For most of the 21st century, electronic-music pioneers Kraftwerk have been burnishing their influential back catalog, reissuing titles and reproducing their hits and fan faves on occasional tours, with reverence for the blueprints. But the catch is, Ralf HĂźtterâKraftwerk's lone surviving original memberâonly recognizes Kraftwerk's output from 1974's Autobahn onward. Consequently, he infamously ignores some of their most interesting work, from 1970's Tone Float (as Organisation) through 1973's Ralf und Florian. (I touch on that maddening topic here and here.) While it would be difficult to perform the flute-heavy âRuckzuckâ from Kraftwerk's debut LPâespecially without the late Florian Schneider-Eslebenâsongs from Ralf und Florian could definitely fit into Kraftwerk's current schematics. But they've memory-holed that classic, and that's that. Might as well try to bike in the ocean as hear anything from those early years.
So it goes for this latest 3D tour (perhaps the group's last), which drew faithful old-timers and pre-teen neophytes and many geeks in-between to the Paramount on Saturday night. These aging German technicians have their shtick down to a science, and, ergo(nomically), the show ran smoothly and efficiently for 125 minutes. I expected zero surprises, as I've seen Kraftwerk in 2004 at the Paramount and in 2008 at Coachella. The setlist for all of these gigs largely has been the same, as has been the charisma-free stage presence and bank-teller setup. But in 2022, DĂźsseldorf Ăbermensch HĂźtter shocked this long-time follower... by scratching his temple once during âAirwavesâ and moving his right leg in time to the beats of âBoing Boom Tschak.â Aha! Busted! Kraftwerk are human after all! How disappointing!
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Realizing that they're about as fun to watch as accountants filing taxes, Kraftwerkâdressed in their trademark grid-bedazzled jumpsuits and standing as close to motionless as inhumanly possible behind their lecternsâlet the visuals do the heavy entertainment lifting. And while they were often spectacular, they also were bang-on-the-nose, especially during âThe Modelâ and âTour de France.â The 3D glasses that everyone received did slightly enhance said visuals, especially during âSpace Lab,â but there were no truly mind-blowing effectsâunless I got a defective pair of specs.
Now, Kraftwerk had done a herculean amount of innovating in the '70s and '80s with the freaky experimental rock of Kraftwerk and Kraftwerk 2, the proto-synth-pop records Ralf und Florian, Autobahn, and Radio-Activity, the proto-techno opuses Trans-Europe Express and The Man-Machine, and the electro blueprints Computer World and âTour de France.â
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Undoubtedly, Kraftwerk have earned the right to coast in the peloton this late in the race. But here's the thing: Even if you know exactly where these dear, foundational tracks are going to goâby now you likely have their stately melodies and precision-tooled rhythms indelibly stamped in your DNAâthey refuse to sound obsolete. The droids built these tracks to lastâand to be studied in universities, for as long as civilization lasts.
Kraftwerk wisely began the show with âNumbers,â the funkiest cut ever created by Europeans, its stiffness and spaciness defying all logic and gravity. The first wave of Detroit techno producers and the dancers on the Motor City's version of Soul Train, The Scene, will vouch for this. Then, as the heavenly melody of âComputer Worldâ hovered above those clipped, percolating beats, one couldn't help wondering: WHY DID THE PARAMOUNT MAKE THIS A SEATED SHOW?! Sure, the crowd skewed gray and paunchy, but still... Kraftwerk's music is about movement, literal and figurative, for Florian's sake. Do the words âAutobahnâ and âTrans-Europe Expressâ mean nothing to the powers that be here?
Anyway, as we audience members fidgeted in our seats, we could laser focus on how Kraftwerk and whoever was working the console had dialed in the sound to an immaculate crispness, with the volume just right. The beats in âIt's More Fun to Computeâ ker-chinged like antique cash registers; the bass in âThe Man-Machineâ vibrated sternums; the bleeps in âPocket Calculatorâ were practically visible... Every detail was magnified and crystalized. We got our money's worth in that department.
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Compared to the other times I'd seen Kraftwerk, this set featured more deviation from their canonical texts. Of course, Ralf and company are far from freewheeling improvisors, but they did alter some tracks enough to make long-time fans realize that they weren't just faxing in this performance. âAirwavesâ sounded more disco-fied than its original incarnation, with the angelic melody coming off as less celestial. The âStairway to Heavenâ of synth pop, âAutobahnâ was truncated out of necessity and Ralf's voice sounded oddly Auto-Tuned. âComputer Loveâ seemed more hypnotic and flexed a strange and wonderful percussion break not heard in the original.
For âRadio-Activity,â which might be Kraftwerk's most brilliant fusion of beauty and ominousness, HĂźtter added names of places that had suffered the ill effects of radiation since the song's 1975 debut. âPocket Calculatorâ boasted some impressive synthesizer extemporizing, and Ralf sang in his jauntiest voice. The âNon Stopâ/âBoing Boom Tschakâ/âMusic Non Stopâ medley sounded slower and funkier than on record. After doing âThe Robots,â Kraftwerk exited the stage and their robot counterparts appeared, dancing with aptly creaky joints and electrified shudders. One woman libidinously screamed at this display, resulting in the evening's funniest moment.
As I filed out of the venue and into the lovely summer night with that memory reverberating, I couldn't help imagining how many groupies HĂźtter and his fellow sex machines Fritz Hilpert, Henning Schmitz, and Falk Grieffenhagen would attract afterward.
View the setlist here.