One of the Most Remarkable Live Performances I Have Experienced
Eihwar and Mira Ceti at Kollektivet, Stockholm – April 3, 2026
I must begin by acknowledging that I attended this concert without yet knowing all of Eihwar’s songs by heart, as I probably should have. Nevertheless, this partial unfamiliarity did not diminish the impact of the performance—on the contrary, it perhaps heightened my sense of discovery.
Over the years, I have had the privilege of attending concerts by some of the most influential figures in rock music, including the Ramones, Iggy Pop, the Sex Pistols, and even David Bowie. However, as time has passed, it has become increasingly rare for me to encounter a live performance of genuine originality and intensity. In this regard, Eihwar—a French duo—stands out as one of the most compelling contemporary live acts.
The evening opened with Mira Ceti, an artist whose work I was already somewhat familiar with. Her performance can be described as an atmospheric and quasi-ritualistic musical experience, drawing on what may be termed pagan or archaic sensibilities. Vocally, she evokes, at moments, the experimental intensity of Demetrio Stratos and the dramatic expressiveness of Maria Callas. These influences are recontextualized within a sonic framework that merges electronic textures with more organic, almost ceremonial elements. The result is a performance that is both evocative and immersive, suggesting connections to ancient cultural traditions—such as those of the Sumerian world—whose symbolic resonance seems to persist despite historical discontinuities.
Eihwar’s performance, while distinct in style, operates within a similarly expansive aesthetic framework. Their music integrates a range of influences, including power metal, electronic and rave elements, and a certain Wagnerian sense of scale and dramaturgy. At the same time, their work engages with Nordic cultural motifs, not in a superficial or folkloric manner, but through a deeper evocation of ritual practice—akin to the atmosphere of a blót, where music becomes a medium of connection with the supernatural.
This dimension is particularly evident in pieces such as Baldr, where the stage presence of Asrunn assumes an almost sacerdotal quality. Her performance, including her use of percussion instruments such as the tambourine, contributes to a carefully constructed ritual aesthetic. The drummer, Mark, complements this dynamic with a physical intensity that recalls the archetype of the warrior, reinforcing the performative cohesion of the ensemble.
One might draw a comparison with certain visual representations found in contemporary media—for example, ritual scenes in the series Vikings, such as the funerary sequence dedicated to Ragnar Lothbrok, characterized by a strongly shamanic atmosphere. However, a crucial distinction must be made: whereas such scenes position the viewer as an external observer, Eihwar’s performance actively incorporates the audience into the ritual space. This participatory dimension reaches its culmination in the closing piece, Berserkr, in which the boundary between performer and spectator is effectively dissolved.
From a vocal perspective, the performance demonstrates a remarkable range, moving from controlled, quasi-operatic registers to more forceful, heroic expressions. This is particularly evident in Völva & Skald, a piece that may be interpreted as a form of hymn dedicated to a powerful and archetypal feminine figure within European cultural imagination.
Other compositions, such as Fenrir and The Ballad of the Elfland, further develop this aesthetic, generating what might be described as “Viking war trances,” characterized by rhythmic intensity and a strong sense of collective immersion.
It is also worth noting my particular appreciation for Sir Mannelig, which I value for its evocation of a love that is, in some sense, irretrievably lost—a theme that adds an additional layer of emotional depth to the overall repertoire.
In conclusion, the concert was exceptionally well conceived and executed, representing not merely a musical performance but a fully realized artistic experience. In Eihwar’s work, one can discern not only the influence of Nordic traditions but also elements of the French operatic heritage, resulting in a synthesis that is both original and culturally resonant.
For these reasons, I consider Eihwar to be among the most significant live acts in contemporary music, and I intend to attend their performances again in the future.
Robert Fogelberg