Live Review: Asgeir, Airling

Opening to little fanfare, Airling came onto an unlit stage and grew in the dark, swelling together and rising continuously on variations on a vocal line. It was a strong starter.

Rolling through a suite of songs heavy on gauzy keyboards and synths and a solid drum base, the live three-piece bolstered the pulsing and rhythmic songs. Singles, Ouroborous and The Runner, and new tracks like Bloodshot were fuller live, with the drums giving the songs a stronger groove. Airling obviously make great headphones music, but the consistency and extended emphasis on rhythm and texture weren’t demanding attention. It’s early on in her career, and a more assured presence to come should be more captivating.

Again the crowd were treated to an opening with the lights off. Asgeir came on stage with a band, and the show was very much about all of them. The drums were a mix of effected and natural kit, with a rumbling, popping snare and rhythmic kick pulling most songs along. Echoing, airy guitars lilted over the top and were often lost in the mix under heady synth lines and droney textures.

Most bases were covered: swollen arrangements into humble, guitar-driven torch songs, all unfolding seamlessly into each other. A few songs were played in his native Icelandic tongue as well. On sparer cuts like Lupin Intrigue, the band still filled the space around Ásgeir perfectly, allowing the ballads room to breathe but complementing them with gentle runs and wayward, unfolding key figures.

It was a somewhat stoic performance though, given the dynamic changes in some of the songs, including lead single, King And Cross. Sweet songs were played in a sweet way, with little space for intensity or unplanned improvisations on the night. Still, with songs this good, there’s little need to change anything up.