Day 3 began with me sorting out my big stack of potential purchases from Lucky Records. Turns out I’d put aside way more stuff than I realized, so much so that I may in fact be throwing away at least one pair of pants to make room (♠) enough in my bag. I may need to re-evaluate my willpower. But not until we get back home from Iceland with all this vinyl.
From there we hooked up with Rob of Revenge of Calculon fame for lunch, then caught up with him again later to see is solo set at Lucky Records in the afternoon. It was every bit as funky and dirty and sleazy as we’ve come to expect from Calculon (below), and the crowd was definitely into it, including the one lucky fan who came away with his own luchador mask thanks to his dancing efforts.
That took us to the on-venue portion of the evening, and for the second time this trip we decided to post up at the Reykjavik Art Museum for the entire evening. The first two performers were pop-centric, Icelander Hildur and Norwegian Anna of the North. Hildur’s set was reflective, the artist providing a bit of context for each song before it began, while Anna of the North was about unadulterated energy and joy. Next up were Icelandic rock veterans Mammút (below), a band I believe we first saw all the way back in 2010, and man they have come a long way. The music was tight and Kata’s vocals powerful, drawing tons of support and energy from the crowd, especially the Icelanders. It was one of the best sets of the festival so far.
And that, my friends, brings us to Hatari. Ah, Hatari, a band loved by some, hated by others. They garnered significant attention as Iceland’s entry for Eurovision 2019, the finals of which were held in Tel Aviv, for their pro-Palestinian statements prior to the finals, their pre-final release of a collaboration video with Palestinian singer Bashar Murad, and capping it off by showing a Palestinian flag on live TV immediately following their performance. So again, loved by some, hated by others. They’ve also received criticism for appropriating certain subcultural fashions on stage. You can decide for yourself. As for me, I clearly like their music, having ranked their four-song EP Neysluvara as my favorite release of 2017.
The show at the Art Museum (below) was, of course, a spectacle of bondage and fetish fashion cocooned in a story arc of impending global demise. There were dancers. There was a video projection. There were lasers. There were canisters shooting showers of sparks. There were guest performers, including, I believe, none other than Murad himself. And there were beats, growled invectives, and falsettos. In other words, it was absolutely fantastic.
Three days in the book. One more to go…