Review & Photography by Gabi Rosu for MPM
The first time I heard an Igorrr song was 11 years ago. It was “ieuD”. I remember being surprised by just how many different things were happening in one song: opera, black metal, electronic music and baroque influences, all mixed together. I loved it, though, and immediately played it again.
I have this habit of trying to fit every new band I discover into a genre. With Igorrr, I couldn’t quite do that, so I eventually went looking to see how they described themselves. I checked the About section on their Facebook page, expecting some elaborate explanation, but the answer was simply: “Everything.” Fair enough. I really couldn’t think of a better way to put it.
Igorrr started as a solo project by Gautier Serre, who remains the main creative force behind the music. However, over the years, it has grown into something much more collaborative, with musicians bringing their own skills and ideas into the compositions.
I’ve had Igorrr on my list of bands to see live for years, so finally getting to see them on 10th November at Birmingham’s O2 Institute was a big one for me. They were touring in support of their latest album, Amen, and they weren’t coming alone.
The supporting acts were quite a pairing in their own right: Norwegian band Shining, with their blend of jazz and metal, and Miami-based electronic producer Otto von Schirach, whose unconventional approach to electronic music made him a fitting addition to the lineup.
Otto von Schirach
Otto von Schirach certainly knew how to make an entrance. He came on stage wearing a medieval-looking cloak, which suited the theatrical side of his performance. His electronic set was so energetic one could not help but move along with the beat.
His movements were just as entertaining; it was not simply a musical performance, it was theatre too. You had no idea what he was going to do next. At one point he started swinging his arms around like a pterodactyl, which made a lot more sense when I later discovered he actually has a track called “Pterodactyl”. Apparently, encouraging a pterodactyl dance is part of his live antics, too. It was a lively and rather unexpected way to open the evening.
Shining
Next up were Shining, led by Jørgen Munkeby, who moved between guitar, vocals and saxophone throughout the set. The contrast between the rounded butter smooth saxophone and sharper, more forceful electric guitar was something I really enjoyed. Both Munkeby and the other guitarist had their moments to show off, with solos that gave the set plenty to listen to.
The saxophone also brought a jazz feel to their heavier sound. One solo started with music that almost sounded like it belonged in a church before building into something much heavier. With white fog filling the stage and the lights cutting through it, I noticed people around me shaking their heads almost in unison, as if they had fallen into the rhythm without even thinking about it. There was something quite hypnotic about watching the whole thing unfold.
Igorrr
While we were waiting for Igorrr to come on, classical music was playing through the speakers. It was such a fitting choice, almost like a little introduction to what we were about to hear. Then Gautier Serre appeared on stage and the first song, “Daemoni”, kicked in. The addictive electronic bass started things off, before JB Le Bail joined with his incantations. Then the guitar riff came in, with JB’s screams cutting through it. Covered in his signature black and gold face and body paint, he delivered exactly what the crowd had been waiting for. Igorrr were starting off strong.
But it wasn’t just the music that made their performance so captivating. A big part of what made Igorrr so striking to watch was the contrast between the two vocalists. Gerda Iguchi’s operatic voice was almost angelic, but if you looked a little closer, her completely black contact lenses gave her a rather possessed appearance. It was such a contrast, both visually and musically, with her soaring vocals set against JB Le Bail’s much harsher screams. The two styles might seem worlds apart, but they complement each other beautifully.
The whole stage had an atmosphere that was difficult to look away from. Red lighting, thick fog and sudden bursts of bright white light all seemed to work with the music rather than simply sit behind it, as if the music was the heartbeat which brought the stage to life. When Gerda reached those higher notes, the white lights seemed to emphasise every piercing note, while the darker lighting made the heavier sections feel even more intense. At times, the combination of the music, visuals and crowd almost gave the performance a spiritual feel.
One moment that really stood out was during “Nervous Waltz”. The song began with a beautiful classical passage, full of baroque influences. Gautier started moving his arms as though conducting an orchestra, and it was hard not to get caught up in the moment. The crowd seemed to follow along, moving almost in unison, their sways conducted by Gautier. I loved looking around and seeing people of such different ages, from younger fans to older ones, completely absorbed in the same music. It’s a reminder that music like this can transcend trends and appeal across generations.
And then there were the musicians themselves. Gautier moved between his various instruments and electronics, switching from flute to guitar and percussion as the music demanded. The guitarist delivered some seriously heavy riffs, often headbanging along with such commitment that it was hard not to want to join him. The drummer was absolutely relentless, adding even more weight to music that was already heavy enough. Every member had something of their own to bring to the stage, but somehow it all worked together.
Igorrr have a way of constantly keeping you on edge. Their music can make you feel almost uncomfortable, throwing unexpected sounds and combinations at you, yet somehow leaving you wanting more. One moment you’re listening to something almost operatic, and the next it has taken a completely different turn. There are so many styles and sounds packed into their music, yet somehow they all come together. It’s what captivated me 11 years ago, and seeing it all happen live made me appreciate it even more.
