Jan Böhmermann, probably Germany's best-known political satirist, is touring the German-speaking world with his program "Eisern Ehrenfeld". But his performance at the Vienna Stadthalle left mixed impressions. While Böhmermann's fans expected his usual biting satire and musical variety, the evening was overshadowed by an unclear arc of tension, a half-filled hall and a performance that seemed tired at times. It was already clear in advance that interest in Böhmermann's tour is not unbroken everywhere. While his last concert in Vienna two years ago was completely sold out, this time only around 3.700 (standing) places were filled - in a hall that is designed for much larger audiences. Whole seating areas and upper tiers were covered with black curtains to conceal the empty spaces. Where the audience would normally be tightly packed together, there was surprisingly a lot of freedom of movement. The almost ghostly atmosphere provided an unintentional counterpoint to Böhmermann's actually energetic concept. Musical diversity without narrative coherence Böhmermann's concept of combining political satire with a broad musical palette is ambitious - but this was precisely the central problem of the evening. The Ehrenfeld Radio Dance Orchestra, which accompanies him on the tour, masters a variety of genres. Rap, flamenco, folklore, big band jazz and electronic elements alternated at a rapid pace. But instead of a dramaturgically well thought-out performance, the program often seemed disjointed. Individual songs worked on their own, but as a whole there was no recognizable structure. The opening with "Böhmermann is to blame!" and the following "Fascism is back" already made it clear that political messages would be in the foreground. But where in the past subtle satire and well-placed provocations attracted attention, this time