Girl in Red Closes Øyafestival: A Study in Controlled Chaos and Norwegian Cool
A captivating performance by Marie Ulven, known as Girl In Red, brought the 2024 Øyafestival to a close on saturday, August 9th, showcasing a compelling blend of polished musicianship and raw, unfiltered emotion. The 26-year-old Norwegian artist delivered a set that resonated with a diverse audience, solidifying her position as a global force in the DIY music scene.
The Øyafestival traditionally reserves the final headlining slot for a Norwegian artist, and this year’s choice proved fitting. Following performances by Chappell Roan and Charli XCX, catering to a younger demographic, and Queens of the Stone Age, representing established rock veterans, Girl In Red offered a unique synthesis of both worlds.
Initial reports indicated the concert was “decent enough,” though hampered by technical issues. A combination of low sound levels and excessive noise from the audience – positioned unusually close to the stage – reportedly detracted from the experience. However,these challenges did little to diminish the overall impact of Ulven’s performance.
Girl In Red’s artistic DNA clearly draws from a wide range of influences. She seamlessly blends the energy of guitar-based indie rock with lyrics that speak directly to the experiences of millennials and Gen Z. This ability to connect with a contemporary audience while honoring her musical roots is a key component of her success.
Over the past five to six years, Ulven has quietly built an impressive career. beyond her status as a DIY icon and an ambassador for “Norwegian Coolness,” she’s a rising commercial force, having supported major artists like Taylor Swift and Olivia Rodrigo on tour.
The crowd size on Saturday was noticeably smaller than previous nights, potentially due to the preceding rain and a less-packed festival schedule. Despite the diminished turnout, the energy remained high, especially during the opening song, “Doing It Again,” wich featured a surprise appearance by odd Nordstoga on banjo. The subsequent performance of “Girls” culminated in a dramatic guitar smash, immediately captivating the audience.
“Too Much” quickly emerged as an early highlight, demonstrating a masterful balance between pop sensibilities and restless energy. Ulven’s stage presence was described as “genuinely fun and charming,” particularly during the extended piano introduction to “I’m Back.”
A particularly poignant moment came during the introduction to “Hemingway,” where Ulven openly discussed her past struggles with pill addiction, offering a raw and unflinchingly honest glimpse into a difficult period of her life. This vulnerability resonated deeply with the audience, creating a powerful connection.
Musically, Ulven and her band were consistently strong. Performances of “I’ll Call You Baby,” “You Need Me Now” (performed without Sabrina Carpenter), “We Fell In Love in October,” and “Bad Idea” – punctuated by a crowdsurfing Edvard Valberg from Honningbarna – showcased some of the moast compelling pop songs currently emerging from Norway. These tracks were delivered with precision and passion.
ulven’s performance wasn’t without its imperfections. Lyrics were occasionally forgotten, and spontaneous, unfiltered remarks punctuated the set. Yet, these moments of apparent chaos were ultimately endearing, highlighting the genuine and relatable personality at the heart of the performance.
Ultimately, Girl In Red delivered a performance that was both captivating and authentic. As one observer noted,
