Photos: Iceland Airwaves Festival Pt. 4 [Reykjavik; 10/21/06]
Photos by Leó Stefánsson unless otherwise indicated. Click for parts one, two, and three.
The final night of Iceland Airwaves really didn't feel like the final night for two reasons: first of all, Sunday night-- featuring a single local showcase-- is actually the final night. Secondly, it felt a bit anti-climactic after Friday's incredibly strong lineup. This is not to say that it made one bit of a difference to the inebriated locals and foreigners wandering the streets-- Reykjavik, for better or worse, might just be the drunkest city in the world: witness the hipster kid jumping on the hood of a passing car and shattering the windshield with a swift kick. No one batted an eye.
The night began much less violently with Nortón's set at Gaukurinn. These young Icelandic musicians (including photographer Leó Stefánsson) play in various Reykjavik bands, and have combined here to bring back 1980s Clash/Blondie disco, jerky electro, and funky house. The initially sparse crowd grew as the band tested the dancefloor with trombone, keys, guitar, and laptop.
At Iðnó, Icelandic chanteuse Kira Kira (aka Kristin Björk Kristjansdottir) began her set to a darkened, hushed theater. Comparisons to another Icelandic Björk are tempting here, but not really accurate, as her childlike voice floated in and out of ambient electronics and ethereal piano tones.
Over in the National Theatre Basement, Hjatalin, who've had several radio hits this past summer, played somber, adult contemporary love songs for an adoring, youthful crowd. Back at Nasa, popular Icelandic band Benny Crespo's Gang performed confident, sweeping alt-rock to a more lively audience.
The UK's Fields were up next, and this possible next big thing began their set with perfectly harmonized vocals before launching into their thankfully not post-punk-referencing indie rock-- it's just nice to hear something different once in a while.
Finally, over at the Reykjavik Art Museum, the decidedly post-punk-referencing sibling act the Cribs (pictured above) were wrapping up, using their guitars in an onstage light saber duel. The headliner of the night, Kaiser Chiefs, closed the night and peppered their vivacious set with cheesy quips like, "You're a good-looking people!" and "So I heard Reykjavik likes to drink!" This is a medium-sized band with one album and an arena-rock mentality, and while their music is tight and fun, they can lay it on pretty thick.
And that about wraps up Iceland Airwaves for this year. This well-run festival is much smaller than the continental behemoths that rule the European summers, but the unbelievable zest for music and celebration in Reykjavik made these past four nights feel much larger than they were.
The final night of Iceland Airwaves really didn't feel like the final night for two reasons: first of all, Sunday night-- featuring a single local showcase-- is actually the final night. Secondly, it felt a bit anti-climactic after Friday's incredibly strong lineup. This is not to say that it made one bit of a difference to the inebriated locals and foreigners wandering the streets-- Reykjavik, for better or worse, might just be the drunkest city in the world: witness the hipster kid jumping on the hood of a passing car and shattering the windshield with a swift kick. No one batted an eye.
The night began much less violently with Nortón's set at Gaukurinn. These young Icelandic musicians (including photographer Leó Stefánsson) play in various Reykjavik bands, and have combined here to bring back 1980s Clash/Blondie disco, jerky electro, and funky house. The initially sparse crowd grew as the band tested the dancefloor with trombone, keys, guitar, and laptop.
At Iðnó, Icelandic chanteuse Kira Kira (aka Kristin Björk Kristjansdottir) began her set to a darkened, hushed theater. Comparisons to another Icelandic Björk are tempting here, but not really accurate, as her childlike voice floated in and out of ambient electronics and ethereal piano tones.
Over in the National Theatre Basement, Hjatalin, who've had several radio hits this past summer, played somber, adult contemporary love songs for an adoring, youthful crowd. Back at Nasa, popular Icelandic band Benny Crespo's Gang performed confident, sweeping alt-rock to a more lively audience.
The UK's Fields were up next, and this possible next big thing began their set with perfectly harmonized vocals before launching into their thankfully not post-punk-referencing indie rock-- it's just nice to hear something different once in a while.
Finally, over at the Reykjavik Art Museum, the decidedly post-punk-referencing sibling act the Cribs (pictured above) were wrapping up, using their guitars in an onstage light saber duel. The headliner of the night, Kaiser Chiefs, closed the night and peppered their vivacious set with cheesy quips like, "You're a good-looking people!" and "So I heard Reykjavik likes to drink!" This is a medium-sized band with one album and an arena-rock mentality, and while their music is tight and fun, they can lay it on pretty thick.
And that about wraps up Iceland Airwaves for this year. This well-run festival is much smaller than the continental behemoths that rule the European summers, but the unbelievable zest for music and celebration in Reykjavik made these past four nights feel much larger than they were.
More photos ahead.
NORTÓN (Photo by Jonah Flicker)
KIRA KIRA
THE CRIBS
BRAZILIAN GIRLS
SOMETIME
DJ MARGEIR
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