PAUL SIES

The thing is: Paul Sies gets bored terribly quickly. In a world full of ominous news, this is good news for once. Because if Paul Sies didn't do that, we wouldn't be getting his wonderfully eclectic new album “Ficken und Heulen” at the beginning of next year, which he is just finishing while we're chatting here.

It's like this: Paul Sies is a born showman, but also a storyteller, someone who stands on fruit boxes and stages, who sings, screams, throws flowers and needs a handkerchief, whose voice says: I really mean that, and I really want that, here the drug reminder, there the love song, the political reminder, and then all at once in a completely different way, come on, come on, come on Come on, hurry up, I'm already over here.

What is also noticeable: Paul writes songs that deliver big, round melodies, but which rumble down the stairs in square boxes and spread a wonderful sound, make noise and open when dropped.

And of course: You could draw endless comparisons, here hip-hop, which fits into the 1920s of two centuries, there is a classic singer-songwriter song that suddenly becomes a 70s rock beast and finally a shimmering techno beat. Because: Why not? Nick Cave is wearing Tom Waits' suit on the dance floor around the corner. Sublime and dirty at the same time. Dresden Dolls, Trent Reznor, Nina Hagen, Scissor Sisters.

Still, everything sounds like 2026, not entirely unimportant.

Journal, letter, indictment, confession, plea, play, outrage, movie scene, real scene. And everything with a voice that you want to listen to, no matter what it says and sings. Thank goodness it doesn't matter what she says and sings. Come on, Paul, again, please!

Fuck and cry. You can do both with Paul Sies' music. Because. The king of Dark Cabaret is back. On tour in February 2027 — possibly in a glitter jumpsuit — right here...