Live Review: Echoes of Rebellion - Cologne 2026

Club Volta, Cologne, Germany
24th July 2026
Echoes of Rebellion 2026 with De/Vision Redux, Hinfort, Train To Spain, 2DCAT and Rotoskop

Since the Rhein-rebels came ashore at Club Volta in 2024, it has somehow become a tradition for me to kick off the Amphi Festival weekend on the Friday at Echoes of Rebellion. And somehow, it makes me a little sad that this will be the last time this year.

In May, Aileen and Jean-Pierre (or simply JP), the organisers of this wonderful familial festival, launched a small survey on their social media channels. They are facing the same problem as many organisers: the costs for all the different trades involved in putting on an event like this are rising, making balanced financing increasingly difficult. Revenue from advance ticket sales is falling. Fewer and fewer tickets are being bought in advance, and overall visitor numbers are declining.



So what can be done to bring more people in and prevent the festival from going the way of so many other smaller events and having to give up? Many people actively joined the discussion and, alongside numerous suggestions and wishes, one thing became very clear: people wanted a different date. So next year, the festival is breaking away from the Amphi weekend, and Echoes of Rebellion 2027 will already take place in May.



Time will have to tell whether this was the right decision. In any case, I’m keeping my fingers crossed for Aileen and JP that the new date will encourage more people to embrace this great event, allowing the festival to establish itself further and eventually turn a little profit. And I’m incredibly grateful to the two of them that giving up is not an option and that they are doing everything they can to continue giving artists a stage who may not yet be featured on all the big festival posters, but who deserve to be heard.



They set out with the conviction that great music does not depend on how big a name is printed on a poster. Sometimes it is precisely the bands you have never heard of before that leave the strongest memories at the end of the evening. And that is exactly what Echoes of Rebellion stands for.



Anyone who has read several of my reviews will probably know that I tend to go off on a tangent here and there. It rarely happens to me this early in the introduction. So let’s get back to 2026. It is the Friday before Amphi, and at Club Volta in Cologne’s Carlswerk, we can look forward to a line-up bringing together acts from the fields of Synth-Pop, Post-Punk, Darkwave and other electronic music.



This year, the line-up is a little more Synth-Pop-heavy than in previous years. On the one hand, we have two local heroes taking to the stage, with opener ROTOSKOP and co-headliner HINFORT. TRAIN TO SPAIN and 2DCAT have flown in from Sweden and the USA. Headliners DE/VISION REDUX bring the legendary songs of DE/VISION back to life in a new, modern guise. So, an exciting mix of national and international acts awaits us.



As in previous years, I have taken the Friday before the Amphi Festival off and spend the morning on the motorway. The journey is surprisingly uneventful. After checking into my hotel room for the weekend ahead, grabbing a bite to eat and freshening up for the evening, it’s time to head to Club Volta.



It is located in the heart of Cologne’s Carlswerk, very close to the Tanzbrunnen, and together with the neighbouring Carlswerk Victoria forms a unique event complex, connected by a cosy beer garden. This is where people will also relax between the concerts today, have a chat with friends and get some fresh air.



There is an affordable multi-storey car park directly on the site. I park my vehicle there shortly before half past four and already say hello to the first friend. We have practically parked next to each other. A handful of people are already waiting outside the club itself, all good acquaintances as well, who are greeted accordingly warmly. Over the next hour (doors open at half past five), more familiar and unfamiliar faces will join us.



Shortly after half past five, the first guests begin to fill Club Volta. The merch stand is inspected, drinks are bought, and there is still a little time to chill in the beer garden. The front row is claimed, friends are greeted. People chat and already dance a little to warm up. Just under an hour later, the time has come. The organisers Aileen and JP welcome their guests: “So, a very good evening, Cologne. The thank-you speeches will come later - all the rambling, as Aileen just said. We’re super happy that you’re here, that you’re already here. We’re starting now with the first band and hereby declare Echoes of Rebellion 2026 officially open.”

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Rotoskop

The evening is opened by Klaus Gratzl, aka ROTOSKOP, with an atmospheric mix of Alternative-Pop, Post-Punk, Wave and electronic soundscapes. A sound that is difficult to put into a box and which the artist himself has given its own: Dark Mood Pop. In his lyrics, Klaus repeatedly addresses current social issues and does not mince his words when it comes to political topics either - a quality I very much appreciate.



It is shortly after half past six. Klaus puts his in-ears in and then “let’s get started”. Laptop and synthesiser, a guitar and a microphone, that’s all it takes and Klaus is ‘On Fire’. To Klaus’s left and right, two small monitors complement the songs visually. The monitors show visuals matching the songs and, every now and then, lines from the lyrics can be seen. Klaus moves back and forth between the microphone and the edge of the stage with his guitar, strikes poses for the fans and cameras and seems to have established a connection with the audience within just a few minutes.



Some people here are already familiar with the project. You can see the occasional shirt bearing the distinctive band logo in the audience. Some sing and clap along more loudly, some less so. During ‘Today’, Klaus surprises the audience by jumping into the crowd. Back on stage, there is another surprise. “I always announce the next song separately. Because there are certain social developments that I find more than worrying. Personally, I really don’t like the fact that we are continuing to slide further and further to the right, towards fascism. I can’t understand it.” This is met with loud cheers for the time being.



“You apparently can’t understand it either. And I have the feeling that we are moving backwards in time. And that’s why the next song is called ‘Back in Time’. Some of you know it, of course. What you don’t know yet is that Gaia is my guest today and will be joining me.” Klaus does not need to introduce Gaia Freigeist, who normally plays guitar with REAPER and SYSTEM NOIRE. Most people here already seem to know the musician. “Gaia is a fucking great guy and I’m glad he’s here today. Nevertheless, we’re now going to play the song with the serious background: ‘Back in Time’.”



Gaia keeps Klaus company on stage for a few more songs. The club has filled up quite nicely by now and the atmosphere among the guests is excellent. During ‘Body Spirit Soul’, Klaus is on his own again and hopes the audience isn’t too sad that they now have to make do with just him again. Disappointment actually only sets in when Klaus announces, “since things are going so nicely, I’m going to play the last song now.” This pleases the artist and he thanks the audience for it. And while he’s at it, he also thanks Aileen and JP for the invitation and the technical team, “without whom we’re just a bunch of losers up here”.



After a mention of the merch stand and the opportunity to support the artists and organisers with a small purchase, enough has been said and it is time for ‘Birthschoolworkdeath’, the final song. Afterwards, Klaus bows deeply and at length to the audience. “Thank you so much. You guys are great.” Klaus is beaming from ear to ear and, while the stage is being prepared for the next act, a large part of the audience disappears into the beer garden. // Setlist: 01. On Fire / 02. Love Peace Honesty / 03. Sinking / 04. Toxic Men / 05. Today / 06. Back in Time / 07. Dark Desire / 08. Body Spirit Soul / 09. Birthschoolworkdeath

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2DCAT

The second act of the evening is celebrating their European premiere at Echoes of Rebellion today, simply because a certain Patrick has been pestering the organisers about them for long enough. The Dark-Synth-Pop duo from Washington, D.C. combines analogue synthesisers and atmospheric soundscapes with Darkwave, Coldwave and that special 80s underground feeling. The duo consists of singer and producer HAEZL and Johan Hauck. The man behind the machines develops and builds many of his own devices himself.



If Patrick has already managed to talk the organisers into booking a band they themselves had never even heard before, then it only makes sense that he should be allowed to introduce the duo as well. He is promptly brought onto the stage for this. And because Johan brews his own beer at home, JP also gives Patrick a bottle of Altbier as a thank-you. “Welcome to Germany. Welcome to Europe. The fabulous, the fantastic 2DCAT from Washington, D.C., enjoy Cologne!”



The two gentlemen then clear the stage. Johan takes up position among his synths and HAEZL immediately storms into the hearts of the audience. “Lasst uns tanzen! Geht es euch gut? Thank you for having us here. We are so excited and we hope you enjoy this.” The duo immediately goes down well with the audience. HAEZL has charisma, presence and, more importantly, a voice. I have to say that I really like the performance.



HAEZL whirls around the stage, bouncing up and down like a rubber ball and sending her energy shooting through the room. The audience picks up on it, dancing exuberantly, clapping along to the beat and someone even starts head-banging. HAEZL knows how to take the audience with her even during the slightly slower songs such as ‘Underground’, and the cover versions, particularly Nick Cave’s ‘The Weeping Song’, are also convincing.



As they say goodbye, Johan doffs his hat, the two quickly pose with the fans for a group photo and leave the stage shortly after eight. // Setlist: 01. Eat The Rich / 02. Frames (Blue Rose Edit) / 03. Touch In The Night (SILENT CIRCLE cover) / 04. Elegy (Blue Rose Edit) / 05. Salvation Will Not Come / 06. Underground (Blue Rose Edit) / 07. Never Enough / 08. Rise As One / 09. We’re Here / 10. The Weeping Song (Nick Cave cover) / 11. Stay With Me

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Train To Spain

For the next band, the organisers have once again brought in some support to welcome them. Robert from Kielectric Festival now has the honour of introducing TRAIN TO SPAIN from Sweden. The Swedish duo of Helena Wigeborn and Jonas Rasmusson combines classic Synth-Pop with modern electronic elements. After more than a decade, several albums, numerous singles and countless concerts across Europe, the Swedish duo has long since become known beyond the borders of Sweden. The fact that they also seem to feel at home on German stages is demonstrated by the two musicians repeatedly throwing in announcements in German.



For the next 40 minutes, we will be entertained with Swedish Synth-Pop “for body and mind”. Jonas’s musical roots lie with ABBA and the disco scene of the 70s, but also with bands such as DEPECHE MODE and all the synth bands of the 80s, New Romantic and New Wave. You can certainly hear these influences in his sounds, although there are no specific musical role models.



Helena, who also writes the lyrics, gives the sound a distinctive touch with her voice. She also plays the melodica from time to time. Looking around, I get the impression that the rows are a little thinner and that some people have decided to take a little break in the beer garden. Those who are here are having all the more fun.



Shortly before nine, it is time for: “Dankeschön, thank you so much. This is our last song, it’s called ‘Monsters’. You’re an amazing audience. It’s nice to be here.” One last time, the audience claps along and dances enthusiastically. The duo thanks everyone once again, and then most of the remaining audience disappears into the beer garden as well, while Steffen Keth from DE/VISION REDUX signs a few autographs and takes selfies with fans at the merch stand. // Setlist: 01. Blipblop / 02. Screw It Up / 03. Nothing To Win / 04. Heal You / 05. Open Your Eyes / 06. Shed No Tears / 07. My Spirit Is Free / 08. Likable / 09. Prisoner / 10. I Wanna Know / 11. Monsters

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Hinfort

This brings us to the second local hero of the evening. The co-headliner is based here in Cologne and creates soundscapes somewhere between Post-Punk and Darkwave. Mastermind Florian started his solo project in October 2024. His music is characterised by cold bass riffs, atmospheric synthesisers and a melancholic, deep vocal line that occasionally reminds me a little of JOY DEVISION.



Before we continue with the music, JP has once again brought some reinforcements onto the stage. “Now comes the flattery.” JP goes on to thank the audience, the entire team, the many people who have supported the festival over the years and the DJs who will be keeping things going a little later. “So stick around for a little while longer, it’s definitely worth it.” Thanks also go, of course, to Club Volta, including the technical crew, to the photographers, the bands and, above all, JP’s wife Aileen.



As with previous events, only a few fellow organisers are given the opportunity to promote their own events. The microphone passes from JP to Robert from Kielectric Festival and on to Carsten from Dark Skies Over Witten. And of course, JP also promotes Echoes of Rebellion once again, which will return to Club Volta next year on 22nd May, one week after WGT. As the new date falls on a Saturday, there will be six bands instead of five, at the same price as before. And of course, the Rebel Moon Party afterwards will also return in 2027. “Keep joining us. We are a family. It’s great to have you here.”



The stage now belongs to HINFORT and Florian greets the audience with a cheerful “Cologne, what’s going on?” The bass is strapped on. Someone shouts “encore” and off we go with ‘worry’, which I already like very much. It quickly gets crowded in here again and dancing seems to be the order of the moment. Florian seems a little surprised and delighted at the same time that so many people have come to see him. After all, he only took to the stage for the first time last October.



He repeatedly paces back and forth across the stage with his bass and effortlessly manages to get the audience excited about him and his music. Me too, and so much so that I won’t be going home tonight without a CD and an autograph. There is singing, dancing (“Move a little”) and clapping along. My highlights of the set: ‘I can see it now’ - a collaboration with the Post-Punk band THE SPOILED, THE SMITHS cover ‘There Is a Light That Never Goes Out’, the brand-new track ‘romanticism’ and ‘along the way’, which develops an incredible amount of power.



There is clapping, cheering and screaming in front of the stage. The co-headliner really gets the place going. “Thank you so much, you have no idea. Some people are even wearing my T-shirt.” Fun fact: the T-shirt was printed in his own living room - all by hand. Of course, the shirt is also available at the merch stand, where the band’s upcoming dates are also on display for anyone interested. Florian struggles a little with the microphone stand, which has already slipped down for the second time. “I hate this stand!”



Nevertheless, there is now “a German song for you”. ‘verlorn’ is a song from his former German music project FLOERE, “without which HINFORT would not exist”. Huge cheers! Florian says goodbye shortly before half past ten with ‘no way out’. “Thank you very much, Cologne, that was HINFORT.” He thanks the organisers and the audience. Anyone who wants to can meet him later at the merch stand. // Setlist: 01. worry / 02. deadbeat / 03. bare bones / 04. treason / 05. I can see it now / 06. There Is a Light That Never Goes Out (THE SMITHS cover) / 07. romanticism / 08. alive (DARKWAYS remix) / 09. You Gave Up / 10. what I’ve done / 11. off letting go / 12. a love once lost / 13. to your grave / 14. verlorn (FLOERE cover) / 15. along the way / 16. in silence / 17. no way out

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Before we get to the headliner, Jasmin and Carsten welcome the audience, “armed” with a hat and champagne cooler. “It has become a bit of a tradition by now” to collect a little extra money. Aileen and JP are not particularly fond of it, but anyone who knows Jasmin knows that the two of them have no say in the matter, and after all, they can use all the support they can get. Carsten once again reminds every one of the new date for Echoes of Rebellion 2027 and asks the guests to continue supporting the festival. “Please, please come back.” All that remains is to wish everyone a great time with tonight’s headliner: DE/VISION REDUX.




De/Vision Redux

DE/VISION have been one of the defining names in the Synth-Pop scene since the early 1990s. Many of the guests here today associate the band, their music, the songs and concerts with many beautiful memories - just as I do. We have grown a little older and matured together. With DE/VISION REDUX, the band’s old classics receive a fresh interpretation with modern club sounds and new arrangements.



Frontman and singer Steffen Keth is still touring with DE/VISION in the familiar line-up. For the new project DE/VISION REDUX, he has teamed up with Daniel Myer and is bringing the refreshed classics to the stage together with him. In April 2026, the duo released their debut album ‘Echoes We Keep’. Now it is up to you to decide which version you prefer. Personally, I have had several opportunities over the past few weeks and months to experience the songs live in both line-ups, and I honestly cannot say where I feel more at home.



I like the songs in their original form just as much as Daniel’s reinterpretations, whether at home or live. And I have a feeling that many fans feel the same way. At quarter to eleven, Daniel takes to the stage and greets the audience: “The real headliners are you, after all. Thank you for being here.” While Daniel gets the audience warmed up with ‘Drifter The Opener’, Steffen also warms up next to the stage. Then he too is greeted with the applause he deserves.



Daniel, who “always tells such great stories”, is less talkative than usual. Nevertheless, both artist and audience are visibly in a celebratory mood. The atmosphere is exceptionally exuberant. “Nice to have you here. Are you up for it?” The way people are jumping around in front of the stage during ‘Rage’ and loudly screaming and clapping along to ‘Time to be alive’ makes a direct answer unnecessary. Steffen only has to wave his hands a little and the audience goes wild. There is certainly no holding back during ‘Flavour of the week’.



Many fans’ all-time favourite is, of course, sung along to at full volume. One of my favourite DE/VISION songs sounds youthful and fresh again in the REDUX version, and at least as good as the original. Every now and then, Steffen tries to encourage Daniel to tell a little more. At least we learn that his white wine spritzer has now gone warm, which prompts Steffen to make a joke about Daniel’s yellow skin tone. The little dialogues between Steffen and Daniel, their mutual banter and the obvious joy they both have on stage make up a large part of the charm.



After ‘Dress me when I bleed’, there is “another old chestnut” straight away. Daniel used to wonder, “who the fuck is Grace”. And perhaps you are also wondering why you shouldn’t go out for dinner with her. Read the lyrics to ‘Dinner without grace’ carefully and you certainly won’t find an answer to these questions. “I think you have a little quirk with the order of the songs.” Steffen doesn’t quite understand, so Daniel repeats himself. And somehow that seems to be true, because the third song in a row whose title begins with “D” follows: ‘Deliver me’. Steffen seems a little overwhelmed by Daniel’s observation. So let’s just carry on.



Daniel then apparently becomes a little more talkative after all and uses a short drinking break for Steffen to introduce Steffen and then himself, and to personally greet all the familiar faces he spots in the audience. You can simply tell that the two are having fun, and that spark effortlessly carries over to the audience. So once again, everyone is moving and dancing during ‘Synchronize’. “So, we’re slowly approaching the home straight.” Of course, nobody wants to hear that. But the concert really is gradually drawing to a close.



With ‘Strange affection’ there is “a slow song - appropriate to our age” and one of Steffen’s favourite songs. Daniel, who has a short night ahead of him, is getting a little impatient. After a brief discussion about when Daniel actually heard the next song for the first time, they at least agree that ‘Your hands on my skin’ dates from 1990. Anyone who knows the song is obliged to sing along. “And I know you can do it. Don’t let me down. Come on, can we do this?” And indeed: Steffen certainly doesn’t have to sing the song on his own. Quite the opposite. The audience delivers an impressive choir.



“Thank you very much. We’ve got one more.” DE/VISION REDUX finally say goodbye with ‘Try to forget’. And because it is customary to raise your hands once again during the final song, all the hands now go up and everyone claps along to the beat and sings together one more time. Shortly after midnight, it is all over for Steffen and Daniel. “Have fun at the after-party.” // Setlist: 01. Drifter The Opener / 02. Addict / 03. Rage / 04. Time to be alive / 05. Flavour of the week / 06. Free from cares / 07. I regret / 08. I’m not dreaming of you / 09. Dress me when I bleed / 10. Dinner without grace / 11. Deliver me / 12. Synchronize / 13. Strange affection / 14. Your hands on my skin / 15. Try to forget

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It doesn’t hit me quite as hard as it does Daniel, who already has to be at the Tanzbrunnen at nine o’clock tomorrow morning for soundcheck with COVENANT. But I won’t be at the Tanzbrunnen much later either, which is why I also skip the subsequent Rebel Moon Party. While some guests continue partying into the early hours, I make one final round to say goodbye to my friends and make my way back to the hotel.

All Pictures by Andreas Klüppelberg and Aileen Ritter