Sarah Lesch has never been keen on commercial sponsorships from the patriarchy. Instead, she is more interested in what moves and touches her. The Leipzig native formulates song-written observations of the present in rock form while standing up for love, respect, and diversity, but she also has no problem with vociferous criticism of the status quo. She has experienced this first-hand over the years as an educator and is familiar with the absurd conditions that we put our children through in this filthy rich country of Germany. While still working, she wrote music for children’s theatre and released her debut album, “Lieder aus der schmutzigen Küche” (2012), on her own. The response was great, not least from parents and their children. But her breakthrough came in 2016 with the song “Testament”, which Lesch wrote for her son and the uncertain future into which he was walking along with millions of other children in Germany, abandoned by indifferent politics and inadequately supported by civil society. The album “Triggerwarnung” (2021) is also a style-conscious indictment of what is happening before our very eyes. With “Gute Nachrichten” (2024), she takes her sound – which oscillates between punk, pop, and blues – to a new level and shows how social criticism and pointed songwriting can complement each other, especially live on stage.