In the organizer's words:

The wind in your hair. A tug in the chest. And the end is open. David Lübke sings songs that celebrate new beginnings. That trace the mysterious. And which comfort us at night. Completely pure, without filters. The singer-songwriter is not looking for coolness, but for closeness. That's why he travels the country with his guitar, directly to the people, and tells his stories. Wild and tender. Timeless and connecting. He knocks on doors and opens hearts. A modern vagabond who takes a sensitive and critical look at our times. In a world flooded with stimuli, he is guided by longing and a thirst for adventure. And thus satisfies a deep-seated need to really and truly feel something in this great, strange life.

On his third album "Wo der Mond die Erde küsst", David Lübke picks everyone up. The lovers and the politically stable, the restless and the hopeful. His music rolls in beautifully and simply. Songs that know no age. That everyone understands. That gently rebel against injustice. And which, above all, ignite that spark in us again and again to break out boldly and stubbornly. Just like David did himself. He went on a songwriting tour for six months in 2021. On the road, from the Baltic Sea to the mountains, he played at front doors and under apple trees, in cafés and in front of chip shops, in shared kitchens and construction trailers. "I write songs on beer mats / I cry into my glass / on the throne sit the idiots / on the streets are the stars," David sings in his song "Unterwegs nach Wien".

He had his awakening experience when he heard all his icons for the first time at the age of 16: Bob Dylan, Joan Baez, Pete Seeger, Joni Mitchell, Cat Stevens. "That really touched me. I bought a guitar straight away and started writing my first songs. " Ultimately, he is the kind of romantic we desperately need these days. In the title track of his album "Wo der Mond die Erde küsst ", David sings in a gentle voice about the sensitive magic between day and night, between everyday life and reverie. A song like an instant campfire classic. Does it resonate with vibes from Hannes Wader and Reinhard Mey? Sure, why not. Because it's about the simple, the sublime, about universal feelings.

Perception is important. In the personal as well as the political. For example, when David tells the story of the Scholl siblings in "Hans and Sophie". Or when he sings a kind of "We Shall Overcome" in "Mein eignes Glück", which is great for singing collectively at concerts. An inner warmth is transferred to the audience. Many of the people who come to his gigs are people he met during his songwriting career. And David moves on. With his guitar, which he plays and picks and plucks. "This sound already carries such a movement of being on the road. And then I think: Okay, someone's about to start telling a really good story.