Of Monsters and Men first broke through in 2010 after winning Músíktilraunir, Iceland’s annual Battle of the Bands. That early victory propelled the then-emerging collective onto the international stage, leading to a European Border Breakers Award just a few years later.
Fast forward to now, and the seven-piece return to London’s Roundhouse amid a UK tour supporting their fourth album, All Is Love and Pain in the Mouse Parade — a record that signals evolution rather than repetition.
Support came from fellow Icelander Árný Margrét, whose reputation clearly preceded her. The cheers that greeted her suggested many in attendance were already familiar with her two-album catalogue. Performing an intimate electro-acoustic set, Margrét revealed a quietly unfiltered, introspective style, drawing subtle shades from artists like Gregory Alan Isakov and Bon Iver. Though she described herself as laconic, her music spoke volumes — particularly through her delicate harmonica playing, which created moments of fragile stillness inside the cavernous venue.
When Of Monsters and Men finally took the stage, they did so with theatrical ambition. The Roundhouse fell into complete darkness, the silence broken by an intense recorded string arrangement before the band launched into “Television Love,” the opening track from their latest album. It was a dramatic entrance — though somewhat undermined by erratic lighting that at times felt misjudged, either too bright or absent when atmosphere was needed most.
Fortunately, the performance itself quickly regained focus. “Dream Team,” another cut from the new record, brought a buoyant, pop-inflected lift to the room, its bright hooks resonating with an audience clearly ready to embrace the band’s newer direction. Yet it was when the band dipped back into My Head Is an Animal that the Roundhouse truly stirred. The early material reminded everyone why Of Monsters and Men first captivated listeners: that folky, mystical spirit delivered with swelling harmonies and communal warmth.
Momentum surged with “Alligator,” its heavier, tribal pulse shaking the venue. Ironically written using modern production tools rather than analogue instruments, it carried a raw, earthy force in the live setting. “Crystals,” from Beneath the Skin, followed with pounding, propulsive drumming before the upbeat “Ordinary Creature” maintained the high energy — the crowd unfazed when Ragnar “Raggi” Þórhallsson briefly faltered over the song’s place in the album sequence.
A newer track, “Styrofoam Cathedral,” introduced an unexpected scuzzy edge to the set. Less immediately associated with the band’s traditional folk-pop aesthetic, it nevertheless worked, prompting spontaneous handclaps from the audience. Before the encore, Árný Margrét returned to the stage, adding harmonica flourishes that enriched set staples “Little Talks” and “Visitor,” deepening the emotional texture of two fan favourites.
The setlist leaned heavily on All Is Love and Pain in the Mouse Parade, with ten of its thirteen tracks featured across the eighteen-song performance. Rather than relying solely on nostalgia — especially with a milestone anniversary of their breakthrough debut approaching — Of Monsters and Men demonstrated confidence in their present creative chapter. Even the piano-led ballad “Fruit Bat,” used as the playout, drew a sea of raised phone lights, proving that their newer material can command the same devotion as their early hits.
If this Roundhouse residency proved anything, it’s that Of Monsters and Men are not content to exist as a heritage act. Their audience may cherish the past, but they are equally ready to follow the band forward.
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