Sylvaine Delivers First Finnish Club Headline at On the Rocks, Helsinki

When Norwegian multi‑instrumentalist Kathrine Shepard—performing under the name Sylvaine—stepped onto the stage of Helsinki’s On the Rocks on Sunday, 7 June, she carried with her more than a setlist; she brought an atmospheric pilgrimage that transformed a city‑centre club into a sonic cathedral.

The concert followed Shepard’s appearance the day before at the Ankea Festival in Tampere, a newly‑established Finnish event that has quickly positioned itself as a platform for atmospheric post‑rock, doom metal and avant‑garde acts. On the Rocks, a venue that seats roughly 1,200 and is renowned for its acoustics, proved the perfect backdrop for Sylvaine’s first headline club show in Finland.

The hour‑long set opened with tracks from her 2016 debut Wistful, then wove through a carefully curated selection that showcased her signature blend of shoegaze, post‑rock and atmospheric black metal. Songs such as “Fortap,” “I Close My Eyes So I Can See,” and the heavy‑guitar‑driven “Mono No Aware” dominated the main portion, while the encore featured the haunting “Mørklag” and a rendition of the traditional Norwegian song “Eg Er Framand.” Reviewers described the performance as emotionally charged and immersive, noting how the audience’s response evolved from quiet introspection to full engagement as the set progressed.

Sylvaine, who launched her solo project in Oslo in 2013, has released four studio albums to date. In 2019 she became the first woman to be nominated for a Spellemannprisen award for best metal album, receiving the nomination for Atoms Aligned, Coming Undone (2018). The Helsinki show marked a significant milestone for the artist, expanding her touring footprint into the Finnish market.

The live band accompanying Shepard consisted of drummer Dorian Mansiaux, bassist and vocalist Maxime Mouquet, and guitarist‑vocalist Florian Ehrenberg. According to a review in Chaos Zine, the musicians’ performance was essential to recreating the expansive sonic landscapes that characterize Sylvaine’s recordings. The review also noted Shepard’s stage presence, describing her clean vocal style as reminiscent of Dolores O’Riordan of The Cranberries before she switched to the ferocious screams typical of atmospheric black metal.

On the Rocks has hosted a variety of international acts in recent years, and its capacity of around 1,200 seats and reputation for high‑quality acoustics made it a fitting choice for Sylvaine’s first Finnish headline. The event was promoted by Ankea Festival’s ticketing partner Tiketti, which highlighted the show as a “special treat” for Finnish audiences.

The concert’s setlist, confirmed by the venue’s official schedule and replicated on setlist.fm, included the following tracks: “Earthbound,” “Abeyance,” “Fortapt,” “I Close My Eyes So I Can See,” “Nowhere, Still Somewhere,” “Atoms Aligned, Coming Undone,” “Mono No Aware,” “Severance,” “A Ghost Trapped in Limbo,” “Mørklagt,” and the cover “Eg Er Framand.” The inclusion of both original material and a traditional Norwegian cover underscored the artist’s willingness to blend contemporary and cultural elements.

From an industry perspective, Sylvaine’s appearance in Finland demonstrates the continued cross‑border appeal of niche metal sub‑genres. Her ability to attract audiences in a club setting—traditionally dominated by more mainstream acts—suggests that atmospheric black metal and shoegaze can find receptive listeners outside their core fan bases. The positive reception noted in the review may encourage other artists in similar genres to pursue club tours in markets that have not previously hosted their music.

The show concluded with a brief encore that left the audience in a state of reflective awe. While no official statements have been released by Sylvaine’s management regarding future Finnish dates, the performance’s success could pave the way for additional appearances in the Nordic region.

In summary, Sylvaine’s June 7 concert at On the Rocks marked her first headline club show in Finland, following a successful run at the Ankea Festival. The set showcased her genre‑blending style, engaged a diverse audience, and highlighted the viability of atmospheric black metal and shoegaze within the live club circuit.