Lyrre

Harp Twins

Harp Twins & Volfgang Twins

The post Harp Twins & Volfgang Twins – 25.02.2024 – Live Music Hall Weiher Mörlenbach appeared first on Catching Movement.

Statefall

Samurai Pizza Cats

The Butcher Sisters

Fans und Moshpit-Minister*in

The post The Butcher Sisters – 12.01.2024 – Das Bett Frankfurt appeared first on Catching Movement.

First there was some spherical music accompanied by the sounds of seabirds before the four of them came on stage and started playing the song Wermaschine. At the beginning you could tell that the band was still a bit rusty from the long journey and unfortunately the bass was not audible. There was probably a small technical problem with the transportation down from the airship. But song after song the rust could be shed and it was a really good opening of the evening. For the song Im Ewigen Eis, the lady from the merch stand, Clara Wirz, came on stage to sing along. Clara should be familiar to every German steampunk fan, as she is very active and does a lot for the scene. During the song, Captain Tobias also waved the ship’s flag so that everyone could really see who was standing in front of them. There was also a cover to be heard. A song that makes every Jim Knopf fan’s heart beat faster, Eine Insel mit zwei Bergen, but in a really cool version. Every now and then an engineer came on stage to check on the bass. Before the song Pech und Schwefel, the solution to the problem finally seemed to have been found, because suddenly he could be heard. Sailor Jessica let out a scream and her enthusiasm for playing increased even more. After three more songs, Clara returned to the stage at around 20:40 to take a photo with the visitors to the auditorium.

Setlist Aeronautica:

1. Wermaschine
2. Wir fliegen wieder
3. Das Ende der Zeit
4. Im Ewigen Eis
5. Eine Insel mit zwei Bergen
6. Pech und Schwefel
7. Spieglein, Spieglein
8. Schwarz

[See image gallery at catchingmovement.de] Now the stage was prepared for the gentlemen of the band Coppelius, so that they could begin their spectacle at 9 p.m. in front of a now larger audience. First Linus from Doppelschlag entered the stage, took a bow and went behind his drums. Next, Sissy Voss made his way up the small staircase and sat down next to his double bass, followed by Graf Lindorf, the band’s cellist. Max Coppella and Comte Caspar then entered the scene together with their clarinets. While the four of them were already making music, Bastille the servant came into the limelight, which was not typical. What followed was two hours of fun, good music and lots of nonsense, but all spiced up with respect, politeness and the feeling that the gentlemen really did come from the 18th century and founded their band in 1803. And I would like to give you a summary of this evening, even if it can’t begin to do justice to the whole thing. You simply have to experience such an evening. It starts with the second song, Rightful King, where Comte Caspar showed that, despite his title, he was not afraid of the people. He gamely made his way down and into the middle of the crowd. He ran to the bar, climbed onto it and just kept on playing. Between songs, Bastille explained that the band had already released many albums, but that some of them no longer existed because Linus from Doppelschlag always needed something to smash in the rehearsal room, and these had to be used.
But they wanted to try to perform one song from each album. On Tumult they could agree on three favorite songs, but then they couldn’t decide which one to play. So what’s the best solution to the same problem? You simply let someone else decide what should be played. A lady called Sandra was then brought on stage from the auditorium. Bastille had prepared a hat with three pieces of paper. In theory, because he had to clear it out first. He pulled out all sorts of stuff and carelessly threw it onto the stage. And he kept shaking Sandra’s hand. After a bit of toing and froing, Spring Doch was drawn. Before the show started, he asked Sandra to help him tidy up quickly before continuing with a wonderfully ironic and funny song. Later, he started to talk about the first opera and how great the time was, only to be interrupted and have something whispered in his ear. What had happened? He had skipped a song. So he asked us to just forget what he had just said and he would repeat it straight away. No sooner said than done, Moor was announced, played and then he acted as if nothing had happened and simply told us again about the first opera, how great it was etc. He then dedicated the song to us. He then dedicated the song to the late Rüdiger Frank, who helped with the opera and they played Kein Land so schön in his name.

[See image gallery at catchingmovement.de] The following song Aus den Betten was a slow, calm and quiet song. Linus came out from behind his drums and brought Bastille a small instrument. He struck it and a small, soft “bing” sounded. He returned to his percussion and Sissy Voss congratulated him on his successful work with a respectful handshake. But there were not only positive things to report from the past. Mr. Voss was accused “on this internet” of playing an electric bass. However, he vigorously denied this, saying that he only plays an electrified electric harp with 199 strings. That’s all right then. But there was still bad news. Bastille had to blackmail us. Graf Lindorf had decided to leave the band and he would probably only stay if we, the visitors to the auditorium, paid up to 750,000 euros to the band’s coffers by March 19. We would have the opportunity to do this right now at Julia’s souvenir stand or via this PayPal or whatever way. He wasn’t quite sure whether that would be enough. He went straight to the count and asked him if what he was saying was actually true. Graf Lindorf had to think for a moment, but then answered in the affirmative quite quickly and energetically. After a few songs, a drum solo and Chop Suey by the band System of a Down, Dame Julia was then invited on stage. Bastille apologized in advance that this was going to be sexist, but he really needed to know what Julia was wearing under her top. She complied and conjured up another, different shirt. The game went on twice more until she was no longer wearing a Coppelius T-shirt, but one from Aeronautica. Then I was allowed to take the final concert photo with the band and the people who were present in the auditorium.

Bastille also took the opportunity to do some advertising for their (please read with French pronunciation) Patreon. This would help them to continue producing “awesome shit”. After the evening had already gone on for a while, he started a spontaneous vote to find out whether the band should continue playing or not. Of course there were shouts of “yes” straight away, but he stopped it immediately. He said that this vote should be conducted in a civilized manner, by acclamation, with a simple show of hands. No sooner said than done, everyone raised their hands for “Yes, go ahead”. Of course, there also had to be a cross-check, which resulted in zero votes. Just like the test to see if any of those present would abstain. As expected, no hand was seen here either. So the show went on. During Contenance, Max Coppella, Comte Caspar, Bastille and Graf Lindorf sang together calmly without their instruments and showed so much composure after the song that they returned to their seats in slow motion. The Comte swapped his clarinet for a metal violin for Bloodline and played it. However, this obviously exhausted him so much that he had to rest and Sissy Voss was able to show his best during a double bass solo. Two more songs followed before the band left the stage after Schöne Augen. Shouts of “Dacapo” then invited the five of them back on stage, where they performed two more songs before they finally came to a close with Dark Ice after another Dacapo request. Bastille then thanked the lighting engineer, who had done a “dazzling” job again this time, and the sound engineer for their good work. And also to the audience for turning up in large numbers. And with that, the evening that no one should have missed came to an end.

Setlist Coppelius:

1. Rainmaker
2. Rightful King
3. Mein Grab
4. Handschuh
5. Urinstinkit
6. Aus dem Hut (Spring Doch)
7. Diener
8. Reichtum
9. Moor
10. Kein Land so schön
11. Aus den Betten
12. Si Dolce
13. Luftschiff
14. Musenkuss
15. Eeee
16. Nur Für Dich
17. Drumsolo
18. Chop Suey
19. Kryptoxenoarchäologie
20. Contenance
21. Bloodline
22. Basssolo
23. Risiko
24. Schöne Augen
25. Gumbagubanga
26. Bitten Danken
27. Dark Ice

The post Coppelius Jubiläumskonzertreise 1803-2023 – 02.03.2023 – Das Bett Frankfurt appeared first on Catching Movement.

But first the three guys from Friedberg, with the name Elfmorgen, came on stage shortly before 8am. Actually, Bon Jovi‘s Living on a Prayer was first played as an intro. Completely. It shows that with Elfmorgen everything is somehow different than usual. Then they came on stage and started with the song Tanz, to mark the beginning of a fantastic evening. Not in any way careful and slow, no, but they set the direction straight away. Punk, against Nazis, for a better world, but also for more positive irony, as can be heard clearly and distinctly in Oberlippenbart, even if, according to their own statement, they are always misunderstood concerning the meaning of the song. Well, not everyone understands irony. Elfmorgen does tho. Actually, there is another band that would have fitted very well into the evening, namely the 8Kids. They were also involved indirectly, since Elfmorgen and the boys did the song Halt die Welt an. Before they played it, they asked who all knew the 8Kids, which only led to a few cheers, including mine. Maybe after the evening there will be a few more people who will pay attention to this band. They played for 40 minutes and ended the set with Kapitän and the included wish to be the captain of the MS Lick my ass at some point. Attached is the setlist, which, according to the band, was for once played in the right order.

Setlist Elfmorgen:

1. Tanz
2. Bei aller Liebe
3. Kind
4. Junger Mann
5. Scheisse Schön
6. Halt die Welt an
7. Oberlippenbart
8. Nur für dich
9. Nazis bleiben Nazis
10. Brauner Bär
11. Kapitän

[See image gallery at catchingmovement.de] 9:05 PM. The banner with the celebrating skull hangs, the lights go out, spotlights like at a prison in hollywood films shine from behind and move back and forth. Short messages are played, which speak of the racist attack in Hanau, the Russian attack on Ukraine, the evacuation of Lützerath and an excerpt of Greta Thunberg’s speech before the UN climate summit. Then the banner falls, confetti flies through the air and appropriately Darwin starts, which is also the first song on the Hass/Libe disk. And so the final demolition was startet. The four of them went to work with a lot of humor, wit and joy in what they were doing. Before playing Küsst die Faschisten, Joshi mentioned that before the tour they let the fans vote on which songs should be on the set list. They expected around 20 votes, but in the end it was over 700. And one of the most desired songs was that one…which is so old that they had to download the tabs from the internet first…at least that’s what Joshi said He also sings with and without a guitar. Every time he hands it over, it’s not like he just gives it to Hannes, he just throws it at him. Which then leads him to bet that he’ll be able to throw the guitar from the merch stand to the other side of the stage. And what do you do with bets? You see if it fits or not. No sooner said than done, he climbs off the stage onto the merch stand and throws. In the meantime, Hannes did go onto the stage a little more and then caught the guitar to thunderous cheers. Bet successfully converted.

[See image gallery at catchingmovement.de] Das Bett is also the smallest club of the whole tour, but the feeling comes up that it could still be the best show of the tour. Definitely as cool as usual in Frankfurt. Joshi also briefly praises the “Hools” from Eintracht Frankfurt, even if he doesn’t actually like football, but he thinks it’s good that they’re beating up Nazis. Although I personally don’t think much of violence, it’s a situation where you can make an exception. Before Punkverrat, Joshi has to make an announcement, which he began with “That’s absolutely unpunk”. Apparently a few cars had parked so stupidly, that the ambulance couldn’t get through. In between, the audience was also allowed to sing, because it was Merchlady Anja’s birthday and so she was serenaded. There is also a short impro song when Arne breaks a string and has to change it first. To bridge the time, Joshi gets an acoustic guitar from Hannes and they play The Passenger, which they then play through, where Arne then joins in after his guitar has a new string.

The whole time, actually, half the hall became a moshpit, and after so many people bought tickets and Das Bett couldn’t dig a ditch, which Joshi announced with great joy, stage diving and crowd surfing were the order of the day. There were only two rules, the most important being that no teeth should be cut out of the musicians with the microphones. So much can be revealed, everyone who came on stage to jump succeeded to apply to that rule. And there were quite some fans doing so. What else is there to say, after 1 1/2 hours it was over, but the fans still didn’t have enough. So it went on again for three songs. For Jede Sekunde, Joshi walked into the middle of the room with an acoustic guitar and a microphone stand. The fans sat down, Joshi played and sang almost all by himself, the other band members only accompanied him quietly, creating a real campfire atmosphere. After Keine Angst came the song that summarized the statement of the evening, Antifascista. Of course, introduced by the siren from a megaphone, this also meant the peaceful storming of the stage by the fans and a huge pogo from the rest of those who stayed below. At 10:50 p.m. it was finally over and the rubble of the evening could be collected. If you also want to experience this, there are two more concerts, in Berlin and Hamburg. 

Setlist ZSK:

1. Darwin
2. Hallo Hoffnung
3. Küsst die Faschisten
4. Wenn so viele schweigen
5. Hass Liebe
6. Es wird Zeit
7. Hamburg
8. Punkverrat
9. Kein Mensch ist Illegal
10. Ende der Welt
11. Kids sind Okay
12. Es müsste immer Musik da sein
13. Und ich höre dich Atmen
14. Riot Radio
15. Make Racists Afraid Again
16. Unzerstörbar
17. Herz für die Sache
18. Die besten Lieder
19. Mach’s gut
20. Neuanfang
21. Alle meine Freunde
22. Raum der Zeit (Cover von WIZO)
23. Himmel
24. Jede Sekunde
25. Keine Angst
26. Antifascista

The post ZSK – 16.02.2023 – Das Bett Frankfurt appeared first on Catching Movement.

And for this concert, the glam rock band Kissin’ Dynamite was the headliner. But they didn’t come alone, they had three other bands with them in their suitcase. We’re talking about League of Distortion, Formosa and Dynazty.

One or the other reader of this page should already know Dynazty, because I saw them at a concert in Weinheim last April.

Shortly before seven the evening started with League of Distortion. This is still a relatively new band. Founded in 2020 by Anna Brunner, who may sound familiar to some because of the symphonic metal band Exit Eden, and Jim Müller, guitarist for today’s headliner. It was immediately noticeable that he wasn’t on the stage, but was represented by Olli Sattler. The reason for this is not because he was ill, but because he wanted to concentrate fully on his performance with Kissin’ Dynamite.

There was also a replacement on bass. But enough of the trappings, the concert itself is more important. As a first band, you traditionally don’t have that much time, which is why Anna held back with the many speeches and the band showed what they were made of and that it is definitely worth following their path. It was was good Modern Metal, where Anna was able to shine with her clear vocals, while the somewhat heavier passages unfortunately came across as a bit weak. But the 25 minute show was definitely fun, both for the band and the fans.

[See image gallery at catchingmovement.de] After a fairly short conversion phase, Formosa surprised everyone by coming onto the stage with the hall lights still fully on and just getting started. For us photographers, this led to an almost panic-stricken bustle to get into the ditch and miss as little as possible. What followed was 30 minutes of hard, honest hard rock, with a lot of movement on stage, a singer who was ashamed of nothing and always attracted attention with his clear dance interludes. The band itself says about their performances: “‘Hard and Heavy’, fast, very slow, sexy, with kisses on the neck, oaths of love and all the trimmings.” I can second that, it’s a pretty good description of what was offered on stage. Of course, the most famous song Fuck up your Liver couldn’t be missing, and with Manic Lover, Nik even wore a kind of feather coat, which gave the whole thing a special touch.

Setlist Formosa:

1. Living on a Blade
2. Dynamite
3. Masquerade
4. Fuck up your Liver
5. Katlilla
6. Rolling High
7. Light it up
8. Manic Lover
9. Bad Boys

[See image gallery at catchingmovement.de] Much time wasn’t wasted between Formosa and Dynazty either, so viewers were hardly given a breather. At 20:15 the lights went out again and the Dynazty intro played.

It started with two songs from the 2018 album Firesign. A slightly heavier, less melodic song, followed by one with synths. Just to show how varied the band can be. Of course, something new was also played, with three songs from the current album. Including the ballad Yours, which gave some viewers goosebumps. Then there was something that I now see less and less at concerts, a classic drum solo by Georg. He was able to really show what he could do for a few minutes. It was very impressive and delighted the fans present. After Presence of Mind came the band’s most famous song by far, Heartless Madness (25 million streams on Spotify, Presence of Mind as the 2nd most streamed song has just under 9 million). At first only the first two notes of the song played and then nothing came, but that was enough for some, including me, to recognize it immediately. And it was celebrated. As in Weinheim, the audience was involved. First everyone was allowed to sing a classic “Oooooooooo Heartless Madness” before the hall was divided into left and right to see which side is louder. As is so often the case, it ended in a draw before everyone was allowed to take part again. Before they played the last song, The Human Paradox, they briefly left the stage while the song’s intro music was playing. It was actually clear that there was another song to come, and yet many viewers shouted “encore, encore”, which shows how well Dynazty was able to convince. The 50 minutes of playing time flew by and the band thanked the fans for their support with several bows.

Setlist Dynazty:

1. In the Arms of a Devil
2. Firesign
3. Natural Born Killer
4. Waterfall
5. Yours
6. Power of Will
7. Drum Solo
8. Presence of Mind
9. Heartless Madness
10. The Human Paradox

[See image gallery at catchingmovement.de] What followed was a major removal of tarps, blankets and the like to reveal the setup for Kissin’ Dynamite, complete with podium, stairs and a raised drum kit. Otherwise not much had to be dismantled or rebuilt, only the drums used by all three bands. Nevertheless, it took a while until the music stopped at 9:30 p.m., the hall lights went out, we photographers were let into the ditch and a murmur went through the hall. It was done. The intro music was playing, you couldn’t see anything on the stage and when the lights came on they were all already there, on top of the built-up platform and the show started with No one dies a Virgin. The songs then continued on the same theme, with a lot of show, fun interludes by the band and interaction with the audience.

Be it because Hannes held his microphone stand with the microphone in front of the audience, or because the audience was asked to clap. There were also the choreographed movements of the band members known from classic 80’s glam rock/metal, as well as a lot of nonsense from them. But there was also an emotional moment. The fans, who know the band better, knew what was coming when the piano was pushed onto the stage, but Hannes still talked more about it because he thinks the topic is important. It’s about the fact that he wasn’t doing well mentally in 2019, despite the band’s success and he asked himself the question of quitting. But he got a lot of support from his band and once again emphasized that they aren’t just his best friends, they’re like brothers to him.

During this time, Scars was born, which wasn’t originally intended to be a Kissin’ Dynamite song, but the rest of the musicians immediately said that this song belongs on the record. What followed was a wonderful setting of those emotions. But that wasn’t the only extra moment worth noting. The obvious thing for Ecstasy was that they were touring with the League of Distortion. Anna came on stage to perform her duet from the Ecstasy album with Hannes live. And it was a worthwhile experience. Sure, there were a lot of songs that were known, since some of them are played a lot by Radio Bob, a local rock radio station, but with Six Feet Under the fans were particularly sure of the lyrics. This is the band’s most successful song in terms of Spotify streams. At the end there was an encore of two songs, with the concert ending around 11 p.m. After the obligatory crowd photo, picks, sticks and set lists were handed out to the audience and a fitting farewell was given. In the end it was a worthwhile evening that offered a total of 4 hours of energy, show, fun and good music.

Setlist Kissin’ Dynamite:

1. Intro + No one dies a Virgin
2. I’ve got the Fire
3. Sex is war
4. Love me Hate me
5. Only the dead
6. Livin in the Fastlane
7. What goes up
8. Scars
9. Intro + Yoko Ono
10. Ecstasy
11. I will be King
12. DNA
13. Six Feet Under
14. You’re not Alone
15. Not the End
16. Coming Home
17. Colours

The post Kissin’ Dynamite – 06.01.2023 – Schlachthof Wiesbaden appeared first on Catching Movement.

Maybe even Finnish is the next world metal language, as some Finnish bands are invading in the Frankfurt area with concerts in December; the world still has some catching up to do.

Nightwish, one of the biggest female-fronted symphonic metal bands, were guests in the Frankfurt Festhalle. But before they appeared, you could use your above-mentioned knowledge of Finnish with the first support act Turmion Kätilöt and, if you followed their almost 20-year band history well, you could also sing along. “The Midwives of Destruction” (I admit it, I’ve researched it… Editor’s note) like to appear in groups of six with martially made-up faces, let their hair fly, or their long braids, and offered to the audience which was alread there, a good start. Set in the corner of the rather rare Industrial-Metal with, in fact, Techno elements, this should be the first of the three styles of the evening.

In the meantime, things are happening under their logo of the skeleton sitting in a circle. “Sikiö” is the name of the “heraldic animal”, the archaeo-forensic scientists would be delighted with it, just look at the horns of this creature, which has yet to be determined…

The Festhalle, which was about half full at the time, including the tiers, begins to follow the music, gets caught up in the electro dance metal and gives everything to signal to the band that their performance still reaches the still meager audience.

A song in English is included towards the end, including hand waving. I don’t feel at a metal concert anymore, more like a dance party, but still comfortable. The performance simply inspires and somehow Turmion Kätilöt pulls you along. “One more in English”, and everything about the “Finnish-don’t-understand-what-sing-they-there?” is already forgotten – what a pity.

“Thank you Frankfurt – we love you” – “We love you, too”, the latecomers missed something that evening.

[See image gallery at catchingmovement.de] Beast in Black, also from Finland, conquer the stage, as can easily be seen from the oversized banner in the background. But first not in person, first with a bombast entrance music, which is supposed to signal to the audience that something big is about to appear on stage. Watching the beautiful female Anime-Amazon in the background, drummer Atte Palokangas begins the walk-in, greets the audience standing behind his drum kit and takes a seat, takes over the beat of the music and grins, which doesn’t stop for the whole performance. He’s having fun.

But there’s more musicians coming along to Blade Runner, the opening song. Very concise and with a very high recognition value, singer Yannis Papadopoulos, who revives the characteristics of the power metal of the 80s/90s with the band in many places with his head voice. I thought yes, the times are over, but no, in a new guise, this style simply puts you in a good mood. “Happy Metal” so to speak, as I recently read.

Thrown back in the times of Accept, Judas Priest, Bon Jovi and the like, From Hell with Love continues with the obligatory synth recordings, for which some bands were known at the time and those who had imitated them, became criticised. It just has to fit. “We are here for one reason…” the tension increases, which comes as an afterthought, “…to give you the real heavy metal”. That’s an announcement. Brave. Especially if you heard these sayings thirty years ago from bands that were maybe a bit “metal” but far from “heavy”. But that’s history, the past, a revival of the happy metal combo music is taking place here and that through Yannis with a sensational and surprisingly large vocal range. Just as some band names used to appear in the song titles, Beast in Black, the first track from the first album Berserker from 2017 (!) should not be missing. Directly after that it goes into the piece Die by the Blade with guitars swaying in unison, good mood is the program. They also love each other very much and transfer that to the audience, which surprisingly has a lot of diversity in the color of their clothes. Not “just black”, not “just cowl”, but probably also due to the average age and the composition of the bands, there were a lot of spots of color in the now somewhat better filled festival hall.

Nice staging of To the last drop of Blood, in which the drums and the three guitarists get going on their own, before Yannis jumps back onto the stage in his long, black coat and lets the audience also lift their feet. Power metal with that voice… It’s fun to see the guys again on their Dark Connection Tour in 2023, then as headliner. The pyro that some bands use to underline their songs is reserved for Nightwish this time, Beast in Black only has the choreo with guitarists playing in different ways, with a singer who busily jumps from one place to the other on stage.

After Moonlight Rendevous, the disco-dance-pop number – some still remember the “Disco-Fox” – the 80s electro-drums-with-sing-and-hand-waving state breaks out completely with One Night in Tokyo. Tough stuff for people who later want to have enough listening and movement energy for Nightwish. Endurance is the order of the day. Blind and Frozen follows, finally with a guitar solo, and before the threefold “Thank you” and the song End of the World doesn’t start the end, but the style simply goes on. Here Yannis shows his vocal range again and… somehow he reminds me of Rob Halford. Unfortunately, the title “Metal God” has already been given to, and even protected by, this one celebrity of similar vocal range… But who knows? … Maybe as a successor?

Setlist Beast in Black:

1. Blade Runner
2. From Hell with Love
3. Beast in Black
4. Die by the Blade
5. To the last Drop of Blood
6. Moonlight Rendezvous
7. One Night in Tokyo
8. Blind and Frozen
9. End of the World

[See image gallery at catchingmovement.de] The oversized banner with signature Nightwish artwork, blocking the view of the stage, has been hanging for twenty minutes when the first notes start to be heard. Kai Hatho, who has been Jukka’s successor since 2019, sits on the drums and starts playing the drums alone on stage to accompany the introduction. Gradually, the other members also appear. Then a short change, Floor is on the microphone with a German “Hello Frankfurt” and off we go. Noise is hip. No sign of the successful cancer operation in November. You can only write “Fuck Cancer” and hope that there is nothing left. Radiation therapy is still pending, the Asia tour has to be postponed. But, Nightwish are here and now in the now better filled Festhalle, including open tiers.

Well… as a longtime fan, I had to sympathize with Storytime as well. Yes, solid, vocally anyway, but personally I just miss Anette’s “snotty, cheeky” voice… Well… complaints on a very high level, Floor’s voice is too operatic for me, too trained, but that’s a matter of taste. “Now everything is possible again,” her words to the audience about the first beats of Tribal – and many of the visitors will agree with her. Now the Pyro really comes into play, the matching skulls appear on the background screen, while immediately afterwards it gets more ballad-like again with Élan. “It’s for my daughter” was the announcement and the audience sang along. It doesn’t really bother that the Festhalle once again lives up to the reputation of not being really well suited for such concerts. The double reverberation is probably only noticeable in the tiers. The atmosphere is what is important and it’s good.

On 7 Days to the Wolves, multi-instrumentalist Troy Donockley can’t reach Marco Hietala on vocals. It just lacks the depths, the power, the charisma. Unfortunately, the song loses something as a result, as does Dark Chest of Wonders. The background animations switch to burning trees, an indication that the world is on fire all over the place.

Harvest comes very stripped down, Floor just sits on the pedestal and sings the song in a duet with Troy and everything is fine. Everything fits. The voices harmonize, autumnal leaves can be seen in the background, simply a very nice mood before it gets a little faster again with I Want My Tears Back. But here too… Marco is missing. Troy really does a great job, but the “but” remains. If you didn’t know the earlier times, then it would have to be like this. Nemo, an absolute Tarja song, is interpreted by Floor and that’s good for the song and for her too. Adapted to her naturally also trained voice, she sets a new direction; some eras of a Nightwish singer are simply over.

“Are they waiting for Christmas?” Floor asks, asking the audience for “Christmas candles.” So the cellphone lights go on, the lights dim and the Festhalle is suddenly in a romantic mood. How’s the Heart, illuminated by almost only mobile phone lights, in the acoustic version – simply beautiful. Shoemaker take things one step further. The piece maxes out Floor’s voice, towards the end of the piece the sun rises in front of the moon’s surface, opulently staged. Eye and ear are happy.

After Last Ride of the Day, Nightwish proves how long songs can unfold their full effect in a live concert. Ghost Love Score with a good ten minutes leaves the listener in a world of sound and images, which then in the highlight of the evening with The Greatest Show on Earth in full length again pulls out all the musical and pyrotechnic possibilities. A phenomenal rush of images and music is underway, creating a memory that will last. “We were here” as a triple exclamation mark.

On top of that, the accent in the “end credits”. The musicians have all left the stage, the piece Ad Astra is running from the tape, the audience is a bit at a loss, excited, until the band members line up on stage, Floor goes back to the microphone and sings the final part live. That’s goosebumps. Thank you Nightwish for these impressions.

Setlist Nightwish:

1. Intro (“Music” Ambient & Percussion)
2. Noise
3. Storytime
4. Tribal
5. Élan
6. 7 Days to the Wolves
7. Dark Chest of Wonders
8. Harvest
9. I Want My Tears Back
10. Nemo
11. How’s the Heart (acoustic)
12. Sahara
13. Shoemaker
14. Last ride of the Day
15. Ghost Love Score
16. The Greatest Show on Earth (Full)
17. Outro: Ad Astra

Co-Author of this report is Patrick of the Webzine Dark Art, which I also work for.

The post Nightwish – 09.12.2022 – Festhalle Frankfurt appeared first on Catching Movement.

[See image gallery at catchingmovement.de] So it was ten past eight as Cadet Carter entered the stage. What followed was half an hour of solid alternative rock that got the crowd pumped up. With In the Clear they started with a song which is rather pop than rock, but still cool. It is also the first song from their last record Anthems for the Weak. With Stumbling, followed by The Best Part, they stumbled further and further into rock. Windshields was the first song not to be found on the Anthems Album, but it is their most successful song on Spotify. But then Blinding City Lights takes you back to it. A really good rock number to go off on, which the band also demonstrated on stage. This was followed by two older songs before Break Away closed the show, just like it does on the album. With the performance, they showed that they can not only be gentle, but really rock, with a lot of fun. They showed that they had it on stage and really took the audience with them. Especially since it was the last concert for the guys on the tour. They squeezed the eight songs into half an hour and really made you want more. Of course, the obligatory crowd photo could not be missing at the end.

Setlist Cadet Carter:

1. In the Clear
2. Stumbling
3. The Best Part
4. Windshields
5. Blinding City Lights
6. Car Park Song
7. A bad few Weeks
8. Break Away

[See image gallery at catchingmovement.de] After half an hour, the lights went out again. Knowing that only the first three songs could be photographed, I moved forward to get a good position. The other spectators let me do it, knowing that after three songs we would give them their place again. A ditch would have been more pleasant, but on the other hand it would have ruined the club character of the Kesselhaus. But I don’t want to complain. Let’s get to the actual, the performance. It started with Go away. Of course, that didn’t mean the spectators, anyone who would have followed it would have missed a really cool and brilliant performance. Bethany twirling across the stage again and again, with very expressive facial expressions and involving the audience, just like in No money, where the specatators where asked to sing No or No money along. Which also worked very loudly and successfully. You could also see her singing lying down … if you stood in the first few rows, further back it was difficult, the stage wasn’t that high. Another funny anecdote was how guitarist Ande asked a spectator not to put his beer on the edge of the stage because he might kick it and said spectator could then probably, understandably, be quite angry. And that would be uncool. After the short request, however, it went straight on and the beer also disappeared from its place. Ride, the band’s most famous song, should also be the end of the evening. In theory, because the headliner leaves the stage after the announced last song, lets himself be celebrated and then comes back for one, two or three songs. Only the band made the rules a little different. To quote Bethany loosely: “Now would actually come the moment, where we leave the stage and wait for you to call us back and then come back. Only this time we’ll just skip it and just stay on stage.” But Ande still wanted to be celebrated and asked the audience: “How do you say ‘One more song’ in German?”, to then initiate the “Zugabe” call, enjoy it briefly and then to really end the evening with More to you. Which was then also crashed by Abi and Cadet Carter, in which they threw heaps of POM-BÄR and other bags of chips onto the stage, which even meant that Bethany couldn’t continue singing as she laughed so much. Unfortunately, after 50 minutes it was really over. Could have gone longer but it will be a night remembered.

Setlist As December Falls:

1. Go away
2. Afterglow
3. I’m Not Okay (I Promise)
4. I don’t feel like feeling great
5. Break your Heart
6. Nothing on you
7. No money
8. Mayday
9. Everything you say
10. Zombie
11. Ride
12. More to you (Encore)

The post As December Falls – 8.11.2022 – Kesselhaus Schlachthof Wiesbaden appeared first on Catching Movement.

Lorna Shore started as planned at 6:30 p.m. But before that could happen, the patience of the visitors was put to the test. Admission was originally supposed to start at 5:00 p.m., but it was delayed until 6:15 p.m., as apparently there were still guests on the premises from the trade fair that was taking place at the same time. Unfortunately, there was no information about the delay from the organizer or security either. Pretty pissed off and partly completely soaked from the downpour that had started again in the meantime, everyone tried to make it to the festival hall within the remaining 15 minutes, to buy beer, to leave their wet things in the cloakroom or to secure a good place. Not everyone succeeded and caused enough resentment, although admission actually went quite smooth.

Lorna Shore

Then finally, Lorna Shore, with exceptional singer Will Ramos, started their show on time. With lots and lots of fog and dark light, the band entered the stage, which had an outsourced bridge in the middle, to start with a cracker as the first song. To the Hellfire, one of their most well-known songs, blew the minds of listeners. This is where Will‘s unbelievable talent was shown, who manages to create such unbelievable breakdowns on his own vocally that you really wonder how such an unbelievable voice can come from such an inconspicuous and delicate person. When he then called in a Wall of Death, it was no surprise that he got it. Unfortunately limited in size by the wave-breakers, it still was quite impressive for the first band. Even though Will emphasized that he wasn’t feeling well that day, he definitely didn’t show it. However, I wouldn’t have put them as an opener, because the mood would have been a little better if While She Sleeps had really got the crowd going. Nevertheless, Lorna Shore delivered completely and convinced the audience.

With a very dark show and little light, the guys presented a few more songs like Sun//Eater and Cursed To Die. Unfortunately, the set was pretty short and after the five songs, the band left the stage to loud applause.

[See image gallery at catchingmovement.de] Setlist Lorna Shore

To the Hellfire
Of the Abyss
Sun//Eater
Cursed to Die
Into the Earth

While She Sleeps

Next up, While She Sleeps entered the stage of the Frankfurt Festhalle. The hardcore quintet from Sheffield in Great Britain obviously made it their mission to make everyone present sweat a lot. It started with the title track of their last record, Sleeps Society and immediately the first small pits formed in the auditorium. Frontman Loz just whirled across the stage and the bridge that jutted out into the crowd.

Already with the second song, the band managed to get the audience to mosh, to sing and to start one or the other Wall Of Death, which is a proud achievement for an opening act. The setlist consisted of several new and a few older songs. They played the song Anti-Social very melodically and with a lot of energy. As with Lorna Shore before, the stage lights were very dim and foggy. This made it very difficult to see the back band members from the auditorium, but that didn’t spoil the very good atmosphere: the audience sang along at the top of their lungs during the song You Are We.

After a full hour’s program, the English left the stage to great applause and gave the audience a little breather. After this sweaty show, everyone involved could get drinks to wait together for the main act of the evening.

[See image gallery at catchingmovement.de] Setlist While She Sleeps

Sleeps Society
Anti-Social
You Are All You Need
The Guilt Party
I’ve Seen It All
Eye To Eye
You Are We
Fakers Plague
Silence Speaks
Systematic

Parkway Drive

During the short changeover break, the entire stage was covered in thick smoke with smoke machines. For a mysterious and atmospheric intro, some figures dressed in black cowls first entered the stage. They held great torches in their hands and had their hoods pulled low over their faces. Shortly thereafter, the guys from Parkway Drive appeared and got off to a brilliant start with their latest song Gitch. The song was accompanied by powerful volleys of pyro, which were fired rhythmically and brought the air around them to a boil. With a permanent grin on his face, singer and frontman Winston McCall thanked the other bands of the evening and the numerous spectators.

With their choice of songs, Parkway Drive hardly gave their fans a chance to take a deep breath in 90 minutes: Right at the beginning of the set there were the fan favorites Prey and Carrion. So one hit followed the next – then came Vice Grip and people jumped up and down to the beat. In addition to Glitch, the quintet also brought along Ground Zero, The Geatest Fear and the title track Darker Still from the brand new album. The band was not only convincing musically. Above all, Winston McCall put on a show that which is up to all the dodges.

The absolute highlight of the evening was the performance of Shadow Boxing. What was special about it? That the band was accompanied by a string quartet and Casper, who originally sang along with the song, suddenly appeared on stage to demolish it. The audience absolutely loved it.

During the following song Bottom Feeder several Pyros went up in the air. The whole thing was even topped during the following song Crushed, as the entire edge of the stage including the bridge literally burned. This looked really spectacular.

Of course, the guys splashed out and played the last song, Wild Eyes from the 2012 album Atlas, to loud calls for encores. It really was a hardcore evening of an extra class. Gladly again, Parkway Drive!

[See image gallery at catchingmovement.de] Setlist Parkway Drive

Intro
Glitch
Prey
Carrion
Vice Grip
Dedicated
Cemetery Bloom
The Void
Karma
The Greatest Fear
Schattenboxen
(with Casper)
Darker Still
Bottom Feeder
Encore:
Crushed
Wild Eyes

Co-Author of this report are Steffi and Viola of the Webzine Dark Art, which I also work for.

The post Parkway Drive – 14.09.2022 – Festhalle Frankfurt appeared first on Catching Movement.

[See image gallery at catchingmovement.de] The real reason that brought me to the Spectaculum was the performance of the band Krayenzeit. Ignorging a few cancellations due to Corona, this was supposed to be the last concert in the band’s history, which I couldn’t miss. On the previous two evenings Mr. Hurley & die Pulveraffen and Subway to Sally already played on the same stage. If you are interested in these performances, I have to disappoint you, unfortunately you have to read about them somewhere else. This is all about Krayenzeit. Staub und Tränen – Teil 1: Aus der Asche and Staub und Tränen – Teil II … Zurück ins Licht were the albums for the tour, which made a stop at the Worms Spectaculum. It was a celebration, with fun and also melancholy, as everyone was aware that the band would no longer be able to be seen. The concert started punctually at 4 p.m., at which both the new songs and a look back at the band’s past were presented. The band members joked a lot with each other and remembered certain times in the past, because, except for Markus, nobody of the current lineup before the the tour was still with the band. For the final show, former musicians and friends had found each other to celebrate the farewell together on stage. A very nice “very good friends” feeling came across, which will be sorely missed now. Towards the end there was also an acoustic part where drummer Bernd switched to a cajon. Sometimes he carried it around while playing.

All in all, it was a worthy farewell, which unfortunately ended after an hour and 45 minutes and felt way too short. One can only hope that the individual members will not lose their enthusiasm for music and will be able to show it again on another occasion. What could hopefully be the case with Markus and Meike in the near future, Markus made appropriate hints. And now have fun looking at the pictures and studying one of the last setlists by the great band Krayenzeit.

[See image gallery at catchingmovement.de] Setlist:

1. Intro – Theatrum Mundi
2. Fortuna
3. Krähenkönig
4. Tenebra
5. Medusa
6. Regen und Sturm
7. Wir sind die Sünde
8. Staub und Tränen
9. Incantatem
10. Wunder
11. Ikarus
12. Kriegerin
13. Neue Helden
14. Wir sind Geschichte
15. Je länger, umso lauter
16. Küssen den Frosch
17. Saitentänzer
18. Intro – Auf dunklen Schwingen
19. Krayenzeit
20. Spieglein, Spieglein
21. Fegefeuer
22. Ich will, dass ihr tanzt

The post Krayenzeit – 29.05.2022 – Spectaculum Worms appeared first on Catching Movement.

[See image gallery at catchingmovement.de] After a band dropped out before, Stoppok started 20 minutes earlier than planned. But first, who is Stoppok anyway? I’ll just quote the Phungo program here, because it actually provides the perfect description: “He’s a singer, musician – German-speaking singer/songwriter and great guitarist. His music is an independent mixture of folk, rock, rhythm’n’blues and Country. He sings about the adversities of everyday life with a fine sense of humor and constantly re-distinguishes himself as a critical observer of his environment.”

But now to the real thing. When Stoppok entered the stage, he was greeted with loud cheers and clapping, which made him visibly happy. With a “You’re so far away” he also prompted everyone to take their deck chairs and move ten meters forward to be closer to the stage. What follows is an evening of really good acoustic music and gags between or during the songs. For the latter he interrupts them, only to partially forget where he actually was. Or even to brazenly call out and criticize a viewer who stands right in front of him to film him on Learning by Burning with his cellphone, even though he said before that he’ll definitely “fuck it up” because the song is so fast-paced and his fingers were already hurting. This was also the conclusion after an ingenious performance lasting three quarters of an hour, including two encores.

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