Live Review: Heilung @ Enmore Theatre, Sydney

You know you’ve arrived at a slightly abnormal gig when people on the street are stopping to photograph the antlers on the punters queuing for doors.

Thus began my evening attending a Heilung ritual—the second of two sold-out nights at Sydney’s Enmore Theatre. 

The Scandinavian “amplified history” trio of Christopher Juul, Kai Uwe Faust and Maria Franz have just announced a hiatus for 2025 - taking cues from “shamans who rest” - so tonight's affair felt like a victory lap of sorts.

Against all odds, the 2020s are a really good time for neo-pagan, experimental folk, and general " Viking” artists, evidenced by the absolutely rammed theatre well before opening singer-songwriter Eivør took the stage.

The Faroe Islands artist has had a breakout few years of her own - notably singing on a majority of The Last Kingdom TV series score - but it was still a surprise to see just how seismic the reaction was for her opening set.

Backed by a trio of longhaired Norsemen, she performed brilliantly, mixing elements of darkwave, traditional folk music, and heavy metal in a disorientating, entertaining cauldron.

Neither of those previous two adjectives could do justice to what was to come, though.

With the PA mix swapping traditional house music for the sound of creaking oaks and chirping birds, there was already a certain Middle Earth energy to the night well before the lights went down.

Once show time arrived, though, 2000 punters were transported into a psychedelic iron-age woodland trip. Heilung took to the stage with sixteen touring performers and dancers, kicking things off with a pagan ritual before a note was played.

Once the stage had been “smoked” by the band's percussionist/priest, the main trio—decked out in their woodland outfits—assumed positions, backed by two drummers/percussionists playing an array of historical drums and other instruments/bones and two backing singers.

Once assembled, the crew busted into In Maidjan, a propulsive percussion-based number that lulled the Enmore Theatre into a trance.

With their harmonies, propulsive beats, occasional splashes of synthy trippiness, and, of course, their 10+ strong “warrior choir”, Heilung’s performance lived up to its ritual billing: a collection of circumpolar-themed tribal songs and dances, each of which hypnotised the assembled.

Alfadhirhaiti saw all hell break loose on stage, with a band of warriors bearing spears and shields breaking into a stomping war dance, while both the gloomy Tenet and stunning Galgaldr were the pagan doof bangers from hell, full of contortions, dancing, ululating, wailing, and droning, all combining in a magical nightmare that left the audience momentarily stunned into silence after its thrilling climax.

Throughout the show, there was what appeared to be simulated human sacrifice, fire twirling, old femurs being struck, and swords being “played.” Maria Franz displayed one of the most impressive vocal ranges in the touring circuit, backed by the hypnotic throat singing of Faust and Juul.

However, no matter how in the mood for a Sunday night pagan ritual the crowd might have been, you just can’t beat a dance party - even if the said party takes place in a makeshift sacred grove, with flair pants and glowsticks substituted for horns, horse heads, and an MC who gets the crowd going in old gothic.

Thus, Hamrer Hippyer was the perfect song to end proceedings on, with the pulsating drums and circular vocal loop giving way to all-out bedlam on the stage and in the crowd. Warriors snapped the audience out of their stunned stupor, sending the room into a clapping, dancing frenzy while warriors crowd-surfed and jumped around ecstatically.

When it all suddenly came to a halt, a final vocal solo melded subtly into a whispered “Thank you so much,” breaking the spell that left the crowd in raptures.

After a closing ceremony (featuring more smoking of the stage and cleansing of the performers and the audience), Heilung departed, concluding one of the most bizarre - but thrilling - musical experiences this venue has surely ever hosted.

Neo-paganism is having its cultural moment, but Heilung feels a touch above the simple fad. 

Several thousand Australians coming out on a balmy spring evening to celebrate the ancient sounds and songs of the frosty north and beyond is a testament to the appeal of the primal - and Heilung taps into it better than anyone else.