Preaching to the Crowd

Zenith, Munich – 18 December, 2023

One last time in Germany for Till Lindemann band – and what a note to end the German concerts on! The band made the old walls of the Zenith shake as they played a fantastic show to a fantastic crowd in Munich. An intriguing venue, some performance mishaps, a bass-playing pope and an unexpected surprise after the show made this one truly unique and a worthy send-off to the German fans.

By Sez and KidArctica

It’s the last German show of the tour and we’ve made our way into the land of the beer, pretzels, and overused German stereotypes! In the heart of Bavaria lies Munich, a city which just earlier the same year played host to Rammstein for four sold out concerts in the massive Olympiastadion, making history not just for attendance numbers, but also for each individual person in the audience. It is safe to say that we were looking forward to returning to the city to support Till Lindemann in his solo venture this time.

The Zenith in Munich proved to be an interesting venue, starting off with the fact that it simply doesn’t look like you’re at the right place when Google Maps tells you you’ve reached your destination. It presents itself as an old warehouse – industrial, run-down and pretty inconspicuous. If not for the big crowd already waiting in line in front of the venue, one could have almost began looking in other nearby streets for something more arena-like. Originally built as a railway hall in 1918, the Zenith is being used as an event venue since 1997, and it is under monument protection today. With a capacity of 5.880 people, it is not one of the biggest venues of the tour. It is certainly an interesting one though, as it lacks any kind of seating and therefore the entire audience stands level, making it feel more vast than it actually is.

As we only arrived in the afternoon that day, the queue was already very long, so we knew front row probably wasn’t an option this time around. Upon entering the venue, it became clear that the pit was divided by a wavebreaker and you’d have to join another quickly forming queue at the barrier gates to receive a white bracelet that granted entry into the part of the pit right in front of the stage. Seeing the amount of people already inside, we decided to go all the way to the back of the front pit and enjoy the comfort of more space and a barrier to lean against.

The time flew by and it was time for the opening acts. As always, Phantom Vision brought out the stripey pants, the sunglasses, the fairy lights, and of course the stage antics. With their entertaining energy, they got the crowd ready to pay attention and in the mood for an evening of good, moving music.

After Phantom Vision, we excitedly awaited Aesthetic Perfection as always, and when their once again German intro started sounding through the venue (which was actually voiced by drummer Mike Schopf by the way!), the loud cheering made it clear that the crowd was just as ready as us to give them a warm welcome. Standing further back does nothing to hinder the band’s amazing energy from reaching you and making you jump. And scream. We gave it our all to make the band feel the good energy from the crowd and motivate the people around us to join in. Their set ended way too soon, but that also meant that it was almost time for the main act of the evening!

At this point, a drawback to our standing spot at the wavebreaker became apparent. While there was more space close to the barrier, it was also the preferred way for people to use when trying to get in and out from the crowd. That meant people constantly wanted to walk past us and especially me, and I had to stop my dancing and jumping to let them through, which became progressively more annoying throughout the show. Nevertheless, the mood was great and the lights finally dimmed.

It has got to be said that – at least to me – the sound further back actually seemed a lot better than way up front. Now, that doesn’t mean a place in the back would be preferable to a place in front row, but it is very nice to get a more clear sound. The instruments and the singing seem to blend together a lot more when being so close to the speakers. Unsurprisingly, this meant that all the songs hit like fully loaded trucks. In Zunge, Emily Ruvidich‘s guitar melodies came across beautifully. Many people have mentioned how the song is elevated by this extra guitar and it cannot be understated.

Schweiss, Fat, and Altes Fleisch form a trio that is almost too groovy and at the same time heavy to be allowed. Especially the verses in Schweiss and Altes Fleisch have a groove to them that just makes you want to dance, to then hit you with a chorus that makes you bang your head or just jump off the ground.

The passionate singing along to Tanzlehrerin got brashly interrupted as Till unexpectedly began singing the last chorus a tick too late. This resulted in him being quite out of sync with Jes Paige‘s guitar until regaining the rhythm just in time for the last “ach ist das schön” to end the song. It made us both chuckle and feel slight discomfort at the same time, but it wouldn’t be Till without moments like this.

Another quite funny scene played out during Platz Eins, when Danny Lohner suddenly appeared sporting a white and gold pope hat that had previously been spotted on someone in the audience. Turns out you don’t have to travel to Rome to get an audience with the Pope – an old railway hall in Munich will do just as well, and with an epic bass solo to boot. Danny the Pope was preaching to the crowd from his ego riser and the crowd loved it.

During Fish On, a possible malfunction put the guitars on mute for a little bit of the song, which gave it an… interesting new sound. The streak of mishaps continued on into Ich hasse Kinder, where Till once again fell out of sync with the band during the last part of the bridge. Nevertheless, the song still banged and the crowd was screaming along to the lyrics. Similarly to Stuttgart two days before, the German crowd had an amazing energy and sang along to most of the songs with great enthusiasm. While the Stuttgart crowd might still trump the Munich crowd overall, one thing which made it a very unique experience to be in the Munich crowd was the repeated chants of “Lindemann! Lindemann!” and “Zugabe!” [Encore!] that reverberated through the crowd in between the songs.

After the last song was done, the crowd began moving towards the exit, but the entertainment was not quite over yet. Completely unexpectedly, the hidden Zunge track “Der Rödler” started being played through the speakers, and it was absolutely hilarious and fantastic. The Bavarian crowd danced and sang along, leaving the venue in very high spirits. But not only that made the end of the show special, Till himself also made a quick appearance out of nowhere. From a metal walkway on the second floor, he peeked out from behind some curtains and joked around with Joe Letz’s penis bottle before finally leaving to the backstage area.

Overall, once again a fantastic show by the whole band, and seeing it from further back made Munich a very different but fun experience – and a worthy last concert in Germany before leaving the land of beer and pretzels for a grand European tour finale in the land of baguettes and snails.


  1. Zunge
  2. Schweiss
  3. Fat
  4. Altes Fleisch
  5. Allesfresser
  6. Golden Shower
  7. Tanzlehrerin
  8. Ich weiß es nicht
  9. Sport frei
  10. Blut
  11. Praise Abort
  12. Platz Eins
  13. Fish On
  14. Gummi
  15. Steh auf
  16. Knebel
  17. Ich hasse Kinder
  18. Skills In Pills

Sez and KidArctica are RammWiki editors who have been part of the website for years, working in the background with edits and content. Fun fact: Sez has seemingly found a new arch-nemesis during this tour in the form of hotel elevators, which are somehow much harder to operate than you would think – and KidArctica has gotten some good chuckles out of her elevator-feud along the way.

Leave a Comment

Your email address will not be published. Required fields are marked *