Live Review: Nocturnal Cultural Night 18 - Deutzen 2025 (Day 2)

Kulturpark, Deutzen, Germany
5th to 7th September 2025
Nocturnal Culture Night 19 Day 2 with Angels & Agony, Circus of Fools, Formalin, Men Without Hats, Right Said Fred, Wiegand, Atlas Bird, Ash Code, It's for Us, Kite, Principe Valiente, Rosegarden Funeral Party, Tobias Bernstrup, <1979>, Cervello Elettronico, Grave of Love, Hekate, Rome, Digital Factor, Eklipse, Heimataerde, Machinista, Rotoskop, Suicide Commando and lectures by Jessica Iser, Sascha Lange, Christian von Aster, Markus Heitz, Torsten Low

If the first day of NCN 2025 set the tone with anticipation and energy, day two proved why this festival continues to be a beloved fixture. From midday sunshine to late-night spectacle, the Kulturpark buzzed with music, voices, and moments that won’t be forgotten. The NCN day kicked off with a hearty breakfast at our base camp in Schloßmühle Borna. About an hour later, we headed towards the Kulturpark, where the first mission is finding a decent parking spot. Around half past eleven, we passed through the entrance.

The gates were already open, and some early guests have settled in on benches in the shade, sipping coffee and enjoying ice cream. The atmosphere was super relaxed - people were taking it easy. The weather was very nice to us with lots of sun and decent temperatures. Once again, the music program was happening simultaneously on two of four stages, and there are several readings scheduled as well. So, there will be some overlap, which means it’s all about setting priorities. With today’s line-up, that’s easier said than done…



Before we dive into today’s festival activities, let’s take a closer look at the stages across the festival grounds. The program is spread out across five stages in total, but you won’t have to walk far since they’re all relatively close to each other, making quick changes between them easy. Let’s start with the Lesebühne (reading stage). Nestled among various vendor and catering stalls, this small stage was set up in 2022. The benches in front of it are perfect for lingering and listening. It’s a great spot to meet authors and fellow readers and listeners. Sometimes, the sound from the two main stages carries over, which can be a bit disruptive during readings. Sometimes, it can be hard to hear the authors clearly, which can make listening a bit challenging. But still, we are happy about the readings - a good addition to the musical line-up.



The largest stage, and the main one, is the Amphibühne. This stage has seen some big acts over the years, including APOPTYGMA BERZERK, CAMOUFLAGE, VNV NATION, DIE KRUPPS or LAIBACH, just to name a few. Its design, resembling an amphitheatre, ensures a great view of the stage from almost anywhere. The tiered seating in a semicircle, framed by trees, provides a fantastic open-air setting. This year, highlights on this stage are definitely the performances by CAMOUFLAGE, MEN WITHOUT HATS, PRAYERS but also RIGHT SAID FRED who are an unusual addition to the line-up.



The second major stage at the NCN is the Waldbühne. It’s set up in a large, flat area surrounded by trees. There are several food stalls around, and plenty of seating with umbrellas for resting. The stage was inaugurated in 2022 by acts like FORCED TO MODE and GIRLS UNDER GLASS. This year, you can catch performances from SUICIDE COMMANDO, TANZWUT or yesterday’s PLACEBO EFFECT - among many others. My personal highlights were playing right on Friday with AUGER opening the stage and ROTERSAND replacing Swedish REIN who had to cancel due to health reasons.



Both the Amphibühne and the Waldbühne, despite the many surrounding trees, offer little shade during the afternoon hours. The sun is too high and shines either directly on or from the side of the stages. With the summer sun we’re experiencing this year again, good sun protection is essential. It’s a good idea to use plenty of sunscreen, maybe bring an umbrella, wear sunglasses, and stay hydrated. Even though it was not as hot as last year, especially in front of the Amphibühne the sun was burning. The smaller Kulturbühne, on the other hand, is in the shade much earlier. While it does get direct sun around midday, the shade starts to kick in by early afternoon as the sun moves behind the surrounding trees and buildings, providing at least some relief later in the day.



The Kulturbühne is located right next to the Parkbühne, on the site of the barbecue area. You can reach the stage via a path from the campsite or a small trail that leads directly from the Parkbühne. Since 2013/14, this stage has mainly featured artists from Neofolk, Industrial, Avant-garde, and Experimental genres. Additionally, this is where the after-show parties with various DJs are held.



The final stage of NCN is the Parkbühne. This stage is completely surrounded by trees on three sides, providing the most shade. It has been part of the festival grounds since 2007, originally as a small 4 x 3-meter stage. It has since been expanded to 8 x 7 meters, making full use of the space between the trees. Since 2016, the stage has been dedicated to Synth and Cold Wave, Minimal, and Post-Punk. In 2025, performances include one of my festival highlights KITE, but also KALTE NACHT, TWIN NOIR or SHE PAST AWAY who are always delivering an excellent performance. The Parkbühne has also become the venue for the Midnight Special, which concludes the concerts on Friday and Saturday and leads into the after-show party.




Parkbühne

The Parkbühne opened its gates at 10:30, and by late morning ATLAS BIRD set the pace. The Leipzig-based duo of Martin Schröder-Zabel and Axel Kunz brought a surprising depth of sound, breaking the usual expectations of a two-man act. Their blend of raw intimacy and sweeping, euphoric arrangements resonated with clarity - the perfect soundtrack for the day’s first wave of festivalgoers.



By early afternoon, Stockholm’s IT’S FOR US carried the audience into darker, more atmospheric territory. Fresh from their 2024 album ‘Out Of Time’, the band’s unapologetic Post-Punk textures and direct stage presence offered both intensity and intimacy. Later, PRINCIPE VALIENTE and ROSEGARDEN FUNERAL PARTY drew in large crowds. The latter, hailing from Dallas, stood out as one of the day’s festival highlights. With her electrifying energy, frontwoman Leah Lane captivated the audience, embodying the unbridled spirit of modern Post-Punk while echoing its rich past.



Evening brought a surge of anticipation for ASH CODE and then, at 21:20, KITE - arguably the highlight of day two. The Swedish Synth-Pop masters transformed the Parkbühne into a breathtaking visual and sonic experience. Layers of fog, laser beams cutting through the night, and soaring melodies created a spellbinding atmosphere. The only drawback? The area in front of the stage was so overcrowded that many fans struggled to see. As some remarked, KITE’s performance would have deserved the larger Amphibühne. Still, the emotional weight of their set lingered long after the last note.



The midnight slot belonged to TOBIAS BERNSTRUP, who closed the Parkbühne with a performance equal parts concert and art installation. Dressed in latex and embodying his cybernetic persona, he delivered a hypnotic blend of Italo-disco, Synth Pop, and Gothic Noir. With tracks from his latest release ‘Shadow Dancer’ (August 2025), he pulled the audience into a retro-futuristic world - equal parts dancefloor and dreamscape.


Waldbühne

The Waldbühne began with DIGITAL FACTOR, before ceding the spotlight to ROTOSKOP, whose “Dark Mood Pop” demonstrated how a one-man project can feel vast and varied. From delicate calm to driving rhythms, the set reminded the crowd that minimalism can be both powerful and immersive.



The string quartet EKLIPSE provided one of the day’s most elegant interludes, reinterpreting Pop and Rock classics with classical instrumentation, enhanced by electronic flourishes. Their graceful performance echoed beautifully under the trees, leaving the audience visibly moved.



In contrast, MACHINISTA turned the dial up with their Swedish synth-driven anthems, balancing vulnerability with driving beats. HEIMATAERDE brought something entirely different - their self-styled “Medieval Electro” conjuring imagery of crusaders and vampires against harsh electronics. It was theatrical, unusual, and uniquely them.



Closing the night, SUICIDE COMMANDO unleashed their signature aggression. Johan van Roy’s Industrial onslaught shook the trees themselves, a relentless wave of dystopian sound that had the crowd surging until the last distorted note.




Amphibühne

From the early afternoon, the Amphibühne pulsed with energy. WIEGAND opened with shimmering Synth Pop that quickly drew dancers to their feet. CIRCUS OF FOOLS followed with their chaotic, theatrical spectacle of Symphonic Metal and Steampunk flair, proving again that NCN’s variety is one of its strengths.



By mid-afternoon, ANGELS & AGONY returned to their familiar territory: deep, atmospheric electronics paired with thoughtful lyricism. Their set was a reminder of why they have remained a beloved live act for decades. FORMALIN then tore through the evening with their brutal, Berlin-stamped Industrial - a raw, uncompromising performance as visual as it was sonic.



The biggest surprise of the day was RIGHT SAID FRED. Initially met with scepticism, their inclusion sparked plenty of discussion before the festival. But when they finally hit the stage, the result was an unexpected party: light-hearted, infectious, and pure fun.



As night fell, MEN WITHOUT HATS took over as headliners. The Canadian legends delivered a joyous setlist spanning four decades, with ‘The Safety Dance’ making not one but two appearances. Their blend of nostalgia and undimmed charm left the Amphitheatre glowing.




Kulturbühne

Day two at the Kulturbühne started with the pounding beats of CERVELLO ELETTRONICO, bringing Industrial-Techno energy into the daylight. Later, GRAVE OF LOVE filled the space with Neofolk’s melancholy textures, blending acoustic and distorted instrumentation into haunting soundscapes.



<1979> followed with sheer sonic force, unleashing waves of Power Electronics and Rhythmic Noise that were as physical as they were musical. The intensity gave way to the haunting beauty of HEKATE. One of Germany’s most respected Folk bands, HEKATE have spent decades weaving medieval instrumentation with dark, poetic atmospheres. Their set was a hypnotic experience: drums, flutes, and layered voices rising like ancient incantations beneath the trees.



Later, ROME took the audience on a journey through history and philosophy with Jérôme Reuter’s poetic Dark Folk. Marking his project’s 20th anniversary, the Luxembourg-born songwriter delivered a powerful and moving set that left many visibly reflective. The Culture Stage closed with a gentler tone as DJs Sly.J and Darksense curated a calm after-show, offering late-night festivalgoers a chance to drift into the early hours.




Lesebühne

Meanwhile, the Lesebühne offered a quieter, literary counterpart to the music. Highlights included Jessica Iser’s ‘Deathbound’, Sascha Lange’s presentation of his DEPECHE MODE Trilogy, and Christian von Aster’s ‘Das Schlachthaus der Träume’, where a charity auction fetched over €100 for a unique “Depression Memory Game.” Markus Heitz captivated with ‘Die Schwarze Königin II’, while Torsten Low brought humour and imagination with ‘Phantastik meets Humor - im Dunkeln’.




Where day one built anticipation, day two delivered sheer abundance. From the ethereal to the brutal, from nostalgic hits to boundary-pushing experiments, every stage offered its own world. Highlights like ROSEGARDEN FUNERAL PARTY and KITE showed the international calibre of NCN, while MEN WITHOUT HATS and RIGHT SAID FRED injected levity into the night. The day captured the spirit of NCN perfectly: diversity, discovery, and a shared love for music in all its forms.

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All Pictures by Daniela Vorndran (http://www.vorndranphotography.com / http://www.facebook.com/blackcatnet)