Few spaces lend themselves so naturally to contrasts as the Royal Albert Hall. Its ornate, historic interior formed a striking backdrop for Kraftwerk’s latest multimedia concert tour - an evening that felt less like a traditional concert and more like an exercise in controlled, technological immersion. As the legendary German electronic music pioneers took to the stage, I contented myself with the thought that the gold clad effigy of Prince Albert (of Saxe-Coburg) was looking on with excitement and enthusiasm.
Founding member Ralf Hütter (almost 80!) led the 4 members out to much applause. Clad in LED neon lit suits they took their places behind the 4 equally spaced and uniform podiums. Their movements sparse and deliberate, while a large screen dominated the stage behind them. It may seem austere, but every sonic and visual shift is carefully orchestrated as the audience are drawn in. From the opening sequence of ‘Numbers / Computer World,’ the performance established its defining qualities: disciplined, meticulous, and mesmerising.
The setlist moved through a broad selection of the band’s catalogue, almost like a chronological survey of electronic music itself. ‘Spacelab’ unfolded gradually, its drifting synth lines paired with expansive, space-themed visuals, before ‘The Man-Machine’ introduced its sharper, more angular energy. Here, the visuals shifted to stark geometric forms and bold colours, reinforcing the music’s mechanical rhythm. Industrial dance beats and vocoder vocals abounded.
The Royal Albert Hall’s acoustics have always contributed significantly to the experience. The sound was exceptionally clear, allowing even the most delicate synthetic textures to carry across the space without distortion. Visually, the concert maintained a consistent aesthetic rooted in retro-futurism. Each track was paired with its own distinct set of images: data streams, transport systems, abstract patterns, and iconic symbols from the band’s long-established visual language.
‘Autobahn’ was played around the half-way mark. In its shortened live form, it retained a sense of motion and openness, with the visuals taking the audience along a postcard highway in a retro VW and Mercedes Benz to a motorik beat and synthesised rhythmic engine sounds. Kraftwerk’s most commercially successful songs followed in tandem. First synth-pop favourite ‘Computer Love’ - pre-empting the digital age and online dating - and then ‘The Model’ and probably the only time Kraftwerk have created something akin to a 3-minute pop song.
This was an all-seated event, and as recognisable tracks accumulated - ‘Radioactivity’, ‘Tour de France’, and a closing sequence built around ‘Trans-Europe Express’ - the hardest part was to remain seated. At times I was near bursting to leap up and bop to the automated, electro-funk vibe!
A fusion of ‘Boing Boom Tschak’ / ‘Techno Pop’ / ‘Musique Non Stop’ closed the set and one by one the band peeled off leaving Ralf Hütter in the final spotlight. They all returned one last time to play the social and political satire that is ‘The Robots’, with its message (or manifesto, as Hütter has previously said) as relevant today as it’s ever been. Tonight, in case we had forgotten, Kraftwerk reminded us that their vision of the future is still the one we’re living in.
