Live concerts:

" Tumult have got a brand new cd "Kværn" (their second) along to the Tønder Festival, and from this cd we get a few samples Saturday afternoon. Old Danish songs in new arrangements, interpreted by the front man of the group Jørgen Dickmeiss, which is both a splendid singer and a lively fiddler. And then he gets solid, competent backing from a group that does not save the energy. Fairport of Funen (the island in Denmark, where Tumult live). Almost. " (translated from Danish)
Folk & Musik, Oktober 2004, by Søren Chr. Kirkegaard

" It’s as if the four daring Danish guys came with concerts especially to confirm the myth about free and mad Christiania – the bastion of anarchic freedom in the middle of the accurate Copenhagen. Tumult’s music is the one for intellectual hooligans. Studying at the Conservatoire doesn’t impede Joergen Dickmeiss – the leader of the band – from bashing out folk tunes on the violin accompanied by severe electric hardcore. Dickmeiss sings too. Folk songs turn into gloomy hard rock easy and naturally."
Ezhenedelnij Zhurnal, #5, 02/2002 weekly magazine, Russia www.ej.ru

" For example, Denmark – a truly Scandinavian country, that occupies rather a small territory, may boast of having such great amount of impetuous, bizarre and insane musicians. Among them can be found those, who play folk tunes that are generously mixed up with modern energetic music. ‘Tumult’ is one of those. Rhythm section bashes straight hardcore, fiddle leads, and the fiddler goes to the microphone from time to time to sing some Sj?lland tunes about family life. It turns you on like coffee welded on spirit. Cavilers should pay special attention to the fact that the music isn’t made by some amateurs, but true professionals, conservatory students and nominees to the ‘best folk project of the year’ in the Kingdom of Denmark."
Weekend, 02/2002 by Vladimir Borovoj, Russia www.weekend.ru

” Tumult has already played several concerts in Moscow in February and become one of the main club sensations of the last winter.”
Moskovskij Komsomolets, 12/2002, Russia www.mk.ru

“ Ethnic music has a broad definition…It is customary to assume that this music has got to be ”authentic”. So it is wonderful to see this opinion refuted, not by home-grown musicologists but by the music itself.
The strongest example of music speaking for itself that Moscow has ever seen was the recent concert of the Danish quartet Tumult. Its style can hardly be described in two words, I would say, can hardly be described at all. But it is also ethnic music! It is always very interesting to see various groups with their own undestanding of what it is. In Russia, musicians often take the trouble of reaching the ”really traditional” sound, but out there people make art, express themselves freely, and tradition is not the aim that they are trying to reach, but the basis, the soil which they use to present something they need to say to the audience, something that is deep in the musician’s soul.
The Tumult make an experiment with folkloire, presenting a rich variety of compositions. At times they were spiced with fusion notches, heavy guitar riffs, slapping bass, recitative quatrains, and at times they appeared as melancholic Polkas with their tender violin, incrustated with jazz passages, or jigs, tastefully arranged with electronic sound, and the all-embracing smooth lead vocal. This was what the four Danes brought with them to the distant, huge, cold and unknown country. And they hit the very point.
The point on February 20 was called the Vermel, a club across the river from Kremlin. I came there tempted by an intriguing media announcement, and not having an idea what to expect. The club detained the beginning of the concert a little since there was not a lot of listeners in that Wednesday night. Surely much less people than the quality of this music deserves. But from the first note everyone who made it to the concert could understand that people who did not come lost a real lot: there is no such sound in Russia. No one plays like this here. Not these days, anyway.
During the first couple of compositions people just sat and tried to get used to the waterfall that was falling on them from the stage – the stream of energy, garmented in every possible form, but with a distinct nature – the Tumult! And the rest of the concert passed in one go – the audience came to like it and towards the end of the concert many people broke into dance, especially when the rhytmical figures similar to familiar Celtic dances could be heard. Apperently, the rhytm of the band deserves a special attention. In some compositions it pretented to be a creature independent from all the other music – as a cat, once invisible and crawling, and then unpredictably rushing from nowhere through the alley, with its own dignity and confidence, making the other sounds and notes catch up with it. Probably wishing to confirm this character of the band’s rhytm section, over the set of drums hanged the satisfied smile of the Cheshire cat, generated throughout the whole concert by the group’s drummer. To make the show complete, in the end the leader Jorgen Dickmeiss gave his tribute to the country that host his tour: he crowned himself with a Russian fur hat and played a song on the accordion.J
These were the people who came for a week-long tour around Moscow clubs. I can only wish them good luck and artistic success, and keep my fingers crossed, hoping that Tumult’s visit would not come unnoticed by domestic musicians who perform traditional music. Maybe Tumult can inspire some new, totally original approaches. Because once they make it out there, why don’t we?”
Veresk, russian internet-based folkmagasin – by Ivan Dontsov, about the concert in Vermel, Moscow, Wednesday 20.02.2002 www.veresk.ru (read more about The Tumult-tour here)