Spinning Wheel’s ‘The Magic of Spinning Wheel’ is a folk record that feels like it’s been passed down through generations, picking up stories and scars along the way.

There’s an intimacy to the way the band weaves together voice, fiddle, and acoustic guitar—never overplaying, always leaving space for the songs to breathe. You can hear echoes of Fairport Convention and The Incredible String Band, but Spinning Wheel isn’t interested in imitation. Their approach is earthy and unvarnished. The decision to release the album on vinyl feels natural, especially because of the Hans Pokora involvement. With a renewed focus on the roots of their sound, ‘The Magic of Spinning Wheel’ is a turning point, a band looking both forward and back, finding magic in the process.

Spinning Wheel’s music exists at the intersection of folklore and reinvention, weaving a thread between centuries-old traditions and contemporary folk craftsmanship. Over their nearly three-decade run, the group has cultivated an ancient sound, grounded in the storytelling ethos of Celtic balladry yet infused with an unvarnished intimacy. Their latest work embraces a return to roots—stripping arrangements to their essence while still maintaining the intricate interplay of voices and instrumentation that has defined their catalog.

“For us, this music is handcrafted and honest”

So, let’s go back to where it all started: Austria’s LARP and medieval fairs. What was that first encounter like? Was there a particular moment when you all clicked and realized you were on the same wavelength musically?

Although Danika and Bernhart were both already making music, the context in which they met was at a LARP event—without music. Only later did we realize that we also shared this passion. Bernhart was already playing in a regular band at the time, while Danika was a guest musician in various projects. During one such guest appearance for the band Smoky Finish in an Irish pub, when Danika sang the Irish song Suil a Ruin, Bernhart and a guitarist who happened to be there were so captivated by her voice that we decided to form a new band with Danika before the last note of the song had even faded away. It was love at first sound, so to speak.

I’d love to hear a bit about your individual journeys. How did each of you get into playing music, and what led you to start performing with others?

The lineup has changed over time. The band was founded in 1997, with Danika and Bernhart as founding members. Over the years, we have played as a trio and as a quartet. Since the album features songs from different phases, you can hear different lineups and formations—a journey through 25 years of band history. Currently, we are back to performing as a trio.

Danika has been the voice of Spinning Wheel since its inception. She came to the Viennese Irish folk scene through medieval music. Vocally, she is at home in many musical styles and genres. She is a classically trained soprano and occasionally performs in musical and operetta productions at the music theater, in addition to her work as a folk singer. Danika spent her childhood in London and later, even after moving to Austria, developed a strong interest in music from Ireland, Scotland, and Wales. There are some musical overlaps between Celtic folk and the fantasy and medieval genres, which led Danika to Celtic folk music. She initially joined the band as a singer only, but over the years, she taught herself to play more and more instruments, which have since become an integral part of Spinning Wheel’s sound.

Bernhart learned percussion from Steafan Hannigan, Mel Mercier, and Glen Velez and is known for his earthy beat and subtle integration into a band’s musical texture. He learned the Irish flute from Mike McGoldrick in Manchester. Besides Spinning Wheel, he has played in various formations such as Smoky Finish, Moving Pints, and as a guest musician with the Roadie Rowdy Piper Band. Bernhart studied in Manchester, where he experienced the active music scene of the 1990s at sessions in places like the Jolly Angler and Peveril on the Peak.

Fabian is the son of two musicians, he grew up with medieval and Celtic drone music. Throughout his musical journey, he has played many instruments before settling on his current selection. Fabian has an excellent ear for timbres and a sense of dynamic tension, bringing a lot of energy to Spinning Wheel and incorporating his experience from the folk-metal genre.

Was there a defining moment when Spinning Wheel officially became a thing? Or was it more of a natural evolution?

As mentioned earlier, it was love at first sound. Within a few weeks, we had several rehearsals and, very soon, our first gig.

“Storytelling also plays an important role”

Your sound weaves together Irish folk, Celtic traditions, and medieval influences. What drew you to these styles, and how do you go about blending them?

For us, this music is handcrafted and honest. You can authentically hear what the musicians are doing on stage. Spinning Wheel’s musical inspiration comes from several sources: on the one hand, folk music, which touches people due to its direct and unadulterated origins and its acoustic, crafted sound; on the other hand, Celtic culture, which can be found in pockets throughout Europe. Storytelling also plays an important role in Spinning Wheel’s music. Celtic songs tell stories of sorrow and love, tears and laughter, human greatness and weakness, birth and death. Spinning Wheel makes these stories—the roots of our society—audible and tangible.

Can you remember the first time you were completely mesmerized by medieval or folk music? Was there a specific song or experience that made you fall for it?

For Danika, it happened gradually during the 80s and early 90s with female vocalists such as Enya, Loreena McKennitt, or bands like Clannad, but a key moment surely was the performance of Anúna at the Eurovision Song Contest in 1994. Bernhart stumbled upon a traditional session for French dance music in Vienna almost by accident because a concert had been canceled. He was immediately captivated by the musicians simply playing around a table for their own enjoyment. The very next day, he went to a music store and bought a bodhrán, an Irish frame drum.

Each of you comes from different musical backgrounds—Danika’s classical training, Bernhart’s varied projects, Fabian’s acoustic style. How do you bring all those influences together without losing the core of Spinning Wheel’s sound?

At the center is always Danika’s voice. She holds everything together and sets the tone and mood for the sound. Of course, the sound also evolves over time, as you can hear on the album, which contains recordings from the last 20 years. Each musician brings their own influence, and the collective sound emerges from the communication in the moment—the interplay of voices and fingers. This happens naturally and is allowed to change over the years.

What’s your songwriting process like? Do songs come together organically, or do you have a more structured way of working? Any funny or unexpected moments in the studio while recording?

We only manage to rehearse 1-2 times a year. We send each other suggestions and audio sketches via email, and often, we play the songs together for the first time when we are on stage. In folk music, you are allowed and encouraged to let things happen spontaneously. The recording process took a long time. We recorded at home, which has the advantage of having plenty of time but also the disadvantage of having too much time. If it gets too loud outside, we have to take a break from recording—or if one of our children needs us. Once, the sheep in the pasture next door were too loud—ironically, while we were recording the song ‘White the Sheep.’ We even posted the video with the sheep on social media.

Are any of you involved in other musical projects outside of Spinning Wheel? Anything we should check out?

For Danika and Bernhart, Spinning Wheel is the only project. Fabian also plays with the duo Whistling Strings and is very active with solo recordings on social media. His folk-metal band is currently on hiatus.

How did the collaboration with Hans Pokora come about? What was it like working together?

Hans discovered us in 2017 or shortly before and regularly attended our concerts. His enthusiasm is infectious, even for the musicians on stage. He soon motivated us to record a vinyl album, but then COVID-19 happened, and we also wanted to record two more albums on CD. That’s why everything was so delayed. But Hans remained loyal to us throughout, and now we have finally finished the album.

Tell us about your recent album, ‘The Magic of Spinning Wheel.’ Where did you record it, and what inspired the direction of this one?

This album is a best-of compilation from the last 20 years and contains songs that have particularly touched Hans. In that sense, it is a retrospective and a fascinating outsider’s perspective from a loyal fan.

Do you think of your albums as having an overarching theme or story, or is it more about capturing a moment in time?

The individual albums are stages in the band’s history; they are shaped by the respective lineups and personal preferences of the time. Early albums were influenced by the music of Geraldine McGowan, Enya, and Loreena McKennitt. Later, Kate Rusby and Julie Fowlis were very inspiring. In the last two years, Scottish music and waulking songs have been important, and we have also revived some Celtic folk classics from the 1960s folk revival.

Take us inside the recording process for this album. How did it compare to your past projects? Were there any unexpected creative breakthroughs?

During the pandemic, it was next to impossible for us to work in the studio because it was always chaotic at home with our five kids. Over the past few years, we accumulated several songs waiting to be recorded. While reviewing the material, we realized we wanted to record 24 songs—enough for two albums. This major project kept us busy for much of the year.

We recorded in our home studio in Kogelsbach. This approach underscores the handcrafted nature of the music but also allows us to take our time to realize our musical vision. For the recording sessions, we adapted our second kitchen. So, we made music between the oven, sink, and fridge—which actually fits the music quite well. Playing music in the kitchen is quite common with traditional music. Recording at home has the advantage of no time pressure but also the disadvantage of no time pressure. We spent 30 to 40 hours on each song, and I think this is reflected in the quality and density of the tracks.

For Danika, working in the home studio was both an advantage and a challenge.

“To be honest, it took longer than I wanted. On the one hand, it’s often difficult to transition from family life to work, and if recording isn’t absolutely prioritized, it automatically gets pushed back. On the other hand, I take a long time because I’m a perfectionist, and for a single vocal track, I sometimes do over 100 takes until I’m finally satisfied with the result.

The big advantage of the home studio is that I can work alone in peace and—family allowing—have time to get into a creative flow state. I also handle much of the arranging during production, where I listen to the material over and over, gradually adding harmonies, layering more instruments, incorporating embellishments, and shaping dynamic arcs to build tension and release. It is my favorite stage of recording, where most creative work is done.”

Looking back at your earlier albums, how do you feel this new one stands apart? Any surprises or challenges that came up along the way?

With both of our new albums, we had significantly more time to refine them compared to previous productions—enough to satisfy even Danika’s perfectionism, to the point where there was nothing more left to add. If anything, some songs ended up with too many instrument or vocal tracks, and we actually had to scale things back to avoid overloading the music. Ironically, one of our original goals was to return to the traditional roots of the songs with simple arrangements… Well, that didn’t quite work out all the time!

Storytelling plays a huge role in your music. Are there any particular books, myths, or historical figures that have really shaped your songwriting?

While we are big fantasy fans, this has only a minor influence on our music. We are more interested in history and people. That’s also what’s special about Celtic folk—it’s not just about expressing feelings but about telling stories.

Has there been a specific legend, poem, or author that directly influenced any of your songs? You’ve played everywhere from medieval fairs to more modern venues. How has your live performance evolved over the years? Any gigs that stand out as especially memorable?

It took a few years for Danika, who is actually quite introverted, to step out of her shell—not just to sing but to feel comfortable introducing the songs as well. In the early days, that role was mostly handled by Bernhart or the other guitarist. Over time, though, this shifted, and now she fully embraces the role of frontwoman. Storytelling before a song has become an integral part of our performances, and many audience members have told us how much they enjoy learning about the origins and meanings of the music. It helps them connect with the songs on a deeper level—even when they’re sung in a foreign language.

We also perform much more frequently now than we used to, as our children have grown into teenagers, giving us more flexibility. With many cultural event organizers stepping back in recent years, we’ve taken matters into our own hands, organizing concerts in inns with banquet halls. We handle everything ourselves—promotion, ticket sales, sound—and it’s proven to be a great way to bring our music to the audience on our own terms.

As for memorable gigs, it’s hard to pick just one—over the years, there have been quite a few that stood out in one way or another. One particularly special event is the Mittelerdefest in Reichenau im Mühlkreis, a small annual Lord of the Rings festival. It has a devoted community of attendees who return year after year, making it feel like one big family.

We hold workshops there—Danika teaches waulking songs while actually waulking with participants, as well as fantasy and folk song workshops, while Bernhart leads folk dance sessions. In the evenings, there are always big concerts, and we’ve played there every few years. What makes it so unique is the festival’s tradition of forming enormous concentric joined-hands circle dances during the gigs—something truly incredible to witness as a musician on stage. Even the kids join in, and there’s a wonderful sense of everyone looking out for each other. Sometimes, the dancing even turns into sitting dances, where the entire crowd sits on the floor, waving their arms in unison.

It’s always fun to watch the faces of bands who are playing there for the first time—they never quite expect that!

Your music has a real kinship with bands like the Incredible String Band and Fairport Convention. Do you feel a connection to that lineage?

These bands were incredibly important because they researched and interpreted a lot of material in new ways. Without these bands, the current folk scene would not exist in its present form. However, we rarely take songs from these bands and reinterpret them, though we might do so in the future. In that sense, they might be predecessors but not role models for us. But I think that due to our small lineup, we often sound as delicate as these bands.

How does it feel to have ‘The Magic of Spinning Wheel’ coming out on vinyl? What does the format mean to you?

We grew up with this format. I think that says it all. So many memories and listening habits are associated with it. The current music industry, with its use of Auto-Tune and strong compressors, is not something we identify with and does not fit our idea of folk music. Therefore, the return to vinyl is an important signal for both artists and music enthusiasts.

After more than fifteen years of making music together, where do you see Spinning Wheel heading next? Are there any new sounds or directions you’re itching to explore?

It has actually been over 25 years (we haven’t updated the text on the website in a long time). We will celebrate our 30th anniversary the year after next. In terms of sound, we’ll see what happens. Danika has started incorporating podorythmie (foot percussion) into her performances, which gives the music a new swing. We also want to arrange more songs with two voices.

And finally, what should fans be looking forward to next? Any surprises in store?

The wheel keeps spinning—this year marks the beginning of a new chapter for the band, as our lineup has changed since the latest recordings. We’re lucky to be performing with an outstanding musician, Fabio Mancini—a passionate, full-time musician with years of experience as a busker and performer, both as a solo artist and in various folk formations. As a fiddle player, singer, and guitarist, he brings a deep love for folk bands from the ’60s and ’70s, which will undoubtedly add a unique touch to our sound.

We’re also already looking ahead to recording our next album this summer. This time, we want to take the music back to its roots with a more folksy feel and a refined, pared-down approach to the arrangements.

Klemen Breznikar

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