Chronicle and Images by Ruth G. Núñez de Arenas
Last Thursday, September 4th, Berlin’s Gretchen Club witnessed one of those nights that will remain etched in memory. The Horrors delivered a blistering concert, combining a flawless setlist, a renewed line-up, and total commitment on stage. For me, it was the best performance by the band I’ve seen to date. It was my first time at Gretchen, and I found it to be an ideal space for a live show of this nature: industrial atmosphere, subtle lighting, and precise acoustics that embraced every song. Faris Badwan’s voice, deeper and more magnetic than ever, filled every corner with an unparalleled stage presence.
Since the release of their album Night Life in March 2025, The Horrors have introduced a refreshed line-up. Amelia “Millie” Kidd on keyboards and backing vocals, and Jordan Cook on drums, joined the band to bring a fresh and powerful energy. Alongside Faris Badwan on vocals and Rhys Webb on bass, they maintain the band’s essence while unveiling a revitalized sound that shone brilliantly throughout the set. Millie added a dark delicacy with her keys and harmonies, while Cook injected unstoppable drive into the rhythm section. The chemistry among the musicians was explosive, making it clear that the band is not dwelling on nostalgia but thriving on constant reinvention.
The setlist traveled across different stages of their career, blending classic anthems with new, invigorated tracks such as The Silence That Remains, Sea Within a Sea, Still Life, Ghost, and Who Can Say. For the encore, The Horrors closed with three gems that completely ignited the audience: Lotus Eater, a surprising cover of David Bowie’s Heroes, and the iconic Something to Remember Me By.
One of the most powerful moments of the night came just before Sea Within a Sea. Faris delivered a bold “From the river to the sea,” a phrase that in recent months has echoed worldwide as a rallying cry for Gaza. It was a brief but meaningful gesture. In my view, not all art must be political, but when it is—and especially in such a dire context—it is something to be valued. That instant added an emotional weight to the show that will be hard to forget.
The night opened with Tomás Nochteff, member of the now-defunct Mueran Humanos, performing solo. His set was brief but intense and magnetic. Songs like Hermana Mía conjured a dark, visceral atmosphere. Personally, I deeply miss Mueran Humanos as a band—with whom I’ve collaborated several times, both in Barcelona and Madrid—but seeing Tomás on his own confirmed his greatness as a musician. His solo project fascinates me, and I eagerly await a new album.
If the night was unforgettable, it was even more so because I shared it with an artist I deeply admire: The Violent Youth. He traveled from Augsburg to Berlin to experience the concert with me. His affinity for dark pop-rock and new wave created the perfect bond: every riff, every atmosphere, every crescendo was savored twice as much. Sharing this journey turned the night into something even more special. Listening to The Horrors live, I couldn’t help but be transported back to Madrid’s Joy Eslava Theater, where I saw them more than ten years ago. And even further back, to my interview with the band in 2009. Back then, I was struck by their simplicity: despite their success, they were approachable, human, and kind. That same feeling came rushing back to me at Gretchen. The Horrors may have evolved, but they have preserved that closeness, both personally and in their music.
The concert at Gretchen was much more than a live show: it was a celebration of reinvention, a bridge between past and present, and a testament to the transformative power of music. The Horrors shone with a renewed intensity, all while maintaining the humanity that has made them one of the most beloved bands of the last decade and a half.