By Jónas Sen.

The word “manviction” (a combination of “man” and “conviction”) recently crossed my path, and it couldn’t be more fitting when discussing the recent controversy surrounding jazz pianist and composer Sunna Gunnlaugs. Not long ago, she took to Facebook to sharply criticize a fellow jazz musician, claiming that Iceland’s jazz scene is deeply steeped in male entitlement. According to her, certain men believe they have a right to anything and everything, simply because they are men. In other words, they embody “manviction.”

Sunna named no names, but it didn’t take long for the individual in question to step into the spotlight, a percussionist by the name of Einar Scheving. What followed was a heated exchange on social media, eagerly picked up by the press. Comment sections were soon flooded with spectators, chanting the virtual equivalent of, “Fight, fight!”

Enough Chatter
On Friday evening, Sunna performed at the Reykjavík Jazz Festival, and it seemed the concert title directly referenced the recent uproar: “Love, Optimism, and All That Damn Chatter.” If the chatter hadn’t already reached its limit, it certainly has now. Yet, none of the bitterness seemed to seep into the music. Quite the opposite, the pieces focused on love, and a gentle, uplifting atmosphere permeated the evening.

Originally, German trumpeter Heidi Bayer was set to perform alongside Sunna. However, due to unforeseen circumstances, Bayer had to cancel at the last moment. In her place, vocalist Marína Ósk Þórólfsdóttir took the stage—a substitution that turned out to be anything but disappointing. Marína’s performance was stunning, her voice both delicate and strikingly clear. It brought to mind Halie Loren, a singer I greatly admire. Marína’s interpretation was rich with emotion, subtly conveyed rather than thrust upon the audience. Her flow was impeccable—free from stiffness or pretense.

Timeless Jazz
Many of the compositions were settings of Jón úr Vör’s poetry, with love as the central theme. The instrumentalists performed with remarkable cohesion. Joining Sunna on piano were Nico Moreaux on bass and Scott McLemore on drums.

The music, entirely composed by Sunna, had a somewhat nostalgic quality—in the best sense of the word. Jazz, after all, spans an incredible spectrum, from the comforting, vintage kind that makes you feel as though the world is perfectly intact even as it crumbles around you, to the avant-garde, where chaos reigns supreme. I recall attending a rooftop jazz concert in Portugal once that was so intense the nearby birds suffered anxiety attacks, circling above the scene in frantic disarray.

Masterful Nuance
The musicians delivered a refined and elegant performance. Sunna’s playing was devoid of flashy pyrotechnics, instead showcasing a delicate touch with captivating nuance. The same could be said for Nico’s expressive bass playing, and Scott, as always, was flawlessly on point with his drumming. Unlike some other musicians, Scott’s ego never interfered with the performance. His imaginative drumming seamlessly complemented the other players, resulting in a velvety and enchanting whole. Scott is obviously the opposite of “manviction.”

The music itself was delightful, highly melodic, and often built with dramatic intensity. For instance, the piece “I Hear the Grass Growing” began with an ambiguous murmur before swelling into an emotionally charged swing. “While the Night Spins” was particularly enchanting, its harmonies mesmerizing and the melody hauntingly beautiful. The final piece, a blues-inspired number titled “A Young Man’s Summer Song,” dealt with—you guessed it—all that damn chatter. It was vibrantly energetic and irresistibly catchy. The whole evening was mesmerizing.

Conclusion:
A thoroughly enjoyable concert featuring beautiful music and stellar performances.

Sunna Gunnlaugs Quartet performed at the Reykjavík Jazz Festival on Friday, August 30, in Harpa’s Norðurljós Hall.