Zgarda - Ukrainian folk refuses to give up

Zgarda, based in Kyiv, are a sort of folk supergroup trying to breathe new life into traditional Ukrainian music, with excellent results so far, at least judging by their self-titled debut album, already reviewed on OndaRock. We got in touch with their singer, Yuliia Vitraniuk, for an interview. The process was drawn out by the blackouts caused by Russian bombing, but in the end, partly by email and partly via chat, we managed to complete it. We'd like to take this opportunity to express our full solidarity with the band for the conditions their people have been enduring 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 was formed in 2018. The idea came from our double bassist, Ihor Didenchuk: it was he who suggested that Vladyslav Vakoliuk and I get together and play something. At first we thought we'd do a few covers, just for our own pleasure, but at some point I suggested trying a Ukrainian folk song and putting our own arrangement to it. That's how our first track was born, "Na nebi misyats'" ("Íà íåái³ ì³ñÿöü", "The Moon in the Sky"). We immediately fell in love with that sound, with the combination of my voice and the instruments, with the sense of unity that had formed between us. After that, we decided to find a percussionist to take part in a local music competition, and that's how Tymofii Muzychuk, our friend and colleague who also plays flute, joined us.

During the pandemic the group was forced to take a break, since we all ended up in different cities. When Tymofii left the band, we started looking for a new member and found Filipp Kharuk. Not long after, I happened to run into an old classmate of mine, violinist Taras Pidberezkyi, who also joined the group. With this lineup we recorded our debut single, the Christmas song "Shchedryi vechir" ("Ùåäðèé âå÷³ð", "The Generous Evening"). Not long after that, Filipp informed us that he would be going to serve in the Armed Forces of Ukraine. That wasn't an easy moment for me, because constant lineup changes are destabilizing. But we managed to handle it, bringing in Andrii Yuskevych, a talented drummer who still plays with us today.

Last winter our violinist Taras also left to serve in the army. During our first concert we raised funds to buy him equipment, and on that occasion our new violinist, Yurii Ivaniuk, performed with us — he's now a permanent member.

Today the lineup is as follows:

Yuliia Vitraniuk – vocals

Ihor Didenchuk – double bass, sopilka (Ukrainian flute)

Vlad Vakoliuk – bandura

Yurii Ivaniuk – violin

Andrii Yuskevych – percussion

I've noticed that in concerts and promotional photos you often wear traditional or at least decorated clothing. As far as I know, this is a common practice among Ukrainian folk groups. Before we move on to the music, I'd like to ask which specific regions of Ukraine the clothes you wear come from, and whether they hold personal meaning for you.

The band's clothing has constantly evolved. While in the past we often performed in traditional dress — I, for instance, had a costume from the Chernihiv region, which I still keep with great care — we've now moved away from strict authenticity. Today our style leans more toward the classic, with casual elements, mostly in black and white, which always feel current. At the same time, we work traditional elements into our modern look: these might be embroidered shirts, ornamental patterns, or even accessories like pearl or coral necklaces.

I have, for example, some pieces inspired by those motifs: skirts with the classic cut, or embroidered purses. These pieces aren't authentic anymore, but they are elegant contemporary interpretations that you can wear every day.

How alive is folk music in Ukraine today? How popular is it with audiences? 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 the current wartime conditions, interest in Ukrainian music, and particularly in folk music, has grown significantly. There are now far more opportunities and venues where artists can showcase their creativity, and audiences are open to content in the Ukrainian language. The traditional music we play has become part of this wave of interest. In Kyiv, for instance, a folk community has formed: people take part in traditional dances and in concerts by groups like ours. Folk music is becoming more and more popular, and that's a very positive thing.

Of course, there are cases where it isn't interpreted correctly, but our mission is to immerse people in the authentic, deep roots of our culture. We show just how rich our tradition is, and we're actively committed to that. Folk artists now play a kind of informative role. Before the war, access to Ukrainian culture wasn't as obvious as it is now. The war, as sad as it may sound, has significantly strengthened Ukrainian music and art. Every Ukrainian is striving to reconnect with what is truly their own, to develop what is ours.

Let's talk about your debut album: I noticed all the songs are credited to you and Ihor Didenchuk. What can you tell us about the creative process behind them?

What appears in the credits is actually fairly formal, because every song was created with the involvement of all the members of the group. Some contributed more, some less, but it's always teamwork. I, for instance, handle the search for songs and the choice of repertoire, looking for what strikes me. Ihor usually brings ideas for the arrangements, starting from the rhythm or tempo of the double bass, and everything else develops from there. Ihor and I worked together on the album, spending many hours in the studio and following the mixing process together with the sound engineer, which is why our names appear in the credits. But the arrangements and the music as a whole are the result of the collective work of all the members, each responsible for their own part.

This album is a collection of songs we created over the course of our entire career. We simply gathered together everything that had been part of our repertoire up to that point, and I really wanted to preserve it in a single album. It's a kind of creative legacy of ours, which we wanted to set down on digital platforms and, perhaps in the future, on vinyl too. It's important that this creative work remains as a testament to our journey.

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

At the moment, in our group we use key instruments such as the double bass, percussion (cajón, djembe and others), the bandura, the violin and, of course, voice. However, the bandura is the main instrument running through all our songs. It creates the fundamental harmony and enriches our compositions. We've tried making tracks without the bandura, and it's always been the hardest task; today it's hard to imagine the group without Vlad Vakoliuk.

The bandura is a symbol of Ukrainian music. It's a classical instrument, though not strictly a traditional one. During the Soviet era, its image became fixed as something folkloric, paired with a girl in a wreath singing folk songs in an academic style. We want to move away from that representation and show that the bandura can be a modern, stylish instrument. It beautifully enriches our arrangements, especially of still little-known folk songs, while keeping their traditional core intact.

The sopilka is also an important part of our sound. Ihor, who is primarily a sopilka player, has also turned out to be a wonderful double bass player, but we still like to bring the sopilka into some songs. It's a traditional Ukrainian instrument, especially widespread in the west of the country. It became more popular after Go_A's participation in Eurovision, where Ihor played it. The sopilka has a unique timbre and adds particular nuances to our music. We experiment with it, using it not only in a traditional way but also to create something new, and the result is always very beautiful.

As for the percussion instruments from other cultures, like the cajón and the djembe: how did this approach to cross-contamination come about?

It's nothing new in world music, especially among Ukrainian groups. DakhaBrakha, for example, make extensive use of similar percussion in their music, and I think it was precisely them who inspired many musicians to approach this genre with curiosity and openness.

Even though some traditionalists believe Ukrainian song should sound the way our grandparents sang it, young people are actively experimenting. We really like this approach. When we started playing as a trio — me, Ihor and Vlad — we realized that, to make the songs "move," we needed a groove. The other instruments alone weren't enough, so we decided to add percussion. We wanted to keep a shamanic atmosphere, and the cajón, the djembe and similar instruments fit in perfectly.

Many musicians in our genre do the same thing, but I really love the result. We don't have a classic drum kit, everything is live and acoustic, but at the same time it "kills it" incredibly during our concerts.

You also have instruments typical of jazz, classical music and international folk, like the double bass and violin, which makes complete sense considering how much Slavic culture has contributed to these fields. Do you feel these influences are reflected in your music?

Yes, in our group we use double bass, violin and bandura, which can also be considered part of the classical world. We don’t set out to intentionally draw on specific genres, everything comes about intuitively. Still, a certain style is nonetheless recognizable. For example, we’re preparing a Christmas album, and there you can hear bossa nova rhythms, a bit of rap beat, some jazzy shades, but folk always remains at the center. So yes, these influences really are reflected in our music, though not in every song – it depends on the mood and the creative process. You’ll be able to hear them especially on our new album.

What are your lyrics about? Do you draw on folkloric imagery in your work? Is there a particular song or line you’re especially proud of?

Most of our tracks are folk songs that we use as a starting point. Sometimes we keep the traditional melody, other times we change it slightly, enriching it with the arrangement to highlight its theme. These traditional lyrics inspire me enormously, because they have a depth that even Netflix would envy and could use as inspiration for screenplays. Our people have gone through many hardships, and all of that is contained in these songs, which are incredibly deep. In particular, I’m very proud of a verse from our song “Na nebi misyats'”. It’s a folk love story about the fate of a girl who discovers her boyfriend’s betrayal, but in the end finds herself again and moves on, leaving her hardships behind. In this verse there are the lines:

Sono stufa di quei fiori – piantali, annaffiali. Sono stufa di questi maledetti ragazzi – amali, dimenticali

It’s a bit like a contemporary meme, reflecting relationships that many people can relate to. There’s a lot of folkloric imagery in our songs, and we try to make listeners feel that depth.

Ukrainian musicians you particularly admire?

I love DakhaBrakha. It’s a group I’ve admired for many years, and their contribution to spreading Ukrainian culture matters a great deal to me. They’ve inspired me personally and influenced the development of our group, helping us search for our own style in working with traditional material. I like it when folk music can be shaped, like dough, taking on different forms while keeping its essence intact.

Maria Kvitka made a wonderful album, and the group Yuko, even though it’s no longer active, introduced listeners to folktronica at the time and was a real revelation. I appreciate musicians who work with traditional song responsibly, with respect and understanding, rather than simply turning it into pop music. To me, that’s what holds the greatest value.

Tell us about your plans for the future, since you mentioned a Christmas record earlier.

We’re working on this release, created in collaboration with the Ukrainian skincare brand Mr.Scrubber. They’ve published a Christmas Advent calendar, and our songs have become part of this festive story. So, right now, we’re working on their release, so that by Christmas you’ll have the chance to listen to them and put together a playlist for the holiday table. The album will be called “Kolyadka” (“Колядка”, “Christmas Carol”) and will include twelve Ukrainian carols that I found in various archives and for which I created interesting arrangements 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 have a guaranteed buyer!

In today’s digital world music is available everywhere, but as far as physical formats go, we were thinking of vinyl. For true connoisseurs we might make a small CD run, so they too can have something special.

(December 7, 2025)

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