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Agnes Obel  

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Agnes Obel, born October 28th 1980, is a singer-songwriter from Denmark. Her classical and folk crossover music earned her five prizes at the Danish Music Awards in November 2011.

Obel had the privilege of growing up around music, as her father would love to collect strange objects and instruments such as the xylophone and even a double bass. Her mother was a pianist and would play Bartók and Chopin on the piano. Obel naturally took to the piano at a very young age. Her teacher told her that she shouldn’t play what she doesn’t like, so she just played what she liked. As a musical artist, Obel discovered Jan Johansson’s works, which were pivotal to her understanding of creating music, especially in an individual way. It was in 1987 that Obel joined her first band as a singer and bass guitar player. She even had a small part in a short film alongside her brother called Walking Backwards. She recounts that this was around the time that she stumbled upon an album called “Dummy” by Portishead, which left a lasting impression on Obel, describing it as the mix of melancholy and a dream.

She met Danish musician and producer Elton Theander, and together the pair founded the band Sohio. It was a short-lived project, as Obel decided to move to Berlin after visiting it once, and has lived there since. In 2009 Obel uploaded a demo of her song “Just So” onto her Myspace page. Despite the song being used in an advertisement for Deutsche Telekom, Obel had to fight hard looking for a label.

Agnes Obel however, was offered a deal under PIAS Recordings in 2010, and released her debut album “Philharmonics” that same year. She writes, plays, sings, records and produces all of her material on her own, taking a lot of care perfecting the piano alongside the vocals as she has said “The piano and the singing are two equal things to me – maybe not inseparable but very connected. You can say they are like two equal voices”. The album went to number 1 in Denmark and Belgium. It also charted in France, Netherlands and Switzerland, going 5x Platinum in Denmark alone. Her sophomore release, “Aventine” gained similar success, again, making it to number 1 in Denmark and Belgium.

It was on her 2014 tour that she decided to start work on her third studio album, saying that she wants to work less with piano and more with other kinds of old keyboards.

Live reviews

Agnes Obel’s debut record rich with obscure cerebral tales to excite the curious mind, first tiptoed over the airwaves in 2010. All of the songs are self-penned, self-produced and recorded in Berlin, Danish-born Agnes’ adopted hometown. The interwoven, haunting stories, reminiscent of the mysterious and macabre folklore spun by Angela Carter and the Brothers Grimm, are accompanied by the delicious sound of piano, violin and cello, a veritable heady mix of music for the mind, body and soul. The journey offered through this intoxicating wood invites you to veer off the beaten track to explore the powdered, crisp ground beyond, which is where, ((hush) if you dare), you will observe magic, mysterious, emotion laden songs falling from a sun dappled September sky tempting you to reach out to catch. Until the release of her 2013 follow-up record, Aventine, Agnes was THE best-kept secret, hidden intentionally amongst the flora and fauna of small European venues before the inevitable larger outfits greedily clamoured and, bringing with them, a greater distance between artist and audience. However, Agnes’ simple, pure and unassuming approach will surely keep the corporate beast at arm’s length, as this is where the beauty of her live music set lies; the emotive, lush, vibrating sound of a sumptuous voice caressing sublime lyrics along with instruments, which work best in spaces built to give the optimum acoustically, not typically nurtured by the back breaking caverns found on the contemporary world tour.

A rapidly expanding European tour has gained momentum, transporting Agnes back and forwards across the globe, with the north Americas and Australia desperately craving their aural fill. This is no wonder as an Agnes Obel concert is as charming, easy, beautiful and intelligent as she herself is; you sit and sway, beautifully crafted song after song warming and welcoming you, yet always leaving you wanting more. Having been lucky to see her live on a few occasions, it is notable that she has grown in confidence in her interactions with the audience. This is pleasing as her dry musings raise a smile or communicate something precious from the closely watched heart of hers about the song to be performed. For example, Agnes shared with her Barbican audience in April 2014 that Run Cried the Crawling’s inspiration is a story her late father used to tell her as a child; it was a poignant personal grain laid bare before us, rendering her questioning whether she could carry the song having evoked the memory of a dear loved one lost and the audience feeling even more protective towards her. Live performance affords experiment and clever tinkering with songs in the way that adds fuel to a brightly burning fire, giving the hungry crowd a raw and satisfying feast on which to dine as opposed to a note perfect impression of her records. A delight for one’s senses, leaving a unique almost spiritual glow only experienced on rare occasions from a live concert. Whichever path Agnes chooses next, one thing is for sure; her words are never dead, they are alive, and leave an ingrained melodic memory never to be erased.

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To begin with, the concert took place in awesome Paradiso in Amsterdam, a place so legendary that you are immediately in a different state of mind and energy as you step in. So we had a gorgeous location and atmosphere. We were thrilled since the first moments we had together that evening, at her entrance on stage, when she greeted us with such a kind and joyful smile that you were quickly swept away - convinced that what's coming is special. And it was, she carried us softly and chillingly through the new stories she sings these days, blended with the older and more familiar ones. The mix was perfect from my point of view, and I liked very much the (new) focus on cellos - including for her older songs. It was my first Agnes Obel concert, so I don't know if that happens usually when she plays live. The ladies in her band are awesome! They have beautiful voices and are very talented, really nice to see how the group works together to get every song to a higher level than what you had in your mind from the recordings. I was very happy that she also did what we were all 'crying' for (I imagine) - she played The Curse and ended with Riverside. We had a very special evening, I was very excited to be there and the audience was great. I highly recommend going to one of her concerts, even if you are just curious about the experience and not a die-hard fan. Oh, there was even a funny moment when something went wrong with the sound - as in we had a squealing sound out of the blue. Her reaction was priceless - very sweet, relaxed and natural. Thank you!

oana-gabi’s profile image

Simple melodies are what Agnes Obel herself has stated that she is attracted to. I find that lovely. Sometimes with today's music there really is just too much going on. The human ear and the sense of hearing is delicate. It can easily become overloaded. And over time, music lovers have shown that simple is good, that less can be more.

Agnes Obel takes us back to a place of peace and serenity: the tones are pure as the driven snow. The harmonies, the keys pressed and placed, they all have a distinct purpose. Not everyone will appreciate this, sadly.

It is soft, gentle yet is able to reach around and embrace your most vital organ, your heart. Agnes Obel is in a class all her own. Her performances are memorable, really unforgettable: they generate and evoke a reaction. Nope- you won't really find a rowdy audience erupting in thunderous applause of shoutouts, but you can tell through their reactions how much they are pleased by Agnes and her contributions to performing arts. A wonderful, intimate experience.

An excellent show from start to finish. Full of ethereal tones and haunting melodies each member of the band accompanying Obel were on point, mixing their low and high voices with Obel's and braving difficult combinations of sound with percussionist ever keeping the beat and rhythm on going. Both cellists (who also served as piano and percussion) were particularly spectacular in my opinion as they worked both in sync but also went off on solo expeditions within a given piece. The strong lead vocals from Obel and her witty conversations between songs encouraged the crowd on as the lights changed from song to song, adding to the other ambiance to create a perfect environment to enjoy great music.

iamavan’s profile image

I love Agnes Obel. Her music en voice are beautiful, mezmerizing, hanting.

In that respect the show was wonderful. She performed with two cellists and a drummer/oboe player.

All girls. Wonderful!

The lighting was another matter. It was very over the top, moving, blinking, rotating. It was distracting me from the music and voices. Sometimes the spots were directed at us, the audience. The light was blinding and really interfered with my enjoyment of the voices and music.

It almost seemed as if she's afraid that the audience will be bored by a calm show in which the voices and music literally take center stage.

Anges, we will not be bored! Please tone down the lighting. :-)

MonicaOldenburg’s profile image

As expected, the performance of Agnes Obel was great. There were a few things that made it less pleasant than it should be. The artist before AO was truly terrible, very far below the quality of AO. The sound quality made it stressful for us and the temperature and humidity in the hall made it tropically damp, not my cup of tea.

For us, it's very strange that the quality level of everything on that evening was that extremely far below the standard that Agnes Obel deliveres. I'd love to sea her show again but never again in the "Forum de Liege".

JorisKingma’s profile image

A truly memorable show and delighted we could be there. She wandered on to the stage very quietly around 9pm with her three musicians and played an amazing repertoire of old and new. She seemed very modest on stage and spoke few words but the music was powerful. Highlight for me was Fuel to Fire and Philharmonics. She said this was the final night of her tour. During her encore her famous Riverside was a real treat. Would not miss her next show and thanks to Songkick for the clever alert this time around !

garrett100’s profile image

I loved every second of this performance ... I was fortunate to be standing 5m from the stage ... the power of the cellos ... the focused faces of the four ladies who really played as a happy team ... the updated arrangements were refreshing in subtle ways compared to the albums ... an excellent group of female musicians/singers ... Agnes was much more relax & talkative than during previous Belgian concerts ... extremely enjoyable ... and thanks for bringing Mark Berube along!

hans-van-der-valk’s profile image

We didn't like the performance too much, AB is too big for her music. The CD is excellent and the show she gave a few years ago in Brussels Royal Circus was a reference (although she was having a cold!). No, Agnes, stay away from these big concert halls and leave at least two musicians home, you’re doing much better alone!

johan-smits’s profile image

Agnes Obel delivered a memorable show filling the room with a melodious sound of piano and cellos enhanced by a spot on percussion and amazing singing (really good back vocals). Personally I thought the best moments were The Curse and On Powdered Ground.

nalagoa’s profile image

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Latest Setlist

Agnes obel on october 22, 2022.

Philharmonie de Paris, Paris, France

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Agnes Obel Tour Dates

Danish-born, Berlin-based singer-songwriter. Her classically inspired songwriting combines her sweet melodies with carefully considered lyrics.

Agnes Obel tour dates listed on Ents24.com since Sep 2010.

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Past Events

Here are the most recent UK tour dates we had listed for Agnes Obel. Were you there?

  • Sep 15 2022 O2 Guildhall Southampton Agnes Obel
  • Sep 14 2022 Cambridge Corn Exchange Agnes Obel
  • Sep 12 2022 Birmingham, Symphony Hall Agnes Obel
  • Sep 11 2022 London, Eventim Apollo Agnes Obel
  • Sep 09 2022 Manchester, Bridgewater Hall Agnes Obel
  • Sep 08 2022 Playhouse Whitley Bay Agnes Obel
  • Sep 03 2022 O2 Academy Glasgow Agnes Obel
  • Sep 02 2022 Edinburgh, The Queen's Hall Agnes Obel
  • 2020 Jul 02 Jul 05 2020 Rock Werchter 2020 Pearl Jam, Pixies, Wilco, twenty one pilots, The Streets…
  • 2017 Jun 29 Jul 02 2017 Rock Werchter 2017 Kings Of Leon, Arcade Fire, The Chainsmokers, Imagine Dragons, Lorde…

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Agnes Obel

plus special guests

Critically acclaimed composer, singer and pianist, Agnes Obel has announced a new European tour.

Opening in Oslo and wrapping at London’s prestigious Hammersmith Apollo, the enigmatic Dane will take her captivating live shows to 15 countries across 3 months.

Agnes recently announced her new partnership with Deutsche Grammophon, Universal Music Group’s prestigious Yellow Label, and Blue Note in North America.

With new music forthcoming later this year fans will hear brand new songs, alongside a set list comprised of songs from Obel’s award-winning and platinum-selling album ‘Philharmonics’, ‘Aventine’, and ‘Citizen of Glass’.

Please note, this show is for over-14s only. Under 16s must be accompanied by an adult.

Note: This is the rescheduled show from 1 April (via 3 September 2021). All tickets are valid for the new date.

Presented by PCL

Venue: The Queen's Hall

Category: Folk and Roots

The Queen's Hall

85-89 Clerk Street Edinburgh EH8 9JG

+44 (0)131 668 2019

View on a map

Approximate and subject to change. 

6.30pm: Box Office open 7.00pm: Venue doors + Bar open 7.45pm: Support - Timber Timbre 8.15pm: Interval 8.45pm: Agnes Obel 10.15pm: Show ends

Age restriction

Over 14s only. Under 16s must be accompanied by an adult.

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Agnes Obel review – Myopia: New album inhabits a desolate place of twilight solitude

This is an album to experience alone, and there’s a comfort to being pulled into ‘myopia’s’ contemplative, isolating territory, article bookmarked.

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The dutch artist recorded the LP mostly at night and in creative isolation at her Berlin home studio

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Danish songwriter Agnes Obel ’s fourth album was sparked by a struggle to escape her “own tunnel vision”.

“I wanted to depict that sense of being trapped within a state of mind with very little peripheral vision, where what is left to be seen only gets increasingly intensified,” she said. This intricately crafted album captures that feeling profoundly.

Myopia was recorded mostly at night, in creative isolation at Obel’s Berlin home studio, as with her previous albums Philharmonics , Aventine and 2016’s Citizen Of Glass . During the writing process the creatively ambitious musician suffered insomnia, and “Broken Sleep” – one of the first songs released – merges anxious pizzicato strings, circling piano and harmonising choral vocals.

The entire album inhabits that desolate place of twilight solitude, and forces its listener into a mode of introspection. It’s a record to experience alone. With the exception of “Drosera”, and its tritone dissonance and eerie flutes that recall the score to a horror film, there’s a comfort to being pulled into Myopia ’s contemplative, isolating territory.

The 50 best albums of 2019

“Island of Doom” tackles grief as soaring voices wash over muffled lo fi piano. Her gliding vocals are pitched high and low so as to melt into the musical minimalism as another instrument. Within these exquisitely produced tracks, which often eschew the typical chord progressions of pop music, Obel also experiments with altering the pitch of violin, cello, felt piano, celesta and mellotron.

Building mournful strings over descending piano chords on “Parliament of Owls”, Obel creates an engrossing instrumental track of melancholic beauty. It’s followed by the equally involving and cinematic “Promise Keeper”, which begins with a gently sung folky melody and the drone of a sustained piano key building tension until the middle of the track releases, powerfully, into cascading vocals. This cohesive mood piece casts a hypnotic spell.

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Moscow metro tour: architectural styles of the subway.

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Duration: 2 hours

Categories: Culture & History, Sightseeing

This metro tour of Russia’s capital and most populous city, Moscow, is your chance to get a unique insight into the beautiful and impressive architecture of the city's underground stations. Admire their marble walls and high ceilings representing Stalin's desire for glory after World War 2, and see first-hand how the interiors change with the rise of new political eras. Your guide will lead you through the complex network, which is one of the most heavily used rapid transit systems worldwide, with over two billion travelers in 2011.

Opened in 1935, Moscow’s underground system, now 190 miles (305 km) long with 185 stations, is today one the largest and most heavily used rapid transit systems in the world. On this Moscow metro tour, discover the impressive architecture of Moscow’s underground stations and learn how they reflect the Soviet era.

Getting around by metro, your local guide will take you through parts of Moscow’s infamous history. Stop at stations built during the time of the USSR (Soviet Union) that are praised as one of the most extravagant architectural projects from Stalin’s time. After World War 2, he was keen on establishing Stalinist architecture to represent his rising regime and a recognized empire. Learn how when his successor started the de-Stalinization of the former Soviet Union in 1953, the extravagancy of the architecture was toned down.

Discover how the unique character of each station reflected several different eras. While stations like Kievskaya and Slavyansky Bulvar have pompous halls and high stucco ceilings brimming with extravagant decorations, those built later, like Volzhskaya, are lightly adorned with sparse furnishings. Architect Alexey Dushkin and painter Alexander Deyneka were just two of the many artists who made these magnificent landmarks possible.

Revel in Moscow's glory days, as well as the years of scarcity, on this fascinating Moscow metro experience. Conclude your tour at one of the central stations in Moscow. If you're lucky, you may even find the secret entrance to the unconfirmed Metro-2, a parallel underground system used by the government -- a mystery which has neither been denied nor confirmed today.

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The guide will not only help you navigate the metro, but will also provide you with fascinating background tales for the images you see and a history of each station.

And there some stories to be told during the Moscow metro tour! The deepest station - Park Pobedy - is 84 metres under the ground with the world longest escalator of 140 meters. Parts of the so-called Metro-2, a secret strategic system of underground tunnels, was used for its construction.

During the Second World War the metro itself became a strategic asset: it was turned into the city's biggest bomb-shelter and one of the stations even became a library. 217 children were born here in 1941-1942! The metro is the most effective means of transport in the capital.

There are almost 200 stations 196 at the moment and trains run every 90 seconds! The guide of your Moscow metro tour can explain to you how to buy tickets and find your way if you plan to get around by yourself.

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Restaurant Globus

Ratings and reviews, location and contact, restaurant globus, elektrostal - restaurant reviews & photos - tripadvisor.

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    Restaurant Globus. Unclaimed. Review. Save. Share. 67 reviews #2 of 28 Restaurants in Elektrostal $$ - $$$ European Contemporary Vegetarian Friendly. Fryazevskoye Hwy., 14, Elektrostal Russia + Add phone number + Add website + Add hours Improve this listing. See all (2)