A Berlin, Munich and Bielefeld a. Three, as they could not be more different, meet to make music together. The occasion: Hannes Waders 60th birthday, and must be duly celebrated, because - as is his friend and colleague Konstantin Wecker to understand - this birthday means above all that "someone has become upright 60 there." Wader, who many expected to be even as the hot-headed rebel of the 70 in the memory has, can never be impressed by the general zeitgeist; he has remained true to himself. To be sure, today it is no longer quite as spirited and sharp-tongued. The voice has become a bit rough, the songs a little quieter, the texts ground. However, his concern - and it has in common with his two comrades Reinhard Mey and Konstantin Wecker - is unchanged. And so the three sing alternately and together of love and friendship ("Good to be back", "Come pour my glass again a"), indulging in her memoirs ("Back", "Friendly faces"), singing of the hope that their songs may remain immortal ("Small Town"); they are asking for mutual cooperation, where stupidity, ignorance and hypocrisy poison society, and plead for more humanity in a bitterly cold period ("Tell no"). Run along Questioning held back rather than look the other way and say no, where necessary - their message is clear and unambiguous. Small mishaps like a missed application or accidentally twice sung verse to show only that a concert evening does not have to be perfect from beginning to end, to arrive. It is clear: As different as the three at first glance may be - a bundle of energy with unmistakable Bavarian accent, the supercooled northern lights and the all sympathetic Berlin - here they speak the same language. An odd trio, whose souls have yet allied. And it gets even to - the serious social critique, even in an era of meaningless, watered-canned music that no longer even take the trouble to speak his mind. But there is hope that these powerful Lider will ultimately survive: Songs that have future and the past, and yet timeless.
