Land der Lieder is a Schlagerparade format invented by Diego Castro and Stephan Kallage probably copyrighted by a dutch Reality TV company.
Tonight we’re happy to welcome many guests such as: Hans Harz IV., The König Ludwig Singers, The Union Singers, Christian Starz, Gabi Fichte Bandstand & the Honkytonks, Moped, Paul, Valle, Stephan & the Westgermanys, The Englishmen & Their Incomprehensible Songs, The Eine Welt Aus Hack Kinderchor (nur mit Erwachsenen) and many many more! You’ll be guided thru the night be no other than Kirmes Hasselhoff.
So join us around 9. Entrance free.
Westgermany Skalitzer Strasse 133 Berlin.
Tonight brings another installment of Land der Lieder, a revue-style format that treats the Schlagerparade as a living, slightly unruly tradition rather than a museum piece. The evening gathers an unusually long guest list, with performers of very different temperaments sharing one stage across the night. Some arrive with full bands, others with little more than a song and a grin. What ties them together is a fondness for the kind of melody that invites a room to sing along, and an appetite for the cheerful absurdity that has long been part of this festival's character.
The lineup moves easily between earnest tribute and playful invention, which is exactly the spirit the wider program has always cultivated. Choirs, costumed ensembles, and solo turns follow one another in quick succession, each offering its own slant on the repertoire. Nothing here is presented as precious or untouchable; the songs are handled with affection and a willingness to bend them into unexpected shapes. Guests drifting in through the evening can expect a continuous thread of music, punctuated by the occasional surprise appearance that keeps the room guessing about what comes next.
Hosting duties fall to a figure who keeps the pacing brisk and the mood light, steering the audience from one act to the next without letting the momentum sag. Between performances there is room for small asides, gentle teasing, and the sort of banter that makes a crowded room feel like a shared living space. The atmosphere stays informal throughout, closer to a neighborhood gathering than a formal concert, and that looseness is part of the appeal. People come and go, stay for a favorite song, and end up remaining far longer than they planned.
As with much of the programming across the festival, the emphasis lands on accessibility and communal pleasure rather than exclusivity. The evening is open to anyone curious enough to wander in, and the mix of familiar faces and first-time visitors gives the night its particular energy. It sits comfortably alongside the site's broader interest in projects, concerts, and archive material that document a long-running scene. For those who follow the calendar closely, this is one of those dates worth marking, a chance to hear old songs reframed and new ones tried out in good company.
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