WEBVTT - Kevin Quinn 0:00:02.279 --> 0:00:04.880 Hello everyone, and welcome the inside the studio on I 0:00:04.960 --> 0:00:08.159 Heart Radio. My name is Jordan Runtog. But enough about me, 0:00:08.480 --> 0:00:11.320 let's talk about my guest today. He's a rising star 0:00:11.400 --> 0:00:14.520 in pretty much every medium. You probably first knew him 0:00:14.560 --> 0:00:17.960 from his lead role in the Disney series Bunked. More recently, 0:00:18.000 --> 0:00:19.759 he may have tugged at your heart strings in the 0:00:19.800 --> 0:00:22.759 Netflix drama A Week Away. But what you may not 0:00:22.880 --> 0:00:24.920 have known as it in between takes on the set, 0:00:25.120 --> 0:00:28.320 he was writing songs, like a lot of songs He's 0:00:28.320 --> 0:00:30.800 written close to a hundred and a few weeks back, 0:00:30.880 --> 0:00:34.239 as fans heard the results Wildfires, a name of his 0:00:34.280 --> 0:00:37.519 major label debut single in advance of a bigger collection 0:00:37.560 --> 0:00:40.560 to come shortly, I had a great time getting to 0:00:40.640 --> 0:00:43.960 know him, learning about his writing style, and generally acting 0:00:44.000 --> 0:00:46.960 like two record nerds. I'm so happy to welcome Kevin 0:00:47.040 --> 0:00:49.880 Quinn oh Man. So much talked to you about today. 0:00:49.920 --> 0:00:52.040 But first of all, tell me about your new single, Wildfire. 0:00:52.520 --> 0:00:54.200 How did the song begin for you? Tell me a 0:00:54.240 --> 0:00:57.640 little bit about the inspiration. Yeah, I think Wildfire for me, 0:00:58.080 --> 0:01:01.680 I just wanted to create something positive, uh, an introduction 0:01:01.720 --> 0:01:03.880 to the rest of the project, you know, like I 0:01:03.960 --> 0:01:08.280 just want all this music to be positive, uplifting, inspirational. Uh, 0:01:08.319 --> 0:01:10.120 I wanted to be clean. You know. These are just 0:01:10.280 --> 0:01:13.440 created choices that I've made for the project, and I 0:01:13.440 --> 0:01:16.560 feel like Wildfire crossed off every list for those things 0:01:16.600 --> 0:01:18.680 of of what I wanted the project to be. So, 0:01:19.319 --> 0:01:21.280 you know, we imagine it would be a great debut 0:01:21.280 --> 0:01:24.199 single and I'm glad we chose it. Um. I think 0:01:24.240 --> 0:01:27.880 the inspiration behind it was just like even through the 0:01:27.880 --> 0:01:32.480 worst of times and the darkness and uh, just total ship, 0:01:32.720 --> 0:01:34.679 you know what I mean, Like like you have that 0:01:34.720 --> 0:01:38.280 wildfire in your heart that just gets you going through 0:01:38.400 --> 0:01:41.839 you know, It's like it's it's a thing that's bigger 0:01:41.840 --> 0:01:44.679 than you, that will get you through the darkest of times, 0:01:44.680 --> 0:01:46.959 and it's a real thing. So I feel like that's 0:01:46.959 --> 0:01:52.000 where the wildfire metaphor spawn from for sure. Absolutely. I 0:01:52.000 --> 0:01:54.400 mean it's a beautiful message and especially one we need 0:01:54.440 --> 0:01:56.800 the last year and a half or so. It's definitely 0:01:56.800 --> 0:01:59.920 something to me that we need to tap into in ourselves. Yeah. Man, 0:02:00.040 --> 0:02:02.720 it's it's so it felt really timely too, you know, 0:02:02.760 --> 0:02:05.680 because a lot of this stuff I wrote during the pandemic, 0:02:05.800 --> 0:02:08.520 and I just wanted it to be like the perfect 0:02:08.600 --> 0:02:11.600 timing of the release considering just what the world's has 0:02:11.720 --> 0:02:14.320 been through. Um So, I felt like it was it 0:02:14.360 --> 0:02:17.120 was a godsend. You know that Wildfire checked off every 0:02:17.160 --> 0:02:20.120 box and uh it just it just felt very timely, 0:02:20.160 --> 0:02:23.960 and it felt like the timing was perfect. Absolutely in 0:02:23.960 --> 0:02:26.840 the video does such a great job of illustrating that. 0:02:26.960 --> 0:02:32.160 Talk a little bit more about the visuals for the song. Yeah, 0:02:32.639 --> 0:02:35.760 it was. The video was directed by Roman White, who 0:02:35.880 --> 0:02:39.240 if anyone listening, Uh, there's a movie on Netflix called 0:02:39.240 --> 0:02:41.880 A week Away that I started. It's a musical movie. 0:02:42.440 --> 0:02:44.720 Have you seen it? You may not have. I I 0:02:44.840 --> 0:02:47.560 have not. I I was actually I was just about 0:02:47.560 --> 0:02:49.600 to ask you about that, but please, I got a 0:02:49.639 --> 0:02:52.040 lot more on that to come. No. No, it's definitely 0:02:52.120 --> 0:02:54.919 very younger crowd. I wouldn't expect you to watch it. 0:02:55.320 --> 0:02:59.359 Um but the director of that movie, Uh, we teamed 0:02:59.440 --> 0:03:02.320 up Roman I to create this music video, and I 0:03:02.360 --> 0:03:04.680 told him I wanted something energetic, you know, I wanted 0:03:04.720 --> 0:03:07.400 something very much in the pop lane, which he had 0:03:07.440 --> 0:03:09.080 done before with a lot of the artists he had 0:03:09.160 --> 0:03:12.040 collaborated with in the past. Uh So, we I remember 0:03:12.040 --> 0:03:14.320 we had like this forty five minute phone call just 0:03:14.400 --> 0:03:18.200 to discuss ideas. And it's so rare that a creative 0:03:18.200 --> 0:03:23.040 relationship is so synergistic and you bounced all these ideas 0:03:23.080 --> 0:03:25.040 off of each other. But that's how it is with 0:03:25.160 --> 0:03:27.680 Roman and I. It's like, you know, I I spit 0:03:27.760 --> 0:03:31.840 ball an idea and he immediately receives it and vice versa. Um. 0:03:31.880 --> 0:03:34.960 So I feel like it was very much a collaborative process, 0:03:35.000 --> 0:03:39.680 even from the treatment to the filming to the final product. Um. 0:03:39.720 --> 0:03:41.600 But I gotta give it up to Roman because he 0:03:41.760 --> 0:03:44.600 had this vision for the the kind of like Kevin 0:03:44.600 --> 0:03:47.240 Bacon foot loose dancing around the you know what I mean, 0:03:47.280 --> 0:03:50.040 like in the protament. Uh. And it turned out great. 0:03:50.080 --> 0:03:52.320 So I was I was super pleased. I mean I 0:03:52.360 --> 0:03:55.400 was gonna ask. I know, obviously you were extremely involved 0:03:55.440 --> 0:03:58.720 in the soundtrack to the movie. I think I think 0:03:58.720 --> 0:04:01.640 it was eleven out of thirteen songs something like that. 0:04:02.200 --> 0:04:06.160 Uh yeah, Did that in any way influence your sort 0:04:06.160 --> 0:04:08.760 of decision to to take this time to really focus 0:04:08.840 --> 0:04:11.200 in on your music career after all the the acting 0:04:11.240 --> 0:04:14.480 have been involved with. It wasn't the movie soundtrack that 0:04:14.560 --> 0:04:17.200 was a catalyst, believe it or not. I had been 0:04:17.200 --> 0:04:21.560 writing music for four years up to that point, I 0:04:21.680 --> 0:04:24.640 released some music, uh you know that I thought was 0:04:24.720 --> 0:04:27.839 representative of where I was at at the time, only 0:04:27.880 --> 0:04:30.960 to realize later, no, this is this isn't the direction 0:04:31.000 --> 0:04:32.360 I want to go. But you know, I'm young enough 0:04:32.360 --> 0:04:34.400 still figuring out my sound at this point where I 0:04:34.400 --> 0:04:37.200 want to go. Um, So I scrapped those songs and 0:04:37.240 --> 0:04:41.599 I started a completely new project with some new creative choices. 0:04:42.200 --> 0:04:45.760 But just you know, recording the soundtrack, we actually recorded 0:04:45.760 --> 0:04:48.320 it on sets that we built, like this makeshift studio, 0:04:48.480 --> 0:04:52.159 and the philoph producer was, yeah, like he created this 0:04:52.200 --> 0:04:55.240 vocal booth in in the camp summer camp that we 0:04:55.240 --> 0:04:58.200 were shooting is really cool cool, Yeah, yeah, But we 0:04:58.200 --> 0:05:00.719 would just spend our days in there and gove around 0:05:00.839 --> 0:05:04.400 and and it just felt so comfortable. And Adam Watts 0:05:04.480 --> 0:05:06.919 was the film's music producer. He had worked on like 0:05:06.960 --> 0:05:10.360 High School Musical and some of the other Disney musicals. 0:05:10.760 --> 0:05:13.600 But yeah, like I said, just so comfortable. And although 0:05:13.720 --> 0:05:17.920 that process wasn't the catalyst for me, like writing music, 0:05:18.000 --> 0:05:20.800 I had already been doing it it definitely. It was 0:05:20.839 --> 0:05:23.120 just experience that continued to help me grow, and I 0:05:23.160 --> 0:05:26.840 think that enough made the experience worth it and you 0:05:26.920 --> 0:05:29.520 touched on this a little bit earlier. You've had something 0:05:29.560 --> 0:05:33.240 like a hundred songs in your reserves right when when 0:05:33.279 --> 0:05:36.120 you started? I mean, that's that's incredible to me. When 0:05:36.120 --> 0:05:39.840 did you first start writing? Um? When I was on 0:05:40.400 --> 0:05:43.600 a Disney a Disney Channel show called Bunked. I had 0:05:43.640 --> 0:05:48.160 a two year tenure on that show. And yeah, yeah, 0:05:48.160 --> 0:05:50.040 Like I think I mentioned to some of the cash 0:05:50.080 --> 0:05:52.320 and crew that I had this, you know, dream of 0:05:52.320 --> 0:05:55.839 pursuing music. UM, But I don't know if they realized 0:05:55.920 --> 0:05:58.080 quite the extent of how hard I was working at 0:05:58.080 --> 0:05:59.520 it at the time. It was just kind of something 0:05:59.600 --> 0:06:02.840 I did on side when I wasn't on set. But yeah, 0:06:02.880 --> 0:06:06.400 I mean four years worth of writing. Um. I definitely 0:06:06.400 --> 0:06:08.840 did have, you know, a hundred songs in my pocket 0:06:08.839 --> 0:06:11.920 before I decided to release Wildfire at least, you know, 0:06:12.680 --> 0:06:15.040 like just writing for four years. But that's how particular 0:06:15.080 --> 0:06:16.880 I was. I was like, I don't want to release 0:06:16.920 --> 0:06:19.320 stuff just for the sake of releasing it. And I 0:06:19.320 --> 0:06:21.560 had done that before and I didn't like the results. 0:06:21.560 --> 0:06:24.479 So I just was like, Nope, I'm not gonna release anything. 0:06:25.120 --> 0:06:28.200 And it worked out. Where Where did this come from? 0:06:28.240 --> 0:06:29.560 For you? Like? Who are some of the people that 0:06:29.600 --> 0:06:31.320 made you want to pick up an instrument and express 0:06:31.360 --> 0:06:35.520 yourself in this way. I can't explain it. I can't 0:06:35.520 --> 0:06:37.919 explain it. It was just something I was always drawn to. 0:06:38.279 --> 0:06:41.480 I think, I don't know. You ask any creative and 0:06:41.480 --> 0:06:44.880 and any performer in this business, it's like where can 0:06:44.880 --> 0:06:48.320 you really pinpoint their passion and when they wanted to 0:06:48.360 --> 0:06:50.880 decide to do it or what was the catalyst? But 0:06:51.400 --> 0:06:53.880 for me, it was just always something bigger than myself. 0:06:53.880 --> 0:06:58.200 It was like I couldn't imagine myself doing anything other 0:06:58.279 --> 0:07:03.480 than performing. So I don't know. It was that carried 0:07:03.600 --> 0:07:06.279 on through my childhood. Like I remember that feeling in 0:07:06.360 --> 0:07:11.080 my childhood listening to some great music like the Beatles 0:07:11.240 --> 0:07:14.360 or the Rolling Stones or you know, just like a 0:07:14.440 --> 0:07:17.480 lot of rock bands, a lot of eighties and nineties music. 0:07:17.520 --> 0:07:21.559 I just absorbed myself in music as a young kid, uh, 0:07:21.600 --> 0:07:24.800 and that followed me as I got older, and I 0:07:24.880 --> 0:07:27.720 just knew what I wanted to hear in like the 0:07:27.760 --> 0:07:31.000 track and the harmonies, and I got pretty good at 0:07:31.040 --> 0:07:33.920 theory at one point, and so I just started making 0:07:33.920 --> 0:07:36.920 my own music. Wow, that's really cool. I mean, I'm 0:07:36.960 --> 0:07:41.000 someone who loves music. I I mess around on instruments, 0:07:41.280 --> 0:07:43.800 I've taken music theory classes. I have never been able 0:07:43.840 --> 0:07:45.840 to write a song in my entire life. So when 0:07:45.880 --> 0:07:47.600 I when I talked to someone like you who said, yeah, 0:07:47.600 --> 0:07:51.120 I've written a hundred, that's just to me, that's like magic. 0:07:51.160 --> 0:07:54.880 I mean, how does the theory factor into your your 0:07:54.880 --> 0:07:57.560 writing process? Because that's always such an interesting line because 0:07:57.560 --> 0:07:59.800 I know there's people like Paul McCartney who can't read 0:07:59.840 --> 0:08:01.520 me is it. I mean, it's just totally something that 0:08:01.560 --> 0:08:04.840 they do by ear, and so the the the line 0:08:04.880 --> 0:08:07.720 between wanting to know what you're doing with theory but 0:08:07.800 --> 0:08:10.040 wanting to keep some magic and spontaneity in it is 0:08:10.120 --> 0:08:13.160 so interesting to me. Totally. Yeah, it's weird because you 0:08:13.160 --> 0:08:14.960 don't want to go too far in one direction on 0:08:15.000 --> 0:08:17.160 either side. If you're too focused on the theory, you 0:08:17.200 --> 0:08:20.360 can't let the creative flow. If you're too focused on 0:08:20.640 --> 0:08:23.560 just writing a song and not focused on any theory, 0:08:24.000 --> 0:08:26.840 then chances are you probably won't write a great song 0:08:26.920 --> 0:08:29.280 at the end of the session. Um So I always 0:08:29.280 --> 0:08:32.520 found there's like a middle ground between what is proven 0:08:32.600 --> 0:08:37.120 to sound good based on music theory, but then letting 0:08:37.160 --> 0:08:40.000 the creative energy flow and not being too merry to 0:08:40.120 --> 0:08:43.000 any idea. Uh. For me, it's like in the writing room, 0:08:43.080 --> 0:08:46.000 I just love having conversations with my co writers. I 0:08:46.040 --> 0:08:49.160 feel like that's what spawns all the great ideas, is 0:08:49.600 --> 0:08:53.880 not necessarily looking for the lyrics or the melody, but 0:08:54.040 --> 0:08:57.680 just conversing with the co writers. You know, like how 0:08:57.760 --> 0:09:00.480 is your week or what popped into your head that 0:09:00.679 --> 0:09:03.320 you know you want to tell everyone about. Like, those 0:09:03.320 --> 0:09:05.000 are the kind of things that make a writing session 0:09:05.040 --> 0:09:08.480 great because they just become this there. They start as 0:09:08.480 --> 0:09:12.959 an organic idea and they become like the passageway to 0:09:13.040 --> 0:09:16.000 a great song in my mind. Oh totally. I mean 0:09:16.000 --> 0:09:18.439 that's where where the human element comes in, is from 0:09:18.440 --> 0:09:22.040 that that real interaction. Yeah, it's it's such a human element. 0:09:22.040 --> 0:09:24.400 You're absolutely right. It's like I don't even know how 0:09:24.440 --> 0:09:27.520 you explain it. Like, and if we could all write 0:09:27.880 --> 0:09:30.280 great songs and every song we write as a hit, 0:09:30.360 --> 0:09:34.040 then everyone would be a superstar and super successful. But 0:09:34.240 --> 0:09:37.400 we all know, like my heart, to write a good song, 0:09:37.480 --> 0:09:41.320 it's virtually impossible. Like if if you're lucky, you'll get 0:09:41.360 --> 0:09:43.280 a few a year so and they'll make it on 0:09:43.280 --> 0:09:47.200 the project. That's kind of been my mentality. Judging from 0:09:47.200 --> 0:09:49.920 the Jimmie Hendrick's post Racy behind You, I know you're 0:09:49.960 --> 0:09:54.880 and what you mentioned earlier, a guy who knows Oh yeah, yeah, 0:09:55.000 --> 0:09:58.240 I don't even know, Like, how do you explain some 0:09:58.280 --> 0:10:01.439 of his lyrics, Like, I mean, the team just has 0:10:01.480 --> 0:10:06.000 a far out mind. Uh, what's that song? No? It 0:10:06.120 --> 0:10:09.720 is Boldest Love? Yeah, yeah, the way he personifies colors 0:10:09.760 --> 0:10:12.880 like that, and and it's just so weird because a 0:10:12.880 --> 0:10:15.640 lot of the song doesn't even rhyme. You know, It's 0:10:15.679 --> 0:10:18.040 like I don't know how he does it, but yet 0:10:18.080 --> 0:10:21.560 it works so perfectly. He's always been an inspiration to me, 0:10:21.960 --> 0:10:26.520 oh totally, and a massively underrated lyricist. I mean, if 0:10:26.520 --> 0:10:28.400 you watch some of his interviews that he gave and 0:10:28.480 --> 0:10:30.160 the you know, the short time that he was alive, 0:10:30.480 --> 0:10:32.480 it's so interesting to hear. Like you said, he is 0:10:32.559 --> 0:10:36.360 far out, Like his take on everything is just like 0:10:36.480 --> 0:10:42.000 totally a slightly different angle than than everyone else around him. Yeah, 0:10:42.040 --> 0:10:44.240 and he had like a weird way of speaking to 0:10:44.880 --> 0:10:47.280 you know, like and I feel like it translated into 0:10:47.320 --> 0:10:49.600 it not only his personality but his songs as well. 0:10:49.880 --> 0:10:53.360 And just for the listener, what we're referring to the 0:10:53.480 --> 0:10:56.520 giant Jimi Hendrix poster behind my back and my house 0:10:56.600 --> 0:10:59.520 right here. Um yeah, I have another one in the 0:10:59.520 --> 0:11:17.240 living room too. At some point in order are you 0:11:17.320 --> 0:11:19.800 into uh, just from some of the things you were saying, 0:11:19.840 --> 0:11:21.200 I feel like you would dig it if if if 0:11:21.200 --> 0:11:22.800 you're not, Are you went to the Beach Boys Pet 0:11:22.840 --> 0:11:29.520 Sounds album at all? Yes? I I'm not like absolutely 0:11:29.720 --> 0:11:32.199 in love with it. I realize everyone says it's like 0:11:32.240 --> 0:11:35.360 the greatest album of all time. They're not wrong. Um, 0:11:35.400 --> 0:11:38.320 I just feel like my it's a very specific kind 0:11:38.360 --> 0:11:40.880 of sound. That's true. Yeah, you know what I mean. 0:11:40.960 --> 0:11:44.360 And I just like to I never stick on one, 0:11:44.600 --> 0:11:46.520 Like if I'm listening to something, I never stick on 0:11:46.559 --> 0:11:49.160 it for a long time. I'd very much have music 0:11:49.240 --> 0:11:53.040 a D d UM. I realized it's brilliantly written, it's 0:11:53.080 --> 0:11:56.120 brilliantly produced. I've heard it many times. Um, but is 0:11:56.160 --> 0:11:59.760 it my absolute favorite? I don't know. I don't have like, 0:12:00.040 --> 0:12:03.200 I don't know if I have an absolute favorite album. Um, 0:12:03.240 --> 0:12:05.240 but I do like it. Are you big fan of 0:12:05.240 --> 0:12:07.160 that one? I'm a big fan of it. I mean 0:12:07.200 --> 0:12:10.440 just he would start all of his songwriting sessions having 0:12:10.480 --> 0:12:14.239 these long conversations about life and love with this lyricists, 0:12:14.280 --> 0:12:15.760 and I was just made me think of what you 0:12:15.800 --> 0:12:18.199 were saying about how that's where the best songs come from, 0:12:18.200 --> 0:12:20.200 when you have that shared connection that's born out of 0:12:20.200 --> 0:12:23.440 a conversation, and it's not just sitting down to you know, 0:12:23.520 --> 0:12:25.959 write Moon in June lyrics that are just kind of 0:12:25.960 --> 0:12:29.080 feel fil the melody, but something that actually has some 0:12:29.080 --> 0:12:30.720 some meaning to the two of you that are making 0:12:30.760 --> 0:12:33.960 the song. I didn't realize that that was his approach, 0:12:34.000 --> 0:12:38.600 so so he did have a similar approach. I have 0:12:38.679 --> 0:12:41.480 to is there any like YouTube videos or anything? Oh, 0:12:41.520 --> 0:12:44.840 I can send you some. I'm a huge Brian Wilson nerd. 0:12:44.840 --> 0:12:47.760 I can send you some session tapes and stuff. But 0:12:47.880 --> 0:12:51.600 uh I I meant to say earlier, I I loved 0:12:51.640 --> 0:12:55.880 your cover of Exile Taylor Swift track that is like gray. 0:12:55.960 --> 0:12:59.160 I saw it on social I was a beautiful version 0:12:59.200 --> 0:13:01.680 of that. Yeah, you know it's funny. I have a 0:13:01.679 --> 0:13:05.520 twin sister and she is obsessed with Taylor Swift. Man, 0:13:05.600 --> 0:13:08.440 I can't even explain it, Like it's so weird because 0:13:08.440 --> 0:13:11.160 of my sister has friends over who are similar in age, 0:13:11.200 --> 0:13:14.320 Like they'll just spend an hour debating on which song 0:13:14.440 --> 0:13:17.960 is better on every single album, Like, well, I kind 0:13:17.960 --> 0:13:21.400 of like my tears Ricochet because both La Thelah, but 0:13:21.480 --> 0:13:23.480 I would agree with you like that it's not quite 0:13:23.520 --> 0:13:26.200 as good as this and both. And I'm like, who 0:13:26.280 --> 0:13:29.880 does this? Like who debates uh, like every track on 0:13:29.960 --> 0:13:32.480 an album and has an hour long conversation about what 0:13:32.520 --> 0:13:36.520 they like and don't like. Um And I never understood that. 0:13:36.559 --> 0:13:39.520 But yeah, my my twin sister is obsessed and by 0:13:39.559 --> 0:13:43.640 the transitive property. I've got her music as well. UM, 0:13:44.000 --> 0:13:46.360 but I will say, out of all the stuff that 0:13:46.400 --> 0:13:50.920 she's done, my favorite has been uh this recent the 0:13:50.960 --> 0:13:54.120 recent album what is um? The one with Exile on it? 0:13:54.160 --> 0:13:57.400 I can't remember? Folklore? I think that yeah and evermore Yeah, 0:13:57.440 --> 0:14:00.960 so those two, um and I think Aaron Dessner is 0:14:01.040 --> 0:14:03.880 a pretty big piece of that project. And for me, 0:14:03.960 --> 0:14:07.320 it's like I love the kind of folk thing that 0:14:07.440 --> 0:14:11.640 she ventured into with those two albums. Especially Dude. I 0:14:11.679 --> 0:14:14.960 am such a big fan of Justin Vernon and Bonnaber, 0:14:16.120 --> 0:14:18.520 one of my favorite bands of all time, and I'm 0:14:18.640 --> 0:14:20.560 lucky to be alive to watch them. I saw him 0:14:20.560 --> 0:14:25.160 at the Hollywood Bowl and oh nice. So but The 0:14:25.240 --> 0:14:27.480 way that she kind of ventured into that sound with 0:14:27.640 --> 0:14:30.760 them at the Helm is my favorite thing she's done 0:14:30.800 --> 0:14:34.040 so far by far. Oh, it's super unexpected. I didn't 0:14:34.080 --> 0:14:35.560 you know. I guess I should have maybe expected it 0:14:35.680 --> 0:14:39.480 given her sort of country, slightly more folky beginnings, but 0:14:39.600 --> 0:14:42.560 still did not see that comment after you know, lover 0:14:42.560 --> 0:14:45.760 her and everything that was before that. Yeah, And I 0:14:45.760 --> 0:14:47.760 feel like that's what a good artist does, and she's 0:14:47.800 --> 0:14:50.680 a great artist in that way. It's like you reinvent 0:14:50.760 --> 0:14:53.880 yourself with every album. I mean, that's what it should 0:14:53.920 --> 0:14:56.760 be in my mind. Um, even like justin Timberlake Man 0:14:56.800 --> 0:14:58.880 of the Woods, something totally different than what he was 0:14:58.880 --> 0:15:02.040 doing before. Um. So, you know, like as far as 0:15:02.080 --> 0:15:04.520 my own personal music, I definitely have an idea of 0:15:04.560 --> 0:15:07.640 what I want this first project to be. But I 0:15:08.040 --> 0:15:11.040 already have ideas like what's the sophomore album gonna look like? 0:15:11.080 --> 0:15:13.200 What's it? You know what I mean? So I have 0:15:13.280 --> 0:15:17.200 these ideas in my head that I want to execute, 0:15:17.200 --> 0:15:20.760 but I just gotta finish reporting the debut album first. Yeah. 0:15:20.800 --> 0:15:25.200 How far along are you with that? Uh? I would 0:15:25.240 --> 0:15:28.600 say like half of the songs are written at this point. Um, 0:15:28.640 --> 0:15:33.640 I think we've produced three. We're just about to produce 0:15:33.720 --> 0:15:36.160 three here, so Wildfire is one of them. There's a 0:15:36.200 --> 0:15:40.280 second single, um, and then I have the surprise Spanish 0:15:40.320 --> 0:15:43.320 version of Wildfire, which by this point of the podcast 0:15:43.360 --> 0:15:45.640 being aired on I think we'll be out by then 0:15:45.880 --> 0:15:49.080 septembery is that what'll be out by then? I'm not 0:15:49.120 --> 0:15:52.480 sure what I think this is me? You're catching me 0:15:52.560 --> 0:15:55.280 not knowing what day it actually is today. I think 0:15:55.320 --> 0:15:57.600 it might be right, I think it's it's I think 0:15:57.600 --> 0:16:01.000 it might be this Friday, um, so slightly before it, 0:16:01.080 --> 0:16:03.320 but but yeah, call it very close. Then they have 0:16:03.360 --> 0:16:05.640 the Spanish version of Wildfire to look forward to that, 0:16:06.240 --> 0:16:09.720 and then I was gonna say a third and fourth song. Uh. 0:16:09.840 --> 0:16:11.440 Then we got to record the rest of the like 0:16:11.560 --> 0:16:16.119 six or seven there um. But recording the Spanish wildfire, 0:16:16.680 --> 0:16:19.800 uh was a lot more difficult than I expected. I 0:16:19.800 --> 0:16:22.120 should just say that for the record. How's that just 0:16:22.160 --> 0:16:25.200 with with getting the sounds out of your mouth that 0:16:25.400 --> 0:16:28.680 maybe aren't aren't ordinarily something that you're saying or yeah, 0:16:28.840 --> 0:16:33.240 because here's the thing, like I'm not fluent fluent, but 0:16:33.360 --> 0:16:37.120 I'm more than conversational and I'm but I'm less than fluent. 0:16:37.640 --> 0:16:40.160 So I felt pretty confident when we had this idea 0:16:40.240 --> 0:16:42.600 to give, you know, the Latin American markets something they 0:16:42.640 --> 0:16:45.000 could listen to. Um, and we were even gonna do 0:16:45.040 --> 0:16:48.000 like Portuguese version. And I'm not sure if that changed 0:16:48.040 --> 0:16:50.520 when we realized how difficult it was to get the 0:16:50.560 --> 0:16:54.160 Spanish one done. UM. But we recorded it at the 0:16:54.200 --> 0:16:59.000 Capital Tower very yeah, dude, we had like this crazy 0:16:59.160 --> 0:17:06.760 nice mike we're in studio A whoa. I was super 0:17:06.800 --> 0:17:09.159 stoked about it, um, and our engineer was like, just 0:17:09.280 --> 0:17:12.359 you know, this is Snastra's mic so it makes something great. 0:17:12.880 --> 0:17:16.639 Yeah yeah, UM. But it was just like the delivery 0:17:16.880 --> 0:17:20.560 of of the Spanish words within the context of the 0:17:20.600 --> 0:17:23.000 melody was a lot more difficult than I thought it 0:17:23.000 --> 0:17:24.920 would be, because you know, when you sing in your 0:17:25.000 --> 0:17:27.399 native language. When I when I'm singing in English, I 0:17:27.440 --> 0:17:31.080 can hear how the melody and the pitch and everything 0:17:31.119 --> 0:17:33.720 I want in the vocal performance how it should be 0:17:34.160 --> 0:17:36.439 in English because I hear it back as I'm doing it. 0:17:36.840 --> 0:17:39.439 But with Spanish, it's like that element of hearing yourself 0:17:39.440 --> 0:17:43.040 back in the microphere in the headphones wasn't as prominent, 0:17:43.119 --> 0:17:44.800 so I felt like I was shooting blind. A lot 0:17:44.800 --> 0:17:48.480 of the time. That's really interesting. Yeah, I don't know 0:17:48.480 --> 0:17:52.159 how to explain it, but overall, I'm very pleased with 0:17:52.160 --> 0:17:54.080 how it turned out. I know the label is pleased. 0:17:54.119 --> 0:17:56.280 I think the fans are gonna be pleased. But it 0:17:56.359 --> 0:18:00.320 was definitely a more difficult idea to execute, and I'd 0:18:00.359 --> 0:18:03.000 expect you. Oh wow, I can't wait to hear it. 0:18:03.000 --> 0:18:05.280 I mean, all power to you. I took eight years 0:18:05.320 --> 0:18:08.080 of French and my teacher used to make me read 0:18:08.200 --> 0:18:10.240 at the end of class for her amusement because my 0:18:10.280 --> 0:18:13.199 pronunciation was so bad. She was just roll and of 0:18:13.200 --> 0:18:15.600 course now totally gave me a complex and I won't 0:18:15.680 --> 0:18:18.680 you know, all the language teachers have a fuel day 0:18:18.680 --> 0:18:23.800 with their students. Oh yeah, big time. Oh man. I 0:18:23.800 --> 0:18:27.439 mean you, you know, speaking of all the different influences 0:18:27.480 --> 0:18:28.920 you have and something I want to ask you about. 0:18:28.960 --> 0:18:32.040 I know you have a obviously a very big musical 0:18:32.080 --> 0:18:36.199 theater background. I did musicals in high school. I love it. 0:18:36.280 --> 0:18:39.359 I miss it every day thinking of the songs that 0:18:39.400 --> 0:18:42.359 are in musicals. I mean just the song craft there, 0:18:42.440 --> 0:18:45.359 I mean from people like Sondheim and Rodgers and Hammerstime. 0:18:45.359 --> 0:18:48.760 It's it's so impressive and people kind of forget the 0:18:48.840 --> 0:18:52.080 quality of those songs. What did your background in musical 0:18:52.119 --> 0:18:55.439 theater do for you as a songwriter, you think, I, I, 0:18:56.000 --> 0:19:00.119 that's actually a great question. Um, I definitely. I I 0:19:00.160 --> 0:19:04.400 never wanted my music to be like, you know, Becausicus, 0:19:04.400 --> 0:19:07.640 across the line of uncool er jes yeah, the showy 0:19:07.760 --> 0:19:10.639 um And I never wanted it to quite cross that line. 0:19:10.760 --> 0:19:13.000 But at the same time, anyone who's been to a musical, 0:19:13.160 --> 0:19:15.760 you can't deny that by the time you finish watching 0:19:15.760 --> 0:19:17.479 the musical and you walk out of the theater, at 0:19:17.520 --> 0:19:20.000 least one song is stuck in your head. It's like 0:19:20.320 --> 0:19:24.920 every single musical has that song. It's powerful. It's totally powerful. Yeah, 0:19:24.960 --> 0:19:27.520 and with like an ensemble of actors backing them up, 0:19:27.560 --> 0:19:31.800 and and it's a it really is a produced song 0:19:32.520 --> 0:19:36.679 on stage, happening live. And I feel like these musical 0:19:36.720 --> 0:19:40.639 theater songwriters are just so good with finding these super 0:19:40.720 --> 0:19:44.560 catchy melodies. Um. But they're also trying to push the 0:19:44.560 --> 0:19:46.879 bar a little bit, Like they may throw in a 0:19:46.960 --> 0:19:49.960 natural note to surprise you off guard, or they may 0:19:50.000 --> 0:19:52.040 have a key change. Right, everyone knows the key change 0:19:52.040 --> 0:19:54.960 in musical theater. Um. And while I've never been so 0:19:55.160 --> 0:19:58.800 bold that's to include a key change like that. Yet, um, 0:19:58.800 --> 0:20:01.919 those melodies stick with you, you can't deny um. So 0:20:02.080 --> 0:20:04.359 I definitely feel like I took some of that from 0:20:04.400 --> 0:20:09.240 just my experience in musical theater and and finding those 0:20:09.240 --> 0:20:11.960 super hooky melodies. And if you find a melody and 0:20:12.000 --> 0:20:15.080 it's not super hooky and you're not in love with it, 0:20:15.280 --> 0:20:17.119 then you better find a hu melody. That's how I've 0:20:17.119 --> 0:20:20.440 always approached it. In the in the room, I always 0:20:20.440 --> 0:20:22.800 thought it was interesting how the Beatles when they started out, 0:20:22.840 --> 0:20:25.399 they didn't have tape recorders, and so they were writing 0:20:25.400 --> 0:20:28.240 melodies just that were good enough. And they figured, if 0:20:28.280 --> 0:20:31.399 we can't remember it the next day, how can we 0:20:31.440 --> 0:20:33.960 expect fans too, you know. And I had this built 0:20:34.000 --> 0:20:36.040 in sort of system of like, well, it's gonna be 0:20:36.040 --> 0:20:38.000 good enough for it to get stuck in our head first. 0:20:38.560 --> 0:20:39.920 And it was just a sort of a funny way 0:20:39.960 --> 0:20:42.240 to like, you know, their own sort of litmus test, 0:20:42.320 --> 0:20:45.240 their own uh you know, way to weed out the 0:20:45.240 --> 0:20:48.520 ideas that weren't that good. So did they like if 0:20:48.520 --> 0:20:50.320 they did have a melody? Because I'm always interested in 0:20:50.359 --> 0:20:52.280 learning more about the Beatles. I'm not sure if you 0:20:52.320 --> 0:20:56.440 know a lot about them. I'm a gigantic beetle nerd. 0:20:57.240 --> 0:20:59.840