Written by Being a (jazz) musician in Iceland is a complicated profession. Gigs are few and far between, and outside of Reykjavik, performance opportunities are even more scarce. However, there are many musicians, and the stylistic range is stunning, ranging from straight-ahead jazz to Latin and Balkan influences.
The Reykjavik Jazz Festival at the end of August is a celebration of the local scene and a window to the outside. New projects are presented here, collaborations with musicians from other countries are showcased, and new albums are released.
The festival of diversity in the land of fire and ice surprised with the quality of Cuban bands. Especially Barrio 27, featuring a salsa dance couple who danced throughout the entire hall of the Harpa Concert Hall, thrilled audiences with very young musicians and enormous joy of playing.
Magnús Jóhann and saxophonist Óskar Guðjónsson – Fermented Friendship | Photo by Angela Balhorn
On stage, it was not just a musical soup being cooked. Keyboardist Tómas Jónsson—25% of ADHD, a band well-known beyond Iceland—cooked gumbo, literally. With the 81-year-old Þórir Baldursson guesting on the Hammond organ and a mic-ed Southern gumbo bubbling on stage, the stew was passed to the audience after the fiery gig.
The duo Fermented Friendship reflects a quiet conversation born from long regular rehearsals between pianist Magnús Jóhann and saxophonist Óskar Guðjónsson. Two musicians who listen to each other and engage in expressive dialogue, paired with very sensitive piano touch.
Both duo and quartet were popular formats at the festival. The bassist Kham Meslien and, for the first time, guitarist Róberta Andersen boldly went on stage solo. Andersen’s program sparkled and shimmered, breaking between guitar sounds and electronics.
Róberta Andersen | Photo by Angela Balhorn
The Norwegian BLISS Quintet impressed with expressive soloists and highly matured compositions, remarkable for such young musicians. It’s hard to believe they have already been together for six years with many concerts behind them.
O.N.E. from Poland had to replace their ailing bassist Kamila Drabek. Drummer Patrycja Wybra?czyk brought in baritone guitarist Þorkell Ragnar, with whom she had played in singer Björg Blöndal’s band C4therine—one of the festival’s spectacular groups. Seamlessly and with immense energy, the musician integrated into the women’s band.
The Hammond organ seems to be an important instrument for Icelanders, with a Hammond organ festival in Djúpivogur (pop. 447) running for nearly 20 years. ADHD wouldn’t do without it, and Sara Magnúsdóttir was able to present her recent album *A Place To Bloom*.
The unwieldy organ would have been hard to transport for bassist Sigmar Matthiasson’s concert at Þingvellir National Park. The surrounding landscape and the pieces featuring Balkan and Turkish world music elements were spectacular.
Sunna Gunnlaugs was able to perform two concerts: a brand-new piano trio program and, alongside singer Marína, a setting of Jón úr Vör’s texts.
Formations that helped make the Icelandic-European festival international stood out with their high quality: the Australian piano trio Brekky Boy was witty, groovy, and captivated the audience. Pianist Taylor Davis’s piece incorporating sounds from Microsoft error messages made people laugh and brought a wonderfully quirky composition to the stage.
Cécile McLorin Salvant | Photo by Hans Vera
The grand finale was Cécile McLorin Salvant’s magnificent concert in Harpa’s large hall. Although the singer was a bit ill and her voice was slightly rough, she spared neither herself nor her outstanding band including Sullivan Fortner on piano. Standing ovations and encores closed the festival, and afterwards, the audience slowly dispersed into the darkness.
These were my personal highlights in Reykjavik, but it would be remiss not to mention other great bands that played: Saumur with trumpeter/singer Arve Henriksen from Norway, bassist Skúli Sverrisson and guitarist Hilmar Jensson, bassist Nicolas Moreaux’s group *Poney Moon*, Skuggamyndir with Balkan music, Los Bomboneros who earned their concert spot in a shopping mall, bassist Ingibjörg Turch-Eoni’s complex music, Bisgaar/Jónsson Quartet, Quiet Tree from Switzerland performing at Fríkirjan, saxophonist Siðurdur Flosason with pianist Mattias Nilsson, Halli Guðmunds Cuban Club, and Rebekka Blöndal’s Billie Holiday program.
Special thanks go to the festival and its director Pétur Oddbergur Heimisson (who often sings as a classical singer at funerals and sometimes showed up overdressed at the festival). Thanks also to Iceland Music’s Sigtryggur Baldursson and Árni Hjörvar who made journalistic coverage possible and took much time with delegates. And a final thanks to Kjartan Sveinsson, keyboardist of Sigur Rós, who despite our surprise visit took time to give a tour of his spectacular studio built inside a swimming pool.
Last modified: October 19, 2025
