1 00:00:07,133 --> 00:00:10,453 Speaker 1: You're listening to the Saturday Morning with Jack Tame podcast 2 00:00:10,573 --> 00:00:11,933 Speaker 1: from News Talks AB. 3 00:00:19,853 --> 00:00:25,933 Speaker 2: God got tona, hoorah tudor. 4 00:00:27,093 --> 00:00:32,333 Speaker 1: Oh how beautiful that is? Oa Tuda. One of New 5 00:00:32,413 --> 00:00:36,293 Speaker 1: Zealand's finest voices, Marlon Williams, has just released his fourth 6 00:00:36,533 --> 00:00:39,933 Speaker 1: studio album. This one has written entirely into the or Maldi. 7 00:00:40,373 --> 00:00:42,613 Speaker 1: Marlon is, of course, to sing a songwriter who has 8 00:00:42,653 --> 00:00:45,973 Speaker 1: collaborated with the likes of Florence and the Machine, toured 9 00:00:46,093 --> 00:00:49,853 Speaker 1: with legends such as Bruce Springsteen, and bagged six New 10 00:00:49,933 --> 00:00:54,453 Speaker 1: Zealand Music Awards and an opera Silver Scroll. But for 11 00:00:54,493 --> 00:00:57,773 Speaker 1: this album, to Fuddy T Wickerwicka, he has returned to 12 00:00:57,893 --> 00:01:01,813 Speaker 1: his roots here in Altor and he joins us this morning, Calder, 13 00:01:01,853 --> 00:01:05,813 Speaker 1: good morning, Ok you miy Welcome to the studio, te 14 00:01:05,853 --> 00:01:10,933 Speaker 1: Fuddy t. WakaWaka. That means the messy house, doesn't it? Yeah? 15 00:01:11,013 --> 00:01:15,173 Speaker 2: Yeah, yeah, the messy house. Yeah. It's a sort of 16 00:01:15,173 --> 00:01:17,333 Speaker 2: a I guess I suppose on one level, it's a 17 00:01:17,373 --> 00:01:20,853 Speaker 2: sort of a metaphor for the the pains and chaos 18 00:01:20,893 --> 00:01:25,133 Speaker 2: of creation and uh, you know how creation comes out 19 00:01:25,173 --> 00:01:28,453 Speaker 2: of comes out of disorder, and you know, you just 20 00:01:28,733 --> 00:01:32,413 Speaker 2: you have a house full of of ideas and you 21 00:01:32,453 --> 00:01:34,853 Speaker 2: sort of sit quietly and let them talk to each 22 00:01:34,853 --> 00:01:38,213 Speaker 2: other and then hopefully they they formed some sort of 23 00:01:38,893 --> 00:01:40,093 Speaker 2: cohesive thing. 24 00:01:40,293 --> 00:01:42,053 Speaker 1: Okay, explain that to us more. What do you mean 25 00:01:42,453 --> 00:01:44,733 Speaker 1: it's a it's a metaphor. So you basically had your 26 00:01:44,733 --> 00:01:46,933 Speaker 1: feeling like things were a bit scrambled, and this is 27 00:01:47,293 --> 00:01:48,933 Speaker 1: this has been a process of clarifying. 28 00:01:49,253 --> 00:01:51,413 Speaker 2: Yes, you know, I think it's that speaks to the 29 00:01:51,413 --> 00:01:52,693 Speaker 2: fact you've got to let you've got to let the 30 00:01:52,733 --> 00:01:56,173 Speaker 2: chaos sit for a while before and and and not 31 00:01:56,213 --> 00:01:59,133 Speaker 2: try and impose any too much will on them, let 32 00:01:59,173 --> 00:02:02,133 Speaker 2: on things before they before they've had a time to 33 00:02:02,613 --> 00:02:05,213 Speaker 2: speak to each other and sort of arrange themselves. 34 00:02:08,213 --> 00:02:10,573 Speaker 1: What is striking to many about the album is this 35 00:02:10,613 --> 00:02:14,493 Speaker 1: is your first full album entirely in Todell. Marty tell 36 00:02:14,533 --> 00:02:15,613 Speaker 1: us about that decision. 37 00:02:15,853 --> 00:02:19,133 Speaker 2: Yeah, well, it's been around. It's been around in my 38 00:02:19,173 --> 00:02:23,253 Speaker 2: head for a while, the idea of doing it. You know, 39 00:02:23,453 --> 00:02:26,453 Speaker 2: I grew up speaking a little bit, went to Kungladell, 40 00:02:27,293 --> 00:02:30,293 Speaker 2: but it will sort of drifted away from me again 41 00:02:30,413 --> 00:02:33,973 Speaker 2: as I went into my moved on into my childhood, 42 00:02:34,013 --> 00:02:37,933 Speaker 2: into primary school. But I always was always singing singing 43 00:02:37,933 --> 00:02:41,333 Speaker 2: in Marty and you know, it's just such a beautifully 44 00:02:41,813 --> 00:02:45,373 Speaker 2: beautiful song language. So I always knew at some point 45 00:02:45,413 --> 00:02:48,013 Speaker 2: that I was going to come back around and give 46 00:02:48,093 --> 00:02:50,933 Speaker 2: myself an excuse to be able to sing sing in Todell. 47 00:02:51,693 --> 00:02:56,013 Speaker 2: And yet twenty nineteen came along and I sort of 48 00:02:56,173 --> 00:02:59,813 Speaker 2: was in between writing records, and the first sort of 49 00:02:59,933 --> 00:03:02,613 Speaker 2: first song came out, came came to me, which was 50 00:03:03,413 --> 00:03:06,893 Speaker 2: which is the first single? And I born in a 51 00:03:06,933 --> 00:03:13,013 Speaker 2: collaborator and a fellow little Tonian, a rapper and today 52 00:03:13,053 --> 00:03:16,853 Speaker 2: or Marty teacher named Commy, and so they, yeah, they 53 00:03:16,853 --> 00:03:21,373 Speaker 2: helped me grace very gracious sleep to put the album together. 54 00:03:22,653 --> 00:03:24,213 Speaker 2: And then yeah, we just sort of wrote over the 55 00:03:24,213 --> 00:03:26,333 Speaker 2: next few years and then recorded at the end of 56 00:03:26,373 --> 00:03:29,573 Speaker 2: twenty twenty three and now we're we're releasing. 57 00:03:29,813 --> 00:03:33,453 Speaker 1: So if you compare where you're Marty's at today with 58 00:03:33,613 --> 00:03:36,533 Speaker 1: where it was in say twenty eighteen or start twenty nineteen, like, 59 00:03:36,693 --> 00:03:39,453 Speaker 1: do you feel like you've you've got a more intimate 60 00:03:39,493 --> 00:03:40,373 Speaker 1: relationship with the. 61 00:03:40,533 --> 00:03:43,773 Speaker 2: All it's getting there, it's you know, it's it's a 62 00:03:43,853 --> 00:03:46,453 Speaker 2: very humbling process. 63 00:03:46,453 --> 00:03:49,613 Speaker 1: So there is there are a few things more humbling 64 00:03:49,813 --> 00:03:53,093 Speaker 1: than learning a language. But I can imagine as someone 65 00:03:53,133 --> 00:03:55,653 Speaker 1: with Marty Fucker Pupper like it takes on another kind 66 00:03:55,653 --> 00:03:56,013 Speaker 1: of level. 67 00:03:56,253 --> 00:03:58,453 Speaker 2: Yeah, there's there's lots of there's lots of layers going 68 00:03:58,453 --> 00:04:01,213 Speaker 2: on there, but you know, it's yeah, I've still got 69 00:04:01,213 --> 00:04:02,653 Speaker 2: I've still got a lot a long way to go 70 00:04:02,693 --> 00:04:07,493 Speaker 2: on the journey. But writing right in the language and 71 00:04:07,493 --> 00:04:10,573 Speaker 2: and and you know, and working with working with the 72 00:04:10,613 --> 00:04:14,893 Speaker 2: collaborat with a proficient collaborator was Yeah, it was a 73 00:04:15,053 --> 00:04:16,373 Speaker 2: really nice step along the way. 74 00:04:17,213 --> 00:04:21,413 Speaker 1: You said that you grew up singing in Maudi alot, so, 75 00:04:21,413 --> 00:04:22,533 Speaker 1: so in what context was that? 76 00:04:22,933 --> 00:04:25,653 Speaker 2: There was that every year we'd have the kita who 77 00:04:25,973 --> 00:04:30,053 Speaker 2: who we are to, which would be at various various 78 00:04:30,093 --> 00:04:34,373 Speaker 2: muddie around the takua down there, and yeah, every year 79 00:04:34,453 --> 00:04:36,013 Speaker 2: Mum and I would get in get in her old 80 00:04:36,053 --> 00:04:39,213 Speaker 2: Volvo and and Kram learn all this all the songs 81 00:04:39,213 --> 00:04:41,293 Speaker 2: that we're going to be sung, which were beautiful, beautiful 82 00:04:41,293 --> 00:04:43,893 Speaker 2: wiat from down there. There's songs by the craft Sisters 83 00:04:43,933 --> 00:04:48,373 Speaker 2: and and other other great composers that have come out 84 00:04:48,373 --> 00:04:51,973 Speaker 2: of out of Kota who. So yeah, it was it 85 00:04:52,013 --> 00:04:54,333 Speaker 2: was that was always there as a at least in 86 00:04:54,493 --> 00:04:55,133 Speaker 2: musical form. 87 00:04:55,213 --> 00:04:56,613 Speaker 1: And so how would you learn it. She would just 88 00:04:56,653 --> 00:04:57,053 Speaker 1: teach you. 89 00:04:57,333 --> 00:05:00,213 Speaker 2: We had there were tapes, there were there were cassette 90 00:05:00,253 --> 00:05:03,453 Speaker 2: tapes that we play in the car and god, we're 91 00:05:03,453 --> 00:05:03,973 Speaker 2: getting old. 92 00:05:05,453 --> 00:05:06,093 Speaker 1: That's amazing. 93 00:05:06,173 --> 00:05:08,213 Speaker 2: But yeah, so it was, you know, it was, it 94 00:05:08,253 --> 00:05:10,053 Speaker 2: was great. It was just it would take a good 95 00:05:10,173 --> 00:05:12,933 Speaker 2: you know sometimes that I would be five hours away, 96 00:05:12,973 --> 00:05:15,253 Speaker 2: so we had five hours to just play it over 97 00:05:15,293 --> 00:05:15,533 Speaker 2: and over. 98 00:05:15,853 --> 00:05:17,333 Speaker 1: Yeah. I was gonna say, if you're in if you're 99 00:05:17,373 --> 00:05:19,293 Speaker 1: in like Autoitaian christ Church and you've got to go 100 00:05:19,293 --> 00:05:21,173 Speaker 1: to or it's only like an hour or so. 101 00:05:21,093 --> 00:05:24,053 Speaker 2: Then you might extract the prep. 102 00:05:24,213 --> 00:05:25,933 Speaker 1: Yeah, yeah, you're stuff on Little River for a couple 103 00:05:25,973 --> 00:05:26,853 Speaker 1: of hours on the way. 104 00:05:27,253 --> 00:05:27,573 Speaker 2: Yeah. 105 00:05:27,733 --> 00:05:30,773 Speaker 1: Isn't that amazing how you can reflect on things like 106 00:05:30,813 --> 00:05:32,653 Speaker 1: that and it you know, I don't know how you 107 00:05:32,653 --> 00:05:34,293 Speaker 1: felt about it at the time, but it turns out 108 00:05:34,293 --> 00:05:37,013 Speaker 1: to be quite a foundational thing in your in your life, 109 00:05:37,453 --> 00:05:41,733 Speaker 1: you know, like, yeah, the kind of you know, in 110 00:05:41,813 --> 00:05:43,413 Speaker 1: the moment, you don't think about, oh, you don't think 111 00:05:43,413 --> 00:05:45,493 Speaker 1: I'm learning anything here, You don't think that this is 112 00:05:45,493 --> 00:05:48,933 Speaker 1: something that's necessarily super meaningful or you know, matters that 113 00:05:49,013 --> 00:05:50,533 Speaker 1: much in my life. But then you look back on 114 00:05:50,613 --> 00:05:52,053 Speaker 1: it after twenty or thirty years and you go, oh 115 00:05:52,133 --> 00:05:53,773 Speaker 1: my god, actually that was quite significant. 116 00:05:53,773 --> 00:05:55,973 Speaker 2: Well it's yeah, I think that's the directness of music too. 117 00:05:56,013 --> 00:05:59,693 Speaker 2: You know, it's just it's it's music's just there and 118 00:06:00,013 --> 00:06:02,413 Speaker 2: it's compelling and it's and it draws you in. So 119 00:06:02,533 --> 00:06:06,173 Speaker 2: it was just obviously, you know, it was a very 120 00:06:06,813 --> 00:06:08,733 Speaker 2: prey into music as a child, So it just it 121 00:06:08,893 --> 00:06:11,493 Speaker 2: just it took me on and it never you know, 122 00:06:11,653 --> 00:06:14,533 Speaker 2: I've been singing those songs at least in my head 123 00:06:15,133 --> 00:06:16,293 Speaker 2: ever since. For sure. 124 00:06:16,413 --> 00:06:17,293 Speaker 1: Is your mama good singer? 125 00:06:17,693 --> 00:06:19,653 Speaker 2: Yeah, she's a great singer. Yeah, she's got a lovely, 126 00:06:19,813 --> 00:06:20,893 Speaker 2: lovely soprano. 127 00:06:21,133 --> 00:06:25,333 Speaker 1: Oh that's so leading up to I say twenty nineteen, 128 00:06:25,333 --> 00:06:27,293 Speaker 1: because you've seen this album's taken about five years to 129 00:06:27,813 --> 00:06:31,493 Speaker 1: kind of organize. It struck me that you were like 130 00:06:31,813 --> 00:06:35,013 Speaker 1: living the kind of international jet set of life in 131 00:06:35,053 --> 00:06:36,933 Speaker 1: a good way. I mean, you were traveling the world, 132 00:06:36,933 --> 00:06:39,253 Speaker 1: experiencing all these different cities and cultures and playing and 133 00:06:39,253 --> 00:06:42,893 Speaker 1: all sorts of amazing places and stuff. Why do you 134 00:06:42,933 --> 00:06:46,373 Speaker 1: think that process has ultimately ended up with you really 135 00:06:46,413 --> 00:06:49,013 Speaker 1: focusing on your place here. 136 00:06:50,573 --> 00:06:52,733 Speaker 2: I think it's a few reasons. Yeah, I think it 137 00:06:52,813 --> 00:06:57,093 Speaker 2: was a general desire to be to be home, you know. 138 00:06:57,133 --> 00:06:59,893 Speaker 2: And obviously COVID came in the middle of that and 139 00:07:00,213 --> 00:07:05,533 Speaker 2: sort of further further consolidated that feeling. And you know, 140 00:07:05,613 --> 00:07:08,133 Speaker 2: I think, yeah, it's just it's just been there as 141 00:07:08,133 --> 00:07:13,933 Speaker 2: a sort of yawning chasm in my in my I guess, 142 00:07:14,013 --> 00:07:16,213 Speaker 2: in some sense of my self knowledge, you know. So 143 00:07:16,333 --> 00:07:20,293 Speaker 2: it was, yeah, it was it felt it just felt inevitable, inevitable. 144 00:07:20,373 --> 00:07:22,133 Speaker 2: I didn't I didn't know when it was going to happen, 145 00:07:22,373 --> 00:07:25,213 Speaker 2: but it just yeah, I just felt like all things 146 00:07:25,213 --> 00:07:27,333 Speaker 2: get all things considered, that this is there was the 147 00:07:27,373 --> 00:07:28,093 Speaker 2: right time to do it. 148 00:07:28,173 --> 00:07:31,373 Speaker 1: Yeah, yeah, it was going to happen at some point, 149 00:07:31,853 --> 00:07:33,213 Speaker 1: and you felt like you kind of owed it to 150 00:07:33,213 --> 00:07:34,293 Speaker 1: yourself at some point, but you. 151 00:07:34,333 --> 00:07:36,933 Speaker 2: Need to get there and yeah, and it's yeah, it's 152 00:07:36,973 --> 00:07:38,573 Speaker 2: just as I say, it's just another excuse to be 153 00:07:38,613 --> 00:07:41,653 Speaker 2: able to hang out at home and just yeah, spend 154 00:07:41,653 --> 00:07:42,813 Speaker 2: time in this beautiful country. 155 00:07:42,893 --> 00:07:45,413 Speaker 1: Yes, there's I don't know who it was. It was 156 00:07:45,453 --> 00:07:48,893 Speaker 1: like T Lawrence or someone had this phrase about traveling 157 00:07:49,013 --> 00:07:51,693 Speaker 1: or was quote about traveling that I always liked. It's 158 00:07:51,693 --> 00:07:53,933 Speaker 1: a bit cheesy, but it definitely rings true in my experience, 159 00:07:54,133 --> 00:07:57,173 Speaker 1: and it was that the more a man travels, the 160 00:07:57,213 --> 00:07:59,613 Speaker 1: more he learns about his own home. But the more 161 00:07:59,653 --> 00:08:01,733 Speaker 1: perspective you get it on the world in different cultures 162 00:08:01,733 --> 00:08:04,333 Speaker 1: and places and all of that, the one place you 163 00:08:04,493 --> 00:08:08,053 Speaker 1: learned the most about is home because you were to contextualize. 164 00:08:08,133 --> 00:08:12,733 Speaker 2: Totally it's been on I definitely definitely felt that, you know, 165 00:08:12,773 --> 00:08:16,693 Speaker 2: and I also think conversely, you've got to go away 166 00:08:16,733 --> 00:08:19,373 Speaker 2: to You've got to go away to appreciate it, to 167 00:08:19,413 --> 00:08:22,773 Speaker 2: be able to contextualize it. You know. I don't think 168 00:08:22,813 --> 00:08:27,773 Speaker 2: it's I think it's no use telling a disgruntled teenager 169 00:08:27,813 --> 00:08:29,893 Speaker 2: that that they've got that they live in the best 170 00:08:29,893 --> 00:08:31,573 Speaker 2: place in the world, and that there's no point in 171 00:08:31,613 --> 00:08:35,213 Speaker 2: them traveling, because it's a lie. But but it's also 172 00:08:35,293 --> 00:08:38,533 Speaker 2: true that they'll, you know, they'll more more often than not, 173 00:08:38,573 --> 00:08:41,493 Speaker 2: they'll fall back in love with with home again. 174 00:08:41,693 --> 00:08:42,973 Speaker 1: Yeah, and that was your experience. 175 00:08:43,093 --> 00:08:48,133 Speaker 2: Yeah, absolutely, Yeah, I've always loved it here, but definitely, Yeah, 176 00:08:48,693 --> 00:08:51,773 Speaker 2: crystallized from from all those years of traveling. 177 00:08:51,653 --> 00:08:56,853 Speaker 1: You mentioned and you mentioned, and when I listened to it, 178 00:08:56,893 --> 00:09:01,253 Speaker 1: the first single from the album, it just sounded so 179 00:09:01,453 --> 00:09:04,053 Speaker 1: much like the kind of sixties show band stuff. And 180 00:09:04,053 --> 00:09:06,253 Speaker 1: then I saw afterwards that that's exactly what. It kind 181 00:09:06,253 --> 00:09:08,653 Speaker 1: of inspired that sound. So have you been listening to 182 00:09:08,653 --> 00:09:09,573 Speaker 1: a lot of that kind of music? 183 00:09:09,733 --> 00:09:13,053 Speaker 2: Yeah, I mean I grew up on Elvis and and 184 00:09:13,093 --> 00:09:15,533 Speaker 2: the Platters and and you know all those and in 185 00:09:16,213 --> 00:09:21,013 Speaker 2: Howard Morrison Quartette more locally people like that. So yeah, 186 00:09:21,053 --> 00:09:24,013 Speaker 2: it's that's always been there in my you know, in 187 00:09:24,013 --> 00:09:28,653 Speaker 2: my listening habits. And I think, yeah, Mary is a language, 188 00:09:28,813 --> 00:09:31,093 Speaker 2: like the pure phonetics of it just lend themselves so 189 00:09:31,133 --> 00:09:34,053 Speaker 2: beautifully to that that style of singing. And you know, 190 00:09:34,093 --> 00:09:36,413 Speaker 2: there's just I think there's a sort of a there's 191 00:09:36,413 --> 00:09:43,933 Speaker 2: a correlation globally with indigenous cultures and crooners I found. Yeah, yeah, 192 00:09:44,053 --> 00:09:48,213 Speaker 2: I think you know, there's there's lots of all. You know, 193 00:09:48,453 --> 00:09:51,093 Speaker 2: there's a there's a real big crooning crooning scene over 194 00:09:51,133 --> 00:09:56,453 Speaker 2: in Australia. Yeah, I've just I've always noticed that there's people, Yeah, 195 00:09:56,853 --> 00:09:59,693 Speaker 2: people from indigenous cultures tend to love to warble. 196 00:10:00,533 --> 00:10:01,933 Speaker 1: That's interesting. What do you think that is? 197 00:10:02,093 --> 00:10:04,093 Speaker 2: I don't know, it's something in the I don't know 198 00:10:04,133 --> 00:10:08,733 Speaker 2: that the just some sort of alignment of I guess, yeah, 199 00:10:08,773 --> 00:10:10,733 Speaker 2: but it's I don't know. For me, it's it's a 200 00:10:10,733 --> 00:10:13,333 Speaker 2: happy happy marriage because I've yeah, I love that, love 201 00:10:13,373 --> 00:10:13,853 Speaker 2: that stuff. 202 00:10:14,053 --> 00:10:15,893 Speaker 1: Okay, just think off the top of my head, could 203 00:10:15,893 --> 00:10:21,453 Speaker 1: it be that a lot of indigenous cultures aren't driven 204 00:10:21,493 --> 00:10:26,293 Speaker 1: by the same kind of like urgency of like of 205 00:10:26,493 --> 00:10:29,693 Speaker 1: modern life, like like you know, like well, like we're 206 00:10:29,693 --> 00:10:33,213 Speaker 1: so always in a rush for everything, and I feel 207 00:10:33,213 --> 00:10:36,053 Speaker 1: like I feel like indigenous cultures even the way that 208 00:10:36,093 --> 00:10:39,053 Speaker 1: we think about like how Maldi kind of contextualizes everything 209 00:10:39,093 --> 00:10:42,133 Speaker 1: in over longer time time spans. And I wonder if 210 00:10:42,573 --> 00:10:46,773 Speaker 1: being able to slink sing slowly kind of reflects that 211 00:10:46,813 --> 00:10:47,733 Speaker 1: maybe I'm thinking too deep. 212 00:10:47,853 --> 00:10:50,453 Speaker 2: No, I mean that's good. Let's get into ISNA musicology. 213 00:10:50,053 --> 00:10:55,693 Speaker 1: Yeah, play, or or just simply that the a lot 214 00:10:55,733 --> 00:10:58,053 Speaker 1: of Indigenous languages are more poet I. 215 00:10:58,013 --> 00:11:00,213 Speaker 2: Think, yeah, maybe there's I think there's a sense of 216 00:11:00,333 --> 00:11:06,373 Speaker 2: romance and and a sort of h yeah, like a 217 00:11:06,533 --> 00:11:10,613 Speaker 2: of a version of or a vision of beauty as 218 00:11:10,653 --> 00:11:14,173 Speaker 2: it's as it's in terms of singing. That's that. Yeah, 219 00:11:14,213 --> 00:11:16,653 Speaker 2: that's closely aligned. And I love I love for for 220 00:11:16,853 --> 00:11:18,333 Speaker 2: nice things, for pretty things. 221 00:11:18,493 --> 00:11:22,013 Speaker 1: You know, you's got a big crooning scene. What does 222 00:11:22,013 --> 00:11:23,653 Speaker 1: a what does a big crooning scene look like? 223 00:11:23,933 --> 00:11:26,253 Speaker 2: Oh? I just you know, you just going to go 224 00:11:26,333 --> 00:11:30,693 Speaker 2: into some of those remote Aboriginal communities and and if 225 00:11:30,693 --> 00:11:32,773 Speaker 2: you go, if there's a karaoke machine, then you know, 226 00:11:33,573 --> 00:11:36,253 Speaker 2: I think it's from what from my experience, people over 227 00:11:36,293 --> 00:11:38,573 Speaker 2: there are singing Freddy Fender in the same way that 228 00:11:38,613 --> 00:11:41,413 Speaker 2: they are. Yeah, you know it's like that that that 229 00:11:41,613 --> 00:11:45,453 Speaker 2: heart hearty, wrought, passionate singing. 230 00:11:45,733 --> 00:11:49,053 Speaker 1: Yeah, yeah, okay, So you I mean, this is an album, 231 00:11:49,293 --> 00:11:54,133 Speaker 1: it's a docco it's a tour as well. To talk 232 00:11:54,213 --> 00:11:57,893 Speaker 1: us through the touring process, because I mean you're playing 233 00:11:57,933 --> 00:12:01,893 Speaker 1: some diverse places from Moydochy to New York. 234 00:12:01,773 --> 00:12:04,893 Speaker 2: Right, Yeah, yeah, I mean it's there's a lot of 235 00:12:04,973 --> 00:12:07,893 Speaker 2: a lot of different people are wanting you had to 236 00:12:07,893 --> 00:12:11,533 Speaker 2: perform in front of and yeah, I'm really curious to 237 00:12:11,773 --> 00:12:14,053 Speaker 2: you know, it's all music when you put it out 238 00:12:14,693 --> 00:12:18,413 Speaker 2: and you perform it in different places, the songs, the 239 00:12:18,453 --> 00:12:20,973 Speaker 2: song shift depending on the context of you know, where 240 00:12:20,973 --> 00:12:24,213 Speaker 2: you're playing, and certainly going to be true of this record. 241 00:12:24,253 --> 00:12:27,853 Speaker 2: I think, you know, it's obviously playing to yeah, playing 242 00:12:27,853 --> 00:12:30,293 Speaker 2: to a bunch of my Fino and Mdaki, it's going 243 00:12:30,333 --> 00:12:31,773 Speaker 2: to be different to playing at it in a bar 244 00:12:31,893 --> 00:12:36,133 Speaker 2: and Lower East Side. So yeah, I just I'm I'm 245 00:12:36,173 --> 00:12:39,733 Speaker 2: always fascinated to find out how how things resonate differently 246 00:12:39,733 --> 00:12:43,653 Speaker 2: in different spaces. And yeah, with this this example, yeah, 247 00:12:43,653 --> 00:12:45,173 Speaker 2: it's going to be very interesting. 248 00:12:45,253 --> 00:12:48,333 Speaker 1: Yeah, how do you how do you anticipate an album 249 00:12:49,173 --> 00:12:53,733 Speaker 1: entirely into Mardi is going to translate to to New 250 00:12:53,813 --> 00:12:55,093 Speaker 1: York or LA or London. 251 00:12:55,173 --> 00:12:57,773 Speaker 2: I think I think we're you know, as a as 252 00:12:57,813 --> 00:13:02,093 Speaker 2: a as a world where I'm becoming more used to 253 00:13:02,093 --> 00:13:06,333 Speaker 2: to not not needing to understand everything or that little 254 00:13:06,413 --> 00:13:10,253 Speaker 2: really all the time, you know, And I think, yeah, 255 00:13:11,053 --> 00:13:13,333 Speaker 2: which is a very positive thing and just as well 256 00:13:13,333 --> 00:13:16,693 Speaker 2: because it's you know, everyone's knowledge of the world is 257 00:13:17,053 --> 00:13:20,493 Speaker 2: expanding at a terrifying rate, so there's just so much 258 00:13:21,253 --> 00:13:25,013 Speaker 2: information to take in. But I think people, yeah, my experiences, 259 00:13:25,093 --> 00:13:29,653 Speaker 2: people genuinely are are more and more receptive to hearing 260 00:13:29,693 --> 00:13:32,333 Speaker 2: things and in other languages. 261 00:13:33,293 --> 00:13:35,773 Speaker 1: Finally, then if this album has been a process of 262 00:13:36,253 --> 00:13:40,893 Speaker 1: kind of organizing your own place and identity in your 263 00:13:40,893 --> 00:13:44,973 Speaker 1: own mind at the very least, what has changed over 264 00:13:45,013 --> 00:13:47,173 Speaker 1: the last five years about the way you kind of 265 00:13:47,173 --> 00:13:47,813 Speaker 1: see yourself? 266 00:13:48,773 --> 00:13:54,973 Speaker 2: Of course a big question. I'm not Yeah, damn, I 267 00:13:54,973 --> 00:13:58,093 Speaker 2: don't know. Things things change so quickly for me, I 268 00:14:00,293 --> 00:14:03,533 Speaker 2: definitely struggle with trying to like work out work out 269 00:14:03,573 --> 00:14:09,893 Speaker 2: my identity of a time I die, chronic identity, you know. 270 00:14:10,053 --> 00:14:12,453 Speaker 2: It's it's like I honestly couldn't tell you, I couldn't 271 00:14:12,453 --> 00:14:13,773 Speaker 2: tell you who I was yesterday. 272 00:14:15,053 --> 00:14:16,813 Speaker 1: Do you feel like it's Do you feel like you've 273 00:14:16,853 --> 00:14:19,093 Speaker 1: kind of reached a conclusion though, if if the if 274 00:14:19,093 --> 00:14:21,853 Speaker 1: it was to Fuddy Tea Wicker Wicker to start with, 275 00:14:22,653 --> 00:14:23,493 Speaker 1: is it any less. 276 00:14:23,333 --> 00:14:29,693 Speaker 2: T No, I think there is. There is for pragmatic purposes, 277 00:14:29,733 --> 00:14:31,933 Speaker 2: you know, I've got to present something to the world, 278 00:14:32,013 --> 00:14:37,453 Speaker 2: and and you know, but nothing's ever finished, is Yeah. 279 00:14:37,613 --> 00:14:40,613 Speaker 2: I think it's pretty pretty natural to sort of get 280 00:14:40,613 --> 00:14:44,293 Speaker 2: to the end of a project and be healthily dissatisfied, 281 00:14:44,453 --> 00:14:46,773 Speaker 2: you know, and just because it gives you, it spins 282 00:14:46,773 --> 00:14:49,893 Speaker 2: you on to find the next next spark of things. 283 00:14:50,093 --> 00:14:52,733 Speaker 1: Yeah. Well, congratulations on the album. I really hope you 284 00:14:53,413 --> 00:14:57,093 Speaker 1: enjoy the touring experience, and yeah, look forward to seeing 285 00:14:57,093 --> 00:15:00,133 Speaker 1: you soon. Yes, so good that as Marlon Williams. To 286 00:15:00,253 --> 00:15:03,333 Speaker 1: Fuddy Tea Wicker Wicker is out now, and the documentary 287 00:15:03,333 --> 00:15:06,853 Speaker 1: about the creation of the album is coming out at 288 00:15:06,853 --> 00:15:10,613 Speaker 1: the start of May. So the documentary is called Our Rua, 289 00:15:10,693 --> 00:15:13,213 Speaker 1: which means two worlds. It's going to be in Cinema's nationwide. 290 00:15:13,253 --> 00:15:15,373 Speaker 1: Marlin's going to be on tour across the country throughout 291 00:15:15,413 --> 00:15:18,213 Speaker 1: May and June. He's heading heaps and heaps a different 292 00:15:18,253 --> 00:15:20,613 Speaker 1: places and we're going to have all the details up 293 00:15:20,653 --> 00:15:24,253 Speaker 1: on the news Talks. He'db website for more from Saturday 294 00:15:24,253 --> 00:15:27,133 Speaker 1: Morning with Jack Tame. Listen live to news Talks he'd 295 00:15:27,173 --> 00:15:31,013 Speaker 1: be from nine am Saturday, or follow the podcast on iHeartRadio.