Expectations quite of the ordinary surround the impending release of singer-songwriter Ane Brun’s “Live in Scandinavia” (with DMF string quintet, Nina Kinnert and Staffan Johansson.) The record captures the already renowned tour that marked the pinnacle of Ane’s success with her second album “A Temporary Dive” Those who were there can't wait for a revisit, and those who weren't have been let to know they missed something special.
Already two years old “A Temporary Dive” has won all the prizes and attention possible in Ane’s Scandinavian home-realm. And even in Europe its success was fairly immediate, building on extensive touring and of course on her remarkable debut “Spending time with Morgan” from 2003. But for the UK, America and the rest of the world it was 2006 that was the year of discovery. And one must concede that Ane Brun’s spreading renown is quite remarkable and constitutes a fine example of how far talent and integrity can get you, even today: In low key manner this artist has managed the improbable: to stand out in the big vortex of music by means of her voice and songs alone; and thus to reach out and touch people all over the world circumventing dismal commercial mechanisms and tasteless hype.
Thus from Vancouver to Australia, in flagship papers, local gazettes, by Web sites and radio sages “A Temporary Dive” has been called “one of the most noticeable records of 2006,” or better: best album, or among these.
And this is all due to word of mouth and the influence of people who really love music and will champion quality wherever they find it. It seems Ane Brun has this unique ability to immediately rouse people, and get to them, get under the skin and make them hold on to and follow the aural threads laid out. And then they pass it on. Her music has the strength of personal vision, and somewhat dumbfounded we see that this still matters, that it shines through the dark matter of music that lacks precisely this, and reaches out far beyond any expected or envisioned scope.
In a way Ane Brun personifies pop music at its soundest, or the soundest parts of it one should perhaps say. Never a really big name, and most probably never going to be one, except in Scandinavia, Ane Brun’s success relies on the truthful recognition and thus collaboration; from musical peers, media and labels, all of which have consciously furthered her music and made it reach out. So now she has this unique position of selling records all over the world and performing almost everywhere too, and she is involved with a multitude of projects and luminous names, yet she is still the girl with the guitar you can see at some district venue in Northern Norway, or at a half-full club in London. -Like the one she played just before Christmas, a concert hailed superlatively by attending critics. Which is nothing new, for Ane Brun has stood out from the start as an artist who commands the live situation to a special degree: A fine guitarist – who has been awarded the illustrious Martin award for her playing- and with that rare truthfulness both in songs and performance, she never fails to captivate even in settings where ninety-nine out of a hundred folk singers would fail.
The next show up is New York’s Bowery Ballroom, no small club at all, and a telling sign of Ane’s accumulating momentum in America. And for those who have just discovered this artist, the chance should not be missed to see her live, because the release of “Live in Scandinavia” is not yet scheduled for America.
In Norway it will be in stores on the 5th of Feb. and two days later in the rest of Scandinavia. The rest of continental Europe, where Ane is already well established, will follow in the course of February and March. Release concerts will be held in both Oslo and Stockholm, and beyond that there is of course the hope of another studio album in the making…