Recommendations of the Editorial team

In 2018, Chemnitz was the city with by far the worst image in Germany. The ex-industrial center, now called Karl-Marx-Stadt, also hit the headlines worldwide due to right-wing extremist riots in the area of ​​the “Nichel” (this is the colloquial name for the world-famous Karl Marx head monument).

At the same time, a decisive pop-cultural counterpoint emerged around the band Kraftklub (“Don’t go to Berlin!”) and its family offshoots, such as Blond.
At that time, Kraftklub initiated the “We Are More Concert” – a signal that radiated far beyond the city. Six years later, singer Kummer said in an agency statement: “We would have liked this problem to be addressed more clearly. Not this old mantra: You have to talk to everyone.”

Kraftklub, who have just released their current album “Die in Karl-Marx-Stadt”, otherwise did not want to talk to Rolling Stone (Online) about their relationship to the cultural capital. Not their beer. “I understand that. They didn’t want to be harnessed directly by us, but instead wanted to stay outside. As critical artists who don’t want to be harnessed to the cart of an institution,” said organization boss Stefan Schmidtke in an on-site interview.

Magical moments on the Theaterplatz

When Kummer and his crew reflect on their hometown, it rarely sounds like resignation – more like a mixture of affection, skepticism and the typical Kummer tone. The Kraftklub frontman (who occasionally takes up residence in unpopular Berlin) has experienced the light and dark sides intensively. “We really enjoyed the year,” he says, looking back forgivingly. All he was missing was a bolder stance against right-wing extremism.

PURPLE PATH_Oelsnitz_Turrell_Beyond Horizons 2025_Werk_3_Foto_Florian Holzherr
“Purple Path” in Chemnitz

The new Kraftklub album “Die in Karl-Marx-Stadt” was released uncoordinated on the final weekend. The song lyrics are not a new Chemnitz analysis, but rather permeated by morbid irony – a look at origins, the present and the sometimes unnerving love for a place that constantly fluctuates between new beginnings and abyss. An area of ​​tension that has always strengthened Kraftklub. The upright authentic ones.

Major events as part of the Capital of Culture year such as the “Kosmos” festival gave him back an almost forgotten feeling: “butterflies in his stomach,” he says. A familiar city, suddenly recharged with energy. “That’s what it can look like.”

Blonde, power plush and a bold statement

The performance of the sister band Blond together with the Schumann Philharmonic on Theaterplatz in the summer of 2025 had several “magical moments”. In addition to the local heroes from Power Plush, rapper Nura also made a guest appearance. Kraftklub appeared unannounced for a quick visit to the stage – with the song: “Schief in every choir”.

Organizing boss Stefan Schmidtke reported that singer Felix Kummer had dressed up as the mayor. A bold statement of ambivalence towards the official cultural sector.

Balance sheet of the Capital of Culture

Aside from the music, the city of the former “Autounion” (now known as Audi in Ingolstadt) has taken stock: around two million visitors saw grassroots projects such as the “3000 Garages” campaign or the apple tree plantings, but also new large-scale art such as James Turrell’s monumental installation “Beyond Horizones” in the “Kohlewelt” mining museum in the nearby Erzgebirge town of Oelsnitz.

All of this brought a surprisingly broad sense of togetherness. There were virtually no right-wing extremists. On the other hand, a certain amount of pride grew in a region that is usually ignored nationally.

At the final press conference, program director Schmidtke spoke of a “new self-image” that should have an impact well beyond 2025. It is also clear: the momentum must now be carried forward using our own strength – despite empty coffers. Festivals such as “Theater der Welt” and the continuation of the art-lined “Purple Path” through the Erzgebirge region are intended to perpetuate the cultural capital effect.

Kraftklub remain the loudest and most precise voice in the city. Apart from “Kati” Witt and football pensioner and neo-art collector Michael Ballack.

Florian Holzherr Florian Holzherr

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