Concert Review: Heilung at ACL Live at Moody Theater
Heilung brought their animated Pagan rituals to a sold-out crowd in their live Austin debut, which came just in time for Halloween season.
Written by C.S. Harper
Photos courtesy of Jeremy Hinskton
Named after the German word for “healing,” the self-described “amplified history” band Heilung is known for their ritualistic take on experimental folk music. Informed by Germanic cultures, the three-piece has created historical epics throughout their celebrated discography. On Oct. 30, Heilung stopped by Texas’ capital to bring Austinites back to their ancient roots. Moody Theater attendees even donned Viking regalia: long beards as far as the eye could see, face paint and antler headdresses at every turn. Austin didn’t just greet Heilung warmly — the crowd embraced their message of historical unity.
Just like the audience, the stage had been completely transformed to embody the band’s ethos. Green mist swirled around mic stands adorned with plants and antlers that flanked a ritual circle at centerstage. To immerse the crowd in this ancient atmosphere, Pagan symbols were projected on the balcony walls as fans howled in waves in feverish anticipation. After a symphony of canned bird chirping and horns filled the pine-scented air, the lights dimmed at 8:17 p.m. to announce the beginning of the ritual.
Dressed as a Pagan priest, lead singer Kai Uwe Faust walked onstage while fanning the air with incense as the silent crowd watched intently. After a few chants and whistles from Faust, other figures emerged and got in formation around the Pagan circle as their leader flicked incense at them. Holding hands, the whole cast performed a recitation in unison: “Remember that we are all brothers … We all descend from the one great being.” The figures took their places onstage, and band member Christopher Juul blew into a horn to signal the end of the opening ceremony, and the start of the celebration.
Throat singing filled the air as vocalist Maria Franz paced around while playing a drum to announce the beginning of “In Maidjan.” Every element of the show, from the flashing lights to the cast members’ moves, were perfectly synchronized through the set. Standing by a gong near the back of the stage, a soot-covered background actor stood with perfect stillness except for each chorus, when he wildly chanted along. The crowd only cheered and howled whenever the music died down to maintain the level of attentiveness procured by the cast and band.
The follow-up song “Alfardhirhaiti” began in a more muted manner, with a minimal light show. Two spotlights landed on Faust and Franz as the former chanted at centerstage and the latter vocalized mellifluously like a songbird. Franz showcased some of her best vocal chops of the night, cackling à la Diamanda Galas and holding sustained notes while majestically waving their hands. Over twinkling bells, Faust recited a sermon with outstretched hands before howling like a wolf to symbolize the beginning of “Asja.” Long-haired warriors holding spears and shields lined up onstage while their horned leader paced around and delivered gravelly notes. A call-and-response line ensued, with Faust throat singing the opening lyrics of “Asja” and the soldiers following suit as lights flashed along to the beat. Crowd members began throwing their hands up while the cast chanted, marched and danced. The chanting and alternating lights continued through “Krigsgaldr,” during which the warriors walked around the ritual circle while rhythmically clapping.
“Thank you!” an audience member emphatically yelled as the actors situated themselves for “Hakkerskaldyr.” The track began with minimal instrumentation as the band members hit mallets against swords, bones, and spears, before the drums and Franz’s vocals slowly came in. This slow burn made the ear-splitting noise of the chorus all the more impressive, as Faust’s throat singing rang clear over the full backing band. Another standout moment was the two-part track “Fylgija Ear/Futhorck.” The stage now red, the antlered lead singer vocalized acapella while holding out a blood-red flag. After a brief period of darkness in which the actors regrouped, the lights came back on brightly to showcase a scene that looked straight out of “Vikings”: Franz and a group of women sang around a circle of warriors as Faust stood at center-stage, arms crossed over his chest.
Another sweet moment from the crowd ensued after follow-up track “Norupo,” as a fan chanted “We fucking love you!” while the rest of the audience cheered. Now lined up, the soldiers marched back and forth while pointing their spears forward as Franz’s voice soared over a sea of vocalizations and hums from the backing band to announce the beginning of “Othan.” At center-stage, Faust throat sang effortlessly while the warriors lined up to reveal glowing runic symbols on their chests. Following suit, Faust opened his cape several times to reveal a symbol on it as well. The theatrics continued in “Traust,” during which the cast stood in two lines facing each other, almost entering battle. Faust hung a necklace on a female warrior’s neck and tied her arms to a spear, making her fall. Later on, Franz united the warrior from the spear and the latter triumphantly let her hair down as she rejoined the cast.
Upbeat drumming and strumming signified the beginning of fan-favorite “Anoana.” “Aelwao ano ana tuwa tuwa,” Franz sang the chorus in front of a gong before Faust throat sang while sitting at the ritual circle. The band treated the crowd with a stripped back section at the bridge, with just a violin and Franz’s breathtaking vocalizations to carry the tune before the percussion section kicked back in. The final song of the night, “Hamrer Hippyer,” carried a similar epic tone. The stage now looked like a prehistoric party, with the cast members dancing freely and wildly across it as Franz energetically played the drums. Halfway through the track, the soldiers began stage diving with the help of the staging audience as the crowd at the balconies clapped along to the beat. Once the cast members dived back to the stage, they pranced around a red flag and instructed the audience to hold their hands up as Faust vocalized the final notes.
The show closed as it started, with the cast and Franz now standing around the ritual circle as Faust flicked incense at them and the crowd. Once finished, Franz switched places with Faust and covered him with incense. The ceremony now over, Juul banged a pole on the ground, causing the lights to flash brightly one more time and go out. Heilung’s first Austin performance was not just one for the ages, but one that defied time altogether with the band’s ancestral sound.