Sparkassenpark, Mönchengladbach, Germany23rd June 2026
Limp Bizkit - “European Tour 2026” - Support: Ecca Vandal & Deathbyromy
It seems the 90s are so back. LIMP BIZKIT is one of the Rock bands that have been influencing the music world since the late 90s. They have received a multitude of awards for their chart-topping albums such as ‘Chocolate Starfish and the Hot Dog Flavored Water’ (2000), ‘Results May Vary’ (2003) and ‘Gold Cobra’ (2011).
Their latest work, ‘Still Sucks’, which was unexpectedly released as a comeback in 2021, is characterized by the Nu-Metal sound of the band from Florida. And singer Fred Durst and his bandmates seem to be enjoying their place in the spotlight, as they managed to squeeze two headliner gigs in between their festival appearances. Thus, 18,000 people got to experience their heroes in an open-air setting without the festival hangover.
Deathbyromy
DEATHBYROMY is an independent Alternative-Pop and Industrial-Goth act originating from Los Angeles, fronted by singer-songwriter Romy Flores. Blending dark, trap-infused beats with heavy electronic Rock and macabre themes, the music carves out a theatrical space rooted in modern alternative subcultures. Breaking out with independent releases and building a dedicated digital following, the project’s discography includes the raw emotional depths of the 2019 album ‘Love u - to Death’ and the abrasive genre-bending soundscapes of the EP ‘Songs for My Family’.
Lyrically touching on heartbreak, mental health, and dark empowerment, the band carries a heritage that mirrors the dark pop theatricality of modern iconoclasts while retaining a strictly DIY, self-made ethos in the independent scene. https://deathbyromy.com
Music & Performance
When the majority-female band took the stage, the auditorium was still only about half full, but the visual statement was immediate. Romy emerged in a white latex nurse dress, projecting a strong, early-career MARILYN MANSON vibe that matched the dark, heavy undertones of her tracks.
Unfortunately, the mood was slightly hampered by the massive backdrop projections, which annoyingly went on a seamless loop for the entirety of the set. Despite the visual repetition, Romy’s stage presence was incredibly appreciative, taking a moment to explicitly thank Fred Durst for bringing a smaller independent band out on such a massive tour. They wrapped up their dark, gritty set by inviting the early arrivals over to their merchandising table to chat, leaving a highly personal mark on a big stage.
Ecca Vandal
ECCA VANDAL is a South African-born, Melbourne-based artist whose musical style is a frantic, genre-defying explosion of punk rock, hip-hop, and hard-hitting electronic music. Emerging from the vibrant Australian alternative landscape, she turned heads with her self-titled 2017 debut album ‘Ecca Vandal’, featuring tracks like ‘Broke Bitch’ and ‘Future-Proof’.
Her heritage is deeply tied to the intersection of underground punk ethics and cutting-edge urban production, creating a chaotic sonic identity that has earned her slots alongside major global rock acts. Her discography stands as a testament to creative independence, constantly pushing the boundaries of what heavy alternative music can sound like in the modern era. https://eccavandal.com
Music & Performance
By the time ECCA VANDAL took over, the infield area had noticeably filled up. What followed was an absolutely ecstatic set that completely ruled the stage. The instrumental presentation was intensely focused; the guitarist and drummer spent a significant portion of the performance positioned face-to-face, locked into an intense rhythmic battle that drove the momentum forward.
The crowd caught the spark during the second half of the set, where the first circle pits of the evening began to violently swirl in front of the barrier. Leaving the stage around 7:55 PM, Ecca parted with a breathless, “Thank you so much for your energy!” Her performance was stellar, even if her fiercely innovative sound was probably a bit too progressive for the straightforward nostalgia most of the headliner’s fans came to see.
Limp Bizkit
LIMP BIZKIT is the definitive pioneer of the late-1990s Nu-Metal movement, formed in Jacksonville, Florida, in 1994. Marrying Sam Rivers’ Funk-infused basslines and John Otto’s Hip-Hop grooves with Wes Borland’s sonic guitar experimentation and Fred Durst’s aggressive, Rap-driven vocal delivery, the band shaped the soundtrack of a generation. Their multi-platinum discography includes the raw aggression of their 1997 debut ‘Three Dollar Bill, Y’all$’, the culture-defining explosion of 1999’s ‘Significant Other’, and the massive global success of 2000’s ‘Chocolate Starfish and the Hot Dog Flavored Water’.
Surviving shifting musical trends, they solidified their cultural heritage with 2011’s ‘Gold Cobra’ and 2021’s ‘Still Sucks’, cementing their legacy as the ultimate purveyors of turn-of-the-century angst and high-octane live energy. https://limpbizkit.com
Music & Performance
The anticipation for the headliners was built on pure, unadulterated trolling. Five minutes before showtime, a red digital timer popped up on the screens, prompting the crowd to excitedly join the countdown for the final seconds - only for the clock to hit zero and display a gross, absurd meme picture.
After a few minutes, a second countdown started, ending in another slightly obscene picture. By the time a third timer appeared, demanding another six minutes of patience, the crowd was a mix of laughing and desperate chanting. When the time finally arrived, Fred Durst walked onto the stage with an agonizingly slow, deliberate stride, while the band played the first chords of their latest single ‘Making love to Morgan Wallen’. One immediate, slightly distracting element was the giant display of lyrics rolling across the background screens. It felt distinctly off, giving off karaoke vibes and pulling attention away from the brilliant chaos happening on stage.
Yet, Fred knew exactly how to manipulate the German crowd. “If you’re German, get up,” he commanded, and the venue obliged. The front of the stage area completely escalated when they kicked into ‘Faith’. The setlist was a relentless barrage of millennial anthems: ‘My Generation’, ‘Fast Lane’, ‘My Way’, and ‘Nookie’. To make the late-90s atmosphere absolute, a recording of THE OUTFIELD’s classic ‘Your Love’ blared through the speakers. There was even time for a brilliantly re-arranged teaser of Nena’s ‘99 Luftballons’ and a crushing performance of ‘Gold Cobra’, balanced out by a moody rendition of ‘Behind Blue Eyes’ where Fred urged the crowd to “show some love for Sam Rivers.”
Durst’s crowd banter was as sharp, cynical, and hilarious as ever. Looking out into the open venue, he deadpanned, “This is an intimate setting. I can hear what each of you is saying.” He then looked back to the furthest rows: “Does anyone have requests what we should play next? I specifically only take requests from the seating area in the back.” Naturally, the entire crowd ignored the instructions and screamed ‘Rollin’’ anyway. Later in the night, he paused to look at the energetic but clearly exhausted faces in the pit. “I don’t even know where you work, but I know you’re going to be shit tomorrow,” he laughed, before adding, “Any air traffic controllers here? Hopefully not.”
The initial climax arrived with a devastating rendition of ‘Take a Look Around’, but the true highlight of the night was saved for the very end before the hard 22:00 PM curfew. For the grand finale encore performance of ‘Break Stuff’, LIMP BIZKIT brought all the members of DEATHBYROMY back on stage. It turned into a massive, multi-generational stage party, capping off a night that proved that while the band might be older, their ability to break stuff hasn’t aged a day.
Setlist
01. Making Love to Morgan Wallen
02. 9 Teen 90 Nine
03. Just Like This
04. Faith (George Michael cover)
05. Break Stuff
06. My Generation
07. Livin’ It Up
08. Hot Dog
09. My Way
10. Gold Cobra
11. Nookie
12. Full Nelson
13. Rollin’ (Air Raid Vehicle)
14. Re-Arranged
15. Behind Blue Eyes
16. Take a Look Around
17. Break Stuff (with DEATHBYROMY)
All Pictures by Andreas Klüppelberg
