Powerful and Theatrical

Entrance:
Knowing my way around Munich Olympic Park and their parking lots, I started rather late from home. The doors opened at 18.30, and when I arrived there about 25 minutes before opening time, there was a queue of about 150 people in front of me only, which was pleasantly surprising! The queue quickly became longer, but the staff handled everything with quick precision; from scanning the tickets to body- and bag checking, everything went smoothly. Still, great confusion was caused by missing indicators where to go for general standing admission or Golden Circle admission. The poor staff people probably had to yell “For general admission, use the next entrance!” a hundred times in 10 minutes. With my stupid luck though, I was at the correct entrance for the Golden Circle right away and quickly got inside.

Place/seat and view:
Cool, I’m in, what now? The first two rows were already full, and I had absolutely no idea whether to go for the left, middle, or right side of the stage. The left side looked a bit less crowded, so that was it. The people in front of me were about 90% my height or smaller than me, so the view was perfect. When Till Lindemann and the band started, it turned out I was standing with straight view to Danny Lohner!

Opener:
Aesthetic Perfection really fit their name! Their multi-instrumentalists Lore Jarocinski and Noizith were beautiful to watch – not only because of their looks. They were playing fiercely and always made sure to keep eye contact with their audience. Their music was a great way to get into the mood for the upcoming concert. It was heavy, loud, and fun to watch.

When Till and his band started the concert off with Fat, Till’s microphone was too quiet, and also the music should definitely have been louder. Over the course of the first few songs, the music got louder, and so did Till’s microphone, thank god. The band was wearing Till masks for the first song, which was a nice detail.

Band:
Joe Letz was fantastic. The power and sheer insanity he released behind the drumkit was mesmerising. Tossing his sticks to the side all the time was funny to watch.

Kristin Kaminski did an amazing job during the bass solo in Platz Eins, yet still looked absolutely unphased and cool when playing, like delivering a solo like that is no big deal.

Till seemed to be in a quite playful mood that evening, up until Fish On. No real fish were allowed – he settled for plushies and gummy fish instead. The silent resignation to not be able to perform the real act (for the second time that evening, because the cakes in Allesfresser were replaced by sparkling wine) was clearly visible in his face.

Music:
When reading through the setlist for the first time, I was a bit disappointed – especially because Frau & Mann and Entre dos tierras weren’t featured. In hindsight, that disappointment was absolutely unnecessary, because the setlist actually works really good. One powerful song follows another, with little breathers in-between like Tanzlehrerin or Blut. Praise Abort sounded a lot different live in comparison to the studio version, almost like a church choir when the audience comes to the line “and I hate you!“. Different, but not bad though! Ending the concert with one of his best songs, Ich hasse Kinder, is simply perfect.

Favorite moment:
The rain during Blut. The music, the red light, the water… it felt like being in a movie scene. The atmosphere was absolutely magical. The water cooling everything down a bit was a nice side effect as well. And as if I wasn’t already wet enough from all that, Till threw a water bottle into my direction. It still was half full and everything spilled over my jeans. (Nice, Till!) Anyways, I ended up with one of his sqashed water bottles in my hands, so I’ll gladly let that slide. (You can’t imagine how happy I was and still am.)

Total experience:
9 1/2 out of 10. I didn’t have any expectations as it was my first Till Lindemann concert ever, and was met with a great, diverting experience. The whole evening was coherent and entertaining, from the support act to Till himself, the band, the show elements, the pictures on screen. (It’s a bit sad that we didn’t get cake and real fish, but that’s nobody’s fault but the Munich Olympic Hall’s and their rules.)

Overall, I can recommend every Till fan to attend a concert if possible – you won’t be disappointed. I’m so glad I also got tickets for Nuremberg – I can’t wait!

Sebastian

On November 25, 2025, I attended my third Till Lindemann concert in Munich together with my brother. It was also the first time one of his shows took place at the Olympiahalle — his previous Munich performances in 2020 and 2023 were held in the much smaller Zenith. We bought our tickets last-minute via eBay Kleinanzeigen, since the regular standing area had already sold out.

Right at the entrance to the inner area, we witnessed an unfortunate scene: a young female fan suddenly burst into tears because her phone had fallen to the ground moments earlier. The display was completely shattered, making it impossible to scan the QR code for her ticket. She also didn’t remember her login details to sign in on one of our phones or any other device. A bitter moment at the very beginning — and an example of how dependent attending a concert has become on functioning technology and access credentials.

Entry & Opening Act
The entry process itself went surprisingly smoothly — at least by Munich standards. We got through the checks quickly and reached the inner area without long waiting times or organizational issues.

When we first entered the hall, it still looked relatively empty. After grabbing a beer and heading further down, Aesthetic Perfection had just started their set. Compared to previous Munich shows, their performance was notably strong: powerful, energetic, and with excellent stage presence. As they played, both the inner area and the stands visibly filled up. After a short changeover — with the “KILL TILL” curtain already hanging — the tension in the hall rose significantly.

Start of the Show
The intro track “Meine Welt” played as walk-on music — still not performed live, unfortunately, despite its huge potential as a full set song. When the curtain finally dropped, Till opened the concert with Fat, accompanied by two nuns who undressed over the course of the track — provocative, theatrical, and unmistakably Lindemann.

Right after that came one of the highlights of the entire night: Und die Engel singen. The bass filled the entire arena, the drums were razor-sharp, and during the quieter part several dancers rose onto the stage — atmospheric, overwhelming, and visually outstanding.

Middle Section – Songs & Impressions
The middle section offered a powerful mix of newer and older material. Tanzlehrerin came across energetic, accompanied by impressive lighting and fitting choreography.

Blut was especially atmospheric, with water falling into the crowd — a well-developed evolution of the song and one of the most intense moments of the night. Immediately afterwards came Allesfresser, traditionally known for the humorous “cake throw”. In Munich, however, the cake was skipped entirely and replaced by champagne bottles being sprayed into the audience — an unexpected and partly amusing twist that briefly boosted the mood.

Prostitution was musically forceful, though the vocals were at times difficult to understand. Praise Abort followed — one of the songs the crowd was visibly waiting for, and the atmosphere exploded accordingly.

A particularly intense moment occurred during Platz eins, when Till passed extremely close to us with his sphere. A brief, almost intimate moment — yet also a reminder of how heavily regulated this kind of crowd proximity has become in Germany. In other countries on this tour, he walked directly through the audience.

Fish On remained one of my personal favorites. Here too, the usual throwing of real fish was omitted — replaced instead with plush fish, raising the question whether this was due to restrictions by the Munich venue or a general change in the show concept.

The following combination of Knebel and Über’s Meer was among the strongest parts of the concert — musically seamless and moving the entire arena. During Ich hasse Kinder, Till seemed especially playful. Home Sweet Home then offered a quieter, emotional contrast.

Audience & Personal Moments
During Sport Frei, I lost my shoe in the mosh pit — only to have it surprisingly returned later by a young audience member. A humorous and friendly moment. However, the Munich crowd overall was unusually reserved. Despite an energetic setlist, there was little dancing and only limited engagement throughout much of the show. Compared to other cities, the audience even felt borderline uninterested at times — a shame, considering how many moments would have deserved a more enthusiastic response.

Sound & Critique
In addition to the rather passive crowd, there were some acoustic issues:
· Aesthetic Perfection were unusually quiet, which took some intensity out of their otherwise strong performance.
· During Till’s set, especially in Und die Engel singen and Prostitution, the vocals were sometimes hard to understand, getting lost in the mix.
These issues affected the overall impression slightly, but by no means ruined the show.

Conclusion
The concert at the Olympiahalle was powerful, theatrical, atmospherically dense, and overall the strongest of the three Lindemann shows I’ve seen in Munich. The mix of new, reworked, and older songs worked exceptionally well. Although the crowd was surprisingly restrained and the sound wasn’t flawless, the evening delivered an intense and impressive live experience — a worthy chapter of the Meine Welt Tour.