On Saturday, October 19, industrial veteran juggernauts KMFDM brought the electronic podium and light show to Newport Music Hall in Columbus, OH. After the night ended, 20 tunes had blasted from the speakers from their ’80s beginning to current/modern messiah material. Fans of all ages and decades packed the place to help celebrate four decades of club decadence as singer/founder Sascha Konietzko, vocalist Lucia Cifarelli, drummer Andy Selway and guitarist Andee Blacksugar brought the blinding lights, classics, deep cuts, rarities and decades strong club foot-stompers.
With 23 albums thus far, there was no lack of material to draw from for crowd excitement and delight. Not to mention, starting in 1984, at least half the crowd didn’t look like they’d been around in the beginning, becoming devote worshippers at some point along the way. Technically, KMFDM were in the MTV generation, though airplay was scarce.
Swedish industrial mainstays the Morlocks opened things up with an interesting display of sound and visual strategy. The band also had roots going back to the ’80s with vocalist Jonah Strauss helming the charge. Most of the shows tunes came from Praise The Iconoclast though the opener came from The Outlaw of Fives as the evening’s industrial ignition cranked hitting with “Non Trigger Man.” A band with a unique and diverse visual artillery took over, musical weapons a blazoned, proudly performed, looked to dominate the eyes and ears of Columbus, leaving a loud, permanent memory.
Whether you were seeing them for the first time or were repeat viewers and offenders, they have a lengthy history dating back to the early ‘90s with Strauss welcoming everyone, saying, they came all the way from Sweden to be with Columbus tonight.
The KMFDM discovered Euro-brood was brought to life by Innocentius Rabiatus on lead guitar, Lamashtu on bass, and rhythm guitarist Reverend Grudge made the evening’s riveting affair complete. The haunting gaze and very presence of Lamashtu was a highlight/ uneasy feeling in itself cementing her powerful possessing stare and monster-like poses. She took souls at will with every piercing nonblinking smirking gaze and bass vibration, imitating a living doll or a living dead girl. While Strauss definitely sported some Rob Halford and Iggy pop persona in performance and presentation.
The group has toured with KMFDM before, sharing history with them going back to 2011.
The show and pummeling didn’t let up with “F.U.D.” They warned beware of the soul devouring snake oil salesman. “Instigation” was a dystopian public service announcement for the controlled masses to consume and believe.
“Fear the Watchman” took on a more paranoid narrative, singing the tune of tension and terror. There were audible sing along’s and song pops, saying they definitely had a following present.
“I’m the Payload” had an early ‘80s poppy vibe, dropping dreamy beats on Newport, leaving pleasant damage in its wake.
“Dicks In Tanks” took some sarcastic pot shots with an ironic look at war, WWII and propaganda films.
“Happy Day In Zombietown” was their final communication of the evening for the night time dwellers, leaving with a warning and everyone wanting more.
KMFDM appeared hovering behind lighted podiums, peering and gazing out, only showing bits and peeks at first, making every stage walk and appearance center stage sacred and valued. Cifarelli spent time hovering behind the pulpit with early occasional piercing glances and stares. She began leering across the stage in cherished-haunting style, playing the stage seductress and dominatrix of everyone’s attention and cell phone coverage.
The alter of 2022’s Hyena opened with “All 4 1.” The floor and dance floor lit up as MDFMK got second hand, second song treatment on “Missing Time.”
“Hyena” cackled a heavy, industrial, EDM edict. A lot of freak flags were in full sail and swing, flying throughout the club, “Freak Flag” was the crowd’s calling card, and the minion’s mission statement, getting those high black stiletto’s tapping.
The organ keys started summoning the “Beast” from the steaming, red-lit pit or the inner most parts of the human mind and body. “Airhead” brought back the ‘80s in commercial excess and success. A lot of what we liked, for those that lived it and some things we’d rather forget.
The Ministry vibes soared as they showed they were “A Drug Against War.” There’s been no better way since to chase the dragon.
“Rebels in Kontrol” took the power into their hands with the crowd not minding. Club staple, “Godlike” lit the place up with waving hands and screaming voices.
They punched with a 90-second punk tap to the ear leaving us bloody and “Blindface.”
“Megalomaniac” was audio bliss to many. The creepy, poppy glow of “Touch,” proved the band could handle and take on any genre. In true title and lyrical humor they saved the best and “Adios” for ‘last.’
“Push!” did everything but back away slowly in a calm fashion. The crowd’s minds were blown and fucked. “Leibislied” got mechanical, industrial and a little bit classical with some O Fortuna.
They did save the best for last with the dance floor tested DJ decadence of the “Juke Joint Jezebel.” They finished leaving long time hardcore fans happy and newer fans rushing home to YouTube their history. It was a light show to remember, a few tunes earning pits and an energetic crowd enjoying the industrial rush.
Images & Words: Mike Ritchie
KMFDM: https://kmfdm.net
Morlocks: www.morlocks.net
