“More and more, people have a space to work and a space to sleep, and that’s it. That is not an ideal situation, let’s say, and I was starting to feel that people might need a third place,” reflects Fritz Kalkbrenner on the inspiration behind his latest album, Third Place.
This question often persists for us: Can art change the world? Through Third Place, he subtly directs focus to a broader issue, creating a musical experience that encourages listeners to think about its relevance. What exactly is meant by third place? It’s a concept that suggests people need a space beyond work and home—a neutral ground for relaxation, connection, and community. In Kalkbrenner’s vision, the third place might be any environment that encourages creativity, expression, and interaction with others. Whether it’s a club, a bar, a hobby group, or even an informal gathering spot, these are places where people find release, share ideas, and foster a sense of belonging that everyday routines often lack. In an age where life can feel confined to work and home, Third Place reflects on the need for these essential spaces and the freedom they represent.
Growing up in Berlin, Kalkbrenner was immersed in the city’s vibrant electronic music scene and his early exposure to diverse musical styles shaped his unique sound, blending soulful vocals with electronic beats. In Third Place, listeners will find the familiar elements that define his music. Tracks like f.e. “Into the Night” showcase his distinctive voice. Blending familiar sounds with tracks like “Playing Games” and “Fall Between The Cracks,” the album presents a good balance of different musical tones.
In our conversation, Kalkbrenner delves into the concept of ‘third places’—spaces beyond work and home that foster community and creativity. He shares insights into the excitement of live performances and the lessons he would impart to his younger self at the start of his musical journey.
Photography by Sarah Storch
Hey Fritz, it’s lovely to “speak” to you again. Our last interview was in 2020 when we talked about your album True Colours. At that time, we talked among other things about “one’s true self,” and you said that you were at the point where you were “trying to be honest with what I have or what I don’t have anymore.” How have the last few years been for you? What have you gained, and what do you no longer have?
The last years have been quite good to me, I have to admit that. I hope I have gained more ability to contemplate even better than I did before. And what is it that I do not longer have? Hopefully the need to please each and everybody in that what I do musically because you can’t please everybody. It does not work. So just don’t try and be aware of that. That’s something that you have to reach at one point in life.
I’m listening to your new album right now, and I’m currently watching the video for “The Telepath.” I love the song; it gives me goosebumps. I’m curious, how do you feel when you’re standing on stage, with the crowd in front of you just like in this video?
It’s a good feeling. I still love it and like it even after all those years. I remember like 20 years ago, Björk was saying that in life there might be race car drivers who want to be dentists and dentists who want to be race car drivers. She for herself said that she aspired to be a musician and is a musician, which is a rare coincidence and I have to say that for myself. I’m still very, very grateful for that, that I’m in such a rare spot. That still translates to when I’m doing shows that I’m still happy and grateful to be in that moment.
“Just don’t try to please everybody and be aware of that. That’s something that you have to reach at one point in life.”
Do you come up with a story or specific images for each song, like, for example, what is The Telepath about? Or is it simply a sound experience you’re trying to create?
Let’s be honest, I was flicking around with that vocal sample sound and from what it’s saying, it reminded me that it’s saying it’s “telepathic”. To this very day, I’m not really 100% sure whether that is really true, that it is saying. It just came to my mind that it would do that. Maybe I miss hearing that so decide for yourself what you hear on that track.
What’s different about this album compared to the ones before? I mean in terms of the way you worked on it, the musical influences you used, etc.
I got older and I incorporated more things. If you look back to the first four albums there is a constant development going on in these albums. From starting out from a bedroom producer album to become even more complex and sophisticated from album to album, which goes along with the resources. Roundabout my fourth album that was “Grand Départ”, I’ve reached some sort of a, let’s say, “artistical plateau” where you’re quite on a level, but you got stuck in a way.
So on the fifth album, I turned that quite backwards and was doing the exact opposite. Then the 6th album, which tried to mitigate between those two extremes and even though with the new album I tried to mitigate that, maybe even further and maybe even better. I hope so, because that’s what I try to do. There’s like 2 urges, going complex and sophisticated. Keep it as simple and rough and rugged on that with the electronic music in a certain aspect that wanted to be in the get go. It is my latest free edition of the mitigation of those 2 urges that I have.
And how long did you work on it?
12 to 14 months, all in all. From start to finish. That’s the time period.
“I wanted to put a spotlight on the third place, those special spaces where creativity and community come together—because we all need a place to belong beyond work and home.”
Is there a song on this album that’s particularly special to you, either because it’s very personal or because you’re especially satisfied with it?
All of them are special. But if I’d like to pick one, there is that one “Into The Night”, which I’m still very, very intrigued by those piano chords that I did on that. Somehow that one still reminds me a bit of that song that “The Streets” did on its first album. “Weak Become Heroes”, so give it a listen if you can. Find out for yourself whether there is some inspiration going on with that.
I love the inspiration behind this album: “Drawing inspiration from the sociological idea of ‘the third place’—those special spaces where creativity and community come together—the album embodies the freedom and emotional release found in clubs and other shared spaces.” Tell us a little more about how you came across this concept and what it means to you personally.
Like most people by reading. I just came across with that and it was not pretty much about the state of what it’s in, but more the lack of nowadays. The criticism of situation nowadays is that there is a lack of that people don’t really have a 3rd place nowadays anymore. Because more and more, they have a space to work and a space to sleep and that’s it. That is not a situation that is a good one, let’s say that and I was going along with that position quite as well that people might need a third place. Putting that in the spotlight and bringing that back on, I mean like it doesn’t really have to be an electronical club for going clubbing all the time. People go on conventions and people go into a bar or in a dive or whatever or they meet both certain hobbies. Do what you like as long as you do it.
I think that is pretty much on the decline and I wanted to put a spotlight on that. In fact, that maybe it gets a little bit more recognition and maybe we can do a little bit more about that.
In your hometown of Berlin, the closure of clubs has been a big topic for some time now—precisely these “third places.” I just read that Watergate will be closing at the end of the year due to rising rents. I also read that high DJ fees can’t be afforded anymore and that people’s going-out habits have changed. It feels like a very complex situation. How do you see these developments, how do you think this will evolve in the coming years and what development would you personally wish for?
Yeah, it’s for sure, I mean like I didn’t really intend to put it that way. In Berlin with the closing of the clubs right now, for example we have Watergate, which is going to be closed on New Year’s Eve I guess. And I didn’t have that in mind when I was naming the album, but it fits right in the way like it was planned for that. But I see what you’re saying and I mean like I wouldn’t have such a big problem with that, you know what I mean?
Of course it’s a sad thing for these institutions of clubs shutting down, but I have the strong confidence that new places will open up. There is still a huge demand in the city for a collapse to open up and it will happen, I guess so.
I mean like of course, you can criticize that. Let’s say the position for an electronic music club is not the same as for example an Opera House or a theatre. When it comes to participating in official money contribution, even though for a pitch or so, certain theatres can pitch for some money and financial support, which clubs just simply cannot do.
So I would say, let’s make fair rules for everyone and give the clubs the recognition that they should have by doing this for the city for more than 30 years and making a lot of revenue for the city. I would say the least thing that you can do is give the people that certain recognition and give same chances out. But all in all, it’s not done over here. But there will be new clubs, there will be new spaces. I’m pretty confident of that.
“On one hand, listen to advice if it’s good. On the other, have the strength to not follow it if it doesn’t play out for you.”
And where do you personally think you will evolve in the coming years? What are your wishes for your future?
I mean like I said before, there will be new places. For example Sisyphos, these clubs which are pretty much outside of the centre, they will find their spaces. Even in comparison to other big european capitals, like London or Paris, the situation is still quite comfortable coming on that here. So we will see new places, I’m certain of that.
What advice would you give your younger self when you were just starting your career, or even just as general life wisdom?
Start out as soon as you can with some certain of your own handwriting in music. On the one hand, listen to advice if it’s good. But on the other hand, have the strength to not follow and if it doesn’t play out for you. You can accept it if it’s good. You can easily reject it if it’s not.
Are you more introverted or extroverted?
If I could tell…
Follow Fritz Kalkbrenner for more:
www.instagram.com/fritzkalkbrenner
www.fritzkalkbrenner.com
