Wardruna are something of an enigma. Over recent years, they have grown from a very niche act into an international name regularly selling out large venues with their interpretation of Norse folk (a label which does not really do their music justice). The driving force behind Wardruna is modern day Skald, Einar Selvik, who ensures authenticity and historical accuracy wherever possible through their work and instrumentation, which has resulted in a back catalogue that is revered in many quarters (including mine).

The launch of the most recent album, ‘Kvitravn’, in January of this year coincided, of course, with ongoing Covid restrictions around the world and in an attempt to reconnect with audiences and give a platform for the newer material, Wardruna delivered a streamed concert including “live” premieres of some of the ‘Kvitravn’ tracks.

The stream began with Alexander Milas interviewing Einar Selvik, reflecting on a difficult year and considering whether Wardruna’s music is more relevant now than previously. Amongst other things, Einar reflected on the significance of the White Raven and mused why Wardruna had garnered such widespread popularity.

After the interview, the band took to the stage with subdued lighting. Einar was in the centre of the stage, flanked by Lindy-Fay Hella and Katrine Stenbekk, with Arne Sandvoll, HC Dalgaard, Elif Gundersen and John Stenersen towards the rear or the stage appearing only as silhouettes for large portions of the show. Throughout the show the band used a variety traditional instrumentation and while I am no expert on this, I think I saw a Kravik Lyre, a Tagelharpa, Lurs and a Moraharp all being used as well as traditional percussion and frame drums.

Appropriately the show began with ‘Kvitravn’ set to back drop of images of a white raven. The haunting, simple melody combined with Einar’s vocals and brooding intensity generated a sombre atmosphere. The track built with additional vocals (Lindy-Fay Hella being particularly distinctive) and the Lur, before leading into another new track ‘Skugge’. The relatively stark first half of the track built an oppressive atmosphere before the mood lightened with glorious melodies coming to the fore. Einar stood with his eyes closed while singing, arms outstretched looking up to the skies. The rhythmic percussion added drama as the female vocals add extra depth as the track built to its dramatic finale.

The first older track followed, ‘Solringen’ from 2013’s ‘Yggdrasil’. Birdsong, percussion and sombre vocals led into a folk-esque passage. Einar was singing cyclical vocal lines, echoed by Lindy-Fay Hella and Katrine Stenbekk to great effect. Although this has a much more upbeat feel to it, there was still an undercurrent of darkness. ‘Bjarkan’ took us back to the first album with more rhythmic percussion and powerful vocals, exemplified once more by Hella’s distinctive, powerful voice. Our first visit to ‘Ragnarok’ came with ‘Raido’ and its powerful vocal melodies which remain powerful but perhaps more reflective than previous tracks. The female vocals felt ethereal as the track grew with cascading melodies.

‘Voluspá’ saw Einar as a solitary figure on the stage for this skaldic version, comprising a simple but evocative melody and Einar’s powerful, poignant vocals. This was simply stunning. ‘Isa’ opened with a solo vocal performance from Lindy-Fay Hella which was powerful, vulnerable and resonating. The track built into more familiar territory before leading into UruR which saw a change in mood with subtle subdued amber back lighting and the Lur becoming more prominent.

‘Grá’ and ‘Vindavlarljod’ brought us back to ‘Kvitravn’ with more rhythmic percussion and distinctive, powerful vocals before ‘Rotlaust Tre Fell’ carried us away with its sublime melodies. The track was almost soothing in its outlook and delivery until it reached its dramatic climax. Live favourite, ‘Fehu’ is a cautionary tale about wealth being a double-edged sword and saw the band ‘standing’ in dramatic lighting as the poignant track built, gathering momentum and intensity before the set was brought to a close with the enthralling ‘Helvegen’. This is such an emotive, powerful track that I am moved emotionally every time I hear it. Einar gives an exemplary vocal performance, creating a deep, rich texture but also with a poignant, innate sadness.

Warduna shows are emotionally draining, drawing you in and completely carrying you away, and this was captured nicely during this live stream. Although perhaps still “niche”, Wardruna are essential to the modern musical landscape, the perfect antidote to so much manufactured, throwaway music that caters to whatever is trendy that particular week. If you are already one of the converted, you will know what I mean, if not, and you made it this far through the review, you need to clear your mind and check out this phenomenal band.

(Review Andy Pountney Screen Shots From Show)