Live Review: Sigur Rós With The Sydney Symphony Orchestra @ Sydney Opera House

Sigur Rós fans have spent far, far too many hours on chat boards and Reddit forums discussing whether the Icelandians are a “rock” band or not. 

Regardless of the answer (amuse yourself with one of those threads here), what’s certain is that, when backed by a full orchestra, it becomes clear that the “rock” side of their sound isn’t what’s drawn their loyal legion of fans this side of the millennium.

The iconic Sydney Opera House was rammed with professionals boasting Arts degrees from 2004. The world-renowned Sydney Symphony Orchestra took the stage shortly after being joined by Jón Þór 'Jónsi' Birgisson, Georg Hólm, and Kjartan Sveinsson.

Unlike other “with an orchestra” shows, Sigur Rós weren’t backed by the SSO here - rather, the three members (they were without their custom session drummer for this tour) took their places within the orchestra, with frontman Jónsi setting up right in the middle of the violin and viola sections. 

With intimate lighting and a series of what appeared to be mini lamp posts scattered throughout the performers, the ensemble slid straight into Blóðberg, a sparse, sweeping number from the band's latest release ÁTTA (2023). 

That record, in stark contrast to Kveikur's grinding, scraping frustration (2013), largely eliminated drums in favour of tender yet simultaneously grand orchestral movements.

It was a record that felt impossible to recreate live without the backing of a full orchestra, which made this show fitting.

While only four songs from it were featured - 8, Skel, and closer Avalon were the other newbies to get a look in - the rest of the show followed the formulae of the latest album, with a setlist made up of tunes that largely did away with any hint of the “rock” in the Sigur Rós sound.

However, this new format yielded some stunning results. A particular highlight came in the first half of the concert, with Von—the title track of the band's largely overlooked debut—coming to life with its tender string arrangements and pulsating percussion section, resulting in the ultimate presentation of a fan favourite.

This certainly wasn’t a show for the Sigur Rós “casual” fan (if any such thing exists). Staples like Svefn-g-englar, and Glosoli were traded for deeper cuts, like the moving Vardelur, which closed the first half, and late highlight All Alright. 

However, even a room of the most rusted-on Sigur Rós fans wasn’t immune to a 00s fan favourite.

There was a palpable lift of energy in the theatre when the familiar synth lines of Strataflur kicked in, and a sense of group therapy right from the first tinkle that heralded the emotive Untitled #3.

And no matter how much a Sigur Rós fan might tell you that the band has better songs, the screams of joy that greeted the opening arpeggios of Hoppipolla was a nice reminder that even the halls of high culture couldn’t keep the inner child of the assembled at bay.

With the percussion section again playing a blinder—with a concert bass drum, concert snare drum, and a crash cymbal split between three players to create a drum kit-like effect—the band closed the main section of the set on a joyous high with its most famous track—a release of triumphant energy after two hours of masterful self-control.

The band then departed, allowing the orchestra to provide closing credits of sorts with the aforementioned Avalon, before it returned for two sets of bows to close the evening out.

This concert was Sigur Rós in their final form - and while the lack of violence from traditional closer Untitled #8 was admittedly sorely missed - it was hard not to feel like this, in a formal concert hall with a full orchestra, was where this band, and these songs, truly belonged.

Sigur Rós may have made its name as a guitar band, but it is cementing its legacy with the help of a 500-year-old musical tradition.

Are they a rock band? Yes.

Are they better when they largely dispense with the rock in favour of the orchestral?

After tonight, it's hard to say “no”.