Words by Matt New
Pix by Angie New Photography
In the landscape of modern music, no band is as unique and compelling as Heilung. The ensemble, which features members from Denmark, Norway, and Germany, showcases an ode to traditional Nordic folk songs, always accompanied by a visual spectacle resembling a theatrical production. It is always a breathtaking experience to see them perform. I was introduced to this group in early 2023 when they last toured Australia, so it was a welcome surprise to be able to see them again so soon. I was eager to see how their show has evolved. This current Australian tour is one of the last real opportunities to see this incredible act for the foreseeable future, as they wind down into a hiatus period, after years of extensive touring and performing.
Sydney’s Enmore Theatre was the perfect setting to host Heilung, due to the rich history and architectural wonder the building possesses. The acoustics of this room always make any band that performs here sound amazing. Unlike in 2023, Heilung opted for a support act to set the tone for the evening, and this musical act was Eivør. The singer-songwriter from the Faroe Islands graced the stage like a mystic elven warrior and I had no idea what to expect, as I came into this show unfamiliar with her extensive musical career.
A musical prodigy that started in her teens, Eivør blended an eclectic mix of styles that encompassed electronic, synth wave, folk, and art pop. Predominantly known for her unbelievable vocal talent that consists of beautiful siren-like soprano chants and melismas, she also has the ability to explore much darker timbres with the utmost of ease; using her voice to add aggression like a wild animal or a warrior preparing to go into battle. All the while, she showed her multi-instrumental skill by playing a Nordic style Bodhran and rocking out on her Fender Jazzmaster. I was very surprised to see a guitar on stage, given Heilung is known for not using much in the way of modern instrumentation.
It is always heartwarming when artists share with their audience that this is their first time visiting a country, and the Enmore audience were accommodating in making Eivør feel at home, of which you could see she was humbled by. Her band also featured many unique instrument choices to help deliver her sonic vision to the audience, including synths, drums, double bass, and a few traditional Nordic instruments. It was obvious why she was chosen to support the legendary Heilung, and Eivør was masterful and delivered an inspirational music performance.
The inclusive nature of Heilung is an endearing factor, which is why they are widely loved across the world. Just like last year, they invited a member from the Indigenous community to welcome the band and everyone to Gadigal land, reminding us that even in 2024, concerns of genocide and racism still exist.
The entire group slowly made their way to the Enmore stage, unified as one, holding hands and forming a circle, repeating the words of Frontman Kai Uwe Faust, “we all come from the same one being.” The ritualistic nature of these blessings was a sight to behold, as the only noise in the venue was the backing tracks of birds chirping and the wind through the trees; not a single fan heckled or jeered during this moment.
Heilung embodies musical history in action. Their authenticity to every fine detail in their stage show is astonishing and intriguing. The group’s purpose seems not only to entertain by showcasing their historical take on folk music from the Bronze Age and Viking eras, but also to serve as an educational piece for those wanting to learn more. Whether it’s to feel a connection to some long-lost ancestry or to understand the instrumentation and artefacts used to create this unique soundscape, Heilung excels at teaching us their amplified history. It’s amazing how this ensemble has found its way into the hearts of many heavy metal fans, as one would naturally expect this group to perform in theatres or museums.
Musically, the ensemble is flawless. Their sound consists predominantly of layers upon layers of deafening drums, percussion made up of animal and human remains, and vocals. Led by the founding three members of the group – Kai Uwe Faust, Christopher Juul, and Maria Franz, the group also includes two backing vocalists, two percussionists, and a myriad of warrior dancers. The dancers also lend their vocals at times, either in a lead or backing capacity, depending on the song and the message of the story being portrayed on stage. Faust’s throat-singing style is absolutely hypnotic, as this technique is incredibly difficult to achieve. Franz’s vocal style is even more unique, showcasing a wide range of techniques throughout the night. She has the ability to shriek with an animalistic instinct, but then deliver a pitch-perfect softness in her soprano register. Juul is the glue to this ensemble, as he is one of the busiest members on stage, singing, drumming, and adding layers of synthesised sounds and samples to the rich sonic experience the band generates.
One thing that was not spoken about in much detail in my last review was the costumes and the stage set. Let’s set aside for one second the incredible musical talent and vision Heilung possesses, their attention to detail is unreal. Faust and Franz wear elaborate costumes adorned by a headdress of deer antlers, they perform with the persona akin to a priest or priestess leading the ensemble through each chapter of their story. The warriors’ costumes consisted of fairly minimalistic artefacts of clothing, generally a sash-like cloth covering their lower half with a red headband. Simplicity in motion as their half-naked dancers, smeared in body paint looked absolutely menacing and put on their fiercest battle faces. Finally, that stage set. At times, you may have been fooled you were in a concert theatre watching Heilung, as the carefully organised tree foliage created the illusion we were transported deep into the Scandinavian wilderness. With the addition of carefully choreographed lighting behind them, the experience was just as stunning visually as it was audibly.
In music today, there are a few particular bands that have die-hard fan bases that completely buy into the fanfare and culture. For example, the Kiss Army, or Slipknot’s Maggots. So to see the entire Enmore Theatre cosplay in costumes like pagans, Vikings, or in similar costumes to their idols was an impressive sight that complimented the theatrics of the show. It certainly left me feeling very underdressed on the night. The escapism of this event served as a welcome ritual for many Sydneysiders to ignore the chaos of city life for a few hours. Every last patron in the Enmore was there to be immersed in the moment. The show offered a remedial purpose that left everyone unbelievably calm and relaxed. As the band’s name translates in German, it was a very healing experience.
Heilung delivered a two-hour show that played out like a meticulously choreographed fable. Every song, a chapter in the story they wish to share with us, in hope of a better understanding of this era of humanity.
The perspective of witnessing Heilung makes you realise how far humanity has evolved since the Bronze Age, but also how much further we have to go. In an age dominated by technology and fear of war, Heilung’s music and performance allow every individual to reconnect with a simpler side we take for granted. It is an upsetting notion to know we may not see this band for a number of years to come, but they left us with one incredibly bold performance that will not be forgotten anytime soon. Signed off with a subtle whisper by Faust “thank you very much”. Heilung thank you for educating us and delivering one thoughtful and memorable show.
