Brutalismus 3000

IMPORTANT INFORMATION, PLEASE READ BEFORE PURCHASING: THIS EVENT IS 16+ A VALID, PHYSICAL GOVERNMENT-ISSUED PHOTO ID IS REQUIRED FOR ENTRY WHERE APPLICABLE AND FOR THE PURCHASE OF ALCOHOL. SCHOOL IDS, EXPIRED IDS, PHOTOS OR PHOTOCOPIES OF IDS, AND DIGITAL IDS WILL NOT BE ACCEPTED FOR EVENT ENTRY OR ALCOHOL PURCHASES. NO DIFFERENCE IN GA FLOOR TIERS OTHER THAN PRICE. The event organizer has decided that ticket transfer will be delayed for this event. Ticket transfer will be available on or about 11/19/2026. Please review the terms of AXS’s Purchase Agreement (axs.com/purchaseagreement) for more information. If tickets in the accessible section are unavailable, please reach out to the venue for accommodations. Please note, orders in violation of the published ticket limit are subject to cancellation without notice. Ticket prices may fluctuate, at any time, based on demand. Brutalismus 3000 are the duo of producer Theo Zeitner and singer Victoria Vassiliki Daldas, two musical visionaries who met on Tinder in 2018 and formed their antagonistic techno band in 2020. With an early hit titled “Satan Was a Babyboomer” and fan-favorite lyrics about “fuckface bouncers,” Brutalismus 3000’s playful attitude and aggressive sound were always too animated for Berlin’s restrictive techno scene. Even so, after rising to fame online during COVID lockdown, the band’s viral songs exploded in European clubs once live music returned, resonating deeply with younger listeners who gleefully reject stodgy genre purism. Since the release of their high-voltage 2023 debut, ULTRAKUNST (LIVE FROM EARTH), Brutalismus 3000 have been mainstays of the international festival circuit -- EDC, Primavera Sound, Coachella, Ultra, Lollapalooza, and more -- and now have friends, fans, and collaborators strewn all across the globe. For their exhilarating sophomore album, Harmony, Brutalismus 3000 aimed to emphasize their cross-continental influences in a way they never have. The record is a genre-mangling triumph that assembles elements of dubstep, trap, punk, nu-metal, and techno into an eclectic romp of wall-to-wall bangers that includes their most evolved and exciting music yet. Never have Brutalismus 3000 sounded this singular, this sophisticated, this outlandishly absorbing. Harmony consumed every spare minute of the band’s lives for two straight years, a strenuous process that involved Zeitner re-teaching himself how to produce music and Daldas challenging herself to greatly expand her vocal range. No longer inhibited by the constraints of Berlin techno and invigorated by their growing popularity abroad, Brutalismus 3000 were finally able to realize the album they always dreamed of making. “We felt the hard techno stuff getting really stale and becoming kind of a circus,” Zeitner says of their home city’s signature style. On Harmony, Brutalismus 3000 finally felt they had the leeway to break from that mold. “Ok, fuck it, we’re established now so we can do whatever the fuck we want,” he adds. Although Harmony is very much the product of Zeitner and Daldas’s special bond (they write lyrics together and work out sonic ideas in tandem), Brutalismus 3000 also enlisted help from some high-profile friends, namely Boys Noize and 100 gecs’ Dylan Brady, who are both credited co-producers on the record. Brady worked with them at the beginning of the writing process to lend a fresh perspective to the band’s workflow. “Dylan Brady would think of a part that I would never think of,” Zeitner says. Meanwhile, Boys Noize came in at the end of the record to help “finesse some of the songs,” Daldas explains. “Boys Noize was the perfect mixture between club and high-brow music,” Zeitner enthuses, mentioning his work with Nine Inch Nails. “He knows big picture stuff but he also knows we come from the club scene. A lot of people forget that the songs still need to bang in a club.” Indeed, Harmony fucking bangs. Songs like “Garland” and “You Were Never Really Here (Bit I Miss Ya)” are multi-rhythmic rave rippers that eschew four-on-the-floor minimalism for headbangable trap beats and mosh-worthy dubstep drops. Those tracks also boast some of Daldas’s stickiest pop yell-alongs yet, while others like “No Friends” and “Amilli” showcase her distorted howls at their gnarliest. However, even though the tracklist is accented with metallurgic guitars and mind-wiping gabber sprints, Harmony finds Brutalismus 3000 at their most crystalline and catchy, particularly on the transcendent closer “Testoskin” and the addicting standout “I Bring My Gun to the Function.” Then again, Brutalismus 3000 are the only hyperpop-adjacent band on earth with a feature from British techno icons Underworld, whose Pigshed studio is the namesake of Harmony’s resplendent “Friends at the Pigshed.” ”Underworld and us are really good friends,” Daldas gushes. “We really admire them and we’re super happy with that song. It’s very emotional but also very driving.” The more surprising curveball in the feature list comes courtesy of actress Anya Taylor-Joy of The Queen’s Gambit fame, who Brutalismus 3000 befriended at a festival in Budapest and quickly struck up an artistic rapport with. On the anxious Harmony interstitial “Morning Is for the Happy,” she cryptically recites Zeitner’s poem about “a dark hangover experience,” adding a dash of stoic subtlety to the album’s breathless pace. Hollywood stars, hyperpop pioneers, British house heroes -- on paper, this record seems to revel in total disharmony, hence why Brutalismus 3000 initially thought Harmony would be a great joke title for the disorderly opus. However, by the end of the creative process, once all the pieces fit together smoother than they could’ve imagined, Zeitner says he and Daldas “found the harmony in the record title.” “It’s kind of our harmony and the chaos we portray,” the producer explains. “But also how we make sense of everything we see.” Brutalismus 3000’s version of harmony is a celebration of contrasts. For instance, the provocatively titled “I Bring My Gun to the Function,” which Boys Noize properly features on, is bound to raise eyebrows upon first glance, but the chipper rager is actually about the opposite of offensive posturing. “It sounds very aggressive but it’s more about protecting yourself,” Zeitner says. “Nowhere is safe and everything seems like it’s falling apart. Even at the party, you feel like there’s a war agenda to it.” The band touch on similar themes in “No Friends,” a track where Daldas shouts “there are no friends at the border” -- a reference to a real-life experience she had at an airport, but also a more general commentary on the ongoing friction at the border. “It feels a little bit American,” Zeitner says of the album’s messaging. “The themes, the topics, the chaos of it is a little bit American.” More than anything, Harmony is refreshingly unmoored from any one place -- sonically, lyrically, geographically. Because ever since the beginning of their career, that's what Brutalismus 3000 have always wanted. “It’s kind of a ‘here we finally are as a band’ kind of record,” Zeitner muses. “I feel like we really grew into ourselves and what we really want to do is on this record.”