Of Monster and Men’s Bring The Mouse Parade to Brooklyn
brooklyn, new york - november 2, 2025
A chatty Brooklyn Paramount buzzed with anticipation as the crowd waited for the band, Of Monsters and Men, to take the stage. The intricate ornamentation and backlit Rococo-style gold ceiling seemed to echo their chatter. The historic venue, which first opened in 1928 as the world’s first sound theatre, later became a stage for legendary jazz artists like Ella Fitzgerald and Chuck Berry, then transformed into a basketball court before its recent restoration as a space for gathering and performance.
Across the many eras of this space, the gilded statues of birds, flowers, and figures have stood as enduring witnesses, much like the band taking the stage that night. Over nearly 15 years and four studio albums, the group has continued to explore new themes and sonic textures while staying true to the cinematic folk-rock sound that began with their breakout single “Little Talks.” That same spirit carries through their latest album All Is Love and Pain in the Mouse Parade in songs like “Television Love” and “Dream Team” that open the new album.
The first two songs of the new album were also the first two songs of the night, immediately bridging us into the electrifying world of The Mouse Parade. The band’s co-lead singer and guitarist, Ragnar Þórhallsson, paused to introduce the group and, like many in the audience earlier in the night, took a moment to admire the ornate ceiling. He joked that it was probably taller than any building in Iceland, their home country, earning a warm laugh from the crowd.
As he mentioned that the next song would be from an older album, the room fell silent until the steady, familiar beats of “King and Lionheart” filled the air, a sonic story of bravery and loyalty. Nanna, the band’s other lead singer and guitarist, explained that many of their songs begin with a conversation, an exploration of a theme, or the dissection of a story they find meaningful. From there, they evolve into deeply reflective writing, sweeping anthemic soundscapes, and sometimes even a touch of lighthearted wordplay. Their next song, “Tuna in a Can,” was a perfect example of this process, playfully capturing the feeling of being stuck in insecurity.
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Striking green and purple lights swirled across the stage as the band moved through the next few songs from previous albums, “Alligator” and “Human.” They then paused to share that they would be debuting a song live for the first time. Nanna told the crowd she’d been having some challenges with her voice recently and encouraged everyone to sing along.
One fan lovingly called out to ask if she was okay, and she replied that her soul was feeling good.
Despite any vocal strain, Nanna delivered a melancholic yet beautiful performance of “The Actor.”
The band followed with several older classics that sparked an immediate and electric reaction from the crowd: “Dirty Paws,” “Empire,” and “Crystals.” Balancing these were newer ballads like “Styrofoam Cathedral” and “The Block.” Perhaps the most poignant moment of the night came when Nanna and Ragnar were joined by the rest of the band, their voices weaving together in a stunning multi-part harmony on “Mouse Parade.” The energy was gentle, unexpected, and deeply evocative.
The final two songs mirrored the first two of the night—highly anticipated and deserving of a procession of their own. First, “Little Talks” lit up the room with color and energy. Hands shot into the air, some capturing the moment, others fully living it. “Ordinary Creature” carried that energy through to its very last note. For both songs, the band fell quiet as the audience took over, singing the final lines together in chorus. In MOJO’s review of the album, they described it as “an album to be played in both small theaters and big fields.”
That simple imagery perfectly captures the balance Of Monsters and Men have achieved—crafting rich, world-building soundscapes rooted in human tenderness and emotion. The truth of that was clear as the crowd led the final refrain of “Ordinary Creature”: “I wish I could run to your house when it gets dark out.”
The band left the stage for only a few moments before the call for an encore rippled through the crowd. They returned to play their oldest song, “Love Love Love,” a piece that helped shape both their friendship and their sound. For their final song of the night, they performed “Fruit Bat,” ending in a majestic swell of drums, bass, and guitar. The rhythm echoed through the theater, filling every corner before fading quicker than it arrived.
The full six-piece band gathered at center stage to take a bow and say goodbye. They continue on their US/Europe tour through 2026!
