{"id":39655,"date":"2026-03-07T08:13:00","date_gmt":"2026-03-07T07:13:00","guid":{"rendered":"https:\/\/orkus1.com\/thats-how-it-was-with-nachtblut\/"},"modified":"2026-03-11T12:44:19","modified_gmt":"2026-03-11T11:44:19","slug":"thats-how-it-was-with-nachtblut","status":"publish","type":"post","link":"https:\/\/orkus1.com\/en\/thats-how-it-was-with-nachtblut\/","title":{"rendered":"That’s how it was with NACHTBLUT"},"content":{"rendered":"
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February 26, 2026, Hamburg, KnustSupport: Asenblut<\/strong><\/p>\n\n

Deadly chic and mercilessly real<\/strong><\/p>\n\n

There are bands that provoke for the sake of provocation. And there are bands that provoke because they have something to say. Nachtblut<\/strong>, founded by Askeroth, belong to the second category. For years, they have been packaging social grievances in dark metal – blasphemous in tone, uncompromising in expression, but frighteningly precise in their analysis if you listen closely. Their lyrics seem misanthropic, but they are not.They hold up a mirror to society – and the grimace staring back at us can be frightening. On 26.02.2026, Hamburg’s Knust will be under exactly this sign. – Completely sold out. Not an inch of air between the bodies. The “Todschick Tour Part II” bears the name of the current album – and fittingly, seven songs from it find their way into the set. Even before the show begins, there is this tense expectation in the room, this collective “It’s going to be loud today”. No one comes here to nod their heads politely, but to have their insides shaken out. <\/p>\n\n

The storm before the storm<\/strong><\/p>\n\n

Asenblut<\/strong> open the evening like a battering ram – not as an accessory, but as a vanguard. They immediately set the tone with “Das Ende der G\u00f6tter”: heavy, epic, with that mixture of pathos and impact that characterizes melodic death metal in the best sense. “Unbesiegbar” and “Seite an Seite” pick up the pace – anthemic in the chorus, aggressive in the verses, enough pressure to get the Knust up to operating temperature within minutes. Later, “Entfesselt” and “Bruderschaft” roll through the room like an armored convoy. The guitars stand wide, the drums hit like hammers on steel. With “Wie ein Berserker”, the title becomes a description of the state – heads fly, fists go up. “Wolves of the Sea” and “Berserkerzorn” end the set with a bang. – Asenblut<\/strong> thus lay the foundations for what is to follow. <\/p>\n\n

Deadly chic with an edge<\/strong><\/p>\n\n

Nachtblut<\/strong> get straight to the point: one beat – then “Von Hass getrieben”. The opening is hard, uncompromising, with no time to collect oneself. With “Nachtgeweiht” and “Kaltes Herz”, the band tightens the circle, the guitars cut sharply, the drums push forward relentlessly. Later, “Manchmal kommen sie wieder” and the title track “Todschick” – even more biting live than on the album – leave no doubt as to who is in charge here. “Kalt wie Grab” and “Amok” increase the pressure further before the temperature finally drops with “Mein ist die H\u00f6lle”. Here, taboos are played with like matches at a gas station. The audience doesn’t just sing along – it roars. Askeroth stands there like a gloomy master of ceremonies, leading his congregation through a controlled apocalypse. “Death is my whore” is provocative, dirty and bitterly ironic. “Stirb langsam” picks up the tempo further, drives the pit into a frenzy, forces movement into every corner of the Knust, while “Leierkinder” emphasizes the darker, almost cynical side – as if the band were unpacking the scalpel for a moment instead of just the hammer. Things get more epic later on with “Die Toten vergessen dich”. The song blows through the rows like a cold wind and yet carries you forward. You can feel this mixture of defiance and tragedy. <\/p>\n\n

No rowing back<\/strong><\/p>\n\n

For the encore comes “Multikulturell” – a song that provokes discussion and therefore works as a spark. With “F\u00fcrchtet, was geschrieben steht”, the mood intensifies again, almost like a threat from offstage. The riffs are heavy, the words hang in the room like warning signs. Askeroth seems like a narrator who knows exactly that words are sometimes more dangerous than weapons. “Antik” changes the temperature of the hall. The power lies not only in the sound, but in this collective moment in which everyone says “yes” at the same time without having to say it. “Song for the Gods” seems like a ceremonial cut, almost hymnal – but without consolation. And then this unexpected moment when Tetzel von Asenblut<\/strong> enters the stage again for “Wat is’ denn los mit dir”. The Kollegah\/Majoe cover comes as a dirty wink. As a crowning finale, the concert ends with “Das Leben der anderen”. The song builds up, carrying anger and reflection in one breath – and when the last chord falls, it seems as if someone has pulled the air out of the room. – Finally, we leave the Knust with burning ears and clear heads. Just as it should be. <\/p>\n\n

Text & Photos: Thomas Friedel Fuhrmann<\/p>\n\n