Heilung - Gig Review & Photo Gallery 2nd November @ AEC Theatre, Adelaide SA
Heilung
AEC Theatre, Adelaide SA
November 2, 2024
Support: Eivør
“The ideal performance is when that group of strangers sitting in the dark gets energy from the group in the light and sends energy back to us. When it really works, a perfect circle is formed.” – Glenda Jackson.
This perspective on the act of almost any form of performance by the famed English Academy Award winning actor and politician is truly remarkable. It could be argued that an exhibition in any field of artistic performance will never be “perfect”; yet an “ideal” performance is one that portrays a powerful exchange of energy between the artists and their audience as Ms Jackson has flawlessly described. Geometrically, there is the possibility of a perfect circle; at this event on this very warm night in Adelaide, another perfect circle was created, and it was beyond mathematical perfection.
It was essentially, an immaculate energy transference in both the light and the dark, and all present were welcomed into this enchanting circle of perfection.
This was Faroese musician Eivør Pálsdóttir’s first visit to Australia and although her entrance in the very unilluminated venue was sublimely subtle, the deafening cheer from the near capacity audience created a blinding light of energy. The circle was magnificently morphing into a sensational spiral.
Eivør has a song entitled ‘Into The Mist’ that exquisitely expresses: “Far from my home now. Going in circles, round and round.” This track is from the 2017 LP SLØR and some seven years later, it fit perfectly for where she was sharing her breathtaking talent in the Spring of 2024.
Her musical exhibition is not simply a display of sound and movement; it is a journey of enigmatic exploration. Her crystalline vocals soar over the top of electronica, trip-hop, neofolk and art-pop, and visually, she is bewitching. Her showcase is not one of choreographed dancing, but more-so vivacious movement and it is mesmerising. Eivør feels her art to her soul, and she expresses it to a delightful degree that feels beyond human.
Elements of Björk’s majesty radiate with Eivør’s theatrics, but it is undoubtedly her incredible identity - especially ‘Jarðartrá’ which broadcasted an avant-garde pop brilliance that Adelaide has possibly never experienced.
The classical and historic nature of the funeral song from The Last Kingdom soundtrack was honestly, overwhelming with luscious luminosity. The Adelaide Entertainment Centre had already been transformed into a wonderful wilderness of sorts with an abundance of flora – Ms Pálsdóttir transported her spectators to a different era of time dazzlingly. Her liveliness was immeasurable during ‘Upp Úr Øskuni’ – a transformation into wicca-driven-throat singing that hypnotised thousands of witnesses within the venue. The production pulsated and moved the earth beneath our feet and shook the walls as if sensational spellcasting was taking place.
If South Australia had time-travelled, this expedition was undeniably too brief. A fast return with headline stature for Eivør is, simply put, necessary.
Major Lancelot "Moogy" Sumner (or Uncle Moogy) welcomed the attendees in a breathtaking exhibition with a traditional smoke ceremony, or “smudging” interpretation. Kai Uwe Faust and Christopher Juul emerged onto the stage and joined Uncle Moogy – but in the dimly lit surroundings, other members were appearing as if by magical inception. More of the Heilung tribe then became visible, eventually forming their circle; and so, began the ritual.
“Remember, that we all are brothers.
All people, beasts, trees and stone and wind.
We all descend from the one great being.
That was always there.
Before people lived and named it.
Before the first seed sprouted.”
The ‘Opening Ceremony’ was Heilung’s welcoming, South Australia chanted these sacred words with the experimental neo-folk outfit – the unbelievable ambience, the miraculous mysticism and tremendous transcendency was electrifying. This was to be a voyage like no other.
Thunderous percussion, a gong in the appearance of a Bloodmoon, a battle-cry chant and horn altered Adelaide’s state of being. Wolf howls created a pack, a circle of trust and love between the amplified history musical collective and their devotees. ‘Alfadhirhaiti’ became almost terrifying with its power – dancing, quakes of industrial eminence that are not of this world as Kai’s throat singing enraptured entire souls and beings into a universe unknown until this moment.
This was not to be understood, it was to be felt and embraced.
‘Krisgaldr’ displayed Maria Franz in the limelight, and it was enigmatic. This writer cannot properly describe this captivation; lyrically, Heilung are able to decipher their message and purpose far better:
“That promises a powerful sun to rise.”
That is what Ms Franz executes with her angelic harmonies, a promise for beaming light.
The ceremony evolved with glowing runes shimmering off bodies and outfits, warriors moving in sequenced choreography that projected a feeling of elevation in a spiritual sense. The swirling of ethereal voices and spinning bodies were dizzying yet ravishing simultaneously. ‘Hakkerskaldyr’ had an awe-inspiring anthemic value that will not be forgotten.
‘Anoana’ was in all probability, the most compelling serenade ever witnessed in South Australia. Maria Franz eclipsed divinity from the throne onstage and the Heilung tribe had an unworldly engagement from her elegant chant that defied time and space.
Everything escalated, Maria and Kai met under a spotlight in a rapturous duet and ancestral dance. Fire was brought onto stage and altered into multiple forms as if under a magical spell, even antlers were set alight, horns were blasted, but from where was almost unknown. Bodies were flailing from the ground of the stage and then at times, it felt like everything, and everyone, were undergoing a levitation into another dimension. Strobe lights created a chaotic trance of bewilderment that promoted an unavoidable craving for ascension with this chimerical energy.
It didn’t feel real. It felt like dreamtime. It was an out-of-body sensation that grew and grew and grew…
Then stopped.
The farewell smoke ceremony calmed the masses and the ritualistic collective, amplified history, known as Heilung concluded their ceremony. They gathered in a circle.
Adelaide was a perfect part of the formation. We have been healed.
Gig Review by Will Oakeshott. Insta: @teenwolfwill
Photo Gallery by Dave Rubinich Insta: @dave.rubinich
Please Credit & Tag Wall of Sound and Dave Rubinich if you repost photos.
Eivør
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Heilung
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Heilung - Australian Tour 2024
with Eivør
November 4 @ Palais Theatre, Melbourne – FINAL TICKETS
November 6 @ Palais Theatre, Melbourne – SOLD OUT
November 8 @ Enmore Theatre, Sydney – SOLD OUT
November 10 @ Enmore Theatre, Sydney – LOW TICKETS
November 13 @ The Riverstage, Brisbane
November 16 @ Kiri Te Kanawa, Auckland – SOLD OUT
November 18 @ Kiri Te Kanawa, Auckland
