That’s how it was with YUNGBLUD

October 07, 2025, Düsseldorf, Mitsubishi Electric Hall

When I first saw Yungblud at Rock am Ring two years ago, I was immediately impressed by his unbridled energy and his special connection to the audience – even though I had previously thought he was primarily a phenomenon for a very young audience. But I was wrong! The documentary film about him that was recently shown in the cinema was also a touching reminder of how complex Dominic Richard Harrison is as a person and artist: vulnerable, restless, driven by the desire to leave something real behind.

Metamorphosis

Yet his path was anything but easy. The last few years – the transition from rebellious young star to mature musician – have been full of ruptures and doubts. But it is precisely this inner turmoil that makes his art so approachable. With his latest album “Idols”, he has reached a significant milestone. Anyone who sees him on stage today will not only see an entertainer, but someone who has grown – and whose message shines stronger than ever. His performance at the farewell concert of Black Sabbath and Ozzy Osbourne, where he sang “Changes”, was far more than a gesture of respect. This performance became a highly symbolic moment: a deep bow to a friend and a legend, but also a step into a whole new league. Yungblud was extremely present, powerful, vocally outstanding – and was the talk of the town afterwards. He had finally arrived in the premier league. His version was also released as a charity single, the proceeds of which went to hospices, children’s hospitals and Parkinson’s research. He thus sent out another strong signal: Yungblud is no longer just perceived as a pop or rock artist, but as someone who moves between generations, is respected by legends and at the same time retains his own voice.

Bridge builder

The Brit presented his new album in Düsseldorf – and the concert was completely sold out long beforehand. But what does his audience look like today, at the age of 28? Screaming teenagers? Wrong! Instead, carefully styled people of different age groups filled the hall. Not only the “classic” scene was represented, but also hip parents came together with their now grown-up “children”. It became clear that Yungblud’s music builds bridges between different worlds – and this was palpable in every corner of the Mitsubishi Electric Hall that evening.

Starting signal with discipline and glitter

The evening was opened by the band Weathers. Although admission was delayed by around 15 minutes, the quartet started on schedule at 19:00. The hall gradually filled up as the first songs began to play. Even before the doors opened, it was clear that safety was the top priority. The fans were directed into orderly lanes with fluttering ribbons before Securities led the crowd in rows of two and at a decidedly leisurely pace directly in front of the stage. Admission couldn’t be more civilized. Weathers, whose style is somewhere between alternative rock and indie pop/rock, finally took to the stage. Singer Cameron Boyer immediately caught the eye: in a black suit with a white mesh shirt underneath and glitter on his temples. Right at the beginning, “Happy Pills” put everyone in a good mood – a song that strikes a balance between pop lightness and a reflective note. With a greeting to the Düsseldorf audience (“Germany, how are you doing tonight? We are Weathers from Los Angeles, California.”), the band immediately established a connection.

Between outsider anthem and outlook

A first emotional highlight followed with “Lonely Vampire”. Boyer introduced the song with the words: “Germany, if you have anxiety, social anxiety, depression or whatever it is – this song is dedicated to you, alright?” The lyrics are an anthem for anyone who feels out of place – an ironic acknowledgement of their own outsider role, wrapped up in catchy indie pop. The chorus aptly describes the feeling of wanting to belong despite insecurity. There was special applause for their cover of Chappell Roan’s “Pink Pony Club”, in which drummer Cole Carson shone with a drum solo. Boyer then announced a premiere: “We’re gonna play a brand new song for you. This is a song called ‘Ugly’.” The track really did stand out from the others, coming across as fresher and more direct – a glimpse of new facets of the band.

The audience sings its heart out

A highlight of the show came with “Where Do I Sign?”. “Can we all sing together real quick? I’m gonna teach you guys something, ok? ‘My mind, my mind. Sleep tight, goodnight’,” Cameron Boyer asked the audience. The crowd joined in enthusiastically, sang along very melodiously and clapped eagerly to the beat. Meanwhile, Cameron danced wildly across the stage, dropped to his knees and acknowledged the response with a beaming “You guys sound beautiful. Thank you.” Bassist Brennen Bates also attracted a lot of attention – not only because of his distinctive mullet moustache look, but also because of his energy and his constant going along. The first shouts of “Woohoo” echoed through the audience. “You guys have too much fun. This has been fucking amazing. This is our last song, it’s called ‘C’est La Vie’.” The closer combines catchy indie hooks with thoughtful lyrics – a song about resignation and lust for life, missed opportunities and the disillusioned search for moments of happiness. “See you next time Germany, good night.” – With these words, Weathers left the stage after 30 minutes to the outro “Don’t Fear the Reaper” by Blue Öyster Cults.

Between fashion and glam rock

The second support act of the evening was Palaye Royale – three brothers from Las Vegas who describe themselves as a “fashion art rock” band. Stylistically located between glam rock, alternative and punk, they are not only characterized by their music, but also by their extroverted appearance. Fittingly, their V-shaped band name, illuminated with light bulbs, framed the center of the stage. The atmosphere had risen considerably in the meantime, and the US-Americans were received accordingly loudly. They took the stage by storm with “Mister Devil”. Guitarist Sebastian Danzig immediately sought to get close to the fans, climbed onto the speakers in front of the stage and played in direct contact with the audience. “Death or Glory” followed – a song that was strongly reminiscent of Måneskin in style and was celebrated by the audience jumping. The only downer: the sound. Remington Leith’s grating voice in particular was unfortunately mixed too quietly and didn’t come across with the full intensity that we’re used to hearing from him.

Between heaviness and light

“What’s up? Germany, throw your motherfucking hands up to the sky!” – Leith shouted, and the crowd’s arms swayed to the beat of “No Love in LA”. He soon got rid of his shirt and performed shirtless from then on. Sebastian Danzig continued to rock with commitment and presence, spinning in circles during “Addicted to the Wicked & Twisted”. Things got particularly emotional during “Dying in a Hot Tub”. Leith asked the audience: “Could you do me a favor? Could everyone take those flashlights on? All the way back there.” A sea of lights shone in the hall to match this hymnic, melancholy song, which tells of self-doubt, loneliness and falls – and was deeply moving in its poetic heaviness.

Approachable finale

The musicians continued to let off steam with “You’ll Be Fine”: Sebastian went into the pit, while Remington went to the side of the stage and caused a cheer. Even more closeness followed during “Mr. Doctor Man”, when the singer gestured to the crowd to split the middle and dive straight into the pit. To cheers and a thunderstorm of drums, Sebastian spat water into the air – a scene straight out of a rock’n’roll movie. Their catchy tune “For You” played at the end. A song about lost love, futile comparisons and the pain of loss – but at the same time a passionate confession that immediately had the audience singing along: “‘Cause all I want is you / I’m breaking all the rules for you…” – carried by the voices of the crowd. After 40 minutes, Remington thanked the fans in German before Palaye Royale cleared the stage for the headliner.

Under the sign of Ozzy

And then the magic took its course. The intro was “War Pigs” by Black Sabbath. Sharon and Ozzy Osbourne could already be seen in Yungblud’s music video for “The Funeral” (in 2022) – back then, Ozzy gave the young musician a cross necklace, which has accompanied Dom ever since. A special friendship developed between the two, with Ozzy becoming a mentor and supporter. A few days after the death of the “Prince of Darkness”, Dom posted a photo of the necklace in his hand with the words: “your light will shine forever. I love you.” But now it was up to Yungblud to shine in the rock world himself. Would he also succeed on this evening? The accompanying musicians were positioned at the side of the stage – from strings, guitar and bass to drums and keys. Behind them hung a black satin curtain, in front of which stretched huge white angel wings, flanked by two lions facing each other like guardians. The stage design reflected the new era of his album “Idols”: the lion motif stands for inner strength, power and courage, which Dom has found with this work. The wings, on the other hand, symbolize outgrowing oneself – a metaphor for freedom, new beginnings and at the same time a contrast to the groundedness and power of the lions.

Nine minutes of magic

The first sounds of “Hello Heaven, Hello” started while the word “Hello” appeared in countless languages on the screens next to the stage. And then Yungblud took to the stage! Wearing leather trousers, a short black vest and sunglasses, he stepped in front of his audience. He began his song in a soft voice – the 7,500 fans in the hall went wild with joy. When he suddenly let out a scream, he jumped into the air and white confetti shot into the crowd. Dom stormed towards the drum set, taking off his glasses and vest. Bare-chested, he tipped a cup of water over his head, which splashed around as he tossed his wet hair back on his neck. The song, which is over nine minutes long, unfolded its full power particularly as an opener: from a gentle beginning, it escalated into a rocking part that soared anthemically before finally fading out in spherical tones. “Hello Heaven, Hello” is a call to feel alive and not to let the lies and injuries of others keep you down. It tells of the pain of childhood, of devaluation and doubt – and poses the question of whether to remain in suffering or take the plunge. The repetitive “Hello” became a mantra, the fans joined in full of joy – and Yungblud beamed with them. A fabulous start full of energy and meaning.

Different together

“Holy shit, Düsseldorf – you look beautiful! Are you motherfuckers ready? Go! Hey, hey…” With this call, the Brit started “The Funeral” – and the party was finally on. The whole hall was dancing and Yungblud proved to be an absolute crowd puller: Although the stage was full of musicians, people’s eyes inevitably kept wandering to this exceptional artist. Musically, the hybrid song combines driving indie rock with punk pop – including rousing choruses that are immediately catchy and unfold their full power live. And in terms of content, it is far more than just a dance hit – it plays with one’s own funeral as a metaphor for self-doubt, new beginnings and the decision to celebrate life despite all the darkness. This was followed by “Idols Pt. I” – and how Yungblud used his body! He swayed his hips skillfully, stroked the microphone stand with a delicate hand, raised his arms in the air and exchanged hot glances. “It’s good to be back in Germany. Are you motherfuckers going crazy? I’m Yungblud and I’m fucking crazy!”, he shouted into the microphone and the crowd jumped up with him. Together they immersed themselves in this very special, intoxicating world.

Epic vs. passion

“Düsseldorf, let me see your hands in the air!” With these words, Yungblud introduced “Lovesick Lullaby” – a song that was convincing live with its mixture of bittersweet melancholy and driving urgency. The audience was surprised by loud volleys of fire, which added even more intensity to the already powerful performance. The crowd acknowledged their enthusiasm accordingly loudly. “Holy fucking shit!” – But Dom couldn’t let his astonishment show for long, because he launched straight into “My Only Angel”, the song he recently recorded with Aerosmith – and what a force it was live! The track, which is already epic as a studio track, gained even more depth here. Warm light enveloped the scene and his voice seemed to be from another world. Between the blazing flames, the Brit moved lasciviously and unleashed – a performance that exuded pure devotion.

A fan becomes part of the show

“How are you feeling tonight? I fucking love Germany – I love you, Germany.” Yungblud teasingly asked if anyone wanted to tie him up, put his hands behind his back and pulled a cute pout. Little jokes alternated with intense eye contact – until he suddenly asked if anyone wanted to play the guitar. A young man seized the opportunity, overcame the gap and shortly afterwards stood next to Dom on stage. “Are you sure you can play it?” he asked with a laugh. But Luke from Cologne remained steadfast, was embraced by Dom and was allowed to accompany “Fleabag” with Yungblud’s guitar. He even bravely jammed with the other guitarist as if it were the most normal thing in the world – and the audience celebrated him frenetically. “Fleabag” itself is a song about self-hatred, inner turmoil and the feeling of not belonging: “I’m just a fleabag, nobody loves me / Send me to rehab, somebody touch me.” A raw, uncompromising piece that expresses pain and defiance with equal force. The fans sang along to every line with fervor until the hall was almost shaking. Dom took a drag on a cigarette, ran along the pit into the middle of the audience and let himself be carried standing on his hands. Standing casually above the heads of the crowd, he continued to perform full of intensity – an image that became engraved in his mind. “I love you, you crazy motherfuckers!” – Madness!

Fan stalking & hot scenes

“Yeah! Make some noise. Are you ready to rock with me? I want fucking chaos! Are you ready to go crazy?” Yungblud asked the fans to take each other on their shoulders. More and more followed his call – but that wasn’t enough for him. He wanted even more. Soon rows of young women were sitting on the shoulders of their loved ones, and “Low Life” turned into an exuberant spectacle. The song itself is characterized by Eminem-style chanting, snotty, fast and full of attitude. Flames shot up into the air while Dom shook his ass cheekily and knew exactly what effect he was creating with every move he made. “You’re fucking amazing!”

Ozzy’s legacy

Shouts of “Ozzy” broke out as the melody of Black Sabbath’s “Changes” began. Dom looked up, fleetingly kissed the cross on his chain and raised his drink: “You know, I sing this song to a dear friend of mine in the sky tonight, dear Düsseldorf. I wanna dedicate this song to Mr. Ozzy fucking Osbourne. A man that I believe is the reason, why some of us know each other, right? Is this anybody’s first ever Yungblud show tonight? Holy shit, welcome to the family. Cheers, cheers!” He threw his cup far into the crowd. Then he became serious: “It feels so strange to me, singing this song tonight in Düsseldorf. Because when we lost Ozzy, I thought I would sing this song for the rest of my life to keep that motherfucker’s legacy alive, man! ‘Cause this is rock’n’roll music – and rock’n’roll is about love! Ozzy Osbourne was about love! Yungblud is about love. You motherfuckers are about love, man! Now Düsseldorf, can I ask of you one thing? I want everybody to look right and to look left to the person next to him right now. Say hello motherfucker. Say I love you! And now, sing this song ‘Changes’ with me.”

In memory of

The fans carried him through this difficult moment – and not just vocally. Hands went up everywhere, formed into hearts. His voice sounded both soulful and powerful to the piano melody, while thick fog enveloped his legs and made him appear to be walking on clouds. The guitar solo floated beautifully over it, Dom himself was visibly moved and wiped a tear from his eye. Touched, he looked into the crowd for a while – and I also felt a heavy lump in my throat. “Düsseldorf, are you with me? Put your hands up! And scream as loud as you can!” He started the chorus once more, but then left the crowd to sing alone and let the song fade out. Moved, he patted his heart. A moment full of love, loss and connection. Phew!

Caution. Fire hazard!

Now it was time to get down to business with “Fire”. The stage set was bathed in glowing red light and the energy was boiling. Yungblud twirled his microphone wildly above his head while shouts of “Hey, hey” echoed through the audience. Hot dance interludes made the already suggestive lyrics seem even more real. In the movie, Dom had laughingly said that the song was simply about sex – and indeed, there is a raw, physical directness in “Fire” that blazes with every line. The lyrics play with seduction and power, lust and control – an interplay of allure and warning. Live, the song unleashed an unbridled force: pulsating, physical, almost ecstatic. The fans were immediately infected and screamed the choruses back at the top of their lungs. Dom radiated pure joie de vivre when he performed “Ice Cream Man” in poppy pink light. With a tambourine in his hand, he beamed exuberantly – his laughter was so infectious that it engulfed the whole hall. The song itself, playful and full of youthful energy, unfolded an irresistible charm live. “Düsseldorf are you with me? I can’t see you. Come on.” A sing-along with the crowd provided amusement. “I wanna see you jump. This song is called ‘Loner'”. This ended the official part of the evening. A piece that oscillates between melancholy and defiance – and became a live anthem for all outsiders who found strength together that evening.

A touch of eternity

But nobody wanted to be satisfied with this ending, and so the encores followed. Ghost” from the current album “Idols” kicked things off. The heavy lyrics, which tell of pain, loss and the fight against giving up, had an almost spiritual atmosphere. The lines of the chorus in particular were emblematic of the evening: “Then you looked up to the sky and said: My God, what a beautiful scene, now I know what you mean. Wanna stay here forever. God, what a beautiful scene, now I know what you mean, You’re my gateway to heaven.” Dom spread out his arms – and you would have loved to stop time. The scene was carried by a beguiling carpet of strings that made the melody seem even bigger and more sublime. Goosebumps spread as red confetti swirled through the air and tangible happiness filled the hall. Exhausted, Dom sank to the floor, took a deep breath and finally looked over the edge of the stage with a mischievous wink. “Thank you for partying so hard with me, Düsseldorf. Thank you, I love you.” With these words, Yungblud said goodbye – and at the same time made a meaningful promise: “I come as able back to Düsseldorf every year until I diiiiieeeeee! Bludfest Düsseldorf?” There was no end to the screams, enthusiastic shouts of “Bludfest Düsseldorf” echoed through the hall. The “Bludfest” – Yungblud’s own festival idea, which he had already proclaimed in England – stands for a show curated by him, a big celebration of his music, his community and the message of cohesion. The idea of bringing this concept to Düsseldorf electrified the crowd. And on this evening, you could feel how well this idea worked here too: the fans were sweet and affectionate with each other, looked out for each other, got talking – and merged into one unit.

When fear allows closeness

“We’re talking about it. This is our last song. This is called ‘Zombie’. I love you, thank you so much.” – With these words, he picked up his guitar. “Zombie”, Dom’s declared favorite song on the new album, marked the perfect ending. The song itself revolves around the struggle with inner pain, the silence about one’s own wounds and the fear of being rejected as a broken version of oneself: “Would you even want me looking like a zombie?” A piece full of vulnerability that nevertheless carries hope. The intensity was palpable in the hall: hands went up, voices joined together as the chorus of this gifted song rang out one last time. Moved mothers and daughters lay in each other’s arms – there was love in the air everywhere. With a broad smile and shining eyes, a loving “Good night” and a last air kiss to the audience, Yungblud said goodbye.

Echo

On the way home, I could clearly feel how warm my heart was – and that feeling still lingers today. I’ve seen so many great bands live this year, bands that mean everything to me: Nine Inch Nails, Linkin Park, Bring Me the Horizon … but, looking back on that night, one thing is certain: for me, this was the concert of the year! What sets Yungblud apart from other artists? He acts from the bottom of his heart and lives what he does – with every single fiber. He succeeds in bringing the former spirit of Ozzy into the modern age. And what’s more: he fuses differences, not only connecting generations and subcultures, but also creating understanding and warmth for one another. Exactly what we so often lack in this day and age. What can I say? I’m afraid we have a new Prince of fucking Darkness! Congratulations, Mr. Dominic Richard Harrison.

Yungblud has shown us: The future of rock is already here – and she’s wearing a big grin, a cross necklace and an open heart. If rock’n’roll means love, then this was the loudest declaration of love of the year. And luckily, Dom officially took out an annual subscription in Düsseldorf that evening – prelude to the next Bludfest?

Setlist WEATHERS:
“Happy Pills” – “I’m Not Ok” – “Lonely Vampire” – “Pink Pony Club” (Chapell Roan cover) – “Ugly” – “Where Do I Sign?” – “All Caps” – “C’est La Vie”

Setlist PALAYE ROYALE:
“Mister Devil” – “Death or Glory” – “No Love in LA” – “Addicted to the Wicked & Twisted” – “Dying in a Hot Tub” – “Fucking with My Head” – “You’ll Be Fine” – “Mr. Doctor Man” – “For You”

Setlist YUNGBLUD:
“Hello Heaven, Hello” – “The Funeral” – “Idols Pt. I” – “Lovesick Lullaby” – “My Only Angel” – “Fleabag” – “Lowlife” – “Changes” (Black Sabbath cover) – “Fire” – “Ice Cream Man” – “Loner” — “Ghosts” – “Zombie”

Text: Nadine Kloppert
Photos: Michael Gamon

Listen to Yungblud in our “Dark Rock” playlist on Spotify: