Home » Concert review: Broiler, Oslo Spektrum: Guys’ night

Concert review: Broiler, Oslo Spektrum: Guys’ night

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Concert review: Broiler, Oslo Spektrum: Guys’ night

DJ duo Mikkel Christiansen and Simen Auke at the Stavern festival in 2023. Photo: Simen Fauske / Sky Agency

Broiler fixes Oslo Spektrum, but sometimes ends up in a dilemma between daft robbery and genuinely fun club music.

Saturday 2 March at 04:23

Although the zeitgeist may have moved a bit away from the most intensely Harry and bro-friendly rolpe music in recent years, Broiler is still a name to be reckoned with in the Norwegian music and party industry.

Not only are the current metals stably high. Tonight’s concert in Oslo Spektrum is said to have sold out in three minutes, which makes it a rather powerful end to an equally sold-out tour through our long country.

It must be said, however, that Simen Auke and Mikkel Christiansen have expanded their playing field considerably since the monomanically stupid debut album “The Beginning” – complete with the introductory triptych “Bonski”, “Vannski” and “Afterski” – hit the Norwegian public like a dull beer rap in 2013.

Some of the duo’s newer songs are simply not half-baked. But they lean heavily on hired expertise – both in terms of charisma and vocals. Thus, a not inconsiderable part of the excitement this evening is linked to who they have brought along as guest artists – and how they manage to balance the silliness of the past with the more edible expression they smell in 2024.

Oslo Spektrum is filled with a young, but not conspicuously intoxicated audience. It is primarily welding-blind men in their 50s who rustle their feathers and create dissonance on their way into the arena.

The show kicks off a quarter of an hour into overtime – not bad, considering the queue that wound around the building a short time earlier – with “Møndarn”, “Krokstadelva” and “Hokksund”, three district songs that strive for (and partly succeed in) to put bad taste in a humorous light.

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“Sommertider” continues the initial vibe, without the laughs being as loose. A reunion with Sirkus Eliassen during “En gang til”, on the other hand, triggers both joy and fireworks.

Songs like “Keegas” and “Ayia Napa” are surprisingly likeable, and also show the main characters as self-deprecating and powerful stage personalities. During the latter song, Auke gets a tattoo on stage. Why not?

Unfortunately, the music gradually becomes rather enervating to listen to. This is the world of choruses – the verses are apparently just there to fill up a two-three minute running time.

Freddy Kalas is terrible at “Afterski”, “Waterski” and “Bonski”. He appears as a TV preacher who has had his soul sucked out of him backstage. But it’s hard to argue with the enthusiastic response he gets along the way.

The rest of the evening is characterized by a similar duality. Broiler undeniably manages to fill their generic dance songs with a human dimension, whether they use humor, light shows or guests as means of action.

There is not much more to say. For blood fans, this was guaranteed to be a defining experience. For Broiler haters – whatever they were doing at Spektrum this evening – it must have been harrowing and painful.

For the rest of us, it was a notch better than expected – and a sensible explanation for how Broiler can still lean a Smirnoff Ice-steaming finger against the fleeting pulse of time.

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