Homely and Intimate

Entrance:
The entrance was all right. Sadly they didn’t start working on the pathway until approximately 5 pm, so they kept yelling to move left and right for those waiting in line for the entrance to Golden Circle. But the others around were very nice, understanding, and made it fun nonetheless. Thank goodness for wonderful fans!

Place:
The placement was all right. There was enough room for all people in each section and the view was mostly great.

Opener:
The opener was fun. Better than expected.

Band:
Each and every band member was wonderful at their part in the show. Great musicians. You could feel they work well together and knew what they were supposed to do, and especially that they very much enjoyed the work. Harmony and respect at its finest. Wonderful to see that. Would recommend and watch it over and over again.

Music:
The music was absolutely worth the wait and just brought lots of joy and excitement to everyone in the crowd. The songs chosen were perfect in my opinion.

Favorite moment:
When we all got soaking wet during Golden Shower, enjoyed that sooo much. Plus the dancing nuns were also awesome.

Total experience:
Absolutely stunning performance. Wonderful music, wonderful singer, wonderful show, wonderful engagement with the audience, and met many amazing people. Whole show was simply fun, full of interesting moments, great sounds, great singing, great actors and dancers and over all just great music. Would watch it over and over at any given moment.

Absolutely fantastic.

LOVE IT

Zsani Antal

Entrance:
Since I had a comfortable seat this time, I arrived just before Aesthetic Perfection started their set — a rare thing for me. Getting inside was easy, and of course, I couldn’t possibly take my seat without first looting a few of those collectible cups. Not every kiosk had all three versions available, but that’s a small issue — the lines moved quickly, and even though seeing 15–20 people ahead of me seemed intimidating at first, I got my cups sooner than expected. Everyone in line was super friendly, and of course, we all had the same topic to chat about for a couple of minutes.

Place/seat and view:
My seat was on the lower left side, close to the pit — a deliberate choice on my part, because I wanted to see Joe Letz play. I really love that man’s energy, so yes, I have my preferences. From that spot, I had the perfect view of him. The only downside was that I couldn’t fully enjoy Brynn Route’s acrobatic performances because of some speakers and cables blocking the view. From what I could see though — absolutely stunning! But that’s just another reason to see this show again, because one thing’s for sure: there’s so much happening on stage that once is simply not enough.

So, let’s talk about what is happening on stage — because, oh herr liebe Gott, there’s a lot!

Opener:
Being an opening act is never easy, especially knowing the audience is there for the headliner. You have to warm up thousands of people, and Aesthetic Perfection once again managed to pull it off flawlessly. I won’t lie — they’re not a band I’d normally listen to in my daily life, but Daniel Graves’ enthusiasm and drive are infectious. Even sitting comfortably in my seat, I found myself nodding along to the songs. And those in the standing section were already jumping, waving, and cheering by the last few tracks. It was an absolutely great experience!

And then — when that iconic Kill Till curtain dropped — my heart skipped a beat. It felt like an eternity until they finally came on stage. Maybe there was a tiny delay, but who cares? We only remember the beautiful parts — and what came next truly was beautiful.

I arrived prepared for this concert: I knew the setlist, I had read reviews, watched videos — and apart from knowing the songs, that was all a mistake. I know, I’m contradicting myself, but there’s nothing that can truly capture what you experience in person. I can use big words (and I will), and you can watch a thousand videos — but none of it gives you the full picture. Most fan videos are low quality and focus mainly on Till Lindemann, when in reality, there’s storytelling happening on that stage. Watching those clips is like reading a novel while only paying attention to the main character’s lines and ignoring the context!

Every platform rising or sinking, every lighting change — they all carry meaning. The dancers are just as essential to the narrative as dessert is to a perfectly crafted menu: you’d still be full without it, but it’s so much better with them. So if I can give one piece of advice: don’t rely on videos. Go see it live — you won’t regret it.

Band:
This was the first time I’d seen this particular lineup live — and it did not disappoint. Let’s go through them briefly, because they all deserve a mention.

Starting with the obvious: Joe Letz. I adore this man’s playing. Honestly, I could write an entire novella just about him, but I’ll spare everyone that for now. The new (and still unnamed) character behind the drums seems to have a certain kinship with the late Sandy Beaches — precise, dynamic, and absolutely brilliant. And when they finally let him out from behind the drums, the madness reaches a whole new level. During Fish On, he once again gave birth to their “offspring,” which Danny Lohner immediately adopted for the audience.

Speaking of Danny Lohner — it seemed to me that he felt far more in his element with a guitar in his hands. He was freer, more playful, and it showed. You could tell he enjoyed himself a lot more. I might be mistaken, but I’m quite sure some of the guitar parts have changed — especially in Allesfresser, where the intro felt fuller, heavier, and the chord progressions seemed different from what we’ve heard before.

And since we’re talking guitars — Emily Ruvidich was a solid presence. You could feel her long-term musical chemistry with Danny; their coordination and on-stage communication were spot-on. No surprises there — she delivered perfection as always.

Kristin Kaminski gave the rhythm section extra strength — musically precise and dynamic. My personal impression, though, was that she hasn’t fully “arrived” in the band yet. Even during her moments in the spotlight (like Platz eins), it felt like she was hiding a bit behind her hair rather than stepping forward. I’m sure that confidence will come with time.

And then there’s Brynn Route, the other new addition. I can’t really judge her from a musical standpoint, since I’m no expert on keyboards — but her contribution to the visual side of the show is enormous. Her pole performances add an entirely new layer to the live experience. It’s definitely worth keeping one eye on her throughout the concert, because you never know when she’ll pull off a move that leaves your jaw on the floor.

And since we’re on the topic of movement — let’s talk about the dancers. They might not add musically, but they absolutely elevate the storytelling. I’ve read so many negative comments questioning their purpose, and to those people I say: they are an integral part of the narrative. Understanding the lyrics helps, of course — which might be easier for a German audience than for those of us who aren’t native speakers.

Till once sang,
“Jede Note sing’ ich richtig / Der Text dabei ist gar nicht wichtig”
— but I would still argue that the lyrics are the most important element of Lindemann’s art. The dancers emphasize those lyrical twists and ironies, like during Und die Engel singen or Tanzlehrerin — but more on that soon.

And did you really think I’d skip the ringmaster himself? Till Lindemann was in absolute top form — every note hit perfectly. I’ve seen him on stage many times over the years, yet he still manages to surprise me with his energy and charisma. He has this unexplainable presence that forces you to watch him, no matter where you are in the venue.

Even though I was seated far from the stage this time, I still felt like he somehow established eye contact with me. That’s how strong his presence is — it fills the entire hall. And that’s something no video can ever capture, not even the official ones. It’s the magic of the moment — and that’s exactly why you have to be there in person.

Music:
The setlist brought no surprises — everything was in its rightful place. My only personal heartbreak remains the absence of Steh auf, but that’s just my own bias. Of course, one could debate endlessly about which songs should stay or return — but this isn’t a request show, and I was perfectly happy with what we got.

Favorite moment:
And now for my favorite moment — without a doubt, Tanzlehrerin. That song is already in my all-time top 10 Till Lindemann tracks, but the way it was brought to life visually this time — even Jean-Michel Jarre would have applauded the light show. The way the lighting, smoke, and colors danced with the music was breathtaking. Honestly, my jaw dropped.

And seeing Till dance — the same man who once said he needed fire on stage because he didn’t like to dance — was both shocking and heartwarming. From my seat, I could see couples gently swaying to the rhythm, and there was something truly intimate and uplifting about it.

Total experience:
Final Thoughts — I traveled to Dortmund from Hungary, because one of my biggest dreams was to see and hear Till Lindemann perform in his own country — and I was not disappointed. The audience, the atmosphere — absolutely unbeatable.

I’ve followed Till to several countries over the years — beyond Hungary, I’ve seen him in the Czech Republic, Serbia, and even in New York City — but this time, there was something special. Something homely, intimate. Even as an Ausländer, I have never felt more at home.

If you’ve read this far, my only advice is: go. See it live, watch every detail — the rising platforms, the lighting shifts, the storytelling that unfolds over those 90 minutes. This show is cohesive, daring, beautifully executed — and Till has truly opened the gates to his world.

And all that’s left for me now… is to wait for those gates to open again — in Budapest.