Kalandra: a mesmerizing anniversary concert in Oslo Rockefeller with IBEN and Sylvaine

I always thought that Kalandra is one of those important up-and-coming bands to follow. In their music, they layer clever, thoughtful lyrics over a nuanced and richly textured blend of progressive and folk elements. The band confidently navigates the waters of modern social media promotion, creating impressive, highly inventive music videos while building a genuine and dedicated following, all while staying true to themselves.

In an age of mainstream easy-listening and crowd-pleasing artists who increasingly sound the same, there is a clear demand for this kind of sincerity and intellectual depth. The band was signed early in their career to Einar Selvik’s label ByNorse, following the success of their YouTube cover of Helvegen. Fast forward, and singer Katrin Stenbekk had the opportunity to perform the song on tour with Wardruna itself; their Spotify numbers are now matching Wardruna’s own.

The band decided to mark its fifteenth anniversary with a large-scale production at Rockefeller Oslo on Februrary 18, 2026.

IBEN

The opening act, IBEN, describes her sound as “true Norwegian pop” and notes that she “has been forging a sound rooted in Nordic darkness and electronic alt-pop, where heavy guitars and live drums collide with pulsing synths and controlled tension.” It can be paralleled with Kalandra’s calmer, more introspective songs.

Sylvaine

Sylvaine is a Norwegian artist who, it appears, performs in two distinct modes: intimate acoustic sets and more intense electric ones, moving between ethereal, shoegaze, and metal. The same dichotomy exists in the records: her latest release, Eg Er Framand, is a church-recorded ambient album. That was not how it sounded at Rockefeller that night, where the music took on a much fuller and more powerful form. The electric set left a strong impression—one of those moments when the “wall of sound” feels just right, almost clearing the mind with its direct, physical presence.

Kalandra

This was a special, special show. The band had been preparing for it for months—Katrine Stenbekk even sewed a custom dress for the occasion. The band took on the role of promoter themselves, booking Rockefeller and visiting the venue multiple times in advance.

The opening track, Borders, is one of the band’s strongest – eerie, hypnotic, and immediately sets the tone. For the opening, Katrine Stenbekk appeared behind the stage on an elevated platform; the song unfolded in near darkness, with only her figure visible, framed by a dimly lit rectangular opening at the back.

It is hard for me to highlight any particular composition, as Kalandra strives to make every track excellent; they are also very distinct and do not pass as “fillers”. The band didn’t neglect any part of their catalogue, drawing from both albums, the latest EP, and the Norse Lands: Kingdoms Two Crowns video game soundtrack. Despite being a commissioned work, Mørke Skoger from the latter found its permanent place in their setlists. Their original drummer from the early days, [NAME], was also invited to join.

Surprise guests included Baard Kolstad from Leprous and John Stenersen from Wardruna and Gåte, both of whom contributed to the Norse Lands soundtrack. Their original drummer from the early days, Andreas Voie Juliebø, was also invited to join.

Covering Helvegen is always a special moment for Katrine Stenbekk, and it was clear how deeply she felt it during this performance toward the end of the set. The song marked the change to the final segment of the show, when it, largely built around mid-tempo compositions, shifted noticeably in its final stretch — growing more emotional and intense, culminating with bursts of fire on stage during the closing song.