The legendary concert by The Band from 1976 was also celebrated in Denmark. And what a celebration it was at The Royal Danish Theatre: artistic excellence, atmosphere and a profound sense of brotherhood on stage, matched by an enthusiastic and deeply engaged audience. What a magnificent evening.
Just like The Band, Uhrban Stöjband invited friends and guest musicians onto the stage, each bringing their own musical voice, soul and sensibility.
Among them were Martin Preisler, Bo Møller and others. The show opened with an overture played over an empty, softly illuminated stage. This was followed by a philosophical, landscape-inspired poem in the Beat tradition, written and recited by poet Erik Trigger Olesen.
Beyond The Last Waltz, Uhrban Stöjrock have toured with other projects since 2013, paying tribute to artists particularly associated with the 1970s
Back in 1976, it was poet Lawrence Ferlinghetti who performed his poem Last Prayer. In both atmosphere and subject matter, Olesen captured much of the same emotional nerve and coexistence of contrasts as Ferlinghetti: life versus decay and death, hopelessness and disillusionment versus faith and prayer.
The Last Waltz: Thanksgiving Day, 1976 and 2016
Then the 16-piece ensemble took to the stage, slowly and unassumingly, greeted by enthusiastic applause from the completely sold-out historic theatre.
The last time Uhrban performed the work was in 2016, marking its 40th anniversary and bringing a selective Danish tour, which had begun in 2013, to a close. That year, they even performed at the Royal Danish Theatre, once again on the Old Stage, on Thanksgiving Day itself. Just as The Band had done in San Francisco in 1976.
I love the fact that this particular tribute concert takes place on the Old Stage rather than within the surroundings of Copenhagen’s Opera House. It is a perfect fit for the music and the spirit of the era
Beyond The Last Waltz, Uhrban have toured with other projects since 2013, paying tribute to artists particularly associated with the 1970s. One example was their homage to Joni Mitchell in the year of her 80th birthday, when Uhrban devoted their entire repertoire to her songs.
I love the fact that this particular tribute concert takes place on the Old Stage rather than within the surroundings of Copenhagen’s Opera House. It is a perfect fit for the music and the spirit of the era: the semicircular, gold-adorned balconies, the divine motifs decorating the vaulted ceiling, and the intimacy of the stage itself.
Uhrban perform as a genuine collective. There is a sense of unity and reverence for the original work, combined with genuine joy and excitement at being on stage. They play with a shared pulse and emotional intensity.
At the same time, individual instruments are given room to shine through solo passages, just as they were with The Band. When this happens, each instrument’s role emerges clearly within the overall sound.
This is no easy art to master, either for the sound engineer or the musicians. But The Band understood the dynamics and balance of their ensemble — and so do Uhrban. It is enormously important, and a pleasure both to witness and to hear.
Friendship, Musical Collaboration and Inspiration
The Band were among the pioneering groups that helped define — without necessarily realising it — the genre that would later become known as Americana.
A hybrid of blues and folk, often characterised by the coexistence of acoustic instruments and amplified electric guitars, complemented by instruments such as organ, mandolin, violin and horns.
Following a serious motorcycle accident in 1967, Dylan experienced an extended period of musical writer’s block. The lyrics continued to flow, but harmonies and arrangements proved more difficult. He also needed a backing band
The Band met Bob Dylan in 1965, and they have much to thank him for: his friendship, his creative fire and lyrics, and his connections. In many ways, their breakthrough came as Dylan’s backing band.
Between March and October 1967, they recorded around 100 tracks with Dylan at the house known as Big Pink in San Francisco. Demos, jams and fully recorded songs. Selected recordings were eventually released in 1975 under the title The Basement Tapes.
Conversely, Dylan also had much to thank The Band for.
Following a serious motorcycle accident in 1967, he experienced an extended period of musical writer’s block. The lyrics continued to flow, but harmonies and arrangements proved more difficult. He also needed a backing band.
It was, in other words, an ideal meeting of two musical forces.
The Band’s influence on their contemporaries was considerable. Among those inspired by them were the Grateful Dead, Elton John, Eric Clapton and the Beatles — particularly in the latter’s back-to-basics approach on Let It Be.
Their influence continued across subsequent decades, reaching artists such as the Black Crowes, Counting Crows, Band of Horses, Iron & Wine and Justin Vernon. In Denmark, musicians including Johnny Madsen and Allan Olsen can also be mentioned.
The Old Trousers That Still Fit
“Playing this work live again is a bit like slipping into an old pair of trousers that fitted back then — and somehow still fit perfectly.”
With these words, Louise Støjberg, singer and one of Uhrban’s founders, captures the ensemble’s feelings towards The Last Waltz and their enduring affection for the work.
The drummer Casper’s introduction is powerful, seductive, almost shamanic, building the song with impeccable emotional and dynamic control
It is a love that runs through both the minds and bodies of the musicians. And it is equally palpable among the evening’s audience.
We are treated to wonderful interpretations of immortal classics by The Band, Dylan, Young and others.
Once again, I must emphasise how naturally Uhrban handle the instrumental solo passages. Their command of dynamics and the overall soundscape is superb.
The drum introduction — an extended solo — to “Down South in New Orleans”, for example, is fantastic.
Behind the drums, sometimes seated, sometimes standing, is Casper Mikkelsen, another of Uhrban’s founding members. His introduction is powerful, seductive, almost shamanic, building the song with impeccable emotional and dynamic control.
At certain moments, I did miss one of The Band’s defining trademarks: several male voices singing in unison, with the lead vocal passing between the men from verse to verse. On the other hand, Uhrban have two female and two male vocalists, so when it comes to harmonies, unison passages and variations in lead vocals, we are certainly well served.
What an evening at The Royal Danish Theatre. What a magnificent work — and what a passionate, deeply sympathetic and beautiful performance by Uhrban Stöjband.
Although the next major anniversary is still ten years away, one can only hope that Uhrban will invite us back long before then.
