Einar Solberg / Cinematic Emotion Meets Powerhouse Vocals At The Garage

Leprous singer Einar Solberg began his first-ever solo tour at The Garage in London this weekend, with a powerful cinematic performance that showcased a wide range of emotions, along with great arrangements and, of course, his exceptional vocal ability. 

Einar Solberg

The Garage, London – 18 September 2026

Words: Bogdan Bele

Photography: Rich Davies (Live Wire Music)

Tonight’s headliner takes the stage as the closer of a four-act bill. More on the other three a little later. Despite Leprous’ popularity, The Garage is not full tonight. However, progressive music fans who have missed this performance have many reasons to regret it.

While Solberg’s solo career is, inevitably, in part related musically to what he does in his day job, those having seen both live will agree that this is a completely different proposition. 

This tour is meant to promote his latest solo release, the exceptional Vox Occulta, an album featuring the Norwegian Radio Orchestra. And, if I may say, an album that puts wide cinematic musical landscapes first. Huge symphonic arrangements take precedence (together with Einar’s voice), rather than taking the somewhat traditional route of an orchestra complementing a traditional Metal band.

This is exactly the thing that makes Vox Occulta so special. If you have not yet listened to it, I can only recommend it. The record is an experience in itself. 

However, while Vox Occulta as a studio project must have been a very complex endeavour, one could only wonder how much more challenging it would be to do justice to those songs live. There was no need to have worried, even if the new record makes up the bulk of a set that lasts around an hour and a half.

In order to make this happen, no less than seven other musicians joined Einar Solberg on stage for this tour. Interestingly enough, some of them are also part of the opening acts. Bass player Eero Maijala is also a member of Royal Sorrow, and Raphael Weinroth-Browne has played a short cello set earlier in the evening. It is a phenomenal band, one that completely fills The Garage’s rather small stage. 

They come on dressed in monk-like hoods, and get straight into Stella Mortua, from the new opus I was mentioning. At which point any doubt as to how the arrangements would work is dispelled. It sounds full and powerful, the electric instruments and keyboards making up for any missing sounds.

I can only imagine the amount of rehearsal that this has involved. The band is tight, and Einar’s voice sounds as amazing as everyone remembers it.

As the show progresses into the next track, the monk attire comes off, and underneath it is the elegant suit on the cover of the album, complete with a bow tie. One can only imagine that this show would not be out of place in a theatre. The orchestrations are so beautifully cinematic (that word again), and the playing so tight throughout that you can only let yourself get carried away. 

As I mentioned, this is a set that relies a lot on the new tracks, all sounding spectacular and showcasing the ridiculous range Solberg has. It goes from lower notes into his trademark falsetto, as well as the harsh vocals that are not as present in what he does with Leprous most recently.

This is not as much a Metal/rock/symphonic show (you pick one) as it is a journey through a range of feelings and states of mind. They include those of the man relaxed and feeling good in his own skin, such as as Serenitas, an absolutely gorgeous, somewhat quiet, track. Another example is A Beautiful Life, possibly one of his best-known solo tracks.

He does mention at one point that playing such songs might not show him as a tortured artist, but that things are going well. 

He does alternate it with forays into the dark side, like Splitting The Soul, featuring Ihsahn on the album version, which sounds as heavy as you would expect. 

One can not help but feel that this is a man baring his soul in front of his audience. This is more poignant than ever on The Last Milestone, coincidentally a Leprous song, a dense track, which the singer explains is about his father’s last year, and the time they spent together then, before his parents’ decision to end his life.

With the next track, an imagining of his last moments, I look around me and see tears in the eyes of some of those around me. 

It is a powerful moment, part of an extremely powerful performance throughout. If you are able to see Einar Solberg live, whether you are a Leprous fan or not, you are certainly in for something very special. 

Royal Sorrow

Dressed in rag-like outfits that could remind one somewhat of the Mad Max series, the Finnish band is the last one of the night before the headliner. They give an energetic modern progressive performance. This is melodic progressive Metal with catchy choruses and riffs, as well as the occasional bout of electronica. 

It is well played and, on occasion, crushingly heavy. I personally find Covert, their new single, a highlight of the set. As mentioned, their bass player is also doing a great job in Einar Solberg’s band. 

They are very popular with a part of the crowd, which is singing their lyrics with them. A solid performance. 

Raphael Weinroth-Browne

If Royal Sorrow was a good fit for tonight’s headliner when it comes to the heavier stuff, the Canadian cellist Raphael Weinroth-Browne is the one covering the classical side of things somewhat, as his cello playing is as Metal as it gets. 

When he steps onto the stage, alone with his string instrument, I can not help but think that it would become very odd, very fast. That is not the case, as he loops sequences, building songs from superimposed repeating parts, as well as showing off his virtuosity. It is certainly a joy to listen to, and so is his latest album, Empyrean. 

Jovian Moons

The French band is opening tonight’s show. It was very much worth getting there early on. I had listened to their record a few days prior and was impressed with their ability to move around a range of styles, while retaining a pop sensibility. 

The live show is no different. It is funky at times, trippy at others, even venturing into passages with a post rock feel, or cinematic ones (the word of the night).

Invisible is a highlight, with its interesting textures, at the crossroads where Air meets Steven Wilson, and with a driving bass line. An act to keep an eye on in the future.

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