rammstein tour review 2022

• Cover Story

Live review: Rammstein, Coventry Building Society Arena

Rammstein bring one of the greatest shows on the planet to Coventry…

Most gigs begin in the same sort of manner: the lights go down, the crowd screams, some music will blare or a pre-show video will play, building up to the band’s arrival. However, this is a Rammstein show. It’s going to be different. It’s going to be bigger. In this spirit, they announce themselves by letting off a massive explosion that will have likely made every one of the 30,000 spectators gathered at the oh-so-rock’n’roll-named Coventry Building Society Arena jump out of their skins.

The Neue Deutsch Harte troupe arrive in characteristically flamboyant dress – bassist Oliver Rideland is wearing a Grim Reaper-esque black cloak, keyboardist Christian 'Flake' Lorenz sports a shiny gold suit, and Till Lindemann is clothed in a magnificently heavy looking coat. There’s barely a moment to recover before thy charge through opener Armee der Tristen. It’s arguably a slightly left-field opener, and a pretty ballsy choice considering it was only released two months ago, but its dark stateliness and floor shaking bass suit this atmosphere, and their dystopian, industrial looking set-up, fantastically. As smoke billows into the pale blue sky from the pillars among the crowd, it feels like something more than a concert. Even to say it feels like theatre still doesn’t quite describe it aptly enough.

As the theatrics become more outlandish, the anticipation builds for what they'll do next. The macabre Puppe is an unforgettable highlight, where a metal pram with a creepy looking doll inside is brought onstage, and then set on fire, in a moment that’s somehow both ominous and bonkers. Later, Till performs Mein Teil in the traditional oversized chef’s hat, holding a long knife, eventually taking a giant blowtorch to a metal cauldron with Flake standing inside it. And, of course, it would be criminal not to commend the ridiculous of wheeling out the now traditional penis-cannon for Pussy.

However, it’s never a case of style over substance, and Rammstein know when to let the music speak for itself. Zeit is made all the more majestic by its minimalistic approach to its staging, and it’s a moment where Till’s sonorous bellow is the spectacle in its own right. Meanwhile, all Du Hast needs is a colourful light show to get off the ground – the fervour from the audience means it can take care of itself, but it’s never handled complacently. Instead, its saw-edged riffs and throbbing percussion create a party atmosphere all on their own that can still be felt even as the song ends and the band launch into the equally skyscraping Sonne.

There’s one particularly tender moment in the encore. Engel sounds beautiful played on a piano on an island-like stage in the middle of the crowd, as 30,000 phone lights are held aloft, before the members of the band return on white dinghies, holding up a sign reading ‘WILKOMMEN’ when they arrive. For this to be done just a few songs before they bring the penis cannon out, and for both these moments to feel on-brand for Rammstein, speaks volumes about just how versatile they are, to the point where they could be capable of anything.

In fact, only they could put on a show like this, and that fact alone says everything about how special they are as band. Tonight is legendary stuff – everyone who likes rock music needs to see Rammstein in concert at least once in their lives.

Read this: The 20 greatest Rammstein songs – ranked

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Fan Review: Rammstein – 8/21/22 – Montreal

Rammstein – 8/21/22 – at Parc Jean-Drapeau – Montreal

Fan Review + Photos by Alain Gervais

Surviving the front row of a Rammstein concert is more than embracing the 2 million watts of sound, scorching flamethrowers, and lead singer Till Lindemann’s phallic confetti-foam cannon. Securing a spot against the barricade near centre stage was a physical and mental marathon on its own: I lined up 9 hours before showtime to get through bag check, the Feuerzone waiting area, and finally the floor itself. It was mind over matter as I couldn’t risk drinking too much water lest I risk losing my spot to use the washroom, and my only post-breakfast solid food was a power bar generously given to me by a fellow fan.  

The day’s weather was a double-edged sword – cool enough to avoid heatstroke and dehydration, but the increasing cloud cover culminated in myself, along with the other diehard Rammstein fans, enduring four torrential downpours, leaving us all soaked to the bone.  

We agreed it was all worth it once we entered the stadium through the chain link fence gate, calmly at first before madly sprinting to the front of the colossal stage. Secure in my spot right-of-centre, it was finally time to ease up and hope the excitement and adrenaline of my first Rammstein concert would be enough to suppress thirst, hunger, and sore feet until after the show. The clouds cleared and gave way to the setting sun while the opening act, Duo Abélard, took to the small stage behind me in the centre of the floor.

Once Rammstein emerged and took their places on stage, we were assaulted by a sudden explosion of pyrotechnics and the show was on! Throughout the show, I was consistently pleased with the sound quality. I usually expect a cacophony of sound, but Rammstein must have hired the top live mixing engineers because each element of their sound was present and balanced, and of course loud.  

Musically, I liked that Rammstein built a set list spanning their catalogue – from their newest album, Armee der Tristen, Zick Zack, Zeit, and closer Adieu, all the way back to Du Riechst So Gut, Rammstein, and even Heirate Mich, a B-side off their 1995 debut.  

This tour was originally supposed to support their 2019 untitled album, which was well represented by Puppe, Deutschland, Ausländer, Zeig Dich, and Radio (perfect for me as I wore my Radio t-shirt, proudly emblazoned with the lyrics “Meine Ohren werden Augen”). They saved plenty of time for their concert classics too: Links 2 3 4, Mein Teil, Du Hast, Sonne, and interactive crowd favourite Ich Will. Missing was Feuer Frei and the accompanying heat of their face-mounted flamethrowers.

No Rammstein review would be complete without some adulation for the stage effects and acts. I’ll let the photos speak for themselves regarding the insane pyrotechnic show.  

The most important thing I think I can say that might not have been said elsewhere is this: from my spot at the barricade, I saw barely half the pyrotechnics, explosions, and other effects because the stage was so tall and wide, and many effects were physically positioned behind me on the floor. This is not a complaint! This is to say that even if you can’t, won’t, or don’t end up at the front or even in the Feuerzone at all, Rammstein has ensured that every spectator will be thrilled with a performance to remember for a lifetime.  

In light of this, I would absolutely see Rammstein live again, specifically to see them from a spot other than the front row to get a different—but equally high quality—experience.

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FAN REVIEW: Rob Zombie – Woodlands, TX – 8/21/22

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Rammstein at Soldier Field in Chicago, IL

After multiple covid-induced delays and reschedules, Rammstein has finally returned Stateside for their first-ever North American stadium tour.

It’s been five long years since Rammstein was last in the US, but the wait is finally over, and boy was it worth it! It’s almost impossible to describe this full production tour in any more eloquent words than “wow!” When people tell you this tour is very heavy on the pyrotechnics, it just doesn’t do it justice! Even standing 150ft away from the stage, you could feel the heat of the flames that were erupting from their guitars, backpacks, and various points around and above the stage, to the point where you couldn’t help but check your eyebrows were still intact. They’ve always been known for their elaborate use of pyro, but seeing this show in a stadium setting makes you wonder how they ever fit into a venue that’s any smaller than a football field. 

The two-hour 15-minute show was a spectacle from beginning to end. Without spoiling it for anyone who has tickets to see this show, a good number of props were used throughout, including a canon of sorts that sprayed a foamy substance all over those in the front third of the GA section, a bonus B stage to shift your attention momentarily from which they used rafts to get themselves back to the main stage, and enough confetti blasted over you to make sure you’ll still find some around your house several days later. 

The current tour has just 12 dates scheduled throughout the US, with several days in between each show. The gap is not for the band to recuperate, but rather that’s how long it takes for the stage to be set up in each new location. Since there are so few dates scheduled on this tour and the fact that it’s been five years since they last toured here, people are traveling from far and wide to each of these dates, just to participate in one of the most talked about tours of the summer.  

Their impressive 21-song setlist spanned their 30-year career catalog but also included songs from their latest release,  Zeit . The show attracted people from all walks of life, whether it be die-hard Rammstein lifelong fans, lovers of all metal, and even those who have never seen them before and were curious after hearing so much about the full production extravaganza. There really is something for everyone at this show, it’s a true treat for the eyes, the ears, and the soul.

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Music and Concerts | German metal band Rammstein delivers fiery,…

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Music and concerts, music and concerts | german metal band rammstein delivers fiery, theatrical and loud concert at u.s. bank stadium, yes, there was enough actual fire the crowd could feel the heat.

The easiest way to describe it is that Rammstein is like the Grateful Dead back in the day, or Tool and Phish more recently. They exist in their own world, free from the typical “rules” of rock and roll. Their lyrics are almost entirely in German and the closest thing they have to a hit on these shores is 1997’s “Du hast,” released a few years after the band formed.

Rammstein also likes to play with fire, so much so that fans long ago coined the motto “Other bands play, Rammstein burns!” So much so that lead singer Till Lindemann, who sometimes sings entire songs while engulfed in flames, is a licensed pyrotechnician. So much so that the current tour is using 1,350 tons of custom equipment to create an enormous, industrial castle-like stage — with Art Deco/Fritz Lang’s “Metropolis”-style flourishes — quite unlike anything else ever seen at USBS. (In terms of sheer shock-and-awe spectacle it’s up there with the likes of U2’s 360 Tour in 2011 and Beyonce’s Formation World Tour five years later, both at the former TCF Bank Stadium.)

Saturday night’s show, twice postponed due to the pandemic, opened with band members emerging from beneath the stage amid exploding pyro and belching smoke. The more than two hours that followed wasn’t a performance as much as a total and complete assault on the senses.

Take, for example, “Puppe,” a song about a doll-loving child who kills the guy who murdered the child’s prostitute sister. During the performance, an oversize baby carriage appeared onstage and, during the choruses, it erupted in flames as black confetti showered the screaming crowd. For “Mein Teil,” Lindemann dressed in a blood-splattered butcher’s apron, growled into a microphone with a knife attached and used a flamethrower (and then a flame-shooting cannon) to “roast” a cooking pot with bandmate Christian “Flake” Lorenz inside (and playing keyboards all the while).

Oh, and it was loud, possibly even louder than Metallica’s infamous USBS show on opening weekend in 2016. And the audience could feel the heat from those flames, particularly when they shot out of two satellite towers near the back of the main floor.

If it sounds like a horror show, well, it was, in the best possible way. Both Rammstein and the audience were fully aware none of it was serious, but rather just a ridiculously over-the-top, often theatrical celebration of mayhem. For all the shooting flames, gore and phallic imagery (and there was a lot of phallic imagery), Rammstein delivered it with an arched brow, a wink and a smile. The band has always gone the distance in creating not just a concert, but a world-building experience full of darkly camp turns and knowing nods, right down to their choice of the opening act Duo Abelard, a pair of classically trained French concert pianists who performed instrumental versions of Rammstein songs.

Given the size of the stage, Rammstein couldn’t do it anywhere else but in stadiums. The big question was just how many people would show up. For most of the past two decades, the band has focused primarily on Europe and the rest of the world. Their most recent Twin Cities show was a decade ago at Target Center and drew a crowd of about 6,000.

But by largely ignoring this country, Rammstein has managed to turn their rare domestic visits into destination events that fans travel hundreds, if not thousands, of miles to attend. Minneapolis is one of just nine cities on the band’s North American tour and there were clearly plenty of out-of-towners in the audience.

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StarTribune

Review: two-year wait for rammstein adds to incendiary stadium concert in minneapolis.

The concert acoustics at U.S. Bank Stadium sounded as wobbly as ever Saturday night, but the good news is the newish home of the Minnesota Vikings proved itself to be resistant to fire and thunder.

German metal band Rammstein put the $1 billion Minneapolis stadium to the test with what was literally the biggest and most explosive rock tour of the year. Ironic but not surprising, though, the show drew one of the smallest crowds ever for a concert there.

Fewer than 30,000 fans attended what turned out to be one of the last of the major 2020 concert tours to finally land in town two years late because of COVID. Good thing gunpowder and thrashing metal music have a long shelf life.

Equal parts Andrew Lloyd Weber, Nosferatu, Mad Max and Monster Truck Jam, Rammstein's massive stage production required four days to set up and boasted more than 550 pyrotechnic explosions.

Among the fiery gadgetry used was a giant baby carriage that lit up and a backpack that shot orange plumes in a circle out of the back of singer Till Lindemann. So yes, the 2¼-hour show was as weird as it was loud.

It started out remarkably dull, though, with "Armee der Tristen" and "Zick Zack," each from a new album the band recorded during the pandemic in lieu of touring. Not only were the songs duds, the group held off on the pyro and other stage effects at first. It was almost as if the band members thought fans were there just to hear their music.

In the fourth song, "Sehnsucht," things finally started blowing up. The song's marching beat gave way to blasts of fire reaching up to the stadium's upper deck. That led to more and more demonic stage effects culminating at first in "Puppe" — the one with the flaming carriage as well as a barrage of black, ash-like confetti that poured over the entirely general-admission floor.

From there, other visual stunts included a war of bouncing fireworks between the main stage and two enormous towers on the other end of the stadium during "Du Hast." In the manic-sounding "Mein Teil," keyboardist Christian Lornez performed within a big metal pot that Lindemann proceeded light up with a flamethrower. Talk about a band that really cooks!

Between several costume and stage-prop changes — one such break oddly found four dancers lit up like stick figures bouncing to the Kraftwerk-like electro-jam "Deutschland" — Rammstein's members lit up musically in their thrashiest songs, including "Radio" and "Du riechst so gut." The slower, sludgier material underlined how much Lindemann lacks the broad range of other great metal frontmen, with a deep, dark, dreary Dr. Frankenstein-like tone that ultimately sounded rather monotone.

But music, schmusic. The spectacle side of the concert especially came alive in the two encores, which started with an über-dramatic version of "Engel" accompanied by classical-pianist openers Duo Abélard on the small second stage. (Yes, you read that right; a piano duo opened the show.)

By the time the band got to "Ich Will" and its namesake song "Rammstein" at show's end, enough pyro had been blown off for the stadium to be shrouded in smoke and about 20 degrees warmer than at the start of the concert. You know a metal show was good when the fans go away smelling like they've been to war.

Chris Riemenschneider has been covering the Twin Cities music scene since 2001, long enough for Prince to shout him out during "Play That Funky Music (White Boy)." The St. Paul native authored the book "First Avenue: Minnesota's Mainroom" and previously worked as a music critic at the Austin American-Statesman in Texas.

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Rammstein’s pyromaniac N.J. spectacle was a stadium concert of pure madness | Review

• Updated: Sep. 07, 2022, 12:46 p.m. |
• Published: Sep. 07, 2022, 11:37 a.m.

Rammstein performs Sept. 6, 2022, at MetLife Stadium in East Rutherford, New Jersey. Matt Smith | For NJ Advance Medi

• Bobby Olivier | NJ Advance Media for NJ.com

You think you’ve seen it all, or at least every overblown stunt that might be attempted on a rock n’ roll stage.

Then Rammstein comes to town and sets the sky on fire.

View this post on Instagram A post shared by Bobby Olivier (@bobbyolivier)

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Live Review: Rammstein – Cardiff Principality Stadium – June 30th 2022

Rammstein – Cardiff Principality Stadium – June 30th 2022

Armed with only an iPhone and an unerring talent for being in the wrong place at the right time Mark Bestford went in search of the hottest show in town. It’s raining fire and water, with more ticker tape than an Independence Day Parade. It’s not every day you get to witness more flames than an episode of London’s Burning in the aptly named Feuerzone at Rammstein’s own headlining show.

There are two things that have to be said about Rammstein’s show at Cardiff’s Principality Stadium. It’s not a festival show, and it’s not a festival show. Rammstein is a band that hundreds of thousands of people have watched headlining festivals worldwide, but as good as their festival shows are they pale in comparison to the sheer scale of their own shows. Cardiff’s Principality Stadium is not a small venue by any standard, it holds 74,000 people, but it seems dwarfed by the sheer size of Rammstein’s stage setup. There’s no way the roof is going to be closed in the event of inclement weather as the central tower of Rammstein stage reaches into the sky like a black Eye of Sauron. The giant towers at the back of the stadium seem crammed in as well, unable to be moved any further back due to the seated stands at the back. It almost feels claustrophobic as though the band simply cannot be contained by the constraints of the stadium. The second noticeable difference is the setlist, which is more about the songs that aren’t played, than the ones that are. When this tour was first announced the band had just released their eponymous album, Rammstein. Since then they have released another album, Zeit, and with two albums to promote it’s inevitable that some songs can’t make it into the setlist. They still have crowd favourites Sonne and Links 2-3-4, but gone are Feuer frei!, Ich to dir weh, and most surprisingly the iconic Engel, along with Till Lindemann’s flame throwing angel wings.

It’s very possible the stage is simply too dangerous for any other band to perform on it, so after a warmup of Rammstein songs being performed on piano by Duo Abélard, on a small stage set out in the crowd, the main stage is set for Rammstein to the tune of Music for the Royal Fireworks, by George Frideric Handel. It’s an appropriate choice given Rammstein penchant for flames and acts as the cue for the evening’s events. Armee der Tristen works really well as an opening track and is from the new album Zeit, with the show starting with a bang, quite literally as Christoph Schneider sets of a huge explosion of fireworks on the first hit of his drums. If you’re not aware of how modern stage shows are timed this acts as the mechanism for synchronising the whole show as the first drumbeat kicks off the backing tracks and the timers for the pyrotechnics. If there are problems here the entire show can devolve into a farce. Rammstein though pride themselves on their highly technical and dramatic show and everything starts perfectly. Next up is another new track, Zick Zack. There’s no surprise here as it’s one of a handful of songs picked as singles from the album. Third track up is Links 2-3-4 and the centre of the appropriately named Feuerzone opens up for the mosh pit. It’s not as large as it would be at a festival due to the limited numbers in what has become a regular premium feature at Rammstein’s shows, but it’s every bit as energetic as you would expect and will continue for the rest of the show. Shortly afterwards and the Feuerzone earns it’s name, as the flames reach to escape from the Stadium and a wall of heat blasts over the crowd during Sehnsucht.

It’s often been said that Heavy Metal is a religion, and if so then Zeig Diche is Rammstein’s hymn as the stadium is turned into a cathedral to Metal as the Rammstein logo is turned into a giant cross and more flames explode into the sky. It’s soon followed by Mein Herz brennt, where Till jokingly tries to cover his head with his hand as it starts to rain. Thankfully it’s just a light shower and actually feels refreshing given the heat from all the flames on stage. A giant pram is then wheeled out for Puppe, with Till wearing a video camera projecting everything he sees onto the screen behind him before the pram bursts into flames.

Heirate mich plays out its disturbing tale of necrophilia, with the highpoint an explosion of black confetti that fills the Stadium from front to back and from floor to roof, like a swarm of millions of bats escaping their roost at dusk. There’s a switch from flames to jets of air for Zeit before a brief interlude as a DJ booth rises into the sky and the remix of Deutschland is played before the band returns to play the song in its original format. Next up is Radio, taken from the same album.

Just in case anyone is feeling a bit cold in the early Welsh evening Till wheels out a giant cooking pot for Mein Teil. With Christian Lorenz in the pot Till proceeds to blast it with jet after jet from his flamethrower. Not content with the flames Till then upgrades to a giant flamethrower and launches the flames at the pot from across the stage. The flames are sent back upwards and the Feuerzone is awash with heat for Du Hast as Till launches rockets into the sky triggering a chain reaction that lights the rear flame towers before returning to light up the main stage with an explosion of pyrotechnics. In case that wasn’t enough Sonne ups the flame quota again before the band disappears from the stage.

On the giant screen on the main stage a sign signals for the crowd to raise their phones and turn on their lights. From the middle of the stadium, from a second stage under one of the four large flame towers, the song Engel starts playing. There’s no metal angel wings though, this is a piano version that serves to draw the attention of the crowd as the band reappears on the second stage inviting the crowd to sing along with them. They’re soon on the move though as they board life rafts that surf over the crowd back to the main stage, to be welcomed by a stagehand bearing a sign saying “Willkommen”. Given the current refugee crisis in Ukraine the support for refugees that the band has shown for years seems more poignant, up until the moment the sign is spun round after the last band member has disembarked to show “in der dunkelheit”, welcome to the dark indeed. Back on stage the band goes into Ausl?nder with Till spinning what looks like a bow and arrow around him showering sparks like a human Catherine Wheel before the band goes into Du riechst so gut with the band members themselves lighting themselves on fire with roman candles.

It’s not Rammstein without a foam party and Pussy has become a staple of the band’s repertoire for over a decade. As the song plays Till climbs onto the giant phallus that is his foam cannon and starts to spray the crowd before it moves across the stage ensuring the entire Feuerzone gets covered in foam before the confetti cannons fire up again, this time with white confetti. As penis substitutes go it’s pretty impressive, and thankfully only shooting regular foam. Once finished the band leave once again leaving the crowd damp, covered in foam, and wanting more.

The second encore interval shows that even the band’s film crew are up for some fun as the crowd pick a random person to cheer whenever he appears on the screen. It’s a game of cat and mouse as the video editor tries to catch the crowd out as they boo every other person apart from the one person that they’ll cheer for. It makes for some light-hearted fun before the finale. For those of you wondering what Till could ever replace the angel wings from Engel with, the band are now about to show you. The song Rammstein now takes centre stage as Till walks out with arguably the most impressive pyrotechnic display the band has ever put on, a peacock fan of nine flamethrowers strapped to his back that shoot flames twenty feet in an arc around him as every fireball the stadium has is launched into the air at the same time. As impressive as his flame gauntlets were in previous years when playing this song they simply cannot compete with the new stage show. For those at the front it’s enough to draw sweat as the heat is almost unbearable. For spectacle it cannot be beaten. Where Rammstein was all about the flames Ich Will is all about the lights as the stadium is lit up by the lighting rig onstage and punctuated by explosions of sparks. Rather appropriately the last song of the set is Adieu, which while not in itself a heavy song doesn’t stop the band going out in style as every light is used to light up the crowd and the flames rise up to the sky to set the twin spires on the central tower alight. After saying their goodbyes the band get into the tower lift before being taken up until they disappear behind the screen and as they reach the top of the tower there’s one final explosion to signal that the concert is over.

As concerts go this was without doubt one of the biggest spectacles witnessed. A stage setup that is gargantuan in proportion, with lighting on an equally massive scale. But even the staging and lights pale in comparison to the sheer scale of Till Lindeman’s pyromania, with flames visible high above the stadium for miles around. The band has always innovated and tried to improve their show from year on year, but short of actually firing flames over the crowd it’s going to take something particularly amazing to better their current show. Forget going to see them at a festival, book your ticket for the Feuerzone and brush up on your German, Rammstein are the hottest band on the planet right now.

Words and photos: Mark Bestford

Rammstein in Cardiff review: German shock rockers bring the roof down at Principality Stadium

It was well worth the two-year wait for fans

• 22:45, 30 JUN 2022
• Updated 08:16, 1 JUL 2022

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I feel like I should write the entirety of this review in capital letters. Literally everything about a live Rammstein concert is BIG AND LOUD.

The first thing to say is that taking earplugs is strongly advisable. Luckily gig goers were forewarned. The band's concert on June 26 in Coventry was so loud that it could be heard 11 miles away.

The German band rearranged their European stadium tour due to Covid and you could see how excited they were to be back doing what they do best - putting on outrageously entertaining, high energy shows.

Read more: Stereophonics at the Principality Stadium review: Hit after hit for Welsh rockers as they duet with Tom Jones

The band opened their Cardiff gig on Thursday night by raising a giant Welsh flag to the enjoyment of the crowd. Throughout the stadium, black smoke poured out from the top of speakers billowing out of the stadium and across the city.

Coming from the Neue Deutsch Harte (NDH) sub-genre of rock that developed in Germany and Austria around the turn of millennia, a Rammstein gig is a true experience. Even if you are fairly apathetic to this kind of music, it is something everyone should experience at least once. Much like with the city of Las Vagas, which many people find unpalatable, even if NHD isn’t your cup of tea you will always leave with epic stories to tell.

The costumes (which change throughout the performance) were as varied as they were wild. The bassist Rideland wore a grim reaper style black cloak, keyboard player Lorenz had a gold suit and iconic lead singer Till Lindemann wore a classic NDH coat.

Things then take a turn for the dramatic with eye-catching staging an ongoing theme throughout the performance. Perhaps the most memorable was the giant penis cannon that the lead singer rode which shot foam out into the audience during the band's well-known song “Pussy”. In previous years the penis was not used with the group instead opting for a giant vagina. Other highlights include them setting a giant pram on fire (if you are a fan of pyro in your performances you are in for a treat).

It would also be remiss if we didn’t mention that at one point the band crowd surfed in dinghies. The first songs up came from their latest album Zeit but it wasn;t long before we got into some of the true classics. The soul-stirring Du Hast was accompanied by a light show with the epic Sonne proving one of the most popular with a crowd which was a real mix of ages (though black was definitely the main colour of choice).

Overall the concert is everything we need after being lockdown on and off for two years. Jumping around with sweaty strangers was probably not something many would have pined for before the pandemic. But there is a truly cathartic feeling to just losing your mind while angry Germans give their everything for your own entertainment.

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For 40,000 fans at Rammstein's San Antonio stadium show, the spectacle was worth the wait

The alamodome crowd sang along, chanting german lyrics as fire blasted through the building..

By Garrett T. Capps, San Antonio Current on Sun, Sep 18, 2022 at 9:10 am

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Live Review: Rammstein Return To LA For The First Time In A Decade With Quite An Explosive Show

YOU. GUYS. #Rammstein pic.twitter.com/aBlbotS1IE (adsbygoogle = window.adsbygoogle || []).push({}); — Mab’Dib (@MabIsTink) September 24, 2022

  View this post on Instagram   A post shared by Rammstein (@rammsteinofficial)

Conny Chavez

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Rammstein – US Bank Stadium – Minneapolis MN – August 27th 2022

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AED and US Bank Stadium present Rammstein

Photo by Brian Curski

Review by Tracy Hansen

“Even if you don’t know their music, you have to see the show.”

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Music + Concerts | Rammstein delivers a blazing concert at the…

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Music + concerts, music + concerts | rammstein delivers a blazing concert at the coliseum full of thunder, fire and flame, the german industrial metal band delivers a thrilling night on the first of two shows at the los angeles memorial coliseum this weekend..

As in: Never have I ever seen the singer of a band repeatedly blast a huge cauldron with a literal flamethrower while the keyboard player ducks down inside to avoid incineration.

Yeah. That happened.

Till Lindemann of Rammstein performs at the LA Memorial Coliseum in Los Angeles on Friday, September 23, 2022. (Photo by Drew A. Kelley, Contributing Photographer)

The German metal band Rammstein performs on the first of two nights at the LA Memorial Coliseum in Los Angeles on Friday, September 23, 2022. (Photo by Drew A. Kelley, Contributing Photographer)

Till Lindemann of Rammstein performs on the first of two nights at the LA Memorial Coliseum in Los Angeles on Friday, September 23, 2022. (Photo by Drew A. Kelley, Contributing Photographer)

Rammstein performs on the first of two nights at the LA Memorial Coliseum in Los Angeles on Friday, September 23, 2022. (Photo by Drew A. Kelley, Contributing Photographer)

Paul Landers of Rammstein performs on the first of two nights at the LA Memorial Coliseum in Los Angeles on Friday, September 23, 2022. (Photo by Drew A. Kelley, Contributing Photographer)

Christian Lorenz of Rammstein performs on the first of two nights at the LA Memorial Coliseum in Los Angeles on Friday, September 23, 2022. (Photo by Drew A. Kelley, Contributing Photographer)

The German metal band Rammstein kneels after performing on the first of two nights at the LA Memorial Coliseum in Los Angeles on Friday, September 23, 2022. (Photo by Drew A. Kelley, Contributing Photographer)

Christoph Schneider of Rammstein performs on the first of two nights at the LA Memorial Coliseum in Los Angeles on Friday, September 23, 2022. (Photo by Drew A. Kelley, Contributing Photographer)

Paul Landers of Rammstein performs at the LA Memorial Coliseum in Los Angeles on Friday, September 23, 2022. (Photo by Drew A. Kelley, Contributing Photographer)

And there was the song where Rammstein singer Till Lindemann wore a backpack tank of some very flammable liquid to ignite jets of fire in a towering semi-circle around him. And the one with a horrifying demon doll inside a giant baby buggy that also ended in flames.

This was a stadium show for the ages, and well worth the wait. The first of two shows at the Coliseum this weekend, this was the first time Rammstein has played Southern California in a decade, and maybe the 10th time it’s played here at all since the band started in 1994.

Rammstein’s bombast and pomp felt right at home in the historic Coliseum, with its Moderne architecture and peristyle archways a perfect setting for a band whose music can feel both ancient and timeless, brutal and beautiful from one moment to the next.

We got to our seats a few songs after the show kicked off thanks to the always awful traffic and parking around the Coliseum, and some unexpected ticketing snafus at will call.

Turns out, it’s kind of disorienting to walk into a Rammstein stadium show in progress: 50,000 or more fans fulling engaged, chanting and singing with Lindemann and the band – in German, no less, which is something when you take in the diversity of its Southern California fans.

Song titles such as “Zeig Dich” and “Mein Hertz Brennt” are repeated often in the lyrics, which resulted in the impressive experience of all those fans shouting “Show yourself!” and “My heart burns!” over and over as Rammstein thundered on stage.

Let’s talk about that stage for a moment. It takes the Rammstein crew four days to build it with its 265-person crew augmented by 260 workers hired locally at each stop. The 1,350 tons of stage gear fills 43 shipping containers.

At 200 feet wide, 100 feet deep, and 120 feet high, it features giant towers topped with lights that look like gigantic industrial fans, and a central spire reminiscent of a radio tower capable of signaling far-off galaxies.

It’s a behemoth on which the six Rammsteiners – Lindemann, guitarists Richard Kruspe and Paul Landers down front, bassist Oliver Riedel, drummer Christoph Schneider, and keyboardist Christian “Flake” Lorenz in back – would seem insignificant but for the powerful assault of their sound.

“Puppe,” which means doll or puppet in English, starts with the arrival of a 10-foot-tall, old-fashioned baby buggy at the center of the stage. It starts as one of the loudest ballads I’ve ever heard, and after a section of thunderous riffing brings it to a climax, the Baby Doll From Hell is set ablaze in the buggy and confetti cannons blast a good portion of the 330 pounds of black confetti used in each show.

My notes were filled with worlds like “pummels” and “pulverizing,” but Rammstein is more sophisticated than that would suggest. Lindemann, whose sooty-faced stage makeup made him look like a coal stoker working a steel mill blast furnace, sings in a theatrical baritone that ranges from menacing to seductive, sometimes operatic, sometimes rock ‘n’ roll cabaret.

“Zeit,” the title track from the band’s newest album, was actually a very gentle song – if one played at extremely loud volumes – finishing with a lovely choral section. Other songs, like “Radio” and “Du Hast,” played toward the end of the main set, have a hard groove to them that make them right at home in industrial or goth dance clubs.

“Mein Teil” – literally “My share,” but apparently also slang for a very personal body part – was the theatrical highlight of the night. Inspired by a real-life infamous German case of … well, cannibalism, this is one where Lindemann, wearing a butcher’s apron and carrying a knife, uses a flamethrower, and then a flame cannon, on keyboardist Flake inside the 5-foot-tall cauldron.

Spoiler alert: Flake survives, crawling and stumbling out of the pot to begin the aforementioned “Du Hast,” a song that helped Rammstein break out in the States thanks to its use in “The Matrix.” It is a total jam that ends with a kind of rocket launcher shooting fireworks missiles to the remote speaker towers where they ignite blasts of fire and smoke, and then shoot missiles back to the stage to do the same there.

A note on the pyrotechnics: There are 586 pyro effects in the show. If you were in an airplane flying in or out of LAX and you saw this in the distance, well, it would alarm you. If a smog alert goes out this weekend, this might be why.

“Sonne” wrapped up the main set and all you need to know about this one is my notes read, “SO MUCH FIRE. HOT, HOT FIRE. HEAVY, HEAVY ROCK.”

After a five-minute break during which some in the crowd exposed themselves for the video screen cameras – the winner the dude who had to undo his overalls to lift up his shirt and offer a glimpse of his chest – Rammstein returned the first of two encores.

And surprise! This was a piano version of “Engel,” with the two women of the classical piano group Duo Jatekok accompanying the band as they sang the lyrics from the remote stage before riding inflatable rafts held aloft by fans back to the main stage.

“Auslander” delivered another danceable groove, while a song whose title I probably can’t print here saw Lindemann riding a cannon through the crowd on the floor level while spraying torrents of white foam over their heads.

The second encore opened with the self-titled “Rammstein,” during which Lindemann turned himself into a kind of fire peacock with his flamethrower backpack, and guitarists Kruspe and Landers shot flames from the necks of their instruments.

After that, more flames, more thunder, until with the final song, “Adieu,” this never-have-I-ever of a night came to a thoroughly satisfying close.

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Chicago Concert Reviews

We’ve got the windy city covered., rammstein: “stadium” tour at soldier field.

Posted by Curt Baran

Germany’s leading metal men, Rammstein, brought the inaugural “Stadium” Tour through North America to Soldier Field, filling up the home of the Chicago Bears with a flame-throwing spectacle unlike any it’s ever seen. The incendiary performance was as musical as it was theatrical with head-bangers dating back to the 1990s through 2022’s pandemic-crafted collection “Zeit,” all of which landed these global superstars in their entirely own lane.

For additional information on Rammstein, visit Rammstein.de/en/ .

For a list of upcoming concerts at Soldier Field, visit SoldierField.com .

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North America Stadium Tour 2022

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Rammstein Reschedule First North American Stadium Tour for 2022

By Jon Blistein

Jon Blistein

German metal heroes Rammstein have rescheduled their first North American stadium tour for 2022. The band originally scheduled the run for summer 2020, but were forced to postpone it because of the coronavirus pandemic.

The 12-date trek is now set to launch August 21st, 2022 at the Parc Jean-Drapeau in Montreal and wrap with a newly added third show at Foro Sol in Mexico City on October 4th. Rammstein will hit all the cities they planned to visit on the 2020 run, although they’ve also added a second show at the Memorial Coliseum in Los Angeles on September 24th.

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Tickets for the two new shows in Los Angeles and Mexico City will go on sale to the public on May 28th at 10 a.m. local time via Rammstein’s website . Tickets purchased for the original run of shows will be honored at the rescheduled dates.

Rammstein’s most recent album was their untitled seventh LP , which was released in May 2019 and landed at Number Eight on Rolling Stone ’s Best Metal Albums of 2019 list.

Rammstein 2022 Tour Dates

August 21 – Montreal, QC @ Parc Jean-Drapeau August 27 – Minneapolis, MN @ U.S. Bank Stadium August 31 – Philadelphia, PA @ Lincoln Financial Field September 3 – Chicago, IL @ Soldier Field September 6 – East Rutherford, NJ @ MetLife Stadium September 9 – Foxborough, MA @ Gillette Stadium September 17 – San Antonio, TX @ Alamodome September 23 – Los Angeles, CA @ Los Angeles Memorial Coliseum September 24 – Los Angeles, CA @ Los Angeles Memorial Coliseum (new show) October 1 – Mexico City, MX @ Foro Sol October 2 – Mexico City, MX @ Foro Sol October 4 – Mexico City, MX @ Foro Sol (new show)

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Concert Review: RAMMSTEIN at Hollywood Casino Amphitheatre Chicago

Hollywood casino amphitheatre | chicago, il | 27 june 2017.

“To be honest, Rammstein was always one of those bands…the first thing that comes to mind was always the show and fire, and fire and show, and no one really talks about the music…” – Richard Kruspe [ 1 ]

Check out our exclusive photos from Rammstein ’s performance in Chicago here !

• Reise, Reise
• Feuer frei!
• Ich tu dir weh
• Du riechst so gut
• Mein Herz brennt
• Links 2-3-4
• Stripped – (Depeche Mode cover)

Rammstein – Sonne (Live at Rock im Park 2017)

Thomas Woroniak

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