The first thing that will most likely strike you upon stepping foot into Doornroosje is the contrast between the building’s deceptively modern exterior and its perennially dark and moody venues. ‘Perennial’ is especially fitting here when observing the crowd Zeitgeist attracts. Standing in line for the cloakroom will leave you in awe of the goths and punks, dressed with such commitment that it could convince you no time has passed since Siouxsie Sioux and The Cure dominated the scene.

Entering the Red stage, we found ourselves instantly immersed in the haunting post-punk drawl of Lebanon Hanover vocalists Larissa Iceglass and William Maybelline (yes, these are their actual names). Between the acrid green light shrouding their faces and the pounding 80s new-wave synth, it wasn’t hard to understand the entrancement evident across everyone’s faces. The duo’s morosely blase energy was encapsulated in Larissa’s theatrical looping of her guitar lead around her neck—a noose of her own creation.

Several hours later, wandering into the more intimate and eclectic Blue stage, we stumbled upon the soundcheck of the up-and-coming Amsterdam-based band Dorpsstraat3. Captivated by their warmth and genuineness, we awaited their performance with no idea what to expect. Their sound, influenced by Turkish music and with some songs composed on a Bağlama, was a highlight, particularly their song ‘Dracula’. The vocals at moments verged on the proto-punk spoken lyricism of the charismatic Jonathan Richman (if he were Dutch), while invoking Bauhaus-esque overtones of coldwave and rock. If you haven’t already, we highly recommend checking them out!

Cumgirl8 might be best described as the feminist amalgamation of vaporwave and the y2k hyperpop aesthetic. Despite the harmonious onstage chemistry, uniformity is not something that can be attributed to them. Their performance ranged from delivering esoteric sensuality to brazen punkiness, invigorating the crowd while simultaneously rooting them to their places. This was especially apparent among the older men in the audience, whose gazes were fixated on Veronika Vilim’s sheer bra throughout the entire set. Reminiscent of the driving spirit behind Riot grrrl, Cumgirl8’s sound offers a cathartic experience for those who listen to Sleater Kinney and Hole, yearning for the live experience.

As expected from Charlie Steen’s unwavering ability to stir a crowd, the final act of the night did not disappoint. Brimming with a hysterical energy partly fueled by it being their last show of the year, it’s safe to assume that Doornroosje’s technicians were not entirely pleased with SHAME. The crowd went wild—crowdsurfing, stage diving, mosh pits—all fueled by bassist Josh Finerty’s front flips and Steen’s enigmatic microphone acrobatics. The residual sweat and heat from SHAME’s reception served as a more than welcome souvenir amidst the cold awaiting everyone leaving Doornroosje.

Cumgirl8, Dorpsstraat3, Shame, Lebanon Hanover:

Pictures and article by Leila Edelsztein Satz & Luiza Caldato