Susanne Sundfør review, The Barbican, London: An artist who has truly mastered her field

It’s been over a decade since Susanne Sundfør released her debut album. Since then, the multi-talented musician has built a strong back catalogue and a reputation as one of the most respected musicians in Norway.

But recently, she’s been on a quest: a journey of discovery to find out what truly matters. This voyage has taken her to some of the most gorgeous natural landscapes in the world, and their effects are written across her latest release, Music for People in Trouble.

Built largely around organic soundscapes, the album has been transformed into an audio-visual experience which is being shown for the first time outside of Norway tonight, at London’s Barbican Centre.

The on-stage spectacle alone is haunting; a hooded Sundfør and her band sit behind a large-scale projection which flits between imagery of melting clocks and digitised black-and-white portraits. Electric light shows build to frantic crescendos as Sundfør’s voice increases in intensity, creating a dizzying visual effect which mimics the equally electrifying soundscapes.

Musically, Sundfør demonstrates incredible range, playing numerous instruments without missing a beat or note. Arguably the strongest instrument at her disposal is her voice; whether swathed in the instrumentation of harps and flutes, or guitars and drums, her vocals effortlessly dip and soar across numerous octaves.

The electronic soundscapes which dominated her international breakthrough, Ten Love Songs, are largely absent, but eerie synths creep in to set the scene for the show’s masterful climax which earns Sundfør a well-deserved standing ovation.

Considered, innovative and genuinely captivating, tonight feels like the opus of a musician who has truly mastered her field.