Nicolai Vestergaard

Nicolai Andreas Vestergaard represents a different world entirely. Born November 15, 1995, in Helsingør to a family where classical music wasn’t just appreciated but lived and breathed, his path seemed predetermined. His mother, a concert pianist, and his father, a conductor with the Danish National Symphony Orchestra, ensured that young Nicolai’s lullabies were Bach and his playground was the concert hall.

He began violin at four under the tutelage of renowned Danish violinist Per Ørbæk. By seven, he’d added cello, and at ten, he began organ training at St. Olaf’s Church (Helsingør Cathedral). His talent was undeniable – he won his first regional competition at eight for solo violin and never looked back.

Throughout his youth, Nicolai attended the prestigious Sankt Annæ Gymnasium’s specialized music program, excelling in theory, composition, and performance. At 14, he added classical bass to his repertoire, initially just to understand string instruments better, but discovered an unexpected affinity for the instrument’s foundational role.

His formal education culminated at the Royal Danish Academy of Music, where he earned degrees in both performance and composition. Professors noted his rare ability to master multiple instruments at a professional level. He specialized in Baroque and Romantic compositions, developing particular expertise in Bach’s organ works.

The Danish and international classical competition circuit became his second home. Throughout his teens and early twenties, Nicolai was a fixture at major competitions, often competing in multiple categories at the same event. His ability to seamlessly transition between violin, cello, and organ performances in a single day became legendary in classical circles.

His recruitment to Grief and The Maiden happened at the Danish National Classical Music Competition in March 2024. Anna was competing in the operatic singing category, while Nicolai participated in solo violin, cello, and organ competitions. The band attended to support Anna but found themselves mesmerized by Nicolai’s performances – first place in violin in the morning, second in cello that afternoon, and a stunning Bach organ performance in the evening.

Initially skeptical when approached backstage – he considered metal “musically inferior” – Nicolai’s perspective shifted when they explained their symphonic approach and complex orchestral arrangements. Anna’s classical training and the band’s serious musical vision intrigued him enough to agree to a rehearsal.

Joining Grief and The Maiden in April 2024 transformed the band’s sound. His classical bass techniques and orchestral understanding elevated their symphonic elements to new heights. While the volume and intensity initially shocked him, his classical precision provided the perfect foundation for their complex compositions.

His contributions to “From Ashes to Starlight” (October 28, 2024) were particularly significant, joining during late-stage composition. Several tracks prominently feature his classical bass techniques, while others showcase his violin, cello, and organ performances, adding authentic orchestral depth to their sound.

Nicolai plays a custom acoustic-electric hybrid bass that delivers both classical clarity and metal power. During recordings and live performances, he regularly switches between instruments, creating the rich orchestral textures that define Grief and The Maiden’s sound.

Still maintaining a disciplined lifestyle in Copenhagen, Nicolai continues his classical studies and performs with chamber ensembles. His integration into metal has been gradual but genuine – he’s developed real appreciation for the genre’s technical complexity and emotional intensity. His bandmates affectionately tease him about warming up with Bach before metal rehearsals, but deeply respect the sophistication he brings to their music.