Wednesday 24 September 2025 — Taking Band on the Wall from concert to ceremony, German folk collective Faun turned the venue into a place of ritual and reverie on Wednesday night. The group formed in 1998, and after playing over 950 concerts, reaching platinum status with Von den Elben and being nominated for multiple German awards, it’s now their first time touring in the UK, it’s no wonder the Hex tour date promptly sold out.

Upon entering the venue, the room was filled with buzz, curiosity and fantastical excitement. It’s an intimate space, with a dark interior which folds us in while waiting for support group Ye Banished Privateers.

Swedish swash-buckling Ye Banished Privateers graced the stage with a short yet energetic set, turning the audience into raging buccaneers for a good 45 minutes. With the energy of a raucous tavern, shanties and theatrics spilled over, opening with shanty-jig styled First Night Back in Port. Carrying on to songs like Raise Your Glass and Chained Away, the room felt transported back to a time where such things as technology and sobriety did not exist. Recently released Annabel had everyone swaying in unison, before swinging back into animation for the last two songs, Gangplank and Libertalia.

The lights dim and Faun enters the stage, after two decades of playing around Europe, bringing a multitude of unique instruments - hurdy-gurdy, lutes, flutes, and miscellaneous percussion. Opening with Belladonna, opening track of their recent album HEX, strings and voices melt together in polyphonic melodies, against the pulsing electronic beats.

Founding member and vocalist Oliver S. Tyr called out to the crowd “This one is for all the witches with us today” (which a collective of cries was given in response) before starting Walpurgisnacht. The voices of the audience harmonised with the band, creating a powerful echo that moved from one person to another in perfect unison. Lament and Lady Isobel brought the room to a still, with Oliver’s deep alluring vocals and Laura’s siren like calls blending into each other and resonating amongst the venue.

As the set continues on, it’s clear to see why Faun have been tucked in with similar artists such as Wardruna and Heilung. Hypnotic and nostalgic, this style of music is often seen as niche, but with its emerging popularity, we can see the preservation of older styles of instruments, language and musical techniques, balancing authenticity and theatricality.

Most of the band momentarily leave the stage, allowing Stephan his time to shine with a hurdy-gurdy solo. As the solo filled the room with eerie drones, the crowd was filled with avidity, receiving a reaction which seemed to be more than what Faun had expected, as they peeked through the side of stage with awe.

Rhiannon played, and Faun said their goodbyes to the crowd, leaving the stage in darkness. Not for long though, as the chants of “One More Song!” reverberated in the floor and walls of the room, and they gracefully returned, ready for a couple more songs to finish the already eclectic evening. Closing the night with Diese kalte Nacht and Hare Spell, with drums and flutes, bagpipes and lyres, the room swelled with palpable emotions. As the final notes rang on and the band truly left the stage, there was a sense of tension, an unwillingness to break away from the experience they had just witnessed.

Faun’s Manchester performance confirmed their reputation as one of Europe’s most distinctive folk acts. Where many bands in the genre lean on nostalgia, Faun continues to push boundaries, fusing medieval traditions with modern sensibilities. The result is not just a concert, but an immersive experience — one that leaves the audience feeling transported through time.