Concert Report by Jigal Beez
Michael Schenker at Modernes, Bremen, Germany
February 19, 2026 Added on 02/25/2026
Bremen, Modernes – February 19
I saw Michael Schenker for the very first time back in 1988, when he toured with the McAuley Schenker Group as the opening act on Def Leppard’s Hysteria tour at the Stadthalle, the biggest venue in town. As we all know, Michael’s line-ups change frequently, so it was a real surprise to see that — with Bodo Schopf on drums and Steve Mann on guitar and keyboards — three fifths of a 38-year-old MSG line-up were back in Bremen. Judging by the audience, many of us clearly remembered that era as well: lots of grey hair in the crowd.
I hadn’t attended the first leg of the My Years with UFO tour. The idea of a Schenker concert without MSG classics like Into the Arena, Attack of the Mad Axeman, or Armed and Ready didn’t appeal to me. I also wasn’t overly impressed by the My Years with UFO album. While I found the modern guitar and drum sound interesting, it didn’t really blow me away. I also never quite understood why other guitarists were featured on Michael’s own songs. I love Slash, but trading solos with Michael on Michael’s material only makes Slash sound like a student. Who can play Schenker’s stuff better than Schenker himself?
As I admire Phil Mogg I thought the same of the other singers — until I saw videos featuring Erik Grönwall. His performances completely changed my mind. He owned the songs, gave them fresh life, and injected new energy into the band. That was the moment I knew I had to see this tour live.
So when the second leg was announced (unfortunately without Erik), I secured tickets immediately — helped by the fact that Michael was playing my hometown Bremen. I even bought a ticket for Hamburg three days later. Michael has turned 71, and I’m not getting any younger either, so who knows how many more chances there will be to see him live.
Bremen – Modernes
In Bremen, the show took place at Modernes, an old movie theatre with a capacity of about 950. This isn’t the Budokan — European venues are smaller these days. Michael only used two Marshall stacks instead of four, and the stage was already packed.
According to the press, the show was sold out. UFO had also played the Modernes in 2022 on their Last Orders farewell tour. Because Modernes is a cinema hall with rising audience area, even shorter people like me could get a great view from the back. I stood right behind the mixing desk — perfect sight and excellent sound.
The opening acts were Malvada, a Brazilian all-female metal band, followed by Rook Road from Germany, whose Deep Purple–influenced sound, with prominent organ parts and guitar duels, went down very well.
Then the lights went down, and Michael appeared with his iconic white Flying V, which he played throughout the entire set. The opening riff of Natural Thing kicked things off, and we were immediately transported back to the golden UFO years.
Besides the veterans, the band featured R.D. Liapakis on vocals and Barend Courbois on bass. The setlist was identical to the Japan and U.S. dates:
Natural Thing
Only You Can Rock Me
Hot ’n’ Ready
Doctor Doctor
Bass Solo
Mother Mary
I’m a Loser
This Kid’s
Lights Out
Drum Solo
Instrumental Medley (Lipstick Traces / Between the Walls / Belladonna)
Love to Love
Let It Roll
Can You Roll Her
Reasons Love
Bass & Drum Part
Rock Bottom
Shoot Shoot
Too Hot to Handle
Liapakis did a solid job interacting with the audience, leaving enough space for the other musicians and guiding us through the show in a warm, welcoming manner. Michael himself even addressed the crowd, introduced the band members, and thanked the audience in both German and English. I was surprised — and amused — to see some light choreography on stage, including Michael himself.
One odd detail: during Love to Love, the lighting didn’t reflect the song’s famous misty green and blue lyrics, instead bathing the stage in pink and white.
After Rock Bottom, the band didn’t leave the stage. Michael simply asked: “Do you want one more? Do you want two more?” The answer was obvious. Shoot Shoot and Too Hot to Handle followed, dedicated to the memory of Pete Way and Paul Raymond — a touching moment.
