Datum: 06.06.2025
Einlass: 19:00
Beginn: 20:00
Ende: 23:00
Eintritt: 23,00 € zzgl. Gebühren
Tickets: https://link.dice.fm/af3a74a656cd

ONLY MUSIC MAKES ME CRY NOW – Long LP Bio 
Thea Gustafsson — who writes, records, and produces under the moniker Becky and the Birds — is a disciplined person by nature, with her formal musical education at Musikmakarna Songwriters Academy of Sweden and avid violin-playing as a child inspiring her unending need for perfectionism. This rigid mindset deeply implanted itself in her craft and her life, though she refreshingly doesn’t see the point in holding herself to these standards as of late. This newfound freedom and change in pace are what made the debut Becky and the Birds album, ONLY MUSIC MAKES ME CRY NOW (due November 15), possible. In abandoning self-imposed expectation and being more open toward experimentation, Gustafsson has turned a new leaf, giving herself a chance to get out of her own head and make something led by an inherent trust in herself.
From her home in Stockholm, Gustafsson reflects on the grounding quality of nature, explaining how the changing of the seasons inspires her, reminding her of life’s malleability and persistent beauty. She prefers winter above all, as she spends most of her days during the colder months (as do most Swedes) holed up inside, in a mode of creative hypnosis. In the stillness, these are the moments when she feels most in her body, and most capable of reflection and channeling feeling in her art. Thus, she found the OMMMCN’s backbone take form on days when the sun might’ve peaked through the clouds for an hour at most, during a reprieve when she would traipse through the sludge of the frigid wasteland outside her door, watching the light bounce off the snow.
Self-belief and fearlessness are the core tenets that have always shaped the direction of Gustafsson’s art. Early in her professional career, Gustafsson recalls having felt a nagging sense of frustration while perched on couches in the back of studios, watching (what would primarily be male) producers fail at capturing what she was looking for. Despite lacking concrete technical knowledge and with a deep dislike of YouTube tutorials, Gustafsson took a leap of faith, beginning her own journey in production on a try-by-doing basis in 2016. “I just got very sick of being pushed back and decided to make something for myself,” she recalls. Using her ear as a beacon and trusting her gut, she quickly found a sense of comfortability in production, utilizing this process to commandeer her own musical destiny without fear. Soon thereafter, she composed the first Becky and the Birds self-titled EP (2018) and its follow-up Trasslig (2020, 4AD). In the time since, she has also collaborated with the likes of Dijon, Seinabo Sey, and Lapsley, among others.

With her earlier projects, Gustafsson recalls feeling brave enough to create without boundaries, without thinking about what anyone else would think. When laying the groundwork for OMMMCN in 2022, she reminded herself to go back to that same headspace: “As you know more and are known more, it becomes a process of learning to be brave again. You still need to find a place within yourself where you can ‘dance like no one’s watching,’” she laughs. In pushing herself to try new things within this framework, Gustafsson's innovative and distinct production style shines more than ever today, this being what predominantly sets the newest Becky and the Birds album apart. With tracks such as the ultra-layered and complex “everything,” she creates sonic worlds with the intention of staying curious and eager, a student of the craft despite her growing wealth of experience. In this way, she can continue to keep things fun, light, interesting, and above all, brave.

During the early days of OMMMCN’s creation, Gustafsson found herself needing to be brave in general, as she had just experienced the end of a relationship. In this turbulent moment — a period of starting over, re-establishing her individual self, and discovering what “home” meant to her — she felt inspired more than ever to create, to let it all out. “It’s cliche to say that [writing] can be a sort of therapy, but it really is,” she admits. “When I write about things going on in my life, this is my way actualizing them and finally processing. I needed to get it out of my body to take it all in.” OMMMCN thusly allows listeners to follow Gustafsson through this time of intense healing, covering the painful process of moving on without looking back on tracks such as “Won’t Do That.” Songs such as this find her obtaining newfound clarity, making space for ugly feelings such as grief and resentment but also giving herself grace throughout the process, reminiscing but never actually returning to that painful place. “I used to cry for love / But I’m tired of tears,” she laments on the record’s closing title-track, shutting that chapter of her life with finality.

Aiming to completely wipe the slate, Gustafsson also picked up her life physically during the writing process of OMMMCN, bouncing between London and Stockholm. Gaining insight from fuzzed-out West End club nights and dingy pubs showcasing obscure indie bands, she felt a deep sense of inspiration and embraced English music (from grunge to grime to hyper-pop) with open arms. During this period, she also continuously added to her collection of sampleable sound bites with the natural noise of bustling city life, as well as recordings from old phone conversations, demos, and voice memos (pieces of which can be heard throughout the record). This wide array of sonic material — combined with thematic influence from media she’d been consuming such Derek Cianfrance’s Blue Valentine, Charlotte Wells’ Aftersun, and Eckhart Tolle’s A New Earth — helped her shape the exploratory, desperate, passionate, romantic, and heart-wrenchingly vulnerable themes woven throughout the album. 

In the aftermath of its creation, Gustafsson feels as though she’s finally arrived “home,” able to open her heart to new and stabilizing relationships, in large part due to the growth she’s experienced throughout this process. Lead single, “when she holds me,” touches on this positive change, additionally invoking Gustafsson’s beloved snowy landscapes on a sonic level — sometimes, the cold winter air can feel like a smack in the face; here, she finds Jack Frost at his most tender amidst the track’s delicate finger-plucked strings and airy, soft-spoken vocals: “The world is wishing me well / As her fingers run through my hair.”
Currently, Gustafsson is reaping the rewards of an intense period of reflection and growth, releasing the tension she’s felt alongside forces who make her feel truly at peace. Today, she presents herself in advanced and contemplative form via an ethereal, erratic, heavy-hitting, and hypnotic collection of some of her best Becky and the Birds material to date.

📅 10.05.2025 
🕛 Einlass: 20:00 
🕛 Beginn: 20:00 
📍 Säälchen 
🎟️ Eintritt: € 19,20 - €24,10

presented by
Moli Del Tro , Fun in the church, Bretford Records & amSTARt
ByteFM, Musikexpress, Musikblog, rausgegangen & Digital in Berlin

Chris Imler „The Internet Will Break my Heart” Album Releaseshow 

line up
Cobra Killer (djs 20h)
Naomie Klaus (live 21h) https://www.instagram.com/naomie_klaus/  
Chris Imler (live 22h)  https://www.instagram.com/chris.imler/
Benedikt Frey (dj 23h) 

https://www.youtube.com/watch?v=www9Z9M5KVY

Datum: 19.06.2025
Einlass: 19:00
Beginn: 20:00
Ende: 22:30
Eintritt: 23,69€ zzgl. VVK-Gebühren
Tickets: https://6euroneunzig.ticket.io/x8f4zcdb/
 

AUSVERKAUFT

Das Rapduo 6euroneunzig, kündigt für Donnerstag, den 19. Juni ein Releasekonzert in Berlin an – Special Guests sowie ein vielversprechendes Abendprogramm inklusive. 

6EURONEUNZIG LIVE +   SPECIAL GUESTS

Datum: 02.05.2025
Einlass: 19:00
Beginn: 19:30
Ende: 01:00 Max
Eintritt: 20 abendkasse
Tickets: https://aldarwish.ticket-souq.com/events/113567

Aaj, Arabic for Ivory, is Aldarwish’s third album, and the first episode of a two-album project. The loopy, jazzy-like instrumentals provide a firm but smooth ground for his intricate lyrics and flows. Aldarwish is once again tackling personal/political issues, but with a smooth and calm approach rather than the angry voice that he used to present.

Datum: 11.04.2025
Einlass: 19:00
Beginn: 20:00
Ende: 23:00
Eintritt: 23,16 bis 30,53 €
Tickets: https://t.rausgegangen.de/tickets/levisct-classical-x-hiphop-fusion


CLASSICAL X HIPHOP FUSION

Die neue Konzertreihe von Levi Schechtmann verbindet jahrhundertealte Klavierwerke mit modernen Hip-Hop-Rhythmen. Von Bach inspirierte Melodien bis hin zu pulsierenden urbanen Beats - diese innovative Show schlägt eine Brücke zwischen klassischer Tradition und zeitgenössischem Stil und verspricht ein dynamisches, genreübergreifendes Erlebnis für Musikfans jeder Generation.

 

Datum: 24.05.25
Einlass: 19:00
Beginn: 20:00
Ende: 22:30
Eintritt: 32,50€ inkl. Geb.
Tickets: 

HINWEIS: Das Konzert wurde vom 15.03.25 auf den 24.05.25 verschoben! Alle bisher erworbenen Tickets behalten ihre Gültigkeit oder können dort zurück gegeben werden, wo sie gekauft wurden.

Eli Preiss aus Wien bewegt sich fernab gängiger Genre-Konventionen und definiert Musik auf ganz eigene Art und Weise neu.  Bereits mit ihrem Debütalbum "LVL UP" erlangte Eli Preiss Aufmerksamkeit im deutschsprachigen Raum und etablierte sich als vielseitige Musikerin.

Anstatt auf vertrauten Pfaden zu wandeln, bricht Eli Preiss mit Erwartungen und vermag es, tiefgreifende Emotionen, persönliche Erfahrungen sowie eine Mischung aus Hip Hop, Club-Sounds und R&B zu einer fesselnden und erfrischenden Klanglandschaft zu vereinen, die geschickt zwischen Underground und Mainstream balanciert.

2024 ist ein Jahr der Neufindung. Mit "fuck (ich liebe dich)" erschien im Mai ein Album, welches, neben den großen Themen wie Liebe & Heartbreak auch Elis innere Zerrissenheit, Verletzlichkeit und Unsicherheiten thematisiert. Selbstzweifel und die Höhen & Tiefen des Existierens haben dabei selten so gut geklungen. Ob auf Jersey Club Drums im Streit mit dem Hamburger Kwam.E („Ohne dich“), dem Pfad der Selbstfindung („Ich such“), welcher verdächtig nach Garage Hit tönt, oder reduziert auf organische Drums & Live-Gitarren bei „Alles (und nichts)“ – zumindest musikalisch weiß Eli wohin ihre Reise geht und alle Zeichen deuten nach oben. 2025 geht Eli Preiss auf Tour in Deutschland, Österreich und der Schweiz und hat neben jede Menge Hits auch einige Überraschungen im Gepäck.

Datum: 05.05.2025
Einlass: 19:00
Beginn: 20:00
Ende: 23:00
Eintritt: 28,90€ zzgl. Gebühren
Tickets: https://www.dodotickets.de/detail/index/sArticle/12280

Wenn Mon Rovia mit seiner Akustikgitarre ans Mikrophon tritt, fällt eine friedliche Ruhe über seine Umgebung. Keine Selbstverständlichkeit, wenn man bedenkt, dass sein künstlerisches Dasein einer Gegebenheit geschuldet ist, die so ziemlich das Gegenteil von Frieden bedeutet. Aufgrund von Krieg musste er seine Heimat Liberia verlassen, wurde von christlichen Missionaren mit in die USA genommen und lebt nun in Tennessee. Als Hommage an seine Herkunft, hat er sich nach seiner Heimatstadt in Liberia benannt. Unter diesem Künstlernamen teilt er Dankbarkeit, Hoffnung und vor allem Mitgefühl allen gegenüber, deren Leben in ähnlichen Bahnen wie das seine verläuft, musikalisch mit der Welt. Eine vierteilige EP-Reihe erzählt die besondere Geschichte des Sängers, die mit „Act 4: Atonement“ Anfang dieses Jahres komplettiert wurde. Das Ganze erinnert musikalisch an Künstler wie Myles Smith oder James Blunt gemischt mit einer spirituellen, bedachten Grundstimmung. Melancholische, stellenweise gar bedrückende Pop-Songs, denen man die tiefgreifende Bedeutung nicht bloß in den Lyrics anhört, sondern regelrecht mit jedem Ton spürt, kennzeichnen den trotz allem friedvollen Sound des Musikers. Live dürfte die Emotionalität der Tracks von Mon Rovia nur noch verstärkt werden. Wer das nicht verpassen will: Im Mai kommt der Singer-Songwriter für zwei Live-Shows nach Deutschland, um in Berlin und Köln sein nun vervollständigtes Werk auf die Bühne zu bringen.

Datum: 05.04.2025
Einlass: 19:00
Beginn: 20:00
Ende: 23:00
Eintritt: 28,90€ zzgl. Gebühren
Tickets: https://www.ticketmaster.de/event/531917

“Jedem Anfang geht ein Ende voraus”, ist eine Zeile der Wiener Band Oehl. Sie entstammt dem Song Keramik, den der Musiker Casper 2018 als Song des Jahres betitelte und der Herbert Grönemeyer dazu veranlasst hat, Oehl zu seinem Label Grönland Records zu holen und Ende 2019 auf seiner Stadiontournee als Vorgruppe zu engagieren. Es folgen Festivals (uA Reeperbahn, Maifeld Derby) und Fernsehauftritte (z.B. Inas Nacht, Live in SK1), sowie das Studioalbum Über Nacht (2020) und die politische EP 100% Hoffnung (2021).

Bis Ende 2021 war Oehl ein Duo bestehend aus dem Wiener Liedermacher Ariel Oehl und dem isländischen Multiinstrumentalist HjörturHjörleifsson. Seit Beginn 2022 tritt Oehl als Solo Projekt auf. Ariel Oehl, der namensgebende Sänger, bleibt dabei aber den poetischen Miniaturen treu, die er auf trockenen Beats und eingängigen Bass-Riffs á la Tame Impala mit seiner sanften Stimme serviert und die im deutschen Sprachraum unvergleichlich bleibt. Ergänzt wurde der Sound um crunchige E-Gitarren, die auch auf die Live-Umsetzung in 2023 neugierig macht.

Datum: 27.03.2025
Einlass: 19:00
Beginn: 20:00
Eintritt: 29,45€ zzgl. Gebühren
Tickets: https://www.ticketmaster.de/event/tobiahs-tickets/1146879853

Datum: 23.03.2025
Einlass: 19:00
Beginn: 20:00
Ende: 23:00
Eintritt: 29,45€ zzgl. Gebühren
Tickets: https://www.eventim.de/noapp/event/bdrmm-saeaelchen-19428690

“I think this is the best thing we’ve ever done,” says bdrmm’s Ryan Smith. “It’s a proper step up.” It’s immediately clear that the Hull band – also made up of Joe Vickers, Jordan Smith and Conor Murray – have broken new ground on their latest album, which is, as Ryan correctly points out, the band’s most fully realised, complete, and greatest work to date. “The last album was essentially like a bridge between the two albums,” explains Joe, of 2023’s I Don’t Know. “With that one we knew what we were trying to do but with this one we’ve fully cracked it.” It’s unquestionably a bold leap forward for the group, who have embraced a fuller spectrum of sounds, tones and atmospheres. “I felt very constrained writing a certain type of music to fit the genre [we were known for] but something lifted and I felt freer to create what I want,” says Ryan. “And what I seem to be doing at the moment is a lot of electronic music – taking influence from different spans of electronica, from dance music to ambient and experimental stuff.” bdrmm’s trademark sound hasn’t completely disappeared by any means, you’ll still find beautifully layered guitars interlocking seamlessly with purring bass and crashing drums to create engulfing waves, but they are now integrated into a broader, more expansive and varied sonic palette. Just take ‘Infinity Peaking’ for example, a stirring piece of music that gracefully runs the gamut from post-rock meets shoegaze into a beautifully serene yet hypnotic synth-washed groove. “You can really see the holistic process of using guitars and synths together to create this new sound,” Jordan says of this song.