
In 2013, Peter Tägtgren was already a well-occupied figure in the Scandinavian metal circuit when he started working regularly with Till Lindemann in the studio. What came out of it sounded like neither Rammstein nor Hypocrisy – it sounded like a shared way out of what both couldn't play in their main bands. Skills in Pills (2015) was the result: entirely in English, darker than most expected, and distinct enough not to be filed away as a side project.
F & M followed in 2019, this time in German. Number one on the German charts, Gold certification. The singles ran, the videos stirred debate – Knebel in particular. Then in 2020, the collaboration ended: Tägtgren moved on, Lindemann kept going.


Till Lindemann (Solo)
2022 - Present

Joe Letz
2022 - Present

Jes Paige
2022 - 2025

Dani Sophia
2025 - 2025

Krissy Kaminski
2025 - Present

Danny Lohner
2022 - Present

Emily Ruvidich
2022 - Present

Constance Day (Antoinette)
2023 - 2025

Brynn Route
2025 - Present
Legend
The end of the partnership with Tägtgren was not a step back. Lindemann decided to continue the project under his own name – and that's meant literally: no co-author, no equal partner in the studio. Zunge (2023) he released entirely on his own – no label, on his own terms.
That sounds straightforward, but it has consequences. The album sounds like every decision was made without a committee. Some songs benefit from that.
Zunge was released on November 3, 2023. Before that came the singles Schweiß, Lecker, Nass, Sport frei, and Zunge. The Zunge Tour (2023–2024) followed immediately. After that: Übers Meer, Meine Welt, Und die Engel singen – and another tour.
The pace at which he has been putting out releases – while still being an active part of Rammstein – is notable. Whether another album is coming is unclear. That he's not stopping is less so.
A Till Lindemann show is not a smaller version of Rammstein. The productions are independently conceived, with venues running smaller, but built specifically around the solo context. Bizarre sketch sequences between songs, a live band with unusual casting choices, and staging that focuses on atmosphere rather than spectacle.
What stands out is that the shows have a sense of humor. Not the warm and accessible kind – more the type where you’re not quite sure whether you’re supposed to laugh. That fits the songs, and Lindemann in general.

Lindemann writes in German, and he writes the way you write in German when you're not afraid to. The lyrics are concrete, sometimes bluntly direct, sometimes constructed so the joke only lands on the third listen. He has never been known for taking criticism of his texts particularly seriously – that's an observation, not a criticism.
In the solo context he has more room than in Rammstein – not because Rammstein constrains him, but because here every decision is his alone.
What comes next hasn't been announced. Lindemann is working – that much is known. Singles come regularly, and the pattern of recent years shows little downtime between releases and tours.
What makes the project interesting isn't the unpredictability itself – it's the fact that he remains the only Rammstein frontman with a relevant solo project still running.