The cultural scene is having a hard time under State Minister for Culture Wolfram Robert Wilhelm Weimer. The pop scene is often hit particularly hard. This is not only because it is frequently perceived by political decision-makers and those in boardrooms as being on the ideological left, or because, in times of tight budgets, a divide between high art and low art is suddenly reopened, but also because pop music emerges on a small scale. Innovation, the Zeitgeist, subcultures, »the New« (Boris Groys) and »the Cultural« (Jochen Bonz) all develop in these niches. They are trialled in front of audiences in clubs with fewer than 500 attendees. It is precisely these venues that are now particularly affected by rising production costs, waning audience interest and political indifference. This leads to rising ticket prices or the cancellation of events, which bars access to art in many respects, as journalist Wolfgang M. Schmitt explains in Surplus.

But institutions such as the Reeperbahn Festival are also affected. »Weimer knows where culture is«, writes Detlef Diederichsen in the taz. »In Bayreuth, for example. That’s where he’s happy to give.« And he adds: »The Reeperbahn Festival in Hamburg, simply judging by its location, sounds rather disreputable and far removed from culture. So let’s halve the funding.« Halve it, then. The cut in federal funding from 2027 is a clear political decision and cannot be attributed to a shortage of resources (which is not unimportant to emphasise time and again!). In light of this decision, the festival’s motto this year half-ironically calls itself into question: »Forever legit?« If the state withdraws one’s legitimacy, one must earn it oneself.

Oh, so that’s how culturally alien it is, then

From 16 to 19 September, Hamburg will turn again into one huge party. Over 300 acts will be performing at more than 50 venues (the line-up is incredibly varied – you’ll find a small selection below), including over 170 FLINTA*-fronted acts from more than 30 countries. Overall, at a time when its own funding is being dismissed as »uncultured«, this year’s festival is explicitly taking a socio-political stance: The festival kicks off with a keynote speech by Schiller on experiences of war; Ukraine is the »Guest Country of Honour«; there is the installation »Shifting Perspectives« by Keychange x Bona Berlin on diversity and gender equality in the cultural sector; and the exhibition »Humans in Transit«, organised in collaboration with Médecins Sans Frontières, which explores stories of flight via the Mediterranean route.

And here’s one more reason why this year’s Reeperbahn Festival is so important: at a time when cultural funding, small organisations and independent music venues are coming under pressure, the Reeperbahn Festival is also becoming an important meeting place. Not because the entire scene is represented there – unfortunately, that is not the case – but because it highlights just how much pop music thrives on spaces, encounters and infrastructure. Sebastian Hinz

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1000 Rabbits

When a band steps onto the stage at The Windmill in Brixton, it’s as if they’re being awarded a sort of diploma in »Art rock«. Alumni: Black Country, New Road, Squid, Black Midi, Shame. Recent graduates: 1000 Rabbits. The five musicians use a bass synthesiser as their foundation and add violin, guitar, drums and vocals. The synthetic meets the organic. Whispers turn to screams. It’s intimate music for people who find intimacy too intimate. SH

Boutique Feelings

This might be your last chance to see Boutique Feelings as an insider’s tip. This hip-hop with »real« instrumentation is so good, so free and so original that, over the past two years, the voices hailing Karim Lakhdar from Montréal as the real deal have grown louder and more numerous. What’s more, it’s all designed to be played live with a band and a real sense of urgency. PK

daoud

The Franco-Moroccan trumpeter daoud – whose real name is Luc Klein Ben Abdeslam – knows what it’s like not to fit in. And he channels that experience into his jazz. Purists will hate him – and that’s exactly what he wants. His latest EP Hoods is built on hip-hop grooves, whilst his 2024 debut Good Boy also features techno-inspired rhythms. His 2025 album ok, released on ACT, defies all categorisation whilst at the same time embracing everything. If you’ve ever felt excluded from jazz: this is the place for you. SH

Gia Margaret

Gia Margaret is a singer-songwriter who was temporarily unable to sing due to an infection of the vocal cords. Her voice has now returned in all its skilful delicacy – whilst the joy of experimentation that grew out of her temporary loss of voice has remained. Subtle Autotune moments, downbeat instrumentation and the courage to embrace spacious soundscapes make her music an island of introspection amidst the many buzz-generating bands at this year’s Reeperbahn Festival. PK

GB

One of Posh Isolation’s most recent releases was Gusse Music, the debut by Gustav Berntsen, also known as GB. The Copenhagen-based label, which has sadly since ceased trading, had made a name for itself by showcasing ideas of what pop could sound like in the here and now. GB’s music represents exactly that: pop songs. Here, with jazz-rock vibes, but blunt and immediate. Recorded in the Swedish wilderness. Lyrics strung together from newspaper clippings: “This chaos, / these fever dreams, / secrets and lies, / losing touch with reality, / let’s make out”. And yet it packs such an enormous emotional punch. Simplicity made complex. SH

Josi Miller

A Josi Miller DJ set? You don’t turn up unprepared. You turn up warmed up! Because Josi Miller isn’t usually one for a slow build-up. The Trettmann/Frauenarzt tour DJ seeks out the area where the bounce is strongest, right at the intersection of hip-hop and electronic music. You come here and give it your all. PK

Moses Yoofee Trio

When you say »Moses Yoofee Trio«, you have to say »live« as well. The text could end right here. Could, could, banana bread. So: the Berlin trio has set itself the task of distilling the energy of their jazz. Virtuosity resonates, but isn’t put on display. Instead, there’s total focus on texture, dynamics and precision. So: how complex can the groove be without killing the vibe? Quite a lot, you’ll find yourself thinking, whilst you lose yourself in wonder as you dance. SH

Lynx IRL

Rap and very, very dance-y instrumentals – everyone knows: it’s a thing. What sets the music of Lynx IRL from Lille apart from the local scene is that her sound is inspired less by Eurotrance and more by analogue 90s dance music. With »FOCUS«, the French artist has just released a new track that strikes a different note – does anyone here still remember The Prodigy? PK

Peki Momés

Just give it a go! Pick up an instrument and start making music. Play the piano in a way that’ll make your piano teacher turn up their nose. Mix genres – a bit of Anatolian rock here, some Japanese city pop there, funk, soft rock, library music, you name it. Pure playfulness. Doesn’t that sound very punk? Iggy Pop must have thought so too, as he played »Rüya« by Peki Momés on his BBC radio show. A star was born. Well, almost. First comes the Reeperbahn Festival. SH

TAM

Don’t miss out! TAM is a must-see. The Berlin-based artist’s music pulses with that old-school spirit, producing a distinct raw energy and a deeply ingrained groove that just goes down sooo well and feels sooo good. Soul, R&B, rap, Little Simz, Cleo Sol; beat and sensuality. PK

This text was originally written in German. The English version is a close rendering of the original, deliberately preserving its wording and structure. Some idioms, tonal nuances and shades of irony may therefore not carry over entirely naturally into English.