Fredag 19.juni 2026
The Friday lineup of this year’s OverOslo was a mixed bag of styles and generations with The Cardigans, Ceelo Green and Faithless, although the abundance of Seigmen shirts was impossible to miss, and they quickly gathered in front of Skogsscenen as soon as Nico & Vinz left the stage. The veterans of Norwegian goth rock were back in Oslo to support their trilogy Resonans, Dissonans and upcoming third part: Substans.
I must admit, Seigmen is not a band I know particularly well. My introduction to their music came through Zeromancer and then through Kim Ljung’s excellent Ljungblut project rather than through Seigmen’s original catalogue. Better late than never… As a result, I approached this concert with curiosity rather than nostalgia. What quickly became apparent, however, was the band’s significance within Norwegian rock history. For many in attendance, Seigmen appeared to occupy a similar cultural space to bands such as Raga Rockers or Dum Dum Boys; one of those defining groups that helped shape a generation of listeners.
Döderlein, a cult classic that remains one of the defining songs of Norwegian alternative rock, more than three decades after its release the track still carries that haunting dark energy and emotional weight live that helped establish Seigmen as one of the most distinctive Norwegian bands of the 1990s.
The band drew from several different eras of their catalogue. Berlin, from Resonans, brought the crowd to life through lyrics referencing artist Bjarne Melgaard (is it inspired by his chaotic yet highly creative years in the city?). It was a reminder of Seigmen’s ability to blend personal observations, cultural references and vivid imagery into something uniquely their own.
More recent material was represented by songs such as Disiplin and Dyret from Dissonans. The former explored themes of weakness, restraint and emotional isolation, while the latter demonstrated how Seigmen can wrap surprisingly uplifting messages inside a dark and brooding musical landscape. Both songs proved that the band’s creative ambitions extend far beyond nostalgia.
Juvel provided one of the evening’s most captivating moments. Drawn from Metropolis, the song felt almost like a spiritual cleansing journey and served as a reminder of the atmospheric qualities that have long distinguished Seigmen from many of their contemporaries.
To me, one of the most striking moments of the show was the rendition of Agnus Dei. I’ve watched Seigmen’s 2008 performance at Oslo’s Operaen, so I was particularly looking forward to that moment of the show. Marius Roth Christensen did not disappoint; this was impeccable.
Then came Metropolis, arguably the band’s most enduring anthem. Its famous lines “Kom inn i mitt sinn, kom inn i mitt tempel” transformed the festival grounds into a giant choir. The crowd got even crazier for “Slaver av Solen”, with hundreds of voices joining together on the refrain “Vi er like, vi er én”.
For someone approaching Seigmen from the outside, this was perhaps the most striking aspect of their performance. Beyond the music itself, there was a genuine sense of community surrounding the band. It felt less like a festival appearance and more like a reunion between old friends. Seigmen demonstrated why they hold such a special place for their fans. Even without the lifelong attachment many in the audience clearly possessed, it was easy to understand their appeal. 5/6
Text and photo: Olivier Fillion Boutin
