Lichtburg, Essen, Germany29th April 2025
Fischer-Z – “Classics Revisited”
In Europe, FISCHER-Z are considered one of the most successful and influential British Post-Punk bands, held in the same regard as acts like DEPECHE MODE and THE CURE. John Watts is a man of the people and, at the same time, a dedicated outsider. This duality is one reason his career has been so unique. The current album, ‘Triptych’, brings these and other qualities to life in a vivid expression of the present. Highlights include the anarchic Steam-Punk of the title track ‘Triptych’, the haunting Motown pulse of ‘When Love Goes Wrong’, and the poignant storytelling of ‘Conclusion’, brimming with detail and ingenuity, and equally at home in a club or on a concert stage. FISCHER-Z performrd the crème de la crème of their hits from the early 1980s along with select tracks from the new album at an energetic new stage production.
Music & Performance
John Watts has always taken an unconventional path. After completing his training as a clinical psychologist in an experimental institution in the 1970s, he made a bold move into the world of music. “I worked from 8 a.m. to 4 p.m., then jumped into a van and headed to a gig. I’d literally spent the day dealing with angry psychopaths - so I wasn’t afraid of the punks [...],” he recalls with a grin. This mix of experience and fearlessness helped shape the confrontational edge that would become the trademark of FISCHER-Z. The band soon earned a reputation for intense live performances, toured the world with DIRE STRAITS, and shared festival stages with BOB MARLEY. During this period, they even earned respect for playing authentic reggae - despite being white. Their third album, ‘Red Skies Over Paradise’, was selling 30,000 copies per week in Germany in 1981. But the demands of managing all aspects of the band - from writing material and giving interviews to overseeing artistic direction - left Watts completely burned out.
Following a long period of recovery, Watts revived the band and now leads two parallel creative lives: as frontman of FISCHER-Z, under which he releases all his new music, and as a solo performer - a lone, guitar-wielding wordsmith and polemicist, appearing as FISCHER-Z SOLO. At nearly 70 years of age, John Watts returns with his 26th album, ‘Triptych’, and a renewed sense of purpose. “It means ‘full stop’,” he says. “It marks the end of something - the old way of doing things.” Watts refers both to the evolving nature of the music industry - now driven by new models of discovery and consumption - and to his own creative process. For nearly five decades, John Watts has done things his own way. From the band’s New Wave and Post-Punk beginnings in 1977, through international success in Europe and Australia, to years of fruitful solo work that took him around the world, he has enjoyed a free-spirited career that has embraced punk, poetry, politics, visual art, and more.
Watts has built a loyal fanbase through his direct, multi-layered style of engaging with audiences. In Europe, FISCHER-Z are seen as one of the most successful and relevant British Post-Punk bands - respected alongside acts like DEPECHE MODE and THE CURE. Recently diagnosed with ADHD, Watts now recognises how this may have influenced both his difficulty navigating the music business and his distinctive performance style. “I take things literally. I tell people exactly what I think. I don’t sugar-coat anything. That made sense for post-punk. I was driven to write about politics and social unrest.” He is a man of the people and a committed outsider - one of the key reasons his career has been so unique. His new album ‘Triptych’ brings all these elements into a vivid present. Highlights include the anarchic steampunk of the title track ‘Triptych,’ the ghostly Motown pulse of ‘When Love Goes Wrong,’ and the rich storytelling of ‘Conclusion’ - songs bursting with detail and imagination, equally at home in a club or on a festival stage.
This was an evening between nostalgia, poetry and political power and an evening suspended somewhere between cinema, concert, and performance art - perfectly fitting for the spirit of John Watts. On April 29, FISCHER-Z performed at the historic Lichtburg in Essen, a grand old cinema known for its sweeping ceiling, red velvet seats, and timeless charm. A stage was almost unnecessary - the music spoke for itself. From the opening notes of ‘Wax Doll’, it was clear: this wouldn’t be a nostalgic rehash of past glories, but a vibrant, urgent performance. FISCHER-Z appeared sharp, powerful, and at times contemplative. ‘A Plea’ from the new album followed - haunting, almost pleading - setting the stage for ‘Man in Someone Else’s Skin’, a John Watts solo track full of lyrical depth.
Classics like ‘So Long’ and ‘The Worker’ brought the audience into familiar territory - many sang along, some closed their eyes. ‘The Wonder’ offered a dreamy moment of calm, before the Motown-tinged ‘When Love Goes Wrong’ became the first true highlight of the night. Its melancholy and groove resonated beautifully in the warm acoustics of the Lichtburg. A collective hush fell over the audience during ‘Red Skies Over Paradise’, as the cinema was bathed in a soft red glow. But the defining moment came with ‘Berlin’. As if on cue, the entire audience rose to their feet. Watts stepped off stage, guitar in hand, and walked into the crowd - intimate, raw, and defiant. It was a moment that showed exactly why FISCHER-Z remains so relevant in 2025. After 11 songs, a 20-minute intermission gave space to breathe - a welcome pause following such intensity.
The second set began with ‘Angel of Gardenia’, a gently offbeat solo piece from Watts. Then came ‘Pretty Paracetamol’, a track that proved old songs can still pack a punch. ‘Damascus Disco’ and ‘I Smelt Roses (In the Underground)’ once again balanced satire with social commentary. The combative ‘Battalions of Strangers’ and the driving Watts song ‘Head On’ reignited the crowd. Notably, several songs were enriched by the presence of a young female vocalist. Her clear, vibrant voice contrasted beautifully with Watts’s gritty tone and added a fresh layer. ‘No Bohemia’, the touching ‘Marliese’, and the melancholic ‘Further From Love’ led into the evening’s closing sequence. The final song was ‘Punkt!’, from the current album ‘Triptych’. “It means: full stop,” Watts explained. And that’s exactly how the final song felt - not as an ending, but more like a semicolon. A pause. Something still in motion.
The crowd responded with a standing ovation - long, loud, and full of energy. In the Lichtburg, a space where great cinematic stories are usually told, this was a different kind of film experience: musical, emotional, political - and deeply human.
Setlist
01. Wax Doll
02. A Plea
03. Man in Someone Else’s Skin (John Watts song)
04. So Long
05. The Worker
06. The Wonder
07. When Love Goes Wrong
08. Red Skies Over Paradise
09. Cruise Missiles
10. Berlin
----break----
11. Angel of Gardenia (John Watts song)
12. Pretty Paracetamol
13. Damascus Disco
14. I Smelt Roses (In the Underground) (John Watts song)
15. ???
16. Battalions of Strangers
17. Head On (John Watts song)
18. One Voice (John Watts song)
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19. No Bohemia
20. Marliese
21. Further From Love
22. Punkt!
All pictures by Daniela Vorndran (http://www.vorndranphotography.com / http://www.facebook.com/blackcatnet)
