{"id":41782,"date":"2026-04-29T19:37:51","date_gmt":"2026-04-29T17:37:51","guid":{"rendered":"https:\/\/orkus1.com\/thats-how-it-was-at-versengold\/"},"modified":"2026-04-29T19:38:35","modified_gmt":"2026-04-29T17:38:35","slug":"thats-how-it-was-at-versengold","status":"publish","type":"post","link":"https:\/\/orkus1.com\/en\/thats-how-it-was-at-versengold\/","title":{"rendered":"That’s how it was at VERSENGOLD"},"content":{"rendered":"
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April 18, 2026, Hamburg, Alstersdorfer SporthalleSupport: The Trouble Notes, Kupfergold <\/strong><\/p>\n\n

The north can be loud. Very loud. <\/strong><\/p>\n\n

There are plenty of concerts that simply work. Evenings that look as if someone has driven a harbor pub, a pirate ship and a festival stage head-on into each other – those are rarer. Versengold<\/strong> are bringing just such an evening to Hamburg with their “Eingenordet Tour 2026”. <\/p>\n\n

When violin meets wanderlust<\/strong><\/p>\n\n

The<\/strong> evening is opened by The Trouble Notes<\/strong>, and it is already clear that this is not going to be an ordinary support slot. The international line-up is difficult to categorize – and that’s exactly what makes it exciting. Somewhere between world music, folk, acoustic wildness and almost cinematic instrumental energy, they create songs that sound more like a journey than a classical concert. Violin, rhythm, dynamics – less song structure, more movement. This works brutally well, especially live. Without a lot of talking, the band quickly gets the audience on their side. The violin almost automatically takes on the leading role, sometimes driving, sometimes melancholic, then again like a controlled storm. Add to that percussion, guitar and this constant feeling that the next bar could turn completely somewhere else at any time. The audience doesn’t need long for this. First cautious participation. Then movement. Then a genuine grin. <\/p>\n\n

Charming, dirty and straight to the face<\/strong><\/p>\n\n

Then comes copper gold<\/strong>, and suddenly the mood turns to demolition. Because all of a sudden Bonnie Banks is standing in front – and snatches the thing as if she had never done anything else. Her voice is not an accessory, it’s a weapon. Direct, snotty, with her very own mixture of aggrofolk, pub attitude and a sheer desire to escalate. An assault with an announcement. Like a pub brawl, medieval rock, folk, punk attitude and a good dose of “we don’t care, the main thing is that it bangs”. Even “Fasan Alarm” hits you in the face like an open door. Bonnie stands at the front, grins crookedly and immediately makes it clear: this is not a friendly knock, this is a door being kicked down. Immediately afterwards with “Kupfer und Gold”, the perfect band name as a self-image: loud, cheeky, grinning broadly. At the latest with “Und ‘n Tripper” and the wonderfully absurd “Muschelbusen”, the whole thing tips over completely into this dirty, loud fun that simply works. This is honest escalation folk with full intent. The venue loves it immediately. At the latest during “Der Kl\u00fcgere kippt nach”, the audience becomes a team sport. Beer cups up, lyrics loud, inhibitions gone. The thing works like a collective bar moment. “Lichtermeer” then briefly brings more distance, almost like emotional air between all the madness, before “Koboldkeilerei” goes completely forward again – loud, direct, without brakes and on the face. And that’s exactly how it has to end. <\/p>\n\n

Between sailor’s yarn, fireworks and collective loss of control<\/strong><\/p>\n\n

Then the lights go down. There is a brief moment of that typical concert breathlessness – that gap of seconds between expectation and impact. Then comes “Der Tag mag kommen” and immediately makes it clear that Versengold are not going at half speed today. Not with a slick edge, but with charm and self-irony. This is immediately followed by “Klabauterfrau”, and by this point at the latest, the hall has finally turned into a harbor pub with stage lights. The first rows are already singing louder than necessary, beer cups are spinning, arms are going up. With “Der Tag, an dem die G\u00f6tter sich betranken”, the whole thing gets even louder. After that, “Solange jemand Geige spielt” brings in a different color: less bar, more heart. This change makes Versengold strong. They can bawl and hit the next moment. “Die halbe Welt” and “Falscher Leuchtturm” continue the set with this typical mixture of wanderlust and bittersweet romance. Folk rock that doesn’t pretend to be fantasy, but sounds like real street. After that, “The Devil Is a Barmaid” gets your fingernails dirty again – loud and charming. With “Krug voll Mondenschein”, the hall almost goes soft for a moment before “Feuergeist” does the opposite. This is also where the next stage begins visually: pyro shoots up, flames briefly tear through the stage and suddenly the Alsterdorf sports hall looks like a tavern that someone has accidentally set alight. By the time “Niemals sang- und klanglos” is played, it is clear that nobody is going home quietly today. Confetti rains down, streamers fly through the hall and the audience gratefully accepts every invitation. <\/p>\n\n

When suddenly everyone becomes part of the stage<\/strong><\/p>\n\n

For “Verliebt in eine Insel”, “Erde” and “Dans op de Deel”, the entire concert suddenly shifts to the middle of the hall. Malte Hoyer, Florian Janoske on violin and Daniel Gregory on guitar stand there – right in the middle, surrounded by the audience, with no safety distance, no classical stage. Spectators turn around, cell phones go off, but much stronger still: this honest amazement when a hall has to completely change its focus for a few minutes. That changes everything. <\/p>\n\n

Back on the main stage, “Hey Hanna” hits harder again. No long transition phase – Versengold<\/strong> immediately push forward. “Eingenordet” is the programmatic centerpiece of the tour. The song doesn’t feel like a title live, but like an attitude. Home without kitsch, north without postcard romanticism, but with corners, weather and honest volume. “Klopapier” then provides exactly the wonderfully absurd moment that a good Versengold show<\/strong> needs. Humor is not a gag, but part of the whole. This is followed by “Haut mir kein’ Stein”, another powerful hit between defiance, cohesion and collective voice. “Kobold im Kopp” ends the regular set block with the right mixture of chaos and grins. Once again full movement, once again everything forwards. But of course it’s not over yet. <\/p>\n\n

Barrel, wine and a damn cool farewell<\/strong><\/p>\n\n

For the encore, things get even more special. For “Ich und ein Fass voller Wein”, Malte Hoyer and Eike Freese are not on the big stage, but on a box in the middle of the audience. The song thrives on closeness, on this bar feeling, on community. There’s no more classic show up here, just singing along, laughing, arms around each other and this feeling that nobody really wants the evening to end. At the end comes “Butter bei die Fische”, also in the middle of the crowd, this time with Eike on the box like a North German preacher of cultivated madness. There is movement around him. Loose at first, then faster. A circle pit develops – not aggressively, but exactly in that Versengold style<\/strong>: loud, wild, but with a big grin. Eike stands up there and almost conducts the whole thing, cheers it on, drives it forward, lets the song grow. <\/p>\n\n

If a concert title like “Eingenordet” needs a final exclamation mark, then this is it. Not polished. Not perfect. But honest. And that’s exactly why it sticks. <\/p>\n\n

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