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Till Lindemann invites you to the concert on New Year’s Eve today (December 31, 2025). In Phuket, the Mallorca of Thailand, the Rammstein singer can be sure that – in keeping with his tour motto – he will meet “My World”.
Like one Instagram story Till Lindemanns shows, a long queue forms in front of the Lotus Arena in the morning. However, there are not many Thais there. More like tourists in shorts, with a neck pouch and sandals. So there are certainly a lot of German fans too.
The reel also shows the arena itself, which can accommodate between 2,000 and 10,000 fans depending on the event. The Thailand appearance could be a kind of club show for Lindemann. On January 3rd, 2026 he will continue to the Thai capital Bangkok. Until then, Lindemann theoretically has time to explore the “nightlife” of Phuket “with all its delights”. On January 4th, his 63rd birthday, he will perform in Dubai.
We last reported:
Should Till Lindemann appear in front of the Battle of the Nations Monument of all places?
The plan has been in place since last summer: The so-called “Till Fest” is designed as a two-day festival at which Maestro Lindemann will play different shows. According to the motto: “One Festival. Two Shows. Two Worlds.” In addition to Lindemann himself, the US band Ministry has so far been confirmed and is announcing exclusive sets on both days. According to management, both performances will be their only European shows in 2026.
A monument with heavy symbolism
The festival will take place in the parking lot in front of the Völkerschlachtdenkmal. A place with great symbolic power where (music) events have often taken place. The chunky monument, which was erected in 1913 to commemorate the victorious Napoleon Wars (and the mega battle in Leipzig itself), is one of the most important historical memorials in Germany.
It has been extensively renovated in recent years. And is now positioning itself as a European peace building. Due to its massive architecture and its origins during the Empire, it was repeatedly symbolically appropriated by nationalist and right-wing groups. For decades, the city and the foundation have been trying to contextualize the monument as a European site of peace. This reading from above stands in contrast to other ideological interpretations that want to use the monument as a place of national pride and martial self-dramatization.
City approves – foundation distances itself
The city of Leipzig waved the “Till Fest” through. And emphasizes that the assembly and events authority makes decisions neutrally and in accordance with legal requirements. Nevertheless, there was criticism. It was repeatedly emphasized that the concert took place in the parking lot and did not involve any direct use of the monument.
The “Völkerschlachtdenkmal Foundation” as the formal owner has clearly distanced itself from the rocker party. Your managing director, Dr. Anselm Hartinger, in local media, described the placement of such a “polarizing event” in front of the memorial as “very critical”. He emphasized that the foundation was neither organizationally nor financially involved in the festival. And have no influence on the line-up or processes.
Hartinger also criticized the burdens caused by past major concerts – from noise to garbage problems – and the negative impact on the perception of the monument as a place of peace. When he was invited as a guest of honor to the Leipzig Opera Ball in autumn 2025, there were protests from civil society groups due to Lindemann’s personality, which called for “moral responsibility and sensitivity” in the selection of prominent Leipzig guests.
Solo ambitions beyond Rammstein
Regardless of this simmering controversy, the “Till Fest” marks a further step for Lindemann in his becoming a solo artist beyond Rammstein. His “My World” tour 2025/26 will take him through numerous European cities until mid-2026 and has already attracted huge audience numbers.
The Leipzig festival idea as a stand-alone event that goes beyond classic concert formats shows Lindemann’s artistic ambition and his attempt to explore musical spaces beyond established festival formats. Whether and how this vision is received by the public will largely depend on the further communication of the actors, the response of the fans and the social debate about historical responsibility in the music scene.