Frida Ånnevik concert review: Brakkevakkert – VG

Frida Ånnevik

Live from the Oslo concert hall

Livestream at vierlive.no

Livestream viewers:?

After almost a month of more or less spontaneously organized live concerts, with everything from happy fans to established stage stars and optional VIPs as part of the concept, the format has grown considerably stricter in no time. And many notches better.

The web solution Vierlive.has not facilitated paid concerts, and for good reason: just in the past few days, Isah, Nils Bech and Kvelertak have set a new standard for what a digital concert can mean, with great help from creative directors.

Bech’s long journey through the Vigeland Museum deserves a movie ticket, etc., while the energy of western mead rockers was taken care of in a surprisingly charming way, despite physical flaws like spitting and staging. Isah stood out as a star through his three measured blocks.

This afternoon, the journey has come to Frida Ånnevik, who ten years and six courses in her career is probably the closest Norway is to Alf Prøysen at the moment.

Despite recent success with the fine-cover album “Other Songs” and the “Every Time We Meet” inspired engagement, the hammering is at its best on its own songs, pushing the vocal pop singer even further with details melodic and lyrical precision out of the ordinary.

With an abandoned Oslo Concert Hall as a starting point, Ånnevik goes to the mother of work alone with “You Must Believe Ours”, one of the most successful Norwegian song adaptations of many gentleman’s years. The message could hardly fit better, and the beautiful “Stand Me Out,” an affidavit similar to Beth Orton through geographic affiliation, follows in excellent fashion.

Even Spice Girls’ fairly straightforward rendition of “What I Want From You” works. While the heart is seriously broken under an intense “New Thread”, where Björk’s “Unraveling” takes on a poetic dimension of isolation (“When you are elsewhere / the heart is a thread / it shakes it slowly / a nest of thread” ).

Ånnevik’s classic “The Days I Lose Things” is predictably cool, even when referenced from singing at home. “Seventeen Years” and “The Strange”, the latter in a fabulous home gospel jazz recording with a synth drum introduction, too.

Production of the film is relatively simple and contentious, but director Mattis Goksøyr still does the right thing: the images breathe in line with the music, without the need for the big instruments to make an impression.

Ånnevik uses the pause before “Beside you” to talk about pride and freedom, which is why the song itself sounds: proud and free. Slightly smaller prints make the two teams “Think About Me” and “Hang Together”, originally signed by Astrid S and Alicia Keys, respectively. Here, despite the freedoms taken along the way, it becomes harder to hear the look of the cover.

But then at the end: “One and the other.” Perhaps Joni Mitchell’s most iconic and fully performed song, “Both Sides Now”, in a perfectly superior heartland version, each with its own weight, and at the same time flowing over the weightlessness of the music.

Sky level, in other words. And something that all other Norwegian songwriters and performers can and should do.