Helloween Turn Zurich into Their Haunted Kingdom

Helloween Prove Spooky Season Never Ends with a Wild 40-Year Celebration in Zurich

20.11.2025 — The Hall, Dübendorf (practically Zurich)

Even though Christmas markets are starting to open and half the world is slipping into holiday cheer, the German heavy metal icons Helloween collectively said: Not with us.
The spooky season comes and goes with Helloween — not with the calendar. And their 40th Anniversary Tour demanded nothing less than a celebration of four decades of shrill melodic chaos and cheeky, wonderfully relatable discography.

After being warmed up by Finnish powerhouse Beast in Black (review here), the Finnish festivities ended — and now it was time for Helloween.

Robbie Williams’ “Let Me Entertain You” blasted through the hall, making the theme of the night painfully clear: Pumpkinheads, prepare for maximum entertainment.
Then — bam — the glowing eyes of Helloween’s Jack O’Lantern mascot appeared on the giant screen, guiding the audience straight into Helloween’s sonic universe. Projected mountain landscapes carried us past albums spanning the last 40 years. The journey had begun.

Perfectly fitting the nostalgia, “March in Time” kicked off the set and the devil horns instantly shot upward. Yes, the crowd was ready.
A fiery duet between vocalists Andi Deris and Michael Kiske ignited the stage. Their vocal symbiosis has been a force ever since the 2016/17 reunion tour — shared lead vocals, because Helloween has room for multiple musical personalities. Even founding member and original singer-turned-guitarist Kai Hansen got his moment at the mic.

Every era of the band came alive:
Kiske’s high-shrill classics, Deris’ punchy anthems, Hansen’s raw early-phase shaping — all blending into one melodic back-and-forth. But enough buildup:

“The King for a Thousand Years” carried the Pumpkinheads deeper into Jack O’Lantern’s magical realm. Fairy-tale castles and waterfalls flooded the screen, delicate guitar picking and elfin high backing vocals floated through the hall, and the two frontmen stood elevated on opposite sides of the stage. A perfectly framed tableau. A theatrical duet.

Founding members Michael Weikath (guitars) and Markus Grosskopf (bass), along with Sascha Gerstner, knew exactly how to use the central runway. And Daniel Löble? Let’s just say no one in the hall understands how that drum kit survived the night.

“Future World” ignited a giant tinsel explosion — and anyone who thought crowd energy had peaked was proven tragically wrong. Fans screamed every word. Eyes closed, arms up — that moment when music steals control of your body. Adrenaline from galloping double-bass drums, lightning-fast melodic guitar lines… quintessential Helloween.
Also quintessential: the avant-garde leather jackets worn by the vocalists, swapped so often that anyone could develop wardrobe envy.

The new album had its spotlight too. “This Is Tokyo” proved that after 40 years, these mischievous heavy metal wizards still have it. It may be Tokyo on paper — but that night, it was Zurich, and Zurich was absolutely out of control.

Playful one moment, dark the next:
“We Burn” showcased Helloween’s aggressive side — heavy, chunkier riffs and gritty Deris vocals that literally set the stage on fire. Yes, literally. Andi marched around with a flamethrower.

Then came Michael’s turn, taking a moment to address the risks of AI: useful, yes, but dangerous enough to erase individuality. If songs are written by robots, the human-lived experiences that connect beating hearts get lost.
Enter “Twilight of the Gods.”
Themes? Humanity, war, fanaticism, looming downfall.
Release year? 1987.
Relevance? Unfortunately, higher than ever. We all know our own enslavement to digital life too well.

Suddenly, the Keeper appeared — the mythic figure from the Keeper of the Seven Keys albums. Symbol of wisdom, morality, and the balance of light and darkness. Makes sense… given that the faceless figure literally has the universe instead of a head.

“Ride the Sky” followed — pure old-school speedy Helloween. Hansen’s raspy shriek in the spotlight with his red guitar… people literally fell into ecstatic states. The nostalgic love runs deep.
The reviewer (me) stood next to someone who nearly entered full exorcism mode. Who was louder — Hansen or the crowd? Great question.

The constant vocal hand-off between Andi and Michael, paired with the occasional heartfelt power ballad, proved: double is better. But solo can be just as epic.
Kiske demonstrated that with an overflowing, emotional performance of “Universe (Gravity for Hearts).”
Epic storytelling, deep lyrics — the perfect marriage of cheeky charm and authentic emotional weight.

Epic songs require epic solos, and when talking about Daniel Löble’s drumming skills, there’s only one reaction: speechless. Skull-cracking, eardrum-fracturing brilliance — brought to life by what can only be described as the drummer’s tentacles. Crowd interaction, call-and-response moments — and then…

“I Want Out.”
One of metal’s most iconic freedom anthems. Rebellious, uplifting, loudly declaring independence. Individuality over conformity — Helloween’s spiritual thesis.

A well-earned breather followed as Kiske and Deris grabbed acoustic guitars and performed a humorous duet on “Pink Bubbles Go Ape.”
Self-aware fun.
Only to be obliterated moments later by a massive explosion of emotion with “A Tale That Wasn’t Right.” Soft acoustic intro, then the band sweeping in with theatrical force. A crowd-catcher so intense no one dared breathe.

Hansen returned — again — with “Heavy Metal (Is the Law).”
’80s grit resurrected. Screams, speed, adrenaline. Pure fun.

The joke never gets old:
Yes, Christmas is coming — but when Helloween is in town, there is only one festivity. Their self-titled epic “Helloween” brought spooky projections, ghosts, pumpkins everywhere.
Thirteen minutes of theatrical chaos: dark, humorous, fast, eerie — with long instrumental sections where the string masters fully unleashed themselves.

19 songs in, and the Pumpkinheads were still hungry.

“Eagle Fly Free” soared in as the encore — wild, independent, untamable.
Anyone standing still during that rhythm missed out on serious fun.
Headbangers left and right, and a massive eagle on-screen encouraging the crowd to fly.
Because that’s what it’s about: freedom, self-determination, and the courage to fly your own way.

“Power,” “Dr. Stein,” and “Keeper of the Seven Keys” closed the night — a treasure chest for all fans.
After 40 years, Helloween has lost zero relevance.
A symbiosis of energy, humor, and grand storytelling — an irreplaceable sound.
Anyone wanting to understand Helloween’s legacy found all the puzzle pieces tonight.

Golden confetti rained down as the band was showered with applause.
Daniel waved to his 87-year-old father in the stands — possibly the oldest metalhead in the room.
A wholesome ending. Rightfully earned.