Photos and review by: Nate Follmer
Edited by: Morgan Kohler
Platinum-award-winning Till Lindemann brought his first North American solo tour to the Fillmore in Silver Spring, MD on September 25, 2024. Supporting Till were the sweet sounds of Aesthetic Perfection and the devilish doo-wop duo Twin Temple.
Kicking off the evening was the industrial-pop band Aesthetic Perfection. The band, known for their unique blend of electronic and industrial music, delivered a high-energy performance to the already full venue. Frontman Daniel Graves commanded the stage with his charismatic presence and powerful vocals.






“Most of you probably have no idea who we are!” Graves shouted between songs, but that didn’t seem to be the case. Most of the crowd was singing along and dancing to their hard-hitting, poppy tracks. They ended the night with their latest single, “Into the Void,” which brought out their darker industrial edge.
Aesthetic Perfection has some headlining tour dates around their dates supporting Till Lindemann, so there’s plenty of chances to check them out on this run. I highly recommend catching a show if you’re into having a good time. If that’s not you, then why are you even reading this?
Up next was the dynamic, Satanic Doo-Wop duo Twin Temple. I love a band with a theme and you’ll be hard pressed to find a band that dives into their schtick deeper than Twin Temple. The rituals, imagery and music: it’s all good (bad?) and dark—and I am here for it.






There aren’t many bands still making the sounds of the 50s today. It’s really a lost art that Twin Temple is keeping alive. Vocalist Alexandra James captivated the audience with her powerful voice and swayful dance moves. Guitarist Zachary James kept the crowd entertained with his swinging doo-wop guitar riffs and flashy guitars (I love the flame-painted Tele). The duo has their whole set down to a tee. It’s fun for the whole family…if grandma can look past the whole devil thing.
Twin Temple is also running a headlining tour around their support dates with Till Lindemann, so check them out at a city near you. I don’t want to say bad things may happen if you don’t, but I can’t say they WON’T happen. We’re dealing with dark magic here.
How does one put a nice little bow on an evening filled with industrial-pop-fueled guitar riffs and the swinging sounds of Hell? I think there was only one person up to the task, and that person was Till Lindemann.
I heard Till’s live show was bizarre, but I went into this without doing my usual run of YouTube videos to get an idea of how to get the best photos. I also wanted to be surprised and, you know, live in the moment.
The set started off with a large screen filled with nothing but red pixels. Red lights illuminated the fog that was pumped onto the stage. Every photographer knows how much our cameras love red. Till and company emerged out of nowhere as backlit silhouettes. The beginning of “Zunge” rang out as everyone started taking their place on stage. A white spotlight illuminated Till as he began singing the opening lines to his song. He, too, was red. His body was painted red, his giant furry coat was red and his mic stand was red. As the stage shot to life during the heavy verse drop of “Zunge,” it was clear that EVERYTHING was red. A photographer’s dream come true.

Let me add a little side note here before I go on: I realized we were in for some red based on the tour’s promotional materials, but they really lean into it. Honestly, it’s a great look. Okay, enough about the color (my fellow photographers know why I’m going on about this), let’s get back to the show.
If you haven’t heard any of Till Lindemann’s solo work, you’ll be happy to know that a lot of it has the same familiar sounds of Rammstein. A lot of Till’s music shares the same pounding industrial riffs, droning synths and driving percussion that made Rammstein a household name. There’s also no mistaking Till’s unique voice.



The one immediate difference I noticed about Till’s live show was the emphasis on the weird. Rammstein is no stranger to getting into trouble for their on-stage antics, and Till and his band take this concept to 11. I quickly understood why this was an 18+ show. The massive screen was filled with graphic imagery that definitely isn’t for everyone, but not everyone will understand their art. It works for Till and it oddly fits the music. Keyboardist Constance Day danced her way between countless keyboards, pads and a stripper pole. Drummer Joe Letz plays the entire set with his mouth and nose pulled open while wearing some female prosthetics, which played a bit of a role midway through the set. Cakes aren’t the only thing flying around. I’ll just leave it at that. Till has a human mic stand bring him a new microphone every couple of songs. I want to know how many mics he breaks per night. The whole set is a dark circus of absolute mayhem that has something happening on every inch of the stage.
Oh, Till has a fish cannon as well. What show isn’t complete without flying fish.






There’s more (so much more), but I don’t want to spoil it for you. Regardless of how you feel about the imagery, there is no denying that it’s an incredible production. Putting on such a show and playing a tight set takes talent, and this tour does not disappoint. Rammstein fans will be happy as well as lovers of the weird and macabre.
Till Lindemann’s first North American tour continues into mid-October and ends at Knotfest Brazil on October 20. Check out Till Lindemann’s website for more information.