Music / Reviews
Review: Eivor/Ásgeir, Electric Bristol
A trio of mononymous performers from the chilly north (Iceland and the Faroe Islands) is rare enough, but the fact that two of then are siblings makes this a unique occasion. Alas, Eivor’s elder sister Elinborg is on so insanely early, presumably to facilitate one of those pesky club nights, that we miss her altogether.
Next up is Ásgeir from Iceland, a self-effacing chap who’s bathed in blue light and plenty of fog and switches between guitar and keyboards. He’s got a lovely singing voice and specialises in what used to be known a dream pop. This stuff could outstay its welcome pretty quickly, but his set is short and undeniably sweet and is warmly received.
Stepping up from the Thekla, where she played last October, Eivor is a far more confident performer. Like Heilung and Wardruna, she appeals mainly to metal audiences despite a repertoire that could not be described as remotely metal. But her music is far too leftfield for the mainstream, meaning that those who’ve found their way here are fiercely loyal. Little wonder she’s just signed to metal super-indie label Nuclear Blast, which should give her the PR boost she needs to maximise her audience.
is needed now More than ever
Perhaps in recognition of this natural break in her career, and the fact that there’s no new album to promote, Eivor and her excellent band treat us to a set that stretches way back to practically the beginning of her career, taking in the bodhrántastic Trøllabundin and bringing on her sister for a powerful duet on Upp Úr Øskuni. They really ought to work together more often.
Naturally, the set also includes a medley of the atmospheric music Eivor composed for the historical TV drama series The Last Kingdom, for which she’s primarily known in the mainstream.
It’s noticeable how much more Kate Bush-esque she gets the further she goes back, notably on Boxes from 2012’s Room album. But that’s probably a comparison every woman working in the field of experimental music faces at some point, such is the shadow cast by the estimable Ms Bush.
A superb, mostly faithful reading of Us and Them from Pink Floyd’s The Dark Side of the Moon proves a very pleasant surprise, though it’d be great to hear her tackle The Great Gig in the Sky – particularly the Clare Torry part.
The encore, as usual, is the soaring Falling Free, which she pretends not to have rehearsed. Don’t be surprised if Eivor returns to headline next year’s ArcTanGent Festival, where she’d fit right in.
Main image supplied by Nuclear Blast
Read more: Bristol’s Month in Metal and Prog: September 2025
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