The Till Lindemann OVO Arena Wembley gig, part of the Rammstein frontman’s Meine Welt Tour, was unlike almost anything you could see live. It seemed to explore those corners of the human mind that not many people admit to paying a visit to. And it did so in truly spectacular, downright bonkers, as well as definitely adult-only fashion.
Till Lindemann
OVO Arena Wembley – 4 November 2025
Words: Bogdan Bele
Photography: Manuela Langotsch
It is a somewhat rainy London night, and at the OVO Arena Wembley in London, Till Lindemann is playing. As I make my way there and into the massive cavernous space, I see the expected assortment of Rammstein t-shirts, but even more Lindemann ones. As you expect, there are also people dressed in very funky, more or less emo and goth outfits. 
I make my way to my allotted seat before tonight’s proceedings start, and the first thing I notice is that some of the security people in front of the stage are wearing plastic rain ponchos. I wonder why, as it is rainy, but not really that rainy. More on that later.
After openers Aesthetic Perfection’s set, a riff, synth (plus keytar) and guitar-driven set of tracks manages to get the crowd moving towards its last couple of tracks, it is time for tonight’s star attraction.
Till Lindemann: Adult-Only Spectacular
Now, in order for this to be a typical review, this would have to be a typical show. And it is anything but.
Till’s solo career started as a project joining him and Hypocrisy’s Peter Tägtgren, as Lindemann. It then continued, after the former left the project, as a completely solo endeavour, under his own name. 
The lyrical content informs a lot of what happens on stage, and said content is adult-only, to put it mildly.
You know how Rammstein are far from shy when it comes to approaching taboo subjects in their songs [cannibalism comes to mind]? Well, Till Lindemann, as a solo artist, seems to think along the lines of “I know you’re all thinking some, if not all, of these things. Well, I’m saying them out loud. Here’s a mirror that shows some of those thoughts!”
You get all those thoughts, from fetishes of very creative kinds, gluttony, and even the ways having children can influence one’s life financially and otherwise. Spoiler alert: the latter ends with our hero giving up on “female intercourse.”
As the first tracks start and the massive white curtain with black lettering falls down, the song Fat gives everyone a pretty good idea as to what to expect. The two dancers initially arrive on stage dressed as nuns, Till masks on.
They then remove those to show themselves embellished with suits meant to add quite a bit to their weight and shapes, and dance sensually to the tune. The massive screen at the back of the stage shows some characters in the same vein, while Till’s typical well-phrased baritone talks about the same topic, in full detail, dressed in a military-like gold and black outfit. And some gold face makeup to boot.
The rest of the band are wearing Lindemann masks and the same type of outfits, for the first part. It’s visually, not to mention acoustically, striking.
Speaking of the dancers, at certain points they are even propped up on some platforms, high above the stage. In fact, a lot of moving parts exist there, including another platform on which bass player Kristin Kaminski does her solo. This is a great moment later in the show, in collaboration with masked drummer Joseph Letz, whose drum riser goes up and down as well, because of course it does. They even have a treadmill-like platform on the top side of the stage. 
Und Die Engel Singen is there for Rammstein fans to enjoy, as it sounds probably the closest to the singer’s day job as it gets. Then, Altes Fleisch, about the effects getting older has on human flesh, sounds equally powerful. So are the visuals. I will let you use your imagination again on that one. 
And in comes one of Mr. Lindemann’s best-known solo tracks, Golden Shower. Despite what you might think, this one doesn’t discuss the benefits of using gold for your shower fixtures. And, if any confirmation was needed, it comes from what’s shown on the screen. A lady, filmed from the waist down, wearing nothing, and with exactly the parts you are thinking of flapping.
Images of a bucket with Till Lindemann’s logo on it, in which a golden liquid drips, are also alternated on the screen. Again – use your imagination.
This is a moment for some enthusiastic participation, as the frontman sings “from your pretty…”, letting the audience add probably the most popular word starting with the letter C that the English language has been blessed with.
How often can that many people scream that word together in unison? The risqué and powerful imagery continues, punctuated by a dynamic stage act from both band and the two dancers.
There is even a moment during Allesfresser when we find out why the security staff were wearing those rain ponchos. It is because a table of food items, I think I saw some pies, is brought onstage, with said food thrown into the audience.
That is nothing compared to the fish sharing that same fate during Fish On, during the encore. Till even holds one in his mouth for a bit. Judging by the amount of water he rinses his mouth with repeatedly, that certainly was not a prop.
The whole show goes on the same way. And it is massively entertaining, with the crowd loving every bit.
But it would be unfair, despite its obvious goal of providing entertainment, not to mention how good, and sometimes how diverse, the music is and also how tight the band is. A lot of the tracks are catchy, riff-based numbers, played by the sound machine on stage with military precision. 
There are also a different type of moments, the splendid Tanzlehrerin, almost a dark waltz, with a beautiful dance moment from one of the ladies on stage. Or there is Platz Eins, with disco lights and the singer making his way through the crowd in a moving plastic bubble, on a platform, while dancing to the song.
Another moment to definitely mention is the poignant Blut, all bathed in blood-red light. It’s simply beautiful stuff. It is impossible not to mention the sound itself, clear, loud and very precise. 
It is funny that Lindemann himself does not really talk until after the encore. Visibly emotional, he thanks everyone present, not before they show they all have energy left for Ich Hasse Kinder.
Final thoughts? A Lindemann show is, almost definitely, completely different to any other live act you could see. Was it what I expected? Yes and no. I expected a fair amount of pushing the envelope. I didn’t expect it to give me as much food for thought as it did
It is a complete experience, for a certain kind of open-minded audience, that puts together music and visuals in a complete package.
And I certainly did not think that looking into that mirror could sometimes be tons of fun.
