Hi everyone,
I’m writing this from a hotel room in Phoenix, Arizona. We have about half an hour before lobby call, and it felt like the right moment to pause and check in.
It’s been a little over two weeks since my last update, and a lot has happened — probably too much to report in any complete way. I’m finding that part of this process now is deciding what to share and what to leave untouched. Not everything needs to be documented. Some things just need to be lived.
The Stick Men tour has been going very well. More than anything, I feel good about my playing. I sense another real step forward — technically, yes, but more importantly in comfort and confidence. I’m getting closer to that rare feeling of being able to play what I actually hear, without resistance. And interestingly, that doesn’t make me complacent — it makes me want to practice more. Progress has that effect on me: it opens appetite.
That feeling is one of the reasons I’ve decided to offer a long-form improvisation course again next year, starting in mid-January and running through November. I’ll share details soon, but I wanted to give you an early heads-up.
You might have noticed that I’ve been quieter on social media during this tour. That’s intentional. I no longer feel the need to document every step, and stepping back from that constant layer of output has helped me stay focused on the performances themselves. It feels healthier — and more honest.
A few days ago, Chad Wackerman sent me the full Bella Musica recordings. I’ve already started sorting through takes and shaping the flow of the record. There are seven pieces, and for now I’ll share the working titles, in what is likely the final order:
Sediment
Bella Musica
Eclat
Nuns Fret Not
Unsmiling
Whalebone
Cynical Song
I’m very happy with how these performances came out. I’m currently talking with a friend about co-producing the album, and I’m also considering inviting a small number of guest soloists — voices that could step into the music in a very focused way.
One important decision I’m leaning toward is treating this like a contemporary record in terms of production — mixed and mastered with the kind of clarity and intention you’d expect from a modern pop release. That contrast really interests me. Once I’m back home, I’ll start recording my own Touch Guitar parts, informed by everything I’ve learned from listening closely to these takes.
December always does something to me. I grew up surrounded by Christmas music — not so much through religion, but through school, choirs, folk traditions. For me, this music was never really about belief systems; it was about melody, community, and shared ritual.
That’s probably why I’ve always been drawn to traditional music and why, years ago, I recorded two ambient albums based on Christmas material: Winter Solstice and Comet. They’re melancholic, slow, and rooted in memory rather than celebration. One piece in particular traces back to the very first girlfriend I ever saw perform, playing "Tochter Zion" in a guitar trio when I was fifteen. That melody stayed with me.
Both albums have recently been remastered by Erik Emil Eskildsen and are now available not only on Bandcamp as free downloads, but also on streaming platforms worldwide. It felt right to make them available again at this time of year.
There’s one more thing I want to touch on carefully. Over the years, I’ve realized that I’ve lost quite a few friendships as my musical path unfolded. Some of the people who once inspired me are no longer around. I don’t think about it often, but it becomes more visible at times like this. If there’s one thought I want to share, it’s this: jealousy is understandable, but it doesn’t have to harden into distance. I believe deeply in community, in supporting each other’s paths, not competing over them. Pain and uncertainty exist everywhere, regardless of external success. I’m very far from having “made it,” despite how things might look from the outside. Touring is demanding, financially and emotionally, and next year I know I’ll need to make some careful decisions about balance, especially around being home more for my daughter.
I’m planning several offerings next year:
– the long-form improvisation course
– listening and ear-training classes
– and a new in-person support group for touring musicians in Berlin
I’ve also continued working on the Touch Guitar book while on the road, especially during long van drives. The GoFundMe campaign has reached its initial goal of €10,000 (before taxes), and I’ve decided to keep it open until the end of the year. I’ll close it then, but if you’d still like to support the project, the link is here: GoFundMe.
It’s been genuinely moving to see so many of you in person, and to receive postcards and holiday notes along the way. Thank you for that.
I’ll be back in Berlin on Thursday afternoon, and life will immediately continue with its routines (including another bloodletting session at the doctor’s, something I’ve surprisingly made peace with).
For now, thank you for listening, for reading, and for staying connected. If you have questions, reflections, or topics you’d like me to talk about in future updates, I’d truly welcome that.
Take care, and speak soon.
Markus