The Sugarcubes

Some artists are only discovered posthumously. So it seems to have been with The Sugarcubes, who returned to perform a concert last Friday in celebration of the 20th anniversary of their first single, 'Birthday', despite the band announcing its disbanding in 1992.

At a press conference two days before the concert, with nearly 5,000 tickets sold in advance, The Sugarcubes' bass player Bragi Ólafsson told me: “This is very new to us. We are not exactly used to be playing in front of large crowds here in Iceland. We are used to playing small clubs.”

The sentiment was echoed by the band's frontman, Einar Örn Benidiktsson. I asked him if he was surprised that the show had not already sold out: “Not so much, we were never really a success in Iceland.”

Despite a meagre following in Iceland during their heyday, the combination of their well-documented and somewhat aberrant quirkiness, their timeless songwriting, and the fact that they are Björk’s former band has secured The Sugarcubes an almost mythical status in their homeland’s musical history. The Sugarcubes decided to take an opportunity to cash in on this fact, in order to bankroll further operation of their own recording label, Bad Taste, founded on the same day as the band and still a productive and daring recording label.

Although in general I am not a big fan of bands reuniting in order to cash in on former fame, The Sugarcubes' lapse is easily forgiven in light of their altruistic reasoning. While much of the older audience tonight is here for the rare second chance to fulfill something that perhaps they ought to have done circa 1989, many of the younger members are barely old enough to remember the times when The Sugarcubes were still active. Overall, attendees are not so much nostalgic as they are curious to see the return of a now legendary and much-hyped band.

Despite the anticipation filling the stadium, the show gets off to a rather slow start as the band open with 'Traitor', the first song from their first album. In the early moments of the show I can not escape the feeling that the band is both out of place and out of time, playing in front of 5,000-plus disconnected patrons, 15 years after their prime. The same feeling isn't lost on the band, either, as they strain to get into their comfort zone and create a connection with the audience in such a large space. It's not an altogether pleasant thing to witness, and for a moment I fear that the reunion will prove to be as disastrous as Michael Jordan’s second comeback.

However, the night is kicked into gear with the rock-solid delivery of 'Regina' and 'Cold Sweat', both early highlights. From that point on, crowd and band are in unison, equally at home with one another as the band blaze through their hit singles, one by one. Other notable highlights are 'Deus', 'Motorcrash', and the obvious 'Birthday'. It's pleasant to hear how well their songs have withstood the test of time - their gist sounds just as fresh today as when they first came out.

Despite the long lay-off, there's little rust to be found in their performance. Band members resume their duties without effort and quickly fall into their roles. More or less motionless in the background stands guitarist Þór Eldon and bassist Bragi Ólafsson, with Margrét Örnólfsdóttir standing behind a keyboard to the side. Their calm demeanor is a stark contrast to the bantering and spastic twitches of singer Einar Örn, who at times conjures images of the Mad Hatter as he jokes around with the band’s other vocalist, Björk, and dances around with a red trumpet.

As much as everyone tries to ignore it, the star of the show is still Björk Guðmundsdóttir. Her command over her instrument is quite amazing, and it is hard to imagine The Sugarcubes having reached their level of success without her unique vocal lines. Although her mates on stage are all accomplished, seasoned musical veterans (with the exception of bass player/writer Bragi Ólafsson, who had earlier told me that even if he had not played bass in years, his lines were simple and really; it was just like driving a car, you don’t forget), she is the only international star, able to attract audiences from a far. Which she does this evening.

On location tonight are over one thousand foreigners who've flown in exclusively to watch the show. I wonder how many wouldn't have shown up if Björk hadn't been present. Nevertheless, she falls seamlessly in line with the band, and at times she looks so at home on this stage that you can almost forget that they disbanded and that she's moved on to bigger and better things.

More than anyone else, though, it's drummer Sigtryggur Baldursson who catches my attention though. Even if this talented drummer has been involved with various projects recently, witnessing him in his element tonight truly makes it clear how much fun it is to watch him play. His constant smile and jovial spirit also underscores another detail that is lost on no one: just how much fun these people are having, sharing a stage again for the first time in fourteen years.

After 18 songs, The Sugacubes finally retreat under the feverish salute of the crowd. After a few minutes of stomping, clapping and yelling, they return to perform an encore, including their most successful single, 'Hit', from 1992's Stick Around For Joy. After the band leaves the stage for the second time, the crowd is still hungry for more. They eventually bring them out for yet another encore.

For the final act, the ‘Cubes unveil a special guest, none other than Johnny Triumph, the only man alive who could justifiably demote Björk to a back-up singer. Joining him on stage are two young teens, Einar Örn’s and Þór’s and Margrét’s sons, who join the family in performing 'Luftguitar', a collaboration project from Johnny Triumph’s own album. Even if Triumph’s return is a welcome sight for many Icelanders, I have a feeling the joke may have been lost on the majority of the foreign guests, as his album was never released outside Iceland.

As Triumph brings the night to an end by smashing his invisible 'Luftguitar' against the amplifiers and eventually tossing it into the audience, the night is brought to a memorable pinnacle and, ultimately, a close.

Review courtesy of Reykjavík Grapevine, link