Auf Grund der Verordnung des Berliner Senats, müssen auf Grund der Corona Virus Krise auch alle Clubs und Konzertstätten ab Samstag, den 14.März 2020 bis einschließlich 19.April 2020 schließen. Es ist für alle eine schwierige Zeit und wir sind sehr traurig über dass, was gerade passiert. Trotzdem sind wir voller Zuversicht und hoffen, dass wir euch, sobald diese schwierige Zeit überstanden ist, wieder bei uns im Privatclub bei tollen Konzerten und Parties begrüßen dürfen.
Wir wünschen Euch solange allen viel Glück, Mut und vor allem Gesundheit. Euer Privatclub Team
oder verschoben. Bitte wendet euch an den Veranstalter.
Christopher Paul Stelling
„It’s not Americana or alt anything, it’s really just soulful folk music,”
Ben Harper says of “ Best of Luck“, the new album by Christopher Paul Stelling,
which he produced.
The album’s title, Best Of Luck, mirrored perfectly the emotional landscape in which it was created. “Depending on how you say it, it can either be a blessing or a dismissal,” Stelling says.
“And that was exactly the point I was coming to with myself, my career as an artist, as a friend and as a person.”
The recording of Best Of Luck culminated on a rainy night in Los Angeles,
but the whole thing really began back in North Carolina.
Stelling calls Asheville home, though he has been in a state of near constant motion for years. Leaving Florida while young to roam and perfect his craft, he made stops in Colorado, Boston, Seattle, New York and eventually North Carolina – all interspersed with relentless touring – hundreds of performances a year, in bars, coffee houses, nightclubs and theaters.
“The lifestyle of constant touring was gaining on me,” Stelling says.
“And then I was back home, and in the abrupt silence, there was a clarity.
The fumes of hubris I had been running on for years were all but gone and my relationship with my environment and myself had turned toxic. I was scared but resolved to persevere.
On Christmas Day, after a few false starts, I gave up drinking and decided to take a look at myself.”
“The richly layered storytelling of John Prine, the croon-to-howl hybrid vocal of Tom Waits and Glen Hansard, and an intricately finger-picked guitar style that lands somewhere between Lead Belly and Lindsey Buckingham.”— ROLLING STONE MAGAZINE