Hey there, I’m Ludwig Wright. Thank you for joining me here on my website. It’s my little home in the internet, which I use to showcase my music. Have a look around and let me know if I somehow can be of help.

The film “The Blues Brothers” accompanied me throughout my childhood. It’s about two brothers, who want to put on a show to save the orphanage in which they grew up in. For that they bring their old band back together. The performances, the songs, the energy – I soaked it all up and knew I was going to be a musician.

I’ve released three albums: “HOPE” in 2018, in which I vibrantly sing of optimism, “LOVE” in 2020, reflecting different facets of the one true feeling and “Turn of Tides or Where the Waves Come From” in 2023, a collection of tales with the sea as the setting. Latter received four stars by RnR Magazine, was called a “colourful kaleidoscope of earwormy song pearls” by Schall Magazin and was shortlisted by the German Record Critics’ Award.

Additionally, I co-wrote and sang a song with the film composer Freya Arde, who like me lives in Berlin, for the fourth German adaptation of Erich Kästner’s novel called “Das Fliegende Klassenzimmer” (The Flying Classroom). Currently I’m working on my fourth album which will come out in early summer 2026. Although I love writing stories and recording them in my songs, my true passion lies in playing concerts and in captivating my audience with sing-along melodies while putting Rock ’n’ Roll into Folk.

My current single “I, Robert” is available now. Order a CD of my album “Turn of Tides or Where the Waves Come From” here.

Photo: Daniel Günther

Photo: Michael Duderstädt.

4 May 2026

Week of Music Politics

Once a year the German Composers Association (DKV) and the royalty collecting society GEMA are holding their members meetings, which I attend since 2022.

In 2023 I was elected as a member of the board of the DKV. Now I’m not running again and it’s exciting to see who and what comes next.

Since 2025 I’m the chair of the Composers Support Organisation. In that position I’ll also mc the DKV Musikfest on Wednesday, 6 May from 9pm which is open to the public.

The GEMA reform to overcome E and U (Ernste Musik – serious music and Unterhaltungsmusik – entertaining music) will be the central topic of discussion. It will be interesting to see if the last years overhaul of the notion will find a majority.

I’ll be vocal about the interests of songwriters and small musicians, as I’ve always been. Because we are the foundation for the whole music industry.

Photo: Daniel Günther.

2 May 2026

Concerts in May and June 2026

Very much looking forward to these gigs in May and June 2026. Also, I’m releasing a new song on the 12^th June called “Ferris Wheel”.

See all upcoming concerts here: https://ludwigwright.com/live/

Photo: Udo Nauber.

27 April 2026

Wonderful Gig Weekend

Four concerts in a row.

On Thursday I supported the sparkling pop folk duo Hey Sunny from Munich at the Art Stalker in Berlin. We ended the evening with a song we wrote together last year called “Soundtrack”.

Then I travelled to Bavaria for two concerts in Neuburg and Osterhofen. Sunshine, currant spritzers and new songs. To end the trip, I played for my second time at the Mascha (see picture) in Weimar.

Photo: Daniel Günther.

20 April 2026

The Myth of the 2-Minute Song

Technology has always impacted the production of music. Initially the physical limitations of shellac and vinyl dictated how long songs and albums were. Once music was digital, CDs were able to hold more music and since streaming there are no limits.

My theory regarding song-lengths: today’s music critics were all influenced by the epics of the 80s and 90s. Hence, they state: “Once upon a time, songs were long.” However, looking at the 50s and 60s, they’re shorter. Think of “(Let Me Be Your) Teddy Bear” (1957) by Elvis Presley. It’s only 1:46 minutes long. “Please Please Me” (1963) by The Beatles: 2:00 minutes. “Son of a Preacher Man” (1968) by Dusty Springfield: 2:29 minutes. The myth of the 2-Minute-Song is not a new songwriting phenomenon. It’s a resurfacing one, this time influenced by the short attention span caused by social media and streaming.

I’m writing a lot of short songs at the moment too. Instead of paying tribute to the attention span, I’m inspired by the tight musical phrases of the 50s and 60s.