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Lazy Queen entered the Norwegian music scene like a breath of fresh air, making the move from New York, where Colombian-Norwegian Henrik García Søberg founded the band. With an increasingly vibrant Norwegian Indie Rock scene on the rise, Lazy Queen have made their mark with a sound inspired by the rich traditions of the Brooklyn DIY scene that birthed the band, ambitious and effervescent releases, coupled with their unique ability to convey personal and relatable experiences through García Søberg’s lyrics. The Oslo-based outfit effortlessly blends harmonic and discordant elements together with an instinctive ear for melody into a playful, innovative and vibrant sound, which affixes both context and contrast to lyrics that often explore life’s more maladjusted corners. It’s immediate. It’s urgent. It hungrily demands your attention.
Universal critical acclaim is only one half of the picture, as it’s on the stage that Lazy Queen is most at home. Few other acts can match their boundless and infectious energy, and this is something they’ve proven time and time again on countless stages in clubs, festivals and show case events at home in Norway and further afield in the likes of The US, Puerto Rico, Denmark and The Netherlands.
Lazy Queen have not let the travails of the last year slow them down much. Through 2020/2021 they’ve carefully and considerately released the singles “Throw away”, “Sober”, “Gutted”, “Last Call”, “Bid Geal” and “A Place (To Bury Strangers)” through labels Eget Selskap and Pick & Mix, which received widespread support and critical acclaim from renowned outlets such as Wonderland Magazine, NYLON, Red Bull Music, Earmilk, Indietronica, Impose Magazine and Medium. “A Place (To Bury Strangers)” saw the band
widen their reach with VG rolling a 5 on the dice, p3 highlighting the song in their coveted “Best Akkurat Nå”-list, p13 featuring it, Spotify picking it for New Music Friday Norway, in addition to major international magazine Under The Radar Magazine laying their love on both the song and the band with a track premiere and review support. The attention has secured them an upcoming print feature in Germany’s musical litmus-test, Visions Magazine. In addition to this, all singles released have received playlist placements and global support at both Apple Music, Tidal and Spotify. In the realm of radio the songs have enjoyed spot plays and air time at P3 Norway, P3 Sweden, Radio Fritz (DE), Mephisto 97.6 (DE) og alisting at Radio Q. And as a result of the early campaign momentum, #iVoted in the US asked the band to be a part of the live streamed election-night show for key
swing state Florida in November 2020, w here they as the only Norwegian booking, shared the “stage” with artists such as Billie Eilish and Fantastic Negrito.
On April 23rd of this year the campaign culminated with the release of the band’s new 6-track EP “Get Home or Die Trying”, which they themselves describe as an album approach in an EP format. The release was met ith glowing review s from the press, and an impressive eleven editorial Spotify playlistings, including Fresh Finds Global (750K followers), Fresh Finds: Rock, New Music Friday, All New Rock, New Punk Tracks and Punk Unleashed. The EP has as of the time of writing surpassed 55K streams in less than a week after it’s release.
Having established a solid base in both New York and Oslo, Lazy Queen released their debut EP, A Sigh So Deep in 2019 to unmitigated critical praise. The songs received radio listings, playlist placements and press coverage from both national and international press, and all of this without the aid from management or label. The songs got regular plays on p3, and Kristopher Schau, of renowned Norw egian rockers The Dogs, effervesced publicly about the band in two separate interviews, and on his own long-running radio show.
This increased attention lead to incendiary bookings at Klubbøya, where they, along with their balaclava clad dancers, blew the roof off of a filled-to-the-brim Verkstedet, the mainstage at Oslo Pride w here they played to an audience of nearly 2000, and the Oslo based festival Musikkfest, where they again filled both the venue Ingensteds, and the bridge around Akerselva, with excited festival goers. Before COVID19 set a temporary stop to various live plans, the band managed to both open for aforementioned The Dogs, and generate industry buzz at the gold mark show case festival Trondheim Calling, w here they played two sold out show s with lines out the door, one of them as the headliner of the P3-stage. Getting a show case audience to do much outside of nodding along can be notoriously difficult, but Lazy Queen had the industry moshing between the walls at both shows.
Their performances, along with their general presence at the festival in the form of creative and innovative guerrilla marketing, resulted in deals signed with both the record label Eget Selskap, management company Pick & Mix Management and PR companies