Førde Festival 2024: exploring the roots of music

“Førde Festival has helped give us a new look at our music and culture… Not just as something nationally romantic, something museum-like. But as something vital, alive, something that can be boundary-breaking and fierce, something of international value.”

These words, spoken by Lubna Jaffery, Norway’s Minister of Culture and Equality at the opening night of the event’s 34th edition, spoke volumes about how Norway values its culture and also about this festival’s reputation.

Over five days, July 3-7, Førde showcased an abundance of Nordic talent, as well as a discerningly curated programme of international artists, chosen for their artistic excellence rather than headliner appeal. The theme of this year’s edition was ‘Røter’ (Roots) and the programme featured a number of artists deeply connected with their Indigenous traditions: such as Japanese koto player Karin Nakagawa, Western Saharan singer Aziza Brahim and Scottish Gaelic singer Julie Fowlis.

The warm-up act on Wednesday was the perfect introduction to the theme. Lávre Johan Eira, known simply as Lávre, is a young Sámi singer-songwriter and guitarist from Kautokeino in northern Norway. Although he comes from a family of reindeer herders, he was set to become a computer engineer, before music “fell into his life.” “For me, joik has always been a door,” he explained. Onstage, Lávre is a quietly compelling presence, his gentle voice enhanced by looping effects, synths and percussion.

Another standout Nordic act was the duo of Finnish kantele star Maija Kauhanen and Swedish hurdy-gurdy player Johannes Geworkian Hellman, who release their debut album next year. Their assortment of strings created a richly textured soundworld, embellished by Kauhanen’s distinctive vocals.

Among the artists making their Norwegian debut was the Kurdish singer and tanbur player Ali Doğan Gönültaş. Even without amplification during an acoustic set at the atmospheric Jølstra Museum, Gönültaş possesses a voice that demands attention, at times it’s like a cry from the heart, then cajoling and joyful. Joined by two excellent musicians, percussionist Ali Kutlutürk and clarinettist Fırat Çakılcı, Gönültaş is the ultimate showman.

Besides all the new talent, there were some well-known names, including Boubacar ‘Kar Kar’ Traoré. Initial consternation about his frail appearance was quickly dispelled as soon as the 82-year-old launched into song. Flanked by harmonica player Vincent Bucher and Jérémie Diarra on calabash, Kar Kar still clearly relishes the live experience and seeing the Malian bluesman perform felt like a blessing.

The festival’s closing show was by Marjan Vahdat, the Iranian singer who has appeared several times at Førde, usually with her sister Mahsa. This time she was joined by four musicians including Tord Gustavsen and Ertan Tekin, all superb but occasionally I longed just to hear Vahdat’s unadorned voice. She’s an artist capable of provoking a strong physiological reaction; so many, myself included, were reaching for tissues as soon as she started singing. As she introduced the final song ‘Daram Omidi’ she explained it was about hope, concluding: “let’s hope for a better world.” Given Vahdat now lives in exile in the US and her concert coincided with Iran’s reformist Masoud Pezeshkian winning the presidential elections, it felt like a highly pertinent and moving conclusion to this gem of a festival.

This article originally appeared in the October 2024 issue of Songlines. Never miss an issue, read the magazine online – subscribe today: magsubscriptions.com