LIVE REVIEW + PHOTOS: FAUN AT THE ISLINGTON ASSEMBLY HALL, LONDON 23/09/25 (+ JANICE BURNS & JON DORAN, YE BANISHED PRIVATEERS)
Stepping into London's Islington Assembly Hall on September 23rd was like walking through a portal to three different eras of folk music. This spectacular triple bill, headlined by German pagan-folk ensemble Faun, was a masterclass in musical versatility. The night offered something for every soul, supported by the rowdy sea shanties of Ye Banished Privateers and the intimate, sharp acoustics of Janice Burns & Jon Doran. From pointed political protest to chaotic pirate spectacle and finally, to ethereal, collective magic, the evening proved that the power of ancient instruments and timeless stories is as vibrant and essential as ever.
The evening began with a beautifully unplugged and intimate performance from the Anglo-Scottish duo Janice Burns and Jon Doran. Their command of the traditional folk idiom, blending Jon’s acoustic guitar with Janice’s subtle but driving mandolin, was immediately engaging.
From the first interaction - Jon joking, "I can't see you, oh hello" and Janice apologising to vegetarians and vegans before performing ‘The Black Fox’ – a song about a fox chasing the devil - the pair established a wonderfully witty and charming rapport with the audience. Their set was peppered with humour and heartfelt observations, noting that they usually play smaller capacity “grey-haired” venues but were thrilled to find such a “cool and diverse” crowd here. Their playfulness on stage made them really relatable and easy to root for.
Janice also had a passionate monologue about the Scottish language and how it is not a dialect but its own language. This sense of cultural pride set the stage for one of the most powerful moments: the introduction to ‘Song of the Fishgutters’. Janice also mentioned the historical barriers to women having careers outside of domestic life or physically demanding labour, lending a powerful weight to the story of the women who sustained the fishing industry. The song, originally written by Ewan MacColl for the 1960 BBC Radio Ballad ‘Singing the Fishing’, tells the gruelling story of the fisherwomen who followed the boats along the coast. Janice prefaced the song by reflecting on the historical reality of women's inability to have careers outside of such physically demanding labour. The song thus became a poignant tribute to female endurance and a reminder of the often-overlooked struggles for equality.
Their song choices throughout their set blended traditional storytelling with modern relevance. Another standout example was ‘Up and Awa’, when Janice made a passionate plea for environmental access, highlighting the terrible access laws in England compared to Scotland. Janice highlighted how large open landscapes have been made off-limits by the upper class, despite “nature being vital for our wellbeing”. She specifically plugged the Right to Roamcampaign, urging the audience to support the fight for better public access to land and water. This demonstrates that traditional folk remains vital for promoting social change and modern equality.
The duo’s announcement of a forthcoming Festive show in London on December 9 at Cecil Sharp House also hinted at more from the pair.
Following the intimacy of the opener, the stage was stormed by the costumed and highly theatrical Ye Banished Privateers. This Swedish folk-punk-pirate crew brought a chaotic, joyful spectacle to the stage, embodying the spirit of their music - a celebration of life, liberty, and the sea. Their performance, framed by their superb, detailed pirate costuming and aesthetic, turned the Islington Assembly Hall into the deck of a rowdy ship. Beyond standard guitars, the stage was filled with a wealth of traditional instruments: violins, mandolin, accordion, and the driving rhythm of the cajón, giving their multi-layered songs their vibrant, full punch.
Their show is built on strong character work and playful antics. The band members are clearly well-rehearsed and utterly comfortable with each other and the chaos. This was evident in their spontaneous, in-character moments when they snatched each other’s microphones mid-performance and “fought,” with one sailor memorably declaring, "I got his wallet!" during an encounter during the show. This organic playfulness ensured the atmosphere remained light and engaging. Two of them even exchanged a little cheeky kiss on stage.
Their set was complete of storytelling and spectacle, including an amusing anecdote during 'We Are Ye Banished Privateers': a humorous tale detailing the band's origin story and their subsequent earning of privateer status after an unexpected encounter with King Charles. Highlights included the participatory anthem ‘Raise Your Glass’ and the more reflective, intimate moment of the sea shanty ‘Waives Away’. As the band members gently encouraged the audience to wave their hands, the crowd responded, creating a mesmerizing visual - a human tide, swaying like a wave in the sea. Another standout moment came during the song ‘Annabel’ where we got “hauled away to Georgia” and the entire audience was singing along “Heave away, haul away,” cementing the feeling that everyone in the room was part of the ship's temporary crew.
Crucially, the pirate theme is far more than just surface-level spectacle. The crew’s final song ‘Libertalia’ successfully champions their vision of a land where all are welcome, regardless of "if you are poor or rich, your color of skin, or if you are man, woman or neither." This powerful, egalitarian message gives their performance a vital, relevant, and profound fight against oppression and nationalism, making them modern-day freedom fighters of the high seas.
The band's logistical miracle was also noted, and the sheer scale of the operation is impressive: the band operates with a large, rotating crew of around 20 members, ensuring that "no two shows are ever the same." This flexible system, managed by availability, allows them to maintain their large numbers and unpredictable stage presence, making every gig a unique voyage.
After an anticipation-building changeover, Faun took the stage, transforming the venue into a mystical realm. The six-piece band launched into their signature blend of Medieval, Celtic, and Nordic folk, starting with a shroud of smoke, blue light, and a soundscape of nature.
Faun’s performance was framed as a "musical journey to witchcraft" by Oliver Satyr (vocals), complete with the humorous warning that "there will be spells, some of you may turn into rabbits or hares." This blend of mythology and warm-hearted humour defined their show. This banter often accompanied the delicate tuning of their ancient instruments, like the nyckelharpa, which Satyr cheerfully covered by introducing Christmas into the conversation as a way to indulge people in their expansive range of merchandise, “from posters, CDs and vinyls, to cassettes, flappy disks, goodies, and hoodies". They even throw a light jab at Jeff Bezos: “What happens? Jeff Bezos will create a new rocket? Who cares! We have a lot of good merch!”
Fronted by incredible vocals and supported by a vast array of instruments - including flutes, bagpipes, and a “box that sounds like a tortured cat lives inside of it” (the hurdy-gurdy) as Satyr dubbed it - their sound was full and deeply textured.
One standout vocalist was Laura Fella, who had a truly incredible, angelic voice. Her voice soared particularly well on tracks like ‘Gwydion’ and ‘Galdra’, demonstrating her young choir training. Her presence is not accidental; she joined Faun after years of musical activity and touring, including a successful run supporting Swiss folk-metal band Eluveitie.
The concert's power lay in the group's seamless vocal blend. Faun showcases an evident mastery in harmonies with constantly shifting focus and depth.
Another strong moment came with the performance of their new song ‘Lament’. The song, which features powerful dirge, choirs, and drums, was dedicated to those who "left us way too early", a song they specifically wrote for their dear, departed sound engineer Jürgen Schneider.‘Lament’, which has roots in old pre-Christian mourning songs from North England, speaks to the Celtic pagan concept of “Annwn”, the otherworld. Faun’s lyrics frame this place as an island in a sea of fog, reflecting the belief that the border between worlds is less definitive than in other religions. This moment was a genuinely powerful, cathartic tribute.
Their commentary throughout the performance was just as potent as their music. Before performing ‘Nimue’, a love song about the tragic entanglement between Nimue and the sorcerer Merlin, as interpreted from Arthurian legend, the band mused on the meaning of "magic”. They argued that if you say the word, people assume "card tricks or something evil." Instead, they defined true magic as manifestation and imagination: the ability to “form a picture in your head until it’s ready to put it into the real world”. They urged the audience to “Keep these abilities, dream and make dreams come true, particularly in the current consumerist world”.
The encore provided three more songs, including a purely instrumental section, a ballad about winter, ‘Diese kalte Nacht, ' which tells the story of a lover seeking entrance on a cold night, symbolising the longing for love, and a final performance of ‘Hare Spell,’ a tale of witch trials and transformation.
With impeccable timing, Faun delivered a performance that left the London audience spellbound.
What a journey. This changed my perspective entirely on multi-instrumentalists. This is now the new standard. The night was spectacular, and the sheer talent displayed across all three acts was mind-blowing. It was a powerful, unforgettable demonstration: folk music isn't just tradition or history - it's a vibrant, living force for great storytelling, genuine protest, and the best kind of magic to witness live on stage.
Don’t miss Faun’s remaining HEX Tour dates
29.09 – Warsaw, Poland
01.10 – Sint-Niklaas, Belgium
03.10 – Lyon, France
04.10 – Neunkirchen, Germany
05.10 – Weimar, Germany
07.10 – Leipzig, Germany
08.10 – Vienna, Austria
10.10 – Milan, Italy
11.10 – Zürich, Switzerland
12.10 – Nuremberg, Germany
23.10 – Düsseldorf, Germany
24.10- Berlin, Germany
25.10 – Munich, Germany
26.10 – Offenbach, Germany
28.10 – Hamburg, Germany
Words by Vlad-Paul Ghilaș (Platform ‘96)
Photos by Julia Jevzikova
Full setlist below:
1. Belladonna
2. Alba
3. Walpurgisnacht
4. Nacht Des Nordens
5. Lament
6. Hurdy gurdy solo
7. Gwydion
8. Lady Isobel
9. Andro
10. Nimue
11. Galdra
12. Induna
13. Rhiannon
14. Witches Reel (Encore)
15. Diese kalte Nacht (Encore)
16. Hare Spell (Encore)