Wardruna – Gig Review 23rd January @ Palais Theatre, Melbourne VIC

Wardruna
Palais Theatre, Melbourne VIC
January 23rd, 2025

“I always try to leave space in the music for the listener to have their own experience of it, so it’s not bombarded with only one meaning.” – Einar Selvik.

Einar Selvik is essentially the architect behind the Norwegian Nordic neo-folk collective Wardruna, and his intention with these spiritual musical compositions is not to present a narrative for his audience to listen to and simply accept their meaning; Einar implores his spectators to hear these arrangements and interpret what the sounds and poetry means to them. He has even stated that: “To native Norwegian speakers, my lyrics are veiled. I’m asking questions.”

Inherently there is not just one meaning; Wardruna’s musical productions have endless personal translations. The compositions effectively go beyond the plural notion of “meanings”. The seven-piece’s artistic articulation is full of different meanings for each witness who experiences their musical ceremonies.

It eclipses meaning, it is “meaningful”.

On this stormy night in St Kilda, the atmosphere of the Australian summer had all but vanished. Before Wardruna had begun the launch into their mystifying ritual, the atmosphere had seemingly morphed into one of the septet’s native lands. In a rather strange yet delightful distortion, the crowd had transcended space and time resulting in an enchanting ambience that immaculately amplified the impending ceremony.

The journey Melbourne was set to undertake was to be one of momentous distinction. So, let’s unearth the enthralling escapade Wardruna showcased for the first time on our shores.

The Palais theatre’s back screen was adorned with Wardruna’s illustrious rune logo as the capacity crowd took their places for the enigmatic expedition they were about to undertake. There was an immeasurable tension of anticipation building and when it seemed that this restlessness was set to burst, the lights dimmed to an eruption of cheers. Six silhouettes of musicians then emerged and took their respected positions on the stage, the final to appear being prolific author of the Nordic folk ensemble Einar Selvik. With a simple wave, he set himself at the front and centre of the platform, ready to embark upon the spectacular venture ahead. A raven’s caw silenced the room as the backing screen projected footage of a white raven, or ‘Kvitravn’ – understandably, this composition initiated the ritual. John Stenersen then passionately bowed his Mora-harp, consequently mesmerising the onlookers into an enraptured daze; the ritual had begun. Einar then commenced his powerful baritone chanting: “Ut i skuma, Lokkar til meg.” Roughly translated to: “Into twilight, lure you in”.

Undeniably the 3,000 devotees in attendance had been hypnotically transfixed into the septet’s twilight and were sensationally stunned by this induction.

Percussionists Arne Sandvoll, HC Dalgaard and Sondre Veland amplified the twilight with remarkable rhythmic rattlings; vocalist Lindy-Fay Hella heightened the opus with her angelic croon that seemed to project effortlessly out of this universe. The track and performance continued to build to incredible and inconceivable levels, as if an ancient orchestra had magically materialised in place of Wardruna.

The reality is though, this was the projection of seven eminently gifted musicians and the world somehow transformed to a more radiant place because of their magnificent and meaningful message and musicianship.

Bear in mind, this was just the opening song to the ceremony.

‘Hertan’ (translated to: ‘Heart’) bewitched the audience with a brilliant backing-track heartbeat until Selvik uttered his spoken-word poetry in an imposing proclamation: “Seier ned, seier inn. Seier inn i hold og skinn. Djupt i blod, djupt i sinn. Som ein vind eg forsvinn.”
(“Says down, says in. Says into flesh and skin. Deep in the blood, deep in the mind. Like wind, I vanish.”). Undergoing a similar building crescendo, with every member ascending the energy through their astounding musical prowess, it almost became too overwhelming. As if our souls were ill-prepared for such an intense spiritual unveiling. However, it intrinsically and dazzlingly became enlightenment; this production was altering our existence in the most meaningful manner known to Wardruna’s devotees – in astonishment, we were incapable of movement.

‘Skugge’ (‘Shadow’) was delivered as (nearly) a tribal chant in mostly a stupefying acapella methodology. The moonlight backdrop and soundtrack all emitting a sensational Robert Eggers’ motif that uplifted all present; Lindy-Fay Hella charismatically danced in such beautiful movement, the notion of time or even location seemed lost.
‘Solringen’ showcased a beautiful eclipse backdrop with a festive aura that prompted a need to escape our physical self and levitate to another dimension. Eilif Gundersen shone in his use of ancient instruments, most impressively the woodwind that soothed with a true medicinal effect.

‘Heimta Thurs’ and ‘Runaljod’ explored darker territories of industrial sounds and pulsating percussion; a virtual heaviness that was above compelling. Lindy-Fay exhibited her vivacious vigour with black metal screams and ground stomping in frenzied marvellous motions. The use of thunderstorms for the backdrop invigorated the dynamism of the exhibition flawlessly.
‘Lyfjaberg’ was tremendously timeless, a true spirited hymn that shook onlookers to their core. ‘Voluspá’ was expressed as a solo retrospective by Einar Selvik with the Kravik-lyre instrument and it was simply, breathtaking. The intensification of the narrative from a more “bare bones” presentation methodology, enriched the tale’s message – this was certainly unlike any show that had preceded this moment.

‘Tyr’ featured both Selvik and Gundersen on Bukkehorns and enriched the Earth’s spiritus mundi for six-and-a-half minutes. ‘Isa’ followed with an idyllic rapture that Lindy-Fay and Einar bewildered all in attendance through a rousing duet. ‘Himinndotter’ (from the now released sixth studio album Birna) was a musical assemblage for Wardruna and the entire Palais theatre to join as one. This was indescribably prodigious and an unmistakable electricity bonded everyone.

‘Fehu’ surpassed ethereal; Selvik and Lindy-Fay presented their most thrillingly thunderous performances yet. Without break, the seven-piece had transported their admirers to extraordinary emotional and spiritual levels – in fact, all their senses had been profoundly adjusted in their livelihood. The response was befittingly the first standing ovation presented to Wardruna.

The encore was to come in two parts and introduced the first conversation Einar Selvik was to have with the audience. In both light-heartedness and striking significance, Mr Selvik discussed the ideas of how Wardruna use the ancient Nordic traditions in their neo-folk artistry to use the past to be applicable to the present and the future. They incorporate modern music into their compositions, but essentially their message comes from nature; from the very Earth we stand on and that is the most important source of inspiration. Einar discussed that the “cultural pissing contest” we face is useless and essentially the best activity humans can do is sing. Sing to embrace your community, your family and yourself. Use it to connect your voice to who you are, the bottled-up anxiety and stress we carry will fade – even if it is about “BBQing prawns”.

“So go home and fucking sing!” – he exclaimed enthusiastically.

The funeral song ‘Helvegen’ was so elegantly delivered that many were driven to tears. It is actually impossible to describe for this writer how heart-rendering the anthem was. It was an emotional artistic aspiration that will be remembered for as long as time or ability allows those who were present to recall.

To close, the Vikings track known as ‘Snake Pit Poetry’. Einar Selvik performed this song solo and described its origins in detail. Famed Viking Ragnar Lothbrok recited this poem as he slowly passed away from snakes’ venom when he was sentenced to death, as per numerous historical scriptures. Selvik joked about how women swoon over Ragnar, and some men do too, which he thought was fantastic. From his teaching background, he explained that Old Norse poetry makes “black metal songs look like kiddy songs” (having first-hand knowledge of that world as the drummer in Gogoroth undoubtedly assisted in this determination), indisputability though this poetic journey was above its meaning, it was “meaningful”.

A third standing ovation was administered by the crowd to Wardruna in endless thanks at the conclusion of the ceremony and all Einar Selvik could express in gratitude was: “Until next time”.

From Australia Einar and Wardruna, we “Gå ved di side”. Translation: “Walk by your side”.

Review by Will Oakeshott @TeenWolfWill

Revisit our interview with Wardruna‘s Einar Selvik right here.

Photo supplied by Sarah White

Wardruna – Australian East Coast Tour
Monday, January 27: Fortitude Music Hall, Brisbane
Thursday, January 30: Kiri Te Kanawa Theatre, Auckland NZ

Tickets from
destroyalllines.com