Westand, Braunschweig, Germany 31st January 2026
Solar Fake & Morphose
“The difference between a democracy and a dictatorship is that in a democracy you vote first and take orders later; in a dictatorship you don’t have to waste your time voting.” Charles Bukowski
Bukowski’s words resonate even more loudly in times like these. The world around us feels unstable, the political right is gaining ground, and backward-looking men in positions of power seem, more than ever, to be determining the global direction once again. Structures are taking shape that recall the dark shadows of the years before 1933. We watch as society drifts further and further away from real life, as people sink deeper into virtual realms, into social media that simultaneously distort and compress everything.
The future feels more uncertain than ever, and even the refuge of routines or small pleasures is tinged with the weight of reality. One leaves the house more thoughtful, more cautious, more alert, and even concerts no longer offer mere distraction. The lyrics on stage, the melodies, the voices - they reflect back what is truly happening outside, what threatens us, what moves us, what we cannot ignore Amid the music, one is confronted again with the world that exists beyond the clubs; a world that is restless, fragile, fractured.
Perhaps it is precisely this mixture of beauty and danger that makes the music feel more intense. One does not applaud only the art, but also the ability to recognize truth through it. In these moments, it becomes clear that everything we see and hear is connected: politics, society, and our own vulnerability. And we realize that awareness is not a distraction, but a responsibility.
Westand, located in Braunschweig’s western ring district, is a modern event venue with a clear cultural focus and an impressive spatial offering. Spanning more than 3,200 square meters, it combines a high-quality event environment with a charming industrial aesthetic: high ceilings, an open floor plan, and a striking gallery level define the space. Depending on the format, it can accommodate up to 800 people, which is ideal for concerts, theatre performances, readings, as well as conferences, workshops, and hybrid events. Since 2019, Westand has been an integral part of Braunschweig’s cultural scene. Its centrepiece is a roughly 600-square-meter event area comprising the main hall, gallery, two bars, and several backstage rooms.
Technically, the venue is equipped to a very high standard: professional audio, lighting, and video technology, DJ setups, live streaming capabilities, and even a certified Dolby Atmos studio, along with podcast, mixing, and mastering studios. A historical touch is provided by the preserved stepped gable of the former Westbahnhof facade, still bearing the original “Kurt Knoblau” inscription. The site is further complemented by the adjacent KufA-Haus (Kultur für Alle - Culture for All), which underscores the socio-cultural ethos of the area and gives Westand its distinctive character at the intersection of culture, community, and contemporary event architecture.
Morphose
MORPHOSE is the audiovisual project of Berlin-based musician, producer, and film score composer Christoph Schauer. At its core lies an open, constantly evolving sonic cosmos in which electronic structures meet emotional depth. Since 2014, MORPHOSE has continuously developed, combining dark electronic textures with soundtrack-like arrangements, distinctive vocal lines, and driving drums and loops. The musical form remains deliberately flexible, shaped significantly by the artists involved and the respective creative context.
Originally conceived as an experimental collaborative project, MORPHOSE was temporarily put on hold while Schauer explored new directions with CYTO, an endeavour that was ultimately slowed down by the pandemic. From 2021 onward, MORPHOSE returned to the forefront. Through collaborations with various vocalists, what began as a rather contained idea gradually evolved into a comprehensive album project. The logical next step was to bring the project to the stage.
Live, MORPHOSE is performed by Christoph Schauer (guitar, bass), Arc Morten (vocals, synth), Marius Lürig (drums), and Max Filges (keys). Depending on availability, the line-up is expanded by renowned guest musicians, including Christian Schottstädt of FORCED TO MODE, Sven Friedrich of SOLAR FAKE, Lennart Salomon of SONO, and Andreas Pospiech of PULL OUT MIND. The EPs released to date, along with the current album, vividly document the project’s stylistic range and its ongoing transformation. https://www.morphose-music.com / https://www.facebook.com/Morphoseproject
Music & Performance
After making my way through minus four degrees Celsius in Braunschweig with a friend, partly by tram, partly on foot, we arrived at Westand ten minutes before the official doors opened and were greeted by an already impressive queue of black-dressed children of the night who, like us, were hoping it wouldn’t take too long to be welcomed into the warmth of the venue. And indeed, thanks to a professional team at the entrance, it took no more than ten minutes after the doors opened at 7 p.m. before we were already climbing the stairs to leave our jackets in the cloakroom.
Afterwards, we began exploring the club in search of familiar faces, which we quickly found. Concerts are never just events where you pursue your musical preferences; they are also places where you meet people you see far too rarely, simply because they live far too far away. Tonight, there were three friends I hadn’t seen in quite a while, which made the evening all the more special. Another novelty was that this was my very first time attending a SOLAR FAKE concert. Admittedly, I was primarily here for MORPHOSE, but broadening one’s horizons has never hurt anyone.
But first, back to Christoph Schauer and friends. A few additional words should be dedicated here to the new member Andreas Pospiech. The latest addition to MORPHOSE’s core line-up celebrated his remarkable debut at the “Alle für Halle” charity festival on November 1, 2025, at the Capitol in Halle. I was fortunate enough to be present that evening and to witness the premiere of his song ‘Back to Home’, a performance that carried him from visible nervousness and excitement into an overwhelming sense of joy and confidence.
Before the concert in Braunschweig, Andreas kindly took the time to answer a few of my questions not only about his work with MORPHOSE and what he jokingly describes as his long-distance relationship with the project, but also about his mastermind project PULL OUT MIND, which I can wholeheartedly recommend to any lover of Dark Synth Rock. His debut album ‘Survival Of The Fittest’, released on December 20, 2024, explores themes such as isolation, survival, hope, struggle, community, loneliness, self-reflection, and both personal and societal conflict. ‘Survival Of The Fittest’ is not merely a collection of songs; it is a narrative about resilience, a call for connection, and a testament to the transformative power of music.
Sonically, it is best described as a compelling fusion of dark synthesizers, atmospheric Rock, and cinematic elements. Heavy emotional textures blend seamlessly with immersive soundscapes. And even though PULL OUT MIND may appear be a one-man project, several collaborations behind the scenes contribute to making it a truly multisensory experience. Do not miss this musical journey through the trials and triumphs of life and be sure to follow his social media accounts.
Tonight’s event, announced to begin at 8:00 p.m., started right on time. At precisely that hour, the first notes of the opener ‘Open Shutter’ sounded through the room. Due to Lennart’s absence, this time the song was performed by Andreas alongside Arc Morten at the microphones. As already in Halle, the striking red cover of ‘The Inexplicable Darkness Of Light’ album adorned the backdrop of the stage. Now the lighting technology began to move, breathing a first delicate life into the dark stage in purple.
Max appeared on stage, followed by Marius making his way to the drums. Arc Morten was next, this time sporting a subtle gangster style with a long hoodie, baseball cap, and sunglasses, which perhaps is connected to the four letters MNÆ he recently added to his social media accounts. Finally, Christoph entered the stage, who greeted the audience with a raised hand, prompting the first cheers from the crowd. Arc Morten was already moving to the rhythm at his microphone before effortlessly slipping into the opening lyrics. Knowing what he is otherwise capable of doing with his voice, this first part of ‘Open Shutter’ sounded almost innocent, almost angelic.
Just before the chorus set in, Andreas stepped onto the stage, greeted the audience, took the microphone from its stand, gave a brief bow, and immediately joined in. For me and likely for many others, this was the first time hearing Lennart’s part sung by another performer. For Andreas, it was naturally the perfect opportunity to raise his number of songs that night to three. The audience still seemed somewhat reserved but began swaying gently here and there, rewarding the performance with an initial round of applause.
The band moved on seamlessly with ‘Back to Home’, a song written especially for Andreas. Stylistically, it stands out clearly from the rest of the MORPHOSE repertoire and offers a foretaste of what he brings to the table with PULL OUT MIND. Of course, you can’t see inside a person’s mind, and excitement and uncertainty can often be easily concealed, but I would venture to say that Andreas was much less nervous during this performance than he was during his premiere in Halle. Outwardly, at least, he left no doubt that he had gotten a taste for MORPHOSE and enjoyed this performance with much more confidence. What was entirely new within the MORPHOSE song collection were the screamed vocal passages, which, as a fan of heavier sounds, I appreciated immensely. Once again, this highlighted just how versatile this musical project can be.
With a “Thank you, Braunschweig,” Andreas then introduced his third song of the evening, an extremely demanding piece, in my opinion, and not only because it is originally sung by a woman. Anyone familiar with Viktorija Kukule’s voice knows the remarkable range of tones this song requires. ‘Our Confusion’ filled the room as red light pulsed across the stage in a rhythm that felt almost like a beating heart. The song ended as quietly and penetratingly as it had begun, and the audience responded with warm applause and cheers. Andreas bowed twice in gratitude, placing his hand over his heart, before leaving the stage in Arc Morten’s direction, who did not miss the opportunity to give his new bandmate a heartfelt embrace.
Now the audience became more excited, because the front man of the evening’s main act, Sven Friedrich, came onto the stage to take over his part. Casually and elegantly dressed in skinny jeans and a long black blazer, he positioned himself at centre stage, greeted his fans with a typical Berlin-flavoured “Tach,” and went straight into his song ‘Not Enough’. A rather slow-paced song, but one that is all the more captivating in terms of its lyrics, describing the mental fatigue that afflicts sensitive, alert, self-reflective, and morally grounded individuals in the face of a society that overburdens itself on a daily basis and pushes itself to the brink of a liveable existence. It’s easy to think that you yourself are the problem, because you might be too sensitive and think too much.
The intense red stage lighting once again seemed to be a defining element of the evening’s visual atmosphere. Red, as one of the strongest signal colours, represents love, passion, and drive, but equally aggression, danger, and anger. Somewhere between these poles, each of us is trying to find our place in the world. As expected, the song was met with room-filling cheers and applause. After a more detailed welcome “Hello from me as well!“, Sven moved straight on to ‘All Comes Back to You’, whose visual interpretation exists as a black-and-white video shot in Berlin which is available on YouTube, where it has now surpassed 226,000 views. Sven brought an agile lightness to the stage that would later be on display throughout the entire SOLAR FAKE performance.
Particularly striking once again was drummer Marius, who from the very first minute played with a dedication and precision that repeatedly drew the eye. He extracted beats from his instrument that seemed to travel through the floor into the body of every person in the room, especially during the final chorus of this song. The lighting flickered rhythmically in shifting colours, and just like that, the first guest appearance by the SOLAR FAKE frontman that evening had come to an end. With a “Thank you! Enjoy the rest of MORPHOSE, and we’ll see each other later!” he joined in the audience’s enthusiastic cheers and left the stage, exchanging a quick high-five with Christian Schottstädt, who was now about to charge the room with his FORCED TO MODE energy for the next three songs.
“Good evening, Braunschweig! The next song is about centuries-old patriarchal structures that urgently need to be broken: ‘Matilda Effect.’ I’m glad to be here, thank you!” A brief note for context: the Matilda Effect describes the systematic invisibility and lack of recognition of women’s scientific achievements, which are often attributed to their male colleagues instead. From the very first moment, it was clear that Christian had not simply wrapped an important topic into a song, but that he genuinely feels this injustice and wants to challenge it. Before I first heard this song in 2024, I wasn’t even aware that this term existed. In this sense, MORPHOSE’s show also carried an important educational dimension at this point. Anyone who has ever attended a FORCED TO MODE concert, as I had the pleasure of doing in Schwarzenberg in 2024, knows the kind of force that can be unleashed on stage.
This song, however, began in a rather restrained and contemplative manner. Instead of wild dancing, the audience swayed gently in time with the music, listening attentively to the performer’s words. Once again, the stage was bathed in fiery red light. In the chorus, parts of Schottstädt’s stage beast began to break free. With his arm raised and a warning finger pointed upward, he proclaimed: “It’s time to break the silence, it’s time to rise.” From that moment on, it was clearly noticeable that the nearly sold-out venue had warmed up by several degrees, even though the most physically energetic part of the evening was still to come. Christian bowed at the end of the song, and the audience responded with lively, enthusiastic applause. “Thank you very much, Braunschweig! This is fun! The next song is brand new - ‘Broken Glass’!”
The song began with Christoph switching instruments: the guitar gave way to the bass, which immediately sounded and powerfully led into Christian’s second song. The energy intensified, and the scent of Rock‘n’Roll filled the air. ‘Broken Glass’ is far from a typical love song; it is a brutally honest inner confession. The narrator struggles with the realization that he has betrayed himself and his own values for a fleeting moment, one that leaves him permanently off balance. Between guilt, self-doubt, and the loss of his moral self-image, all that remains is the feeling of searching for one’s irretrievable pieces among the broken glass of one’s actions.
Christian performed the song with a mix of yearning and power. He clapped, the audience clapped, he leapt into the air, the crowd danced, and it all built into an energetic finale with pounding beats and an exuberantly applauding audience. “Thank you. Many thanks!” Slightly out of breath, Christian immediately launched into his third and final number: ‘Moveout’ echoed through the room and was just waiting to be filled with performance. That was a piece of cake for the FORCED-TO-MODE frontman, who not only delivered the lyrics penned by NEUROTICFISH’s Sascha Klein with confidence, but also swept across the stage with his usual boundless energy.
In the chorus, Arc Morten joined in, adding a multilayered vocal touch that I found particularly compelling. “Braunschweig, give me your hands!” Christian called out to the audience, and immediately arms went up and most of the audience clapped enthusiastically in time with the music. “Thank you! You’re fantastic, thank you, Braunschweig! MORPHOSE! Bye!” Thunderous applause came in return, and just like that, he was gone from the stage. The last ten minutes of the special guests had begun, and my favourite member of MORPHOSE took centre stage in the spotlight, letting us know with a brief “Hey” that he had something prepared for us.
Calls of “Morten!” echoed through the room, then it was already audible, the former CYTO hit ‘Right Now’, which now belongs to MORPHOSE’s repertoire. It is a powerful, driving track that sticks in your mind, especially thanks to the chorus line “I can feel right now,” which almost comes across like a meditative invocation. In life, we navigate through heavy storms, and these dark experiences can either break us or be overcome. The greatest challenge, however, is to acknowledge one’s own feelings and stop suppressing them.
Only those who feel can reflect on themselves and grow. The audience eagerly surrendered to the intensity of the lyrics and the vocal performance, repeatedly greeting the artist with loud cheers. The passionate lighting, bathed in striking reds and pinks, emphasized the emotional rollercoaster and the hopeful realization of ‘Right Now’ to finally feeling something and standing up for oneself. The crowd rewarded this sweat-inducing number with enthusiastic applause and cheering, while Morten responded with an almost shy “Thank you.”
One more please, I thought at this point, and the question was: would it be something calm like ‘Beneath It All’, or ‘Surrender’, which I always call the MORPHOSE party hit as of its high energy and danceability? The answer was clear: let’s party! Originally a track by Sascha Klein, it had evolved into a firm Arc Morten interpretation and is always guaranteed to deliver a rousing finale, not least because it carries the perfect rhythm for dancing. Morten introduced the song himself and immediately launched into it, driving MORPHOSE’s performance to its peak. The audience was fully engaged and cheered toward the stage.
“The only choice we have is to surrender.” Who could resist giving in to such infectious energy! All eyes were on Arc Morten, and he had the crowd in his hand. At the repetition of the word “Surrender,” Christoph joined in, immediately prompting the audience to raise their arms and clap. The beat was unmistakably laid down by Marius, and then, for the crowning finale, Andreas and Christian returned to the stage to rock alongside the other band members. And Sven? He had been so busy preparing for SOLAR FAKE’s set that he completely forgot to join in MORPHOSE’s final act. At least, that’s what the insiders had to report at breakfast the next day at the hotel.
With three singers sweeping across the stage, giving it their all once again, and a drummer who beat his drums relentlessly, the concert came to an end after 45 minutes to thunderous applause. Lined up for the obligatory group photo with a rousing “We are MORPHOSE!” the band bowed to their audience and applauded back, embracing each other on stage and clearly be thrilled with their performance. Christoph added a few words of thanks: “Thank you so much, everyone, it was awesome with you! Now we’re all looking forward to SOLAR FAKE. Bye, we are MORPHOSE, see you soon!” By 8:47 p.m., the spectacle was over, and the band quickly began clearing their equipment from the stage so the main act could take over.
For me, this was already my fifth MORPHOSE concert, and thanks to the varying guest vocalist lineups, every show is different, thus always offering a pleasant element of surprise and never provide a hint of monotony. Thank you, MORPHOSE, for another fantastic performance, and thanks as well to Willi Dammeier for the consistently outstanding sound!
Setlist
01. Open shutter
02. Back to home
03. Our confusion
04. Not enough
05. All comes back to you
06. Matilda effect
07. Broken glass
08. Moveout
09. Right now
10. Surrender
Solar Fake
SOLAR FAKE is the electronic music project of Berlin-based Sven Friedrich, one of the defining voices in the German Synthpop and Electro scene for many years. Founded in 2007, the project evolved from a solo venture into a well-established act with an international following. The 2013 album ‘Reasons To Kill’ marked SOLAR FAKE’s breakthrough into the German album charts - a success that continued with every release that followed. Musically, SOLAR FAKE blends catchy, structured Synthpop with darker, sometimes Industrial elements, delivering an emotionally direct and compelling experience.
On stage, Sven Friedrich has been performing for many years alongside André Feller and Jens Halbauer. This line-up adds extra dynamism to the studio productions, resulting in a powerful yet precise live sound. In addition to classic club and festival shows, SOLAR FAKE is also known for special formats, including acoustic concerts, orchestral projects, and international tours across Europe, the UK, and the USA. The latest studio album, ‘Don’t Push This Button!’, was released in 2024 on Friedrich’s own label and reached number six on the German album charts; a further proof of the project’s ongoing relevance.
Beyond music, SOLAR FAKE is deeply embedded in the scene. During the pandemic, the project launched a podcast, which has since grown to around 200 episodes and established itself as a fixture in the community. In often long and personal conversations, Sven Friedrich, André Feller, and Jens Halbauer welcome guests from music, culture, and science, including Chris Pohl (BLUTENGEL), Dr. Mark Benecke, Lennart Salomon (SONO/MORPHOSE), Dennis Schober (SOLITARY EXPERIMENTS), Chris Harms (LORD OF THE LOST), and Daniel Myer. Like the music itself, this part of the project is entirely self-managed just like all studio albums, which Sven Friedrich writes, produces, and instruments entirely on his own. https://solarfake.com / https://www.facebook.com/SolarFake
Music & Performance
Before diving into the show: As being some kind of new to the of SOLAR FAKE fanbase, I asked myself what that band stands for? And is there a thematic thread running through their lyrics? While the music can be sweet and uplifting, the lyrics are often bitter and sharp. Sven openly admits that he has long since lost faith in what humans are doing to this planet, and he consistently addresses society’s shortcomings in his songs. In a striking example of turning words into action, SOLAR FAKE once included a small packet of organic seeds for a bee meadow in a limited fan box, accompanied by the message “Unf*ck this world“.
The decline of around 500 native wild bee species in Germany due to habitat loss, urbanization, and intensive agriculture is worrying. Topics like this can leave you feeling helpless, even if you already try to live sustainably. Seeing how few people truly consider these pressing global issues especially regarding climate change can be discouraging. Writing songs about it or paying attention to the supply chains of one’s own merchandise can become a way to channel that concern. I am always eager to support people who care about our future, which made Westand the perfect place to enjoy tonight especially with the artist who has appeared most frequently in the history of the Wave Gotik Treffen: Sven Friedrich, with his bands DREADFUL SHADOWS, ZERAPHINE, and SOLAR FAKE. He has performed an impressive sixteen times, meaning he has been present at every second festival.
Here is my review of the nearly sold-out SOLAR FAKE concert on this icy January evening at the cozy, warm Westand in Braunschweig. Precisely at 9 p.m., the start button was pressed, and both lights and sound set the SOLAR FAKE machinery in motion. The Shadowplayers, as the SOLAR FAKE fans call themselves, reacted instantly, clapping and cheering for their long-awaited band, which took the stage without hesitation and launched straight into the song ‘Hurts So Bad’. After every chorus, the audience erupted in applause, and even this opening number set the tone for the intense, sweat-inducing energy that would carry through the next two hours.
By the end of the song, the room was roaring with applause, and in perfect German, Sven greeted the audience for the second time that evening: “Now, a proper hello again”! The show continued immediately with ‘This Pretty Life’, a song that basically means the opposite of what the title suggests. The visuals in the background showed black-and-white scenes of a typical household from the 1950s and 60s: the woman fulfilling her role as a housewife, neatly dressed, cooking for her husband with a constant friendly smile, while the man went to work and pursued his career. Patriarchy was on full display, echoing themes previously explored in MORPHOSE and the referenced Matilda Effect. In an interview, Sven explained the background of this song as highlighting “the human tendency toward self-deception, pretending to be something we are not. To make it work, people resort to various aids like alcohol, pills, and similar measures.”
After enthusiastic applause and a brief “Dankeschön!” from Sven, he personally introduced the third song, ‘Under Control’. The audience sang along flawlessly, creating a lot of movement, especially on stage. By now, the performance resembled a full-blown workout, particularly for Sven and André, while Jens played the drums with stoic calm, seemingly completely relaxed. The visual animation featured, among other things, a bright background repeatedly darkened by a viscous black mass, along with a figure sitting in the windowsill with bent legs, staring pensively and unhappily into space.
What is truly “under control”? Daily functioning? Emotional self-numbing as a survival strategy. Transitioning to the next song, Sven commented, “Thank you. For the next song, we could use some help with the singing.” I thought, well, the fans have been singing loudly the entire time: what could be so special now? Then came ‘Not So Important’ from the latest album ‘Don’t Push This Button!’, where the chorus clearly forms a special connection between band and audience. This was the first real icebreaker of the second half of the evening: the temperature in the room rose noticeably, with everyone singing, jumping, clapping, and cheering.
The song also has an impressive music video that begins with a dog being abandoned, struggling alone, and eventually encountering other street dogs. Sven’s own pets are the main stars of this video, and as he has mentioned, all of his animals are rescues. The video is therefore a clear statement in favor of animal welfare, in which one can also find retreat and peace away from the people who cause animal suffering in the first place. “Thank you, you are amazing!” Sven shouted into the microphone, and without pause, the band launched into the next track ‘All the Things You Say’, a melancholic, nostalgic song with high dance potential.
The stage was bathed in green light, and the video animation showed drawn faces, interference lines, all likely representing distorted memories and altered perceptions, illustrating a life lived within an illusion. Again, enthusiastic applause, again excited musicians on stage, now moving into another song from the new album. ‘No Good Time’ followed, a song about exhaustion, overstimulation, and social fatigue, but in its musical form, it produced the exact opposite: singing, dancing, clapping, and reconnecting with one another. The next track, ‘I Despise You’, impressed me particularly with its visual presentation, which was almost designed like a short film. A person in rubber boots walks down a street, the surroundings dystopian, explosions, a mushroom cloud, a ruined cityscape - perfectly reflecting the track’s place on the 2021 album ‘Enjoy Dystopia’. 
The stage was bathed in ominous red light throughout the entire song, then darkened, only to light up again in dangerous red. André repeatedly encouraged the crowd to raise their arms and clap along. The entire stage seemed to be on fire, with the audience’s roaring applause as the ultimate highlight. The following track, ‘Disagree’, was introduced by Sven with: “Today we’re playing a few songs we don’t perform often, but that were asked for.” I particularly enjoyed this lighter, more fluid number, which lifted some of the visual intensity of the previous song. Sven and André swept across the stage, moving left to right and back again, keeping the energy relentless.
With ‘Here I Stand’, the set took a nostalgic turn back to the debut album ‘Broken Grid’ from 2008. This quiet track gave the fitness crew on stage a chance to catch their breath, as sweat was clearly streaming down on Sven and André, visible even from a few rows back. The audience also used the almost reverent song to pause and reflect on the early days when SOLAR FAKE had just been born. The next song, ‘Invisible’, featured background visuals that reminded me of the X-Men movies and the depiction of Cerebro, which was used to locate mutants worldwide. The animation showed a large white figure that was surrounded by many smaller white figures, all connected by lines - perhaps a reference to all the apps and networks that track our lives today. 
Only by logging off and becoming invisible, you may regain control over your own life. Sven introduced the next track with the question: “Can you manage some more?” This song stood out in every way in the setlist: sung in German with a deliberately aggressive performance, it made the recipient unmistakably understand that they should mind their own business. It was refreshing to see the usually friendly and accommodating Sven adopt this rare, assertive role, as sometimes, everyone’s patience snaps, and thoughts are allowed to run free. Visuals included creepy horror faces, barbed wire, fences, and ghostly figures. ‘Es geht Dich nichts an’ ended with a short but intense drum play by Jeans, and the audience celebrated the band with cheers, whistles, and loud applause.
The energy continued with ‘The Pain That Kills You Too’ and ‘Not What I Wanted’. Sven joked that he even had sweat in his ears now, and asked the audience if we were still having fun. André, the only one constantly switching between strings and keys, encouraged everyone to clap along, and thanks to the visually displayed text line ‘This is a nightmare but it’s my life’, even newcomers like me could easily sing along with the chorus. A hand reaching for help and a wide, terrified eye appeared on screen, while Sven repeatedly held the microphone toward the audience, who were only too happy to shout back the desired lyrics. 
The transition into roaring applause was seamless, and the frontman thanked the audience with “That’s amazing, thank you very much!” By now, the show had been in full swing for just over an hour. The next song, ‘This Generation Ends’, connected back to the current album. It’s about wasting time, and according to Sven, people are really good at that. We rarely spend our time on meaningful things; instead, we let it slip away, filling it with consumption and superficiality. We allow ourselves to be blinded and deceived, and in the end, we often end up chasing ourselves to destruction. With high energy on stage and the audience chanting the chorus “I can’t unfuck this world at all”, the song came to an end. 
Sven then introduced ‘You Keep Breathing’, with visuals of geometric shapes, towering waves, and a storm at sea.And again and again, there is this contrast between the light, danceable musical interpretation of a SOLAR FAKE song and the heavy lyrics, which in this case deal with survival mode: being stuck, continuing to breathe, while those around remain oblivious. The audience’s enthusiastic, text-savvy response was met with generous applause and a modest, “Thank you so much” by Sven. The next song on the setlist was ‘Sick of You’. The visuals featured, among other things, a blindfolded woman, an explosion, and people moving stoically through a city, oblivious to each other. 
The recurring motif of a woman could suggest that the song deals explicitly with the toxicity of a past romantic relationship. The text line “Sick of you” was displayed in extra-large letters to the audience, which naturally intensified the urge to sing along. One thought that struck me again that evening was how a drummer could remain so completely relaxed throughout the show. With Morphose, you’d expect Marius to almost take off with his drum kit, but Jeans performed with such calm ease that it felt like someone could have offered him a cup of tea. Next came ‘It’s Who You Are’ from the 2021 album ‘Enjoy Dystopia’. 
The visuals included blood, sometimes dripping from above, sometimes seeming to flow upward, along with a woman’s eyes. Despite the intensity, the audience showed no signs of fatigue. Near the end, Sven checked if we were still keeping up: “You are amazing!” André formed a heart with both hands toward the crowd. Sven also mentioned that there would be fewer solo shows this year, but several festival dates could still be found on the band’s website, including Wave Gotik Treffen, Black Lower Castle Festival, Amphi Festival, and Dark Storm Festival.
By 10:30 p.m., ‘It’s Never Been You’ was performed. I particularly enjoyed the song’s more aggressive undertone, which Sven emphasized vocally in the chorus. He mentioned that this track had been requested many times, which is why it earned a spot on tonight’s setlist. The show continued with ‘Where Are You’, a quieter track whose animation invited viewers into a room with a floor covered in burning candles. Arched windows in the background suggested a sacred space, and a grave light added to the atmosphere. The visuals created the sensation of floating within the room, accompanied by blood dripping into blood-red stained water and flowing into a drain. The imagery evoked strong feelings of longing, pain, and loss. 
To lift the mood and signal the evening’s finale, Sven announced the last song, whereupon giggles spread throughout the room, because everyone knew that no one would go home today without an encore. ‘Observer’ opened with fast beats, which the crowd eagerly followed, dancing in perfect sync. The stage was bathed in red light, further amplifying the room’s energy. Fans clapped, cheered, whistled, and danced, while the band showed no signs of fatigue. The chorus line ‘Why the fuck you broke my heart’ was sung at full volume until the song ended. Thunderous applause greeted the band, and at 10:37 p.m., Sven, Jeans, and André left the stage with a final, “Thank you, see you soon perhaps.”
Probably because everyone knew the band would return, the audience didn’t erupt into excessive encore calls, though a few were audible. Fans simply know their band too well; they won’t stay behind the curtain for long. At 10:39 p.m., the trio returned to the stage, kicking off the first encore of the evening with ‘At Least We’ll Forget’. Sven and André moved energetically across the stage, exchanging high-fives, while Jeans continued to play the drums with absolute calm and precision. And finally, it was time for the first cover of the evening. Sven teased that a second cover might follow later, but for now, they performed ‘Somebody Told Me’ by THE KILLERS. The accompanying animation revolved entirely around lighting: light bulbs hanging from the ceiling, and a light installation shifted back and forth in symmetrical patterns. 
The audience clapped in perfect symmetry from front to back, matching the visual rhythm. As the last notes faded, Sven announced the second encore track, which hadn’t been performed since 2011, before Jens and André had even joined SOLAR FAKE. This was ‘The Line of Sight’, a calm and melancholic number, with Sven’s voice accompanied only by keyboard at first. On the screen, the audience was transported to a bird’s-eye view, flying over a mystical forest. A white horse repeatedly appeared, breaking through its outer shell to emerge even brighter and whiter each time. The audience watched intently, listening to Sven’s words as they faded and signalled the end of the first encore.
Amid loud applause and cheering, SOLAR FAKE left the stage, only to return moments later to kick off ‘I Hate You More Than My Life’. André held his hands to his ears to signal to the audience: “Make a little more noise!” The crowd immediately responded, and the Westand was once again running at full throttle. The background animation suggested the hectic, monotonous life of a big city. Even though I live in a rural area, I could easily imagine how city life can transform someone into a version of themselves that barely resembles their true self - someone they might even begin to hate. 
Perhaps this is why Sven chose to leave Berlin? Following this track, the second cover version of the evening was performed. The young woman next to me, who had been eagerly waiting for this moment, finally had her dearest wish fulfilled. ‘Join Me in Death’, a cover of the HIM original, was sung, clapped along to, and celebrated throughout the venue. At the end of the song, Sven announced what would likely be the final track of the night: “Thank you so, so much for being here. Now comes our last song, which unfortunately isn’t quite as fun.”
With ‘Lost’, the theme of losing one’s identity was addressed once again, and the visual representation showed hands on a steering wheel, but no path or direction could be discerned. Realizing that one has become lost in their own life is a bitter revelation, and often there is little strength left to change it. The song’s dark mood served as the perfect closing melody for the evening. Sven briefly introduced his bandmates once more, and the audience celebrated their stars enthusiastically. “I’m Sven, we are SOLAR FAKE. Thank you, you were amazing, see you next time!” 
The three posed for a final group photo, and at 11:10 p.m., the fifth SOLAR FAKE performance in Braunschweig concluded to great applause and cheering. This was also the question for the raffle of the cute plush bat from the MDR show, which was given to Sven as a consolation prize for his defeat in the song guessing game: “How many times will SOLAR FAKE play in Braunschweig?” The winners were treated to a meet & greet that evening.
What the band themselves had to say about the performance could be seen in the obligatory toilet video filmed backstage immediately after the show. They described it as “crazy, really nice, lots of people for sure, great atmosphere, beautiful club, totally insane and amazing.” I can only agree and would like to say a huge thank you for my very first SOLAR FAKE experience.
Setlist
01. Hurts so bad
02. This pretty life
03. Under control
04. Not so important
05. All the things you say
06. No good time
07. I despise you
08. Disagree
09. Here I stand
10. Invisible
11. Es geht dich nichts an
12. The pain that kills you too
13. Not what I wanted
14. This generation ends
15. You keep breathing
16. Sick of you
17. It’s who you are
18. It’s never been you
19. Where are you
20. Observer
---
21. At least we’ll forget
22. Somebody told me
23. The line of sight
---
24. I hate you more than my life
25. Join me in death
26. Lost
All Pictures by Aileen Ritter
