Gig Review: Kanonenfieber Wage War Live in London
Venue: The Dome
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Date: Nov 26, 1989
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Location: London, UK
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Venue: The Dome | Date: Nov 26, 1989 | Location: London, UK |
War is never pretty. The closest Chort and I have come to conflict is dealing with neighboring citadels encroaching on zoning laws—cue a flurry of vaguely threatening phone calls and an arsenal of passive-aggressive Post-it notes. WE. WILL. NOT. SURRENDER. But on November 26th at The Dome in London, we witnessed the real horrors of war as Panzerfaust and Kanonenfieber shook the venue with tales of humanity’s depravity and darkest days.
Our Canadian brothers-in-arms, Panzerfaust, opened the stage with a uniquely imposing setup, as my meager dad bod was dwarfed by the hulking frontman Goliath standing on a riser behind the drums. A must see. They were delivering a crushing set that spanned their quadrilogy, culminating in the newly released fourth chapter, The Suns of Perdition - Chapter IV: To Shadow Zion. This album delves into themes of existential despair, war, and spiritual desolation, painting a bleak picture of a world unraveling (and other aspects of Trudeau’s government). Their performance was a relentless barrage of dense riffs and haunting melodies, creating an overwhelming atmosphere that left the audience in awe. The band’s drummer, Alexander Kartashov, showcased his versatility, shifting between metronomic blasts and progressive rhythms, driving the compositions forward. Classics like ”The Far Bank at the River Styx”, and hearing the new stuff live had us bopping and it was an intensely enjoyable gig. Acquiring a patch became an absolute must!
To the tinny tunes of old German music (if you love samples you’ll love Kanonenfieber live!), Kanonenfieber stormed the stage like a battalion on a mission. Their entrance set the tone for what was to follow: a visceral, immersive experience that went beyond just music to capture the raw emotions and horrors of war. From the moment they launched into their set, the band displayed a gripping intensity, blending historical storytelling with an unrelenting sonic assault. Brandishing a faux flamethrower that shot fog (or it could have easily been mist!) during “Der Fusilier,” they established an atmosphere as if we were witnessing the chaos of a battlefield unfold before us.
“Grabenlieder” proved its reputation as a live crusher, igniting the audience with its pounding rhythms and razor-sharp riffs. Each note seemed to carry the weight of a soldier’s struggle, transporting the crowd to the trenches of World War I. Meanwhile, “Der Maulwurf,” a Heavy Metal Citadel Highlight from their new album, Die Urkatastrophe, offered a masterclass in narrative-driven music. This song, chronicling the tale of a miner who went to the pits to avoid the dangers of the frontlines, only to find it worse below, was brought to life through an evocative performance. The band’s synchronized stage movements, combined with eerie, grinding riffs and percussive shoveling sounds, vividly depicted the oppressive conditions of the mines and the looming threat of collapse. We got sweaty just watching this, as the thought of even a slight amount of physical labour makes us shudder.
Kanonenfieber’s theatrical elements elevated the show to another level. Noise, the enigmatic frontman, gave an emotionally charged performance that blended musical precision with dramatic flair. Back in 2022, we had an amazing in-depth interview with Noise, and he said “Propaganda was everything back then. People were told glorious stories about pride, dignity and honor. In the end, most of them died in the mud, torn apart by shells.” His moments of vulnerability bringing this to life—such as weeping over a photo or embracing his comrades—felt genuine and raw, drawing the audience deeper into the narratives he was weaving. Rather than veering into cringy melodrama, his authenticity as a performer and devotion to the history, combined with the band’s dedication to their craft, made these moments unforgettable.
“Panzerhenker” received a particularly powerful live rendition, and barely catching our breath, the sonar ping signaled another heavy, face-smashing song (“Kampf Und Sturm” with a stop-start riff that riled up the mosh pit. Noise, dressed as an admiral, controlled the crowd as they surged like waves crashing back and forth.
When it seemed the night couldn’t reach greater heights, “Ausblutungsschlacht” provided a climactic finale. Noise donned his iconic skull mask—a prop that not only looked striking but also moved with his mouth, which made it totally spookily awesome. The addition of the lone piano notes during this song gave it a cinematic quality, elevating the closing moments to something truly epic. It was the perfect end to a performance that had been as much an emotional journey as it was a musical one.
Kanonenfieber’s ability to weave historical storytelling, gripping theatrics, and ferocious metal into a cohesive live experience is nothing short of remarkable. They’re not just a band performing songs; they are historians, storytellers, and entertainers, and leaves a lasting impression like the sound of a distant cannon. Looks like onwards and upwards for this troop.
TOTAL SUPPORT! We picked up some tasty merch but be sure to go to their Bandcamp for more, go NOW!
PS: Not only that but we met Carcharodon from Angry Metal Guy, who gave both of the new albums from these bands incredibly favourable reviews (hey Angry Metal Guy, that back link’s on us!). And yes we saw your comment on the album review and it was nice to chat to you too! (Had to go back to steal the meaning of a title or two).
Setlist
1. Grossmachtfantasie
2. Menschenmühle
3. Sturmtrupp
4. Der Füsilier I
5. Grabenlieder
6. Der Maulwurf
7. Panzerhenker
8. Ubootsperre
9. Kampf und Sturm
10. Die Havarie
11. Die Feuertaufe
12. Lviv zu Lemberg
13. Waffenbrüder
14. Verdun
15. Ausblutungsschlacht
Written by: Chort the Crop Infestor
“Hi, I’m Chort I infest crops and listen to Black Metal. I’ve currently invested most of my life savings into Andrew Tate’s latest crypto coin: $Daddy Tate (DADDY). I recommend reaching out to me for more literature on the matter.”
