The Architects Return Kraftwerk’s Multimedia Machine at Sentrum Scene
- Kenneth Sporsheim
- 9 hours ago
- 6 min read
Sentrum Scene 23rd November 2025
IMAGES: KENNETH SPORSHEIM / WORDS THOMAS KIRKEBY
German legends Kraftwerk are more than pioneers; they’re the very foundation of nearly all electronic music as we know it today. So, when the chance came to experience their Multimedia Tour live, I jumped at it. But before diving into the show itself, I should probably explain my relationship with the band.
My history with Kraftwerk goes way back, but it’s never been a dedicated one. Born in the early ’70s, my gateway was “We Are the Robots”, as it probably was for many people my age. I remember thinking the song was strange more than anything else. It certainly didn’t spark an immediate curiosity to explore further. And without MTV or any channels that actually showed music videos at home, Kraftwerk slowly drifted into oblivion for me.
That remained the case until just 5–6 years ago, when I made it a mission to dive deeper into all kinds of essential musical history. Kraftwerk, of course, had to be part of that.
And I still didn’t get it.
The minimal, loop-based sound that slowly builds — or sometimes doesn’t build — into anything. It was completely different from the hook-driven music I was used to. But at the same time, I was fascinated by the strangeness, the minimalism, the monotony. There was something there.
Fast-forward to November 2025, and I’m standing inside a sold-out Sentrum Scene in Oslo, waiting for Kraftwerk’s Multimedia Tour to begin. My expectations are high — but not sky-high. More than anything, I hope the music will make more sense to me live. Kraftwerk is, after all, as much an art project as a band.
Walking into the venue, I see four grey podiums lined up across the stage. Apart from a large screen behind them, the stage is bare. And honestly? It’s wonderfully weird. Exactly what I hoped for. Fifteen minutes before showtime, four animated characters appear on the screen with a minimalist soundscape behind them. Still weird. Still perfect.
When the lights finally drop and four men in suits with glowing stripes take their places behind the podiums, it feels fantastic.
They open with “Numbers”, a clear indication of what the next two hours will be like. Behind them, the screen fills with numbers from 1 to 8, and the glowing stripes on their suits shift colours in sync with the visuals. It’s strange — of course it is — but it’s the best kind of strange. And judging by the crowd around me, I’m far from alone in thinking so. The audience ranges from people in their 20s to their 60s, which makes perfect sense considering Kraftwerk’s long history. People are engaged, excited, fully into it.
When the band moves into “Computer World,” the night’s first cheer erupts.
The melodies are long, the sound is crisp and clean. I always use earplugs to protect my hearing at concerts, but this evening I take them out. The volume isn’t uncomfortable, and the mixing is so clear and detailed that I want the full experience.
I admit I get a bit impatient at times. As fascinating as the lights, visuals and sound are, I find myself wishing for a camera showing what the four men are actually doing up there. Are they pressing buttons? Turning knobs? Playing keys? For all I know, everything could be running from tape while they scroll aimlessly through social media.
At one point I imagine one of the podiums being lifted, tilted upside down with the performer strapped in, revealing the mysterious controls hidden beneath. Now that would have been a multimedia expansion. But nothing of the sort happens. The four musicians remain mostly motionless behind their stations — which, after more than 50 years, feels fair enough. They’ve got nothing left to prove.
Later, the screen transforms into a spaceship for “Spacelab.” The visuals are stylised and minimal, at times resembling an ’80s 8-bit video game. The ship travels across Europe, zooms in on Norway, then Oslo… and finally lands outside Sentrum Scene. The crowd goes wild. It’s just about the only moment of direct “interaction” Kraftwerk offer all evening.
I’d listened to a lot of their music in preparation for the show, just to know what to nod knowingly to. This isn’t music you sing along to, after all. Most people simply nod in time. It’s very much head-movement music. Except for one guy, who dances with wild, expressive arm movements, to the annoyance of everyone around him. Eventually the man next to him moves away, giving the dancer even more room, which only makes him a problem for a larger group. Judging by the looks people give him, I’m curious whether this will escalate — until I get drawn back into the show again.
“The Man-Machine” gets a warm reaction. More people start moving, letting the slow evolution of Kraftwerk’s music sink in. As I’d heard before: their music is about evolution, not revolution. Slowly, almost imperceptibly, it becomes more than just beats and simple patterns. And you could feel that happen in the room.
A word about the graphics: the tour is called Multimedia, which suggests a strong visual component — and it certainly has one. I love the minimalist, stylised style, but I’ll admit I found it a bit underwhelming compared to what I had imagined. So many modern bands and artists use massive digital backdrops now that Kraftwerk’s visuals feel “simple” by comparison. I have no idea how much their visuals have changed over the years, but I imagine not very much. While the retro look fits perfectly, I couldn’t help but think how incredible this must have seemed before giant LED walls became commonplace.
But as this was my first Kraftwerk concert, I can only speculate.
A while into the show one of the performers’ suits begins glowing white and yellow out of sync with the others. We all notice. Is it part of the show? Another bit of glorious weirdness?
Nope — the battery is dying. A stagehand sneaks up, fixes it, and the visual harmony is restored.
“Radioactivity” shifts the energy noticeably. The kick drum hits harder, and suddenly it’s clear how much even Rammstein owes to Kraftwerk. More people give in to the hypnotic rhythm.
Towards the end, during the medley of “Boing Boom Tschak,” “Techno Pop,” and “Musique Non Stop,” the musicians step away from their stations one by one, bow, and leave the stage. It’s reason to believe we’re getting close to the encore.
And, of course the encore is “The Robots.” It’s the perfect ending to this wonderfully strange night at Sentrum Scene.
So, what did I take away from the evening? Did it meet my expectations? Did I understand Kraftwerk’s music any better after seeing them live?
Yes — and yes.
The night was exactly as strange and delightful as I hoped it would be.
Did I understand everything? No.
Did some people have a deeper appreciation of the visuals and music than I did? Absolutely.
But I gained a unique insight into a phenomenon and a movement that stands as one of the pillars of modern music history. And I realised that Kraftwerk’s music is far more than loops that slowly develop. There are subtleties and layers I’d never picked up on before.
If Kraftwerk’s music is about evolution rather than revolution, then this show sparked an evolution in me as well. And honestly, that’s more than you can expect from a concert on a Sunday night in November.
SETLIST:
1/ Numbers / Computer World / Computer World 2
2/ Home Computer / It's More Fun to Compute
3/ Spacelab
4/ Airwaves
5/ Tango
6/ The Man-Machine
7/ Electric Café
8/ Autobahn
9/ Computer Love
10/ The Model
11/ Neon Lights
12/ Metropolis
13/ Merry Christmas Mr. Lawrence (Ryūichi Sakamoto cover)
14/ Geiger Counter
15/ Radioactivity
16/ Tour de France / Tour de France Étape 3 / Chrono / Tour de France Étape 2
17/ La Forme
18/ Trans-Europe Express / Metal on Metal / Abzug
19/ Planet of Visions
20/ Boing Boom Tschak / Techno Pop / Musique Non Stop
Encore:
21/ The Robots
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