Zgarda

The Kyiv-based band Zgarda is a folk ensemble reshaping Ukrainian traditional music with remarkable results, judging by their self-titled debut album already reviewed on OndaRock. We reached out to their singer, Yuliia Vitraniuk, for an interview. The process was slowed down by the rolling blackouts caused by Russian bombardments, but through a mix of emails and chat messages we finally managed to complete it. We take this chance to express our solidarity with the band and with the people of Ukraine, who have been living under these conditions for three years now.

Hi Yuliia. Let’s start from the beginning: how did Zgarda form, who are the members, and how has the lineup changed over time?
Zgarda started in 2018. The idea came from our double bassist, Ihor Didenchuk—he invited me and Vladyslav Vakoliuk to get together and play something for fun.
At first, we thought we would just play a few covers for our own enjoyment. But then I suggested trying an arrangement of a Ukrainian folk song. That’s how our first piece, “Na nebi misyats’” (“The Moon in the Sky”), was born. We immediately fell in love with that sound—the blend of my voice with their instruments, and the sense of unity that emerged between us.
After that, we decided to look for a percussionist to take part in a local music contest, and our friend and colleague Tymofii Muzychuk joined us—he also plays the flute.
During the pandemic, the band had to take a break because we ended up living in different cities. When Tymofii left the group, we started looking for a new member and found Filipp Kharuk.
Soon after, I randomly ran into a former classmate of mine, violinist Taras Pidberezkyi, who joined as well. With that lineup we recorded our debut single, the Christmas song “Shchedryi vechir”.
Not long after, Filipp told us he was joining the Ukrainian Armed Forces. It was a difficult moment for me, because constant lineup changes can be destabilizing. But we adapted, and invited Andrii Yuskevych, a talented percussionist who still plays with us today.
Last winter, Taras also left to serve in the army. During our first concert, we raised money to buy him equipment, and on that occasion we performed with our new violinist, Yurii Ivaniuk, who is now a stable member.

Today our lineup is:

Yuliia Vitraniuk – vocals

Ihor Didenchuk – double bass, sopilka

Vlad Vakoliuk – bandura

Yurii Ivaniuk – violin

Andrii Yuskevych – percussion

I’ve noticed that in concerts and promotional photos you often wear traditional or decorated clothing. Before we talk about music, could you explain where these garments come from and whether they hold personal meaning for you?
Our clothing style has evolved constantly. In the past we often performed in traditional garments—I used to wear a traditional costume from the Chernihiv region, which I still keep with great care. But over time we moved away from strict authenticity.
Today our style leans more toward a classic look with casual elements, mainly in black and white. At the same time, we incorporate traditional touches: embroidered shirts, ornamental patterns, or accessories like pearl or coral necklaces.
I have pieces inspired by those motifs—skirts with traditional cuts, embroidered pouches. They’re no longer authentic folk garments, but modern, elegant reinterpretations that you can wear every day.

How alive is Ukrainian folk music today? How popular is it among the public? And what role do folk artists play in the local cultural scene, especially in the current context? Has the war weakened or strengthened Ukrainian music?
Under wartime conditions, interest in Ukrainian music—and especially in folk music—has grown significantly. There are many more opportunities and spaces where artists can present their work, and audiences are much more open to Ukrainian-language content. The traditional music we play benefits from this renewed attention.
In Kyiv, for example, a true folk community has formed: people attend traditional dance gatherings and concerts by bands like ours. Folk music is becoming increasingly popular, which is wonderful to witness.
Of course, there are cases where folk is interpreted incorrectly, but our mission is to immerse people in the authentic, deep roots of our culture. We want to show how rich this tradition is, and we’re actively working toward that.
Folk musicians now play something like an informational role. Before the war, access to Ukrainian culture wasn’t as obvious as it is now. The war—sad as it is—has greatly strengthened Ukrainian music and art. Every Ukrainian is trying to reconnect with what is theirs and develop what belongs to us.

Let’s talk about your debut album. I noticed that all songs are credited to you and Ihor. What can you tell us about the creative process behind them?
Those credits are actually quite formal, because every song is created collectively. Some members contribute more, some less, but it’s always teamwork. I’m usually the one who searches for songs and chooses the repertoire—I look for pieces that move me. Ihor often comes up with arrangement ideas, starting from a rhythm or tempo on the double bass, and the rest develops from there.
Ihor and I spent many hours in the studio working on the album and later followed the mixing process with the sound engineer—that’s why our names appear in the credits. But the arrangements and all the music are the result of everyone’s contribution; each member is responsible for their part.
This album is a collection of pieces we created throughout our activity as a band. We simply gathered everything that had been part of our repertoire so far. I wanted very much to preserve it in one album. It’s our creative heritage, something we wanted to fix on digital platforms—and perhaps, in the future, on vinyl. It’s important for us that this work remains as a testimony to our journey.

Could you introduce the main instruments you use—like the bandura and the sopilka? What do they represent for Ukrainian culture, and how do you use them in your music?

Our core instruments are double bass, percussion (cajón, djembe and others), bandura, violin, and of course voice. But the bandura is the instrument that ties everything together. It creates the fundamental harmony and enriches all our compositions. We’ve tried making songs without bandura, and it’s always the hardest task—it’s now difficult to imagine Zgarda without Vlad Vakoliuk.
The bandura is a symbol of Ukrainian music. It’s considered a classical instrument, even though it’s not strictly traditional. During Soviet times, its image became fixed as something folkloric, associated with a girl wearing a wreath and singing in an academic voice. We want to distance ourselves from that stereotype and show that the bandura can be modern and stylish. It enhances our arrangements beautifully, especially on lesser-known folk songs, while keeping their traditional core intact.
The sopilka is also an important part of our sound. Ihor is primarily a sopilka player—though he turned out to be a fantastic double bassist as well—and we love including it in some of our songs. The sopilka is a traditional Ukrainian instrument, especially common in the west. It became more widely known after Go_A’s participation in Eurovision, where Ihor played it. Its tone is unique, adding a special color to our music. We experiment with it—not only in traditional ways but also in new ones—and the results are always beautiful.

About the non-Ukrainian percussion you use, like cajón and djembe: how did this approach to cross-cultural blending develop?
This isn’t new in world music, especially among Ukrainian bands. For example, DakhaBrakha use similar percussion extensively, and I think they inspired many musicians to approach this genre with curiosity and openness.
While some traditionalists believe Ukrainian songs should sound exactly as our grandparents sang them, young musicians are actively experimenting—and we really like that. When it was just the three of us—me, Ihor and Vlad—we realized that the songs needed a groove to “move.” The other instruments weren’t enough, so we decided to add percussion. We wanted to keep an almost shamanic atmosphere, and cajón, djembe and similar instruments fit perfectly.
Many musicians in our genre do the same. I personally love the result. We don’t use a classic drum kit—everything is live and acoustic—yet it hits incredibly hard during concerts.

You also use instruments associated with jazz, classical and international folk traditions, such as double bass and violin. Do these influences shape your sound?

Yes—our ensemble uses double bass, violin and bandura, which can also be considered part of the classical world. We don’t deliberately aim to draw from specific genres; everything comes intuitively. Still, certain stylistic traits can definitely be heard.
For example, we’re currently preparing a Christmas album where you’ll hear bossa nova rhythms, a bit of rap beats, jazz touches—but the core remains folk. So yes, these influences show up in our music, though not in every song. It depends on the mood and the creative process. You’ll feel it more strongly in our upcoming album.

What do your lyrics talk about? Do you reference folk imagery? Is there a verse you’re particularly proud of?
Most of our pieces are based on traditional songs. Sometimes we keep the traditional melody, other times we modify it slightly, enriching it with arrangements to highlight the theme. These older texts inspire me a lot—they have such depth that even Netflix would be jealous and turn them into scripts. Our people have gone through a lot, and all of it is preserved in these songs—they’re incredibly profound.
I’m especially proud of a verse in “Na nebi misyats’”. It’s a folk love story about a girl who discovers her boyfriend’s betrayal, but eventually finds herself again and moves on. The verse goes:

“I’m tired of those flowers — plant them, water them.I’m tired of these damned boys — love them, forget them.”

It’s like a contemporary meme—something many can relate to. Our songs contain a lot of folk imagery, and we try to make listeners feel that depth.

Are there Ukrainian musicians you particularly appreciate?
I love DakhaBrakha. I’ve admired them for many years—their contribution to spreading Ukrainian culture is extremely important to me. They inspired me personally and influenced our development as a band, helping us seek our own style when working with traditional material.
Maria Kvitka made a wonderful album, and Yuko, even though they’re no longer active, introduced many listeners to folktronica and really shook things up. I appreciate musicians who work with traditional music responsibly—with respect and understanding—without simply turning it into pop. That, for me, is what matters most.

Tell us about your upcoming projects—you mentioned a Christmas album.
We’re working on this release in collaboration with the Ukrainian skincare brand Mr.Scrubber. They’ve published a Christmas Advent calendar, and our songs became part of its festive story. So right now we’re preparing their release, so that by Christmas you’ll be able to listen to the songs and build a holiday playlist.
The album will be called “Kolyadka” (“Christmas Carol”) and will include twelve Ukrainian carols I found in various archives and arranged together with Zgarda. We’re also planning a concert in December, so we hope everything goes well.

Will you release your album on CD? You’d certainly have at least one guaranteed buyer!
In today’s digital world, music is available everywhere, but when it comes to physical formats, we’ve been thinking about vinyl. For true enthusiasts, we might also make a small batch of CDs, so they can have something special too.

(This article’s English version was produced with AI-assisted translation)