amazing how awe-inspiring they can be in person. Pure sound and essence. Almost a religious experience. Was literally moved to tears on at least one occasion, and not even kidding. 8000 people, just silent letting the sound wash over. The weather was perfect, clear skies and the wind died down to nothing for the show. Cold but so fitting for a group of musicians from Iceland who seemed to be moved to greater heights by the chill. Like some kind of arctic temple.

The Greek is a perfect venue for these guys, intimate, with great sound and feedback from the crowd. Their stage show was fresh and evocative, playing, unexpectedly two long sets of 15 minute songs, intertwining new and old favorites. Will always go out for these guys and 25 years into their career their sound is no less sublime then it ever was. Great show.

The show was really amazing. It's the 4th time I've seen Sigur Rós. Visually they brought more stuff to show. The setlist was outstanding.

My only complain, was that all fans that bought tickets on a pre-sale, were instructed to pick up the tickets on the same day of the show at the venue. The place (Auditorio Nacional) had a mess and we all were in line more than 3 hours. Unbelievable in 2017 when you can PDF tickets or bring it in your cell phone. I'm pretty sure some fans didn't see Sigur Rós complete show as got into the Auditorio like 10 minutes before SR started and behind me there were like 150 people waiting for the tickets. Please work in this for futures shows.

Thanks,
Alberto

There aren't many bands that I'd fly from LA to Iceland to see, but Sigur Rós is not just any band. And 11 hours of flying is a small price to pay to see one of the best live bands on the planet.

Sigur Rós deliver shows that will make you feel everything - from beautiful melancholy to dizzying euphoria. Often accompanied by a full range of string and horn sections, the cinematic scope of their music is the perfect metaphor for the dazzling landscapes of their native Iceland. The term "other worldly" is a bit overused these days, but it couldn't be more appropriate here.

One of the few bands that I will make sure I see every time they are in town, Sigur Rós is a worldly treasure.

The show was great, Sigur Rós is a super band. The only problem was the venue (Tempodrom) and organisers, they just don't care about people. First of all, they haven't informed beforehand the fact that it won't be possible to enter the venue with a backpack. Something like storage point was organized in front of the Tempodrome and the queue to it was long. So, in the end, you need to stay in three queues - to leave your backpack, then to enter the Tempodrom and the to leave your coat. But the biggest bummer was that the organizers oversold seat tickets and 10-15% of seat places was actually behind the scene, which is stupid and pissed off quite a lot of people.

The most inspirational show I've seen. Sometimes I describe it as magical, but no one understands, Sigur Ros is a MUST see live.
The venue was unpleasant and more suitable for a heavy metal show, but somehow Sigur Ros made it pleasurable and almost enchanted it.
Every song sounded even better than the record. And being able to actually see all the instruments and people that are involved is extraordinary and makes you more aware of all the sounds.
Tickets were on the pricey side, but I would gladly pay more to see them again. I was surprised by the lack of people there, it made me a little sad.
Can't wait for them to come around again!