Heilung, Eivør @ Entertainment Centre Theatre, Adelaide 2/11/2024
On a warm Spring evening, the Adelaide Entertainment Centre Theatre was transformed into a realm where ancient spirits roamed free, and the echoes of history resonated in every corner. Heilung, the mesmerising collective that has redefined the boundaries of folk and ritual music, was due to take the stage on their first visit to Kaurna Country. The air was thick with anticipation.
But first, Faroese singer-songwriter Eivør enchanted us with a stunning set. Despite performing since age thirteen, she was childlike in her love of being on stage. In her first Australian tour, Eivør gleefully shared that she was “so in love already”. We were in love with her also. Her forty-five-minute set was hauntingly ethereal, moody and melancholic yet uplifting. Featuring songs from The Last Kingdom (Netflix) soundtrack and many others from her decades-long discography, Eivør left us wanting more and promised that Heilung was “going to be crazy”.
Following a Welcome to Country and smoking ceremony by Uncle Moogy AM, Heilung took to the stage to prove Eivør’s statement true.
Their Opening Ceremony had us transfixed. As the first notes resonated, the atmosphere shifted. The eclectic ritual collective, clad in traditional garb and exquisite accessories, appeared as if out of a Nordic myth.
Christopher Juul and Kai Uwe Faust’s evocative throat singing intertwined with the rhythmic pulse of deerskin and goatskin drums. It created a soundscape that felt otherworldly.
The audience, a tapestry of diverse souls, stood captivated, drawn into the trance-like performance.
Beginning the ritual with In Maidjan, Maria Franz’s celestial vocals reverberated through the theatre.
Juxtaposed with Juul and Faust’s throat singing, the trio were harmoniously complementary and presented a distinctive ritualised sound.
Alfadhirhaiti opened with guttural howling. The audience was brought to life and delightedly mimicked. Meanwhile, the Heilung Warriors were singing and dancing around the stage.
The following two hours were an all-encompassing journey of primal energy and spirituality. From the first memorable chant to the last drum boom, it was a unique performative art blend of music, dancing and storytelling.
The performance was carefully curated to invoke intensity. There was no banter with the crowd or other such distractions. Everything had a place and meaning. There was intent with each lyric, growl, movement, sound, light and breath.
The stark white spotlight series in Asja was equally spectacular and sinister. Hakkerskaldyr was bathed in red lights and channelled masculinity through chanting before the stage went black and silent. There was then a change of pace with the feminine-led Svanrand. The ten-minute Galgaldr, a mix of spoken word and song, traversed from eerie to disturbing to danceable.
Highlights of this high-calibre performance included Elddansurin and Hamrer Hippyer. Touted as a “eurythmic expression of the essence of life,” Elddansurin included a captivating fire dance, where each move was a rune spelling out the oldest known Germanic word for fire.
Hamrer Hippyer saw the entire collective gather on stage for a celebration. Their joy was abundantly evident.
The finale was a cathartic eruption of sound, a crescendo sending ripples through the audience who surrendered to the music. The Closing Ceremony concluded a remarkable experience that could only be improved if it was outdoors.
In the end, Heilung offered more than a show; it was a transformative experience, a glimpse into the magic of ancient traditions reborn. The evening was an excellent reminder of the power of music to transcend time and space.
Live Review By Anita Kertes