Till Lindemann "My World" Tour 2025 – Between Provocation, Poetry, and Pure Power

Cold light floods the arena. Heavy, synthetic beats crawl from the speakers like fog over a graveyard. Then he appears—Till Lindemann, 63 years old, a bass-baritone voice like an earthquake, a stage presence like a law of nature. The intro "Meine Welt" leaves no doubt: his rules apply here. Welcome to Till’s world.

The "My World" Tour 2025 is Till Lindemann’s most ambitious solo project to date. Over 51 shows in 17 countries, completely sold-out arenas, a completely redesigned stage show—and, of course, controversy. We have taken a close look at the tour.

@Jens Koch

A Tour Kick-off with a Statement—and Protest

On October 29, 2025, the starting signal was given in Lindemann's hometown of Leipzig. Around 10,000 fans filled the Quarterback Immobilien Arena to the last seat. But it wasn't just fans who came: protesters had gathered outside the hall once again. The allegations from 2023—several women had accused Lindemann of abuse; the investigations were dropped for lack of evidence—continue to resonate. Like a mist hanging over the evening: unspoken, but palpable.

Lindemann himself? He doesn't ignore the protests, but he doesn't comment on them either. He simply plays on. Provocative as ever. You can read that as arrogance or as artistic consistency. It is presumably both.

The Stage Show: Dystopian Theater at Arena Level

Anyone who knows Rammstein knows that Till Lindemann is not a man of half measures. However, the "My World" Tour deliberately takes a different path than the stadium pyrotechnics of his main band. Instead of pure fire power, the show focuses on theater, physicality, and visual provocation.

The stage resembles a dystopian tableau. Projections, cold light, heavy industrial aesthetics. Lindemann is once again working with set designer Florian "Flo" Wieder, who was already responsible for Rammstein's legendary stadium shows. The result is a production that relies less on explosions and more on atmosphere—but seems no less intense.

Shock effects, sex, and provocation are fixed parts of the program. Dancers in nun costumes and stockings, explicit images on the screens, a drummer throwing cakes into the audience, lots of bare skin, blood, and simulated vomit—the full program of Lindemann's aesthetic. Calculated? Absolutely. Arbitrary? Never. Lindemann knows exactly which images stick. And he creates them with the precision of a director.

@ Jens Koch

The Band: More Than Just Accompaniment

One of the biggest surprises of the tour is the band. Lindemann has assembled a high-caliber ensemble that is far more than just a backing band:

• Kristin "Momo" Kaminski on bass
• Emily Ruvidich and Daniel Lohner on guitars
• Joseph Letz on drums
• Brynn Route on keyboards—and as a first-class pole dancer
• Andrea and Luisa from The Sinderellas as dancers

Luisa in particular stands out: her choreographies are a mix of ballet, flamenco, and contemporary dance—elegant, dramatic, and perfectly synchronized with the songs. Her performance during "Tanzlehrerin" is one of the most impressive moments of the entire show.

Brynn Route deserves a special mention. She doesn't just play keyboards; she delivers breathtaking pole dance interludes in several songs. Her stage presence is enormous. There is always something to see—left, right, up, down. The stage is alive.

And Till himself? Vocally in absolute top form. After a somewhat difficult start in Düsseldorf, he already showed in Hamburg that the voice is solid. In Nuremberg and Stuttgart: full, powerful, clean—one of his best vocal runs in years.

The Setlist: 18 Songs, 90 Minutes, Zero Lull

The "My World" Tour setlist comprises 18 songs and covers Lindemann's entire solo body of work. Here is the full setlist (based on the tour opener in Leipzig):

1. Meine Welt (Intro only)
2. Fat
3. Und die Engel singen (Live Premiere)
4. Schweiß
5. Altes Fleisch
6. Golden Shower
7. Sport frei
8. Tanzlehrerin
9. Blut
10. Allesfresser
11. Prostitution (Live Premiere)
12. Praise Abort
13. Platz Eins
14. Du hast kein Herz
15. Skills in Pills

Encore:

1. Fish On / Übers Meer
2. Knebel (Shortened)
3. Ich hasse Kinder

Three new songs celebrated their premiere: "Und die Engel singen," "Prostitution," and "Übers Meer"—all from the 2025 reissue Zunge 2025. The rest of the setlist spans the Lindemann universe: from the former project with Peter Tägtgren ("Praise Abort," "Skills in Pills," "Golden Shower") to solo hits.

The Highlights

• "Übers Meer" is the emotional anchor point of the show. For a brief moment, it becomes quiet in the arena. Lindemann sings softly, almost vulnerably. It is his best song live—and proof that a poet hides behind the provocation.
• "Du hast kein Herz" hits with brutal intensity. The song works even better live than on record—raw, direct, emotional.
• "Tanzlehrerin" is the crowd favorite. When Luisa's choreography begins, a murmur goes through the hall. It is the moment when music and visual performance merge perfectly.
• "Ich hasse Kinder" as the closer is consistent: bitter, provocative, and exactly the punch in the face the audience expects—and wants.

Support: Aesthetic Perfection Convinces

The opening act, Aesthetic Perfection led by Daniel Graves, delivers a solid, high-energy opener. Graves' voice sounds stronger on this tour than rarely before. The songs are familiar, and the performance is tight. The audience joins in—even with tracks like "Summer Goth," which might not be to everyone's taste. A worthy warm-up.

The Elephant in the Room: The Controversies

One cannot write about the "My World" Tour without mentioning the 2023 allegations. The criminal investigations were closed, but in public perception—especially in Germany—the topic remains present. The protests at the tour opener in Leipzig and the controversies surrounding Lindemann's participation in the Leipzig Opera Ball show: the debate is not over.

Lindemann himself seems unfazed by this. His staging deliberately oscillates between artistic persona and ruckus. The provocative show elements—the explicit images, the sexualized performances—impact some viewers differently than before in the context of the allegations. Others see in them exactly the artistic uncompromisingness they value in Lindemann.

It is a balancing act. And Lindemann balances with the audacity of a man for whom criticism serves as fuel.

Merch and Fan Culture: The Fish is Sold Out

An amusing side note: the merch range includes a rubber fish (a reference to "Fish On"), which has developed into a surprise cult item. In Nuremberg, it was sold out for the first time before the concert even began—a novelty. Prices rose from 20 to 25 euros over the course of the tour.

Other merch highlights: a keychain (also often out of stock), a gold-embroidered Lindemann patch, and a tote bag for 10 euros that is not available in the online shop. If you want certain items: buy early. Stock varies greatly from city to city.

Conclusion: Not a Concert for Everyone—But an Evening That Stays

The Till Lindemann "My World" Tour 2025 is a monumental, disturbing, and impressive show. Lindemann has never adapted, never toned it down—not even in 2025/2026. The tour shows an artist who is aware of his impact and uses it purposefully.

Those who appreciate industrial metal, theatrical staging, and uncompromising art will experience a total work of art consisting of music, performance, and provocation. The band is excellent, the setlist is solid, and the stage show is entirely convincing.

Those who react sensitively to explicit content or cannot tune out the debate surrounding Lindemann will have a harder time. That is legitimate. And perhaps precisely this tension is part of Lindemann's art.

Rating: 8.5/10 — A powerful solo statement that proves: Till Lindemann does not need Rammstein to fill arenas and break boundaries.