The concert in question is part of Volbeat’s “Greatest Of All Tours Worldwide”, a fall 2025 German leg of the tour to support their upcoming album God Of Angels Trust which drops June 6, 2025. Volbeat will be supported by Bush (the English alternative/rock band) and Witch Fever.The Stuttgart show is scheduled for Friday, 26 September 2025 at 19:00
Walking into Schleyer‑Halle on concert night, you can feel the buildup: people arriving, the buzz, checking tickets, the smell of merch, soft lighting, the distant clink of drink cups. For many, arriving early means catching the opening acts. Witch Fever hits the stage first. They are a four‑piece rock band from Manchester, England: Amy Walpole (vocals), Alisha Yawood (guitar), Alex Thompson (bass), and Annabelle Joyce (drums) Their set is spirited, not massive in scale, but full of the kind of raw live spirit that makes you lean in, even if you’re just warming up. They played songs including “I See It”. Witch Fever seem appreciative of being there, aware they’re opening up for a much larger crowd, but also owning their moment
After the stage is cleared and the mood shifts, Bush comes on. There’s a kind of nostalgia triggered in the crowd by their presence. Songs like I Beat Loneliness, Machine Head, Everything Zen, Swallowed, Glycerine—these are not just songs, they are memories for many in the audience. Gavin Rossdale interacts with the crowd, asking for phone‑lights, drifting into the pit or seated areas, making it personal. The performance builds gradually: quieter songs interwoven with heavier riffs. The crowd sings back the choruses. The blend of ‘90s alternative grit with modern production is something that connects deeply for many
Then the main event: Volbeat. When they walk on stage, the lighting, sound, and crowd all converge. They open with “The Devil’s Bleeding Crown”, which is bold and powerful. That’s immediately recognizable to fans, sets a high energy tone. Then “Lola Montez” follows, and the pit starts forming; bodies move; hands are in the air. Volbeat doesn’t waste time—they know how to read a crowd. From their heavier songs to ones with more melody, the pacing matters: moments of intense energy interspersed with more reflective or emotionally resonant ones. At one point Michael Poulsen plays acoustic guitar for “Sad Man’s Tongue”, and mentions how that song came out of being inspired by Johnny Cash. That gives a different texture, a breather amid the full‑throttle rock
There are also moments meant to connect. Poulsen dedicates “Fallen” to “someone you loathe who you loved,” saying for him that was his father. Emotional truth like that can lift the concert from performance to shared experience. A more playful side breaks through with songs like “In the Barn of the Goat Giving Birth to Satan’s Spawn in a Dying World of Doom”, which Poulsen jokes about, saying it’s not to be taken too seriously. The contrast between gravitas and humor is part of Volbeat’s charm.
For many in the audience, one of the high points is “Heaven nor Hell”, and “The Devil Rages On”, where the crowd is fully involved—singing, clapping, sometimes crowdsurfing, sometimes waving arms. The energy by that time is almost overwhelming, in a good way. Then there are more tender moments: “For Evigt” gets a special treatment, for instance with Poulsen asking for cellphone lights and letting the Danish part be sung by the audience. Those moments of unity make concerts more than just a collection of songs—they make them rituals. (Loud Hailer Magazine)
Near the end, there’s a feel of belonging. Volbeat invites children up from the audience for “Still Counting”; kids from kindergarten age up to teenagers join the stage, security helps, Poulsen lets some play a note. That kind of sharing the moment is not just spectacle—it’s symbolic, showing how music crosses generations. The finale has more hits—“A Warrior’s Call”, and an exit through an outro like “Pool of Booze, Booze, Booza”. That mix of theatrical ending and communal leave‑taking is effective: people leave shaking, sweating, voices hoarse, but with a feeling they’ve been part of something. (Loud Hailer Magazine)
The sound and staging: Schleyer‑Halle is big, but not the newest arena. Acoustics are sometimes uneven; depending on where you’re standing or sitting, sound reflections or distance affect what you hear. But Volbeat’s production tends to be tight, loud, with clarity (especially guitars, vocals) that holds up. Lights, stage design (though not overstuffed) are considerable: good lighting effects, sometimes pyro or visual backdrops, well choreographed transitions. The band uses the stage well; Poulsen moves among bandmates, interacts with the crowd, sometimes stepping forward, sometimes more atmospheric. Timing matters: setlist flows, when to calm down, when to kick up again.
Visually, the crowd is a mix: fans who’ve followed the band for years, younger listeners, folks who came with friends, sometimes families. The demographic shifts between opening acts and headliner; older folks more for Bush, more longtime Volbeat fans up front perhaps. The mood is celebratory, expectant. The energy builds steadily over the night.
The venue context matters: Schleyer‑Halle lies in Bad Cannstatt, in Stuttgart, in a part of the city with other arenas nearby (Porsche‑Arena etc.), so transport infrastructure is established. Cars, public transport, maybe some queues, but nothing overwhelmingly insane if you plan ahead. The halls’ history—its size, reputation—brings with it expectations. When Volbeat plays there, many fans recall past Volbeat shows: winter tours, previous Stuttgart gigs, the memory of Schleyer during the “Servant of the Road” tour etc. Indeed, Volbeat played double shows here in December 2022 (1 & 2 December) and were awarded “Event Of The Year” for their Stuttgart shows, for filling two nights with around 17,000 visitors total and packed standing‑room crowds. (hallenduo.de)
Tickets: price tiers varied; early packages include VIP, meet & greet, First Access GA etc. Depending on where you’re seated or if you opt for standing floor, view and atmosphere differ significantly. For many, being on the floor near front or in the pit is the most intense; for others, side seats or higher tiers give better view of lighting and stage shape, though sometimes at cost of intimacy. (timeforgig.com)
After the show, that buzz lingers. Walking out, you hear people talking about favorite songs, comparing set list choices, selfies, merch bought, voices hoarse, ringing ears. There’s late‑night food, people reflecting on moments: when Bush or Witch Fever surprised them, when Volbeat played something unexpected, when they invited kids up, when the crowd joined in.
In sum, Volbeat at Hanns‑Martin‑Schleyer‑Halle is more than a rock concert: it’s a collective experience of energy, nostalgia, emotion and musical precision. Fans leave with memories: not just for the hits, but for the human moments in between. If you go, expect to be part of more than a show—you’ll be part of a community for a few hours.
If you like, I can put together the full setlist, photos, or a video recap for this specific Stuttgart show, so you can relive it or catch up if you couldn’t make it.
