A disclaimer: Sigur Ros is Sigur Ros and no pictures will ever do their concerts justice. The Icelandic trio of vocalist/guitarist Jónsi Birgisson, bassist Goggi Hólm and percussionist/ keyboardist Orri Páll Dýrason (Kjartan Sveinsson left the group in 2013) weaves aural magic, pure and simple. The group’s two-show run in Brooklyn earlier this month had the added benefit of taking place in an 80-year-old movie theater refurbished into a god-cave of gold trim and red velvet. Every cent of the $95 million reconstruction budget can be felt in Kings Theatre’ 2-year renovation from last year. It’s fictionally gorgeous, an LSD Rococo fever dream that would have been built by a European King in the 1700s after he overtaxed his subjects. The ceiling space is a chasm so big it could house another concert hall.
Sigur Ros turned the theatre into a post-modern exhibition space, projecting vector art animation of soaring birds and insidious storm clouds swirling around the stage. Sonically, the group was magnificent. But they always have been; Jónsi’s teflon falsetto still swims eloquently around tracks from 1999 breakout Agaetis Byrjun. Dýrason’s dynamics flitted between gentle pattering to concussive snare hits, punctuated by absurdly bright jolts of light. And don’t get us started on the finale—the untitled eight track from 2002’s “parenthetical album.” It’s the audio equivalent of an ocean boiling into a tsunami that engulfs the cosmos.
Don’t take our word or look at the pictures in the gallery above. See Sigur Ros in Asia or Los Angeles before Jónsi begins writing pop songs with OneRepublic.