Kaizers Orchestra got off to a blazing start in 2001 with debut album Ompa til du dør, which won a Norwegian Grammy and  gained the band a loyal following that sustained tours across Europe for more than 10 years. But the band went on hiatus after performing a one-and-done U.S. concert at New York City’s Metropolitan Museum of Art in 2013 that The New York Times immortalized in an article headlined “Band Flies in From Norway to Say Hello and Goodbye.”

Now the six-member group, complete with its oil barrels for percussion and fantastical lyrics sung in Norwegian, is making its return to the United States, and the five-city tour starts in Cambridge at The Sinclair on Oct. 2.

 

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Lead singer Janove Ottesen and I met via Zoom ahead of the tour, and he got off on the right foot by saying he appreciates speaking with niche publishers and podcasters that have popped up in recent years. These formats, he said, allow artists more time to share their thoughts than they would typically get with mainstream media outlets (not that Kaizers would turn down an appearance on a late night TV show…). “We get to know each other,” he said.

The band’s extended break wasn’t precipitated by any sort of falling out, Ottesen said (“If you asked the six of us, you’d probably get six different answers…”). Rather, the members lacked a vision for their music’s growth at the time, and as a group of thirty-somethings, most had a desire to spend more time with their young families. “We wanted to live normal lives,” Ottesen said, adding that he also wanted to do some solo work and produce music for others.

Wanting to remain in touch after becoming friends years before in the city of Bergen, Kaizers’ members agreed to get together on the first Saturday each January from different parts of Norway to catch up on kids, marriages, and whatever else. There was no talk of getting the band back together in the early years, but that changed three years ago, when Ottesen raised the possibility, feeling a passion to “play the old songs with my friends.” He said it took three years to prepare for a return to touring last year in Europe. “It’s a life changing decision,” he said.

There’s no specific talk at this point about a new album, though the band released a couple of new songs last year. The focus on this tour will be on the best songs in the band’s catalog.

“But of course… when we say ‘best,’ it’s not like we have any hits. Quite to the contrary, we don’t have any. We’re pretty famous in Europe for being in no hit wonder,'” Ottesen quips.

The singer said it won’t matter for the U.S. audience that most don’t know Norwegian and won’t actually understand the lyrics. But he explains that Kaizers’ songs are largely based on fictional stories and have a theatrical or movie-like feel to them, consisting of scenes that aren’t necessarily linear. “It’s quite opposite to what are most of the bands and artists around us at the time were doing, and maybe still do, because normally it feels like you have to really be so personal that it almost hurt… we never did any of that,” he said.

The band’s songs naturally lend themselves to videos (e.g., “Begravelsespolka,” translated as “funeral polka”).

Though Ottesen says what makes this “proper rock ‘n roll band” unique is its live performances, which combine styles like rock, cabaret and punk in a “show, it’s not a concert, it’s a show.” Fans will see guitars, double-bass, accordions, and yes, oil barrels, on stage. “It’s pure entertainment, there are a lot of characters in the band,” he said. That includes a drummer who wears a gas mask. “He has his own mini show in the show,” said Ottesen, who added that when he sees videos of their shows he’s always surprised to discover what goes on behind him.

About the oil barrels: The band was looking for more bang on certain songs while doing its first album, tried adding more drums, but found it wasn’t enough “to make the beat explode more.” What’s more, the barrels are a visual element at shows. “It’s a signature thing,” Ottesen sad. They also give band members something to stand on at shows so that everyone in the audience can see them.

The band will start small in the U.S. with five cities, including Minneapolis, known for having many Scandinavian descendants among its population.

If all goes well, the plan would be to return the next year and try to grow the audience, maybe mixing in some festivals. “There’s so much going on at our shows that you have to come back and see the show at least twice,” he said. “You might not think that this is for you, but it is. And 25 years of touring has proved that it is… It’s for everyone. It’s a party.”

Concert review: Double barreled action from Norway’s Kaizers Orchestra (Oct. 2, 2024, The Sinclair, Cambridge, Mass.)

After a handful of songs into Kaizers Orchestra’s set at The Sinclair in Cambridge earlier this month, the six-piece Norwegian band informed the already revved up crowd: “We are here to make a lot of noise.”

They were stating the obvious. The outfit started the show with two members alternately banging—and denting— big copper-colored oil barrels with bats, and later they switched to belting tire rims with tire irons, because you know, two guitars, keyboards, cymbals, and drums weren’t quite enough to deliver the desired bang.

But don’t get the impression this was a pure assault on the ears. This band, launching its first US tour after going on a 10-year hiatus and previous success in Europe, is a rock band with plenty of catchy tunes and even a couple of ballads (that yeah, did morph into bangers). “It’s a bit hybrid and diverse… we do a lot of different genres,” lead singer Janove Ottesen told the crowd.

The audience of a few hundred included dozens of Norwegians, as self-identified when Ottesen asked, and they all seemed to know all of the lyrics. Though Ottesen stressed that you didn’t need to know Norwegian to appreciate the band’s storytelling and music.

“It’s been a long wait for Kaizers Orchestra, and it’s been a long wait for some of you,” Ottesen said in English to applause, hoots, and hollers. “Let’s dance!”

My companion at the show later described Kaizers Orchestra as “the band for a David Lynch Halloween party. Early-set fun theatrical creepiness transformed into a crowd-pleasing, clanging romp with sing-along choruses and plenty of handclaps.”

The creepiness in large part came from keyboardist Helge Risa, who entered the stage wearing a gas mask before settling in between a pump organ and piano, alternating between the two and tossing in accordion for good measure. It was steampunk meets rock, with a good dose of Eastern European folk music.

The band launched into its 16-song set with “Ompa Til Du Dor” off its 2001 debut album of the same name—an album that earned the band Norway’s version of the Grammy for best rock album. Kaizers Orchestra tapped that first album liberally during the show, even playing “Kontroll på kontinentet,” the first song off its first album.

The initial set ended with a rousing version of “Maestro,” which Ottesen described as “the grooviest song ever written for the accordion.”

While those signature oil barrels served their purpose for percussion, they also were props for Ottesen and the band’s two guitarists to agilely/precariously perch atop high above the standing crowd. This is a band with swagger to burn, from their natty suits to Ottensen’s artful handling of the mic itself, whether holding the stand high overhead or swinging the wired mic like a yo-yo. When the mic wasn’t enough, Ottesen wielded a megaphone as he sung a “ballad” at one point while standing on a barrel.

The band’s 5-city tour continued with trips to New York City, Washington D.C., Minneapolis, and Los Angeles, and Ottensen pledged that Kaizers would return to this area in a year, hopefully drawing an even bigger crowd as word-of-mouth about their dynamic shows spreads.

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Thanks for indulging us on this Beyond Wellesley topic. Now back to the local news…

The 2024 edition of the Boston Calling Music Festival hit the weather jackpot this Memorial Day weekend, and attendees open to all genres of music struck it big, too.

If Friday’s singer-songwriter heavy line-up at the outdoor Harvard University athletic complex wasn’t your thing, you could still enjoy a good dose of pop rock and classic indie sounds. Boston Calling’s most country roster to date on Saturday sprinkled in just enough punk, rap and rock to satisfy those wary of banjos and fiddles. And Sunday’s indie-alternative rock sets brought home the weekend with the Killers, Hozier, and other performers that have long been the event’s sweet spot—and the festival grounds were absolutely packed in the main stage areas and well beyond. Sunday was filled with raunchy fun as well courtesy of Chappell Roan and Megan Thee Stallion.

The highlight for us was getting a sit-down interview with Frank Turner, an English punk troubadour who just released his 10th album, “Undefeated,” in advance of his late Saturday afternoon show that proved to be an outlier on the country music day.

Other artists were the big draw for other attendees. Pink cowboy and cowgirl hats, plus pink and sparkly everything else, were the attire of the day in honor of Roan, she of the cheeky lyrics and harlequin attire. Saturday headliner Tyler Childers had some less familiar with country music asking “Tyler who?” But fewer will be asking that question about this folk-country performer as his star rises. Hozier’s disciples, wearing their Sunday best artist shirts, were only too glad to be taken to church by the Irish singer and his strong backing band.

• Day #1: Singer-songwriters have their moments
• Day #2: Grand Ole Opry breaks out in Boston
• Day #3: Stacked line-up draws huge crowd
• Sounds of Boston Calling ’24

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