Words and Photos: Louie Galvez
https://www.instagram.com/mata.ni.louie/
October 1st, a Tuesday, and I was off from work. I was eager to capture the iconic German artist from Rammstein, Till Lindemann, as I’d heard he was notoriously difficult to photograph.
The tour featured two opening acts: Aesthetic Perfection and Twin Temple. Before the show, I watched Rammstein videos on YouTube to get a sense of their stage presence and pyrotechnics. I was blown away by their wild and insane performances. When my editor suggested I bring my telephoto lens, I assumed we wouldn’t be shooting from the pit.
Aesthetic Perfection reminded me of Marilyn Manson. I was curious to see Twin Temple, as I hadn’t heard their music before.
I arrived at the venue 30 minutes early and went to the box office to pick up my credentials. I learned that we could shoot the entire set of Aesthetic Perfection in the pit, which was exciting as it was my first time doing so. For Twin Temple, we were allowed to shoot the first three songs, after which cameras were prohibited. As for Till Lindemann, we were only permitted to shoot three songs from the soundboard and then put our cameras away. They offered to store our bags backstage if we wanted to stay for the entire set.
Aesthetic Perfection‘s live performance was as impressive as their recordings, which is no small feat. Led by Daniel Graves on vocals, Aesthetic Perfection showcased a unique blend of traditional goth elements with contemporary flair. Graves’s captivating stage presence and dance moves, along with the exceptional performances of his bandmates, made Aesthetic Perfection a standout act. NIOZITH’s impressive keyboard and guitar skills, and BROKE C’s incredible drumming, further elevated their performance.
Twin Temple took the stage next, igniting the audience with their distinct “Satanic Doo-wop” style. Alexandra James’s captivating vocals and Zachary James’s vintage rock and roll guitar riffs created a nostalgic atmosphere. The addition of two drummers and a horn section added a unique twist to their sound. The crowd erupted in laughter, enjoying the novelty of their music and their vibrant Mexican-influenced costumes.
As the set continued, the atmosphere became increasingly electric. Lindemann, with his commanding presence, seemed to thrive on the audience’s reactions. He led the band through a cacophony of sound, each note reverberating through the intimate space.
Between songs, Lindemann would engage the crowd with his charismatic banter, punctuated by bursts of laughter and gasps as he recounted absurd anecdotes. At the conclusion of each song, he would toss his microphone.
The band seamlessly transitioned from one song to the next, with each performance more intense than the last. The visuals on the screen complemented the music’s erratic energy. Lindemann’s drummer pulled something from his private part three times, which shocked and amused the crowd.
As the music played on, Lindemann continued to play with fervor, his antics adding an unexpected layer of chaos to the already electric atmosphere. Some fans cheered, while others were left bewildered. It was a moment that would definitely be talked about long after the concert ended.
As the night wore on, the antics escalated. At one point, Lindemann emerged wearing a grotesque costume, prompting both cheers and laughter from the crowd. The surrealism of the night reached its peak during an explosive rendition of “Mein Teil”, where confetti cannons unleashed a storm of bright colors, enveloping the audience in a euphoric haze.
When the final notes rang out, the crowd erupted into a frenzy of applause and cheers. Lindemann and his band took a moment to absorb the moment, basking in the adulation of their fans. It was clear that this was not just a concert; it was an immersive experience that blurred the lines between music, art, and performance. As the lights dimmed and the band exited the stage, I knew this performance would linger in my memory long after the echoes of their music faded away.
https://www.lindemannworld.com/en/live/dates