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By:Larm is run as the Nordic version of South By South West, showcasing the regions undiscovered artists struggling for recognition from the mainstream. Bands such as Röyksopp, Kings of Convenience and the Knife may have achieved remarkable commercial and critical success, but there remains a hotbed of unearthed talent lying dormant beneath the tundra.
And judging by the acts on show over these
three days, Scandinavia is still hugely unrepresented on the international music
scene. This touring festival, held
annually in different Norwegian cities, is a continual effort to change this
sorry fact. With over 170 live
performances over the 3 evenings and a daily series of seminars and industry events,
it is clear the events aim is to unite the regions artists with the same international
music business that seems to ignore them.
And if the huge crowds witness any number of remarkable live
performances then so be it, but the emphasis here obviously lay with bigger
fish.
It pains me to say it, but the setting of the festival was an ideal metaphor for the hidden talent it was showcasing. Hidden away in Trondheim, Northern Norway, it took place within a series of impenetrable underground bunkers. So impenetrable, in fact, that the entire World War Two era complex once escaped demolition for being too solid. It was a perfect, eerily surreal venue, though it was slightly disconcerting that the existence of this leg of the festival was reliant upon the strength of Nazi architecture. More surprisingly, this was a perfectly run festival, with none of the glitches that normally undermine such events. Acts were nightly on from 8pm to 1am, with most repeating their set over the three days. Like the rewind button or monkeys with miniature cymbals, this repetition was a brilliant idea. It may not be the most rock and roll concept ever, but with bands constantly on rotation, playing to the sweatiest masses seen in Scandinavia since Viking times it makes sense like little else does. There were too many acts to fully recollect the details; bands flew by like snow caught on the western wind. Some, however, clearly deserve a mention. Heroes and Zeroes certainly amped up proceedings with their brand of energetic cartoon power-pop. They could be heroes, if just for one 25 minute set. Minor Threat’s mournful country was laidback and brooding by equal turns; a rare achievement. And as if naming your band 200 isn’t confusing enough, this trio piece pen apparently satirical lyrics about independence from Denmark, sung in their native Faroese tongues. I couldn’t understand what was going on, but they were wonderful nonetheless. As were retro-rockers BigBang, who undoubtedly attracted the biggest crowd of the weekend with their radio friendly rhythm and roll. Surely it’s a credit to globalisation when a band from Nowhere, Norway can sound as habitually American as Dylan, Neil Young or R.E.M. Whilst this may sound slightly clichéd, notions of originality are redundant when music is this timeless, managing to transcend epochs as easily as their singer crowdsurfing. (use picture here!). So, mixing up acoustic-folk with Delta tinged rock and roll they united the colossal crowd, proving why theirs is the biggest selling Norwegian live album ever. Popular music may not have begun with a big bang, but it may well feature one soon. But perhaps the most acclaimed act to perform was frightfully young singer-songwriter Susanne Sundfør. Appearing with a full backing band her obvious technical skills became irrelevant; the emotion inherent in every heartfelt lyric was enough to captivate the audience with her poetic, poignant songs. To a man, our hearts melted. There’s no faux romantic posing here though, these songs are obviously written from experience; cold and vast like Leonard Cohen stranded on a glacier with only a piano for company. With her debut album due this year, her star is definitely rising. If by:Larm provides the springboard for just one act to succeed on the international stage, then the entire event will have been completely validated. All the world may be a stage, yet when acts are this isolated soley by dint of geography you can understand their efforts to jump on the international musical Merry-Go-Round. And this is what by:Larm strains to achieve; recognition for a region’s obvious talent. Whereas most festivals are merely filthy, sordid arenas of the unwell, By:Larm, by contrast, is a polite extravaganza of musical talent. Bands, the music industry, and the fans themselves all benefit…. and we can’t see a single negative. |