1 00:00:00,560 --> 00:00:01,280 Speaker 1: Taking a Walk. 2 00:00:01,400 --> 00:00:04,160 Speaker 2: I'd love to leave a legacy that, you know, I 3 00:00:04,240 --> 00:00:08,080 Speaker 2: make something that's impactful enough that twenty years from now 4 00:00:08,119 --> 00:00:10,040 Speaker 2: people are like, I'm trying to make music like that, 5 00:00:10,360 --> 00:00:14,000 Speaker 2: or not even like that, but just I'm inspired by 6 00:00:14,040 --> 00:00:15,520 Speaker 2: this music to make music. 7 00:00:15,600 --> 00:00:16,400 Speaker 3: What a special thing. 8 00:00:16,520 --> 00:00:18,680 Speaker 4: I'm buzz night and welcome back to the Take at 9 00:00:18,720 --> 00:00:22,400 Speaker 4: a Walk Podcast. I am thrilled to be joined by 10 00:00:22,560 --> 00:00:25,319 Speaker 4: Noah Flourish. Now, if you haven't heard of Noah's music yet, 11 00:00:25,720 --> 00:00:28,240 Speaker 4: you are in for a treat. This twenty six year 12 00:00:28,240 --> 00:00:32,040 Speaker 4: old indie artist has been quietly building something really special, 13 00:00:32,080 --> 00:00:35,919 Speaker 4: blending folks storytelling with rock energy and pop melodies that 14 00:00:36,640 --> 00:00:40,199 Speaker 4: just stick with you. He's originally from Omaha, Nebraska, he 15 00:00:40,240 --> 00:00:42,839 Speaker 4: made the move to Nashville, where he's been crafting a 16 00:00:42,920 --> 00:00:48,520 Speaker 4: sound that feels both deeply personal and universally relatable. Since 17 00:00:48,600 --> 00:00:52,159 Speaker 4: launching his career in twenty eighteen, he's released over seventy 18 00:00:52,200 --> 00:00:56,440 Speaker 4: original songs and yes, you heard that right, seventy songs. 19 00:00:56,920 --> 00:01:01,520 Speaker 4: His breakout hit, Ghost of Chicago captured the listeners worldwide, 20 00:01:01,880 --> 00:01:05,040 Speaker 4: but it's his recent work that really has me excited 21 00:01:05,560 --> 00:01:12,479 Speaker 4: to dig into and go deep today, Taking a Walk 22 00:01:12,680 --> 00:01:15,520 Speaker 4: Noah welcome to our Taking a Walk podcast. 23 00:01:16,200 --> 00:01:17,880 Speaker 3: Thank you so much. I'm happy to be here. 24 00:01:18,760 --> 00:01:23,679 Speaker 4: So we like it's like an icebreaker opening question. It 25 00:01:23,760 --> 00:01:26,640 Speaker 4: comes out of nowhere sometimes like a freight train to people, 26 00:01:26,959 --> 00:01:30,560 Speaker 4: and the question is, Noah, if you could take a 27 00:01:30,600 --> 00:01:32,800 Speaker 4: walk with someone, living or dead, who would you take 28 00:01:32,840 --> 00:01:33,399 Speaker 4: a walk with? 29 00:01:33,560 --> 00:01:36,520 Speaker 5: And where might you take that walk? 30 00:01:37,440 --> 00:01:44,840 Speaker 3: What a great question? Living or dead? Man? Yeah, talk 31 00:01:44,880 --> 00:01:45,720 Speaker 3: about a freight train. 32 00:01:45,800 --> 00:01:48,800 Speaker 2: Holy cow, coming out of the gates, coming out of 33 00:01:48,800 --> 00:01:53,840 Speaker 2: the gates. I think I'd have to say this is 34 00:01:53,880 --> 00:01:57,120 Speaker 2: maybe a bit off topic, but I've always been very 35 00:01:57,160 --> 00:02:04,200 Speaker 2: fascinated by Abe Lincoln and I we just I've never 36 00:02:04,280 --> 00:02:06,040 Speaker 2: I've never really talked about this because I never have 37 00:02:06,080 --> 00:02:08,840 Speaker 2: a reason to. But he's just such a fascinating character. 38 00:02:10,760 --> 00:02:12,600 Speaker 3: And I saw. 39 00:02:14,840 --> 00:02:17,120 Speaker 2: I saw that movie Lincoln when I was younger, when 40 00:02:17,120 --> 00:02:21,959 Speaker 2: it when it first came out, and it just kind 41 00:02:21,960 --> 00:02:25,639 Speaker 2: of like actualized or humanized him in some ways i'd 42 00:02:25,639 --> 00:02:27,720 Speaker 2: never really thought about because you think about him as this, 43 00:02:28,480 --> 00:02:31,560 Speaker 2: you know, larger than life physically too. He was a 44 00:02:31,560 --> 00:02:38,239 Speaker 2: big guy figure in American history, and it's just kind 45 00:02:38,240 --> 00:02:40,920 Speaker 2: of an unbelievable weight on that man's shoulders and what 46 00:02:41,000 --> 00:02:44,320 Speaker 2: he dealt with I don't know, kind of a an 47 00:02:44,400 --> 00:02:45,320 Speaker 2: interesting figure. 48 00:02:45,360 --> 00:02:47,080 Speaker 3: I feel like he'd be cool to talk to. 49 00:02:48,320 --> 00:02:50,880 Speaker 4: You're the second one in two days that has brought up, 50 00:02:50,960 --> 00:02:55,400 Speaker 4: Abe Lincoln. Uh, no way, You're in good company because, 51 00:02:55,760 --> 00:02:59,240 Speaker 4: uh the artist named Maggie Rose yesterday. 52 00:02:59,600 --> 00:03:02,480 Speaker 5: Maggie she said, well, she. 53 00:03:02,520 --> 00:03:06,480 Speaker 4: Said, she said, can I say to Paul McCartney because 54 00:03:06,480 --> 00:03:12,240 Speaker 4: he's Paul McCartney, And then she said, Abe Lincoln, that is. 55 00:03:12,160 --> 00:03:18,520 Speaker 2: So funny because I, I kid you, not like Scouts 56 00:03:18,520 --> 00:03:20,640 Speaker 2: on I was never a boy scout, but Scouts on her. 57 00:03:21,960 --> 00:03:24,440 Speaker 2: Paul McCartney was like my other answer, and I was like, ah, 58 00:03:24,520 --> 00:03:27,279 Speaker 2: bit bit obvious, you know, a bit obvious for a music. 59 00:03:27,040 --> 00:03:27,679 Speaker 4: Vodcast, you know. 60 00:03:27,800 --> 00:03:29,519 Speaker 3: I was like, you know, maybe I should spice it 61 00:03:29,600 --> 00:03:30,120 Speaker 3: up a little bit. 62 00:03:30,240 --> 00:03:33,119 Speaker 2: That is so funny, Sir. Paul McCartney would have been 63 00:03:33,560 --> 00:03:36,400 Speaker 2: my other one. I gotta I gotta meet this Maggie Rose. 64 00:03:37,280 --> 00:03:42,360 Speaker 4: Yeah, she's she's she's wonderful. But you know, listen, you know, 65 00:03:42,600 --> 00:03:46,720 Speaker 4: in the world that we're living in, we love true 66 00:03:46,720 --> 00:03:51,040 Speaker 4: to life characters that are authentic, and we also like 67 00:03:51,840 --> 00:03:56,839 Speaker 4: alter Eagle fictional characters such as Francis Aquarius that we're 68 00:03:56,880 --> 00:04:01,000 Speaker 4: gonna speak about as well. Yeah, so, but Abe is 69 00:04:01,040 --> 00:04:04,400 Speaker 4: somebody for the times certainly that I think is a 70 00:04:04,440 --> 00:04:08,880 Speaker 4: pretty important, you know, one that we would want to 71 00:04:08,920 --> 00:04:11,560 Speaker 4: get our arms around somehow. You know what he would be, 72 00:04:11,680 --> 00:04:14,320 Speaker 4: what he would be certainly thinking, you know. 73 00:04:14,760 --> 00:04:19,120 Speaker 2: Especially right now, Yeah, we're in a divided time. 74 00:04:19,480 --> 00:04:21,440 Speaker 3: How do you handle that? How do you lead that? 75 00:04:22,080 --> 00:04:27,880 Speaker 3: It's an interesting interesting query for that man, for sure. 76 00:04:29,279 --> 00:04:34,080 Speaker 4: So first of all, twenty twenty four was a pretty 77 00:04:34,080 --> 00:04:37,200 Speaker 4: good year for you. I would say, oh, yeah, you 78 00:04:37,360 --> 00:04:44,760 Speaker 4: had loneliest girl in the World's right clean and the 79 00:04:44,800 --> 00:04:49,200 Speaker 4: birds song That's right. Talk about as you reflect on 80 00:04:49,240 --> 00:04:52,720 Speaker 4: twenty twenty four how satisfying it is for what you accomplished. 81 00:04:54,400 --> 00:04:57,599 Speaker 2: I mean, the song releases alone were a real treat. 82 00:04:58,240 --> 00:05:01,240 Speaker 2: It was a time where we kind of just wanted 83 00:05:01,240 --> 00:05:07,560 Speaker 2: to put out whatever worked. I come from an era 84 00:05:07,680 --> 00:05:14,680 Speaker 2: of musician who who you know, I'm in the TikTok generation, right, 85 00:05:14,800 --> 00:05:17,680 Speaker 2: So that's kind of where a lot of my career 86 00:05:17,720 --> 00:05:25,159 Speaker 2: got its start. And the game of working songs or 87 00:05:25,200 --> 00:05:28,200 Speaker 2: trying to make songs work, versus releasing a song that 88 00:05:28,279 --> 00:05:31,559 Speaker 2: is already getting a response online, it's an interesting one. 89 00:05:32,080 --> 00:05:34,880 Speaker 2: And twenty twenty four was a year where I played 90 00:05:34,880 --> 00:05:38,840 Speaker 2: that game a little bit. I would tease so many songs, 91 00:05:39,240 --> 00:05:42,920 Speaker 2: so many songs, but I would never tease anything I 92 00:05:42,960 --> 00:05:46,920 Speaker 2: wasn't excited about. So when I tease Clean and Clean 93 00:05:46,960 --> 00:05:50,400 Speaker 2: got a response, it was like, oh, great, let's put 94 00:05:50,400 --> 00:05:53,800 Speaker 2: this thing out, like people are reacting to it. Let's 95 00:05:53,800 --> 00:05:56,200 Speaker 2: give it a chance, you know, let's record it, let's 96 00:05:56,200 --> 00:05:58,800 Speaker 2: get it down. And that was great. And the same 97 00:05:58,800 --> 00:06:00,680 Speaker 2: thing happened with Lonely as Girl, and the same thing 98 00:06:00,720 --> 00:06:03,240 Speaker 2: happened with the Bird Song. It was like, Okay, people 99 00:06:03,320 --> 00:06:06,640 Speaker 2: are reacting to this song for whatever reason they want 100 00:06:06,640 --> 00:06:08,880 Speaker 2: to react to it. Let's put it out and let 101 00:06:08,960 --> 00:06:12,880 Speaker 2: people live in it. So in a way, those were 102 00:06:13,000 --> 00:06:16,680 Speaker 2: not necessarily guaranteed successes, but it was like, we're sitting 103 00:06:16,720 --> 00:06:19,040 Speaker 2: down to record these songs that we already know people 104 00:06:19,120 --> 00:06:19,880 Speaker 2: are reacting to. 105 00:06:20,640 --> 00:06:21,800 Speaker 3: So that was kind. 106 00:06:21,680 --> 00:06:25,039 Speaker 2: Of the game we were playing that year, and it 107 00:06:25,080 --> 00:06:28,320 Speaker 2: was coming off of I had two tours that year too, 108 00:06:28,360 --> 00:06:29,800 Speaker 2: and that was the first time I'd ever got on tour. 109 00:06:30,279 --> 00:06:34,080 Speaker 2: So I toured in February and March of twenty twenty four, 110 00:06:34,200 --> 00:06:37,520 Speaker 2: opening for an artist named Ricky Montgomery, and that was 111 00:06:37,560 --> 00:06:40,800 Speaker 2: an incredible experience. The first time on the road. We 112 00:06:40,839 --> 00:06:43,200 Speaker 2: did like twenty six some shows of the course of 113 00:06:43,240 --> 00:06:45,360 Speaker 2: two months, and it was incredible. I got to see 114 00:06:45,680 --> 00:06:47,760 Speaker 2: parts of the United States had never gotten the sea before. 115 00:06:48,680 --> 00:06:50,320 Speaker 2: And then I did my headline tour in the fall. 116 00:06:50,520 --> 00:06:54,080 Speaker 2: So twenty twenty four as a whole was just an incredible, 117 00:06:54,160 --> 00:06:59,320 Speaker 2: an incredible year, and it was built upon it was 118 00:06:59,360 --> 00:07:02,160 Speaker 2: built upon things that we just like knew were working. 119 00:07:03,120 --> 00:07:05,719 Speaker 2: Was it was an interesting time, but you get to 120 00:07:05,720 --> 00:07:09,240 Speaker 2: the end of it and it's like, okay. At that point, 121 00:07:09,240 --> 00:07:12,640 Speaker 2: I was pretty ready to dive into, or rather stop 122 00:07:12,760 --> 00:07:16,400 Speaker 2: playing the game of, you know, appeasing the market by 123 00:07:16,400 --> 00:07:19,400 Speaker 2: giving them what they want. I wanted to pull up 124 00:07:19,480 --> 00:07:21,520 Speaker 2: and make something for me and then give it to 125 00:07:21,560 --> 00:07:24,160 Speaker 2: the world because that feels a bit pure like and 126 00:07:24,200 --> 00:07:28,320 Speaker 2: the artist in me resonates with that process a little 127 00:07:28,320 --> 00:07:31,760 Speaker 2: bit more so, while twenty twenty four it was full 128 00:07:31,800 --> 00:07:39,320 Speaker 2: of highs, it was we were still playing a bit 129 00:07:39,320 --> 00:07:40,480 Speaker 2: of a game, you know what I mean. 130 00:07:41,920 --> 00:07:47,360 Speaker 5: You're incubating stuff and learning from that incubation. Though certainly, certainly. 131 00:07:47,000 --> 00:07:51,640 Speaker 4: And so it is it is experimentation and using the 132 00:07:51,680 --> 00:07:56,800 Speaker 4: tools at your disposal. But I do completely get the 133 00:07:56,800 --> 00:08:00,960 Speaker 4: fact that eventually you go this is a bit of 134 00:08:00,960 --> 00:08:01,400 Speaker 4: a game. 135 00:08:01,760 --> 00:08:02,800 Speaker 5: Let me just create. 136 00:08:03,280 --> 00:08:03,600 Speaker 3: Yeah. 137 00:08:03,920 --> 00:08:08,280 Speaker 2: Yeah, And that was something that you know, it's not 138 00:08:08,320 --> 00:08:12,200 Speaker 2: like that idea starts and stops. As twenty twenty five begins, 139 00:08:12,680 --> 00:08:15,200 Speaker 2: I was writing so much of the album that's coming out, 140 00:08:15,360 --> 00:08:18,840 Speaker 2: So much of Francis Aquarius was written in twenty twenty four, 141 00:08:19,480 --> 00:08:24,040 Speaker 2: so that sentiment had already kind of embedded itself as 142 00:08:25,120 --> 00:08:29,360 Speaker 2: Loneliest Girl began releasing, as The Bird Song began releasing, 143 00:08:29,480 --> 00:08:32,560 Speaker 2: it was like, Okay, it's time for me to you know, 144 00:08:32,640 --> 00:08:36,920 Speaker 2: bunker down and make something that means something to me, 145 00:08:37,760 --> 00:08:42,640 Speaker 2: and like it doesn't matter what the reaction is like that, 146 00:08:42,640 --> 00:08:45,360 Speaker 2: that is a pure form of creation in my mind. 147 00:08:46,800 --> 00:08:51,720 Speaker 5: So who are the Mount Rushmore impact artists that really 148 00:08:52,679 --> 00:08:54,200 Speaker 5: shaped you at an early age. 149 00:08:54,600 --> 00:08:58,920 Speaker 2: Yeah, I'll start with some. So I guess I get 150 00:08:58,960 --> 00:09:02,719 Speaker 2: four picks because that's how Mount Rushmore works. So all 151 00:09:04,080 --> 00:09:07,360 Speaker 2: do an easy one with Fleetwood Mac. That was something 152 00:09:07,640 --> 00:09:09,720 Speaker 2: that was a band my mom listened to a ton 153 00:09:09,960 --> 00:09:14,080 Speaker 2: growing up. So we had family. I'm from Omaha, Nebraska. 154 00:09:14,120 --> 00:09:17,360 Speaker 2: Originally we had family out in Denver and Colorado Springs, 155 00:09:17,360 --> 00:09:19,440 Speaker 2: so we would make that drive through Nebraska all the 156 00:09:19,480 --> 00:09:23,800 Speaker 2: time in our family Van and that we had like 157 00:09:23,840 --> 00:09:26,920 Speaker 2: a Rumors Deluxe CD, so it was like it was 158 00:09:27,400 --> 00:09:30,120 Speaker 2: rumors and then you'd get some like live versions of 159 00:09:30,200 --> 00:09:34,520 Speaker 2: songs and whatever, and I remember there was there was 160 00:09:35,440 --> 00:09:42,040 Speaker 2: the live performance of Tusk with the USC Marching Band 161 00:09:42,040 --> 00:09:43,800 Speaker 2: we had on that CD for somebody, even though that's 162 00:09:43,840 --> 00:09:45,640 Speaker 2: not on the Rumors. I don't know how it was 163 00:09:45,640 --> 00:09:47,840 Speaker 2: on the same CD or what the deal was. But 164 00:09:48,840 --> 00:09:52,440 Speaker 2: maybe you've heard that, maybe you haven't. But I hadn't 165 00:09:52,480 --> 00:09:56,040 Speaker 2: heard that song or that version or that rendition for 166 00:09:56,280 --> 00:09:59,800 Speaker 2: years and years and years, probably since I was driving 167 00:09:59,800 --> 00:10:03,920 Speaker 2: in the fan with my family like fifteen years ago. 168 00:10:04,360 --> 00:10:08,640 Speaker 2: I hadn't heard that version, and it popped up on 169 00:10:08,640 --> 00:10:12,320 Speaker 2: my TikTok and I rediscovered it, and there's this there's 170 00:10:12,360 --> 00:10:16,240 Speaker 2: this moment at the end of that particular track, that 171 00:10:16,320 --> 00:10:19,720 Speaker 2: recorded live track where I don't know if it's Lindsay 172 00:10:20,000 --> 00:10:21,040 Speaker 2: one of the members. 173 00:10:20,720 --> 00:10:23,160 Speaker 3: Goes USC Marching Band then. 174 00:10:23,160 --> 00:10:24,880 Speaker 2: And I heard that for the first time in like 175 00:10:25,160 --> 00:10:31,160 Speaker 2: fifteen years, and it like unlocked some some crazy memories. 176 00:10:31,200 --> 00:10:33,959 Speaker 2: For it was like, it's crazy how like certain sounds 177 00:10:34,080 --> 00:10:37,360 Speaker 2: or sense can unlock like distant memories and things like that. 178 00:10:37,440 --> 00:10:39,520 Speaker 2: So I would say Fleetwood Mac that's a that's an 179 00:10:39,520 --> 00:10:44,920 Speaker 2: easy pick. I would say Vampire Weekend. Third band I 180 00:10:44,960 --> 00:10:49,240 Speaker 2: have loved for the longest time, my oldest my oldest brother. 181 00:10:49,720 --> 00:10:51,440 Speaker 2: I've got a big family. My oldest brother was a 182 00:10:51,440 --> 00:10:54,040 Speaker 2: big Vampire Weekend fan when he was in high school, 183 00:10:54,360 --> 00:10:59,160 Speaker 2: and so I was in fourth, fifth, sixth grade getting 184 00:10:59,200 --> 00:11:05,600 Speaker 2: like some pretty interesting, pretty eclectic music tossed into my 185 00:11:05,679 --> 00:11:08,679 Speaker 2: ears from an early age by like a brother, by 186 00:11:08,679 --> 00:11:11,000 Speaker 2: an older brother driving me to soccer practice who happened 187 00:11:11,000 --> 00:11:14,079 Speaker 2: to have good indie music taste. So I was listening 188 00:11:14,080 --> 00:11:16,160 Speaker 2: to a Vampire Weekend early on, and I've been a 189 00:11:16,200 --> 00:11:20,000 Speaker 2: fan of theirs ever since. Everything they've released I cling 190 00:11:20,120 --> 00:11:26,000 Speaker 2: to and really really enjoy. So they're a big one. 191 00:11:26,160 --> 00:11:30,000 Speaker 2: I would say probably the artist that had the biggest 192 00:11:30,080 --> 00:11:35,480 Speaker 2: impact on me emotionally from like high school to college 193 00:11:35,559 --> 00:11:39,080 Speaker 2: years would be Gregory alan Isakov. He's, you know, just 194 00:11:39,080 --> 00:11:45,000 Speaker 2: an incredible folk lyricist and his album The Northern Hemisphere 195 00:11:45,840 --> 00:11:54,520 Speaker 2: was so so impactful in how I just how I 196 00:11:54,520 --> 00:11:56,480 Speaker 2: would like to be perceived in Like the kind of 197 00:11:56,600 --> 00:11:59,960 Speaker 2: music or the kind of response I'd like to get 198 00:12:00,120 --> 00:12:02,720 Speaker 2: out of the music is like the response I get 199 00:12:02,760 --> 00:12:05,040 Speaker 2: seeing him. He came I was at the University of 200 00:12:05,080 --> 00:12:08,600 Speaker 2: Nebraska Lincoln, and he came to play a show in Lincoln, 201 00:12:10,080 --> 00:12:12,839 Speaker 2: and I ended up like front row because I got 202 00:12:12,840 --> 00:12:15,160 Speaker 2: there so early because I was dying to see him, 203 00:12:15,640 --> 00:12:18,000 Speaker 2: and man, I cried the whole time. And I never, 204 00:12:18,280 --> 00:12:20,600 Speaker 2: like when I go to shows, I never really get 205 00:12:20,640 --> 00:12:23,240 Speaker 2: into the music like that because I'm always studying. It's 206 00:12:23,280 --> 00:12:25,599 Speaker 2: like a curse of mine. I'm always just watching this 207 00:12:25,640 --> 00:12:27,080 Speaker 2: stage and being like, how can I do this? Or 208 00:12:27,080 --> 00:12:28,800 Speaker 2: how can I do that? I tell you what, that 209 00:12:28,920 --> 00:12:31,760 Speaker 2: is one of like very few shows that I was 210 00:12:31,800 --> 00:12:34,400 Speaker 2: not studying at all, and I was just actually in it, 211 00:12:34,520 --> 00:12:37,800 Speaker 2: like a real audience member, enjoying it. So I said, 212 00:12:38,760 --> 00:12:43,440 Speaker 2: Gregory allen Isakov's that's Fleetwood Mac Vampire Weekend Gregory allen 213 00:12:43,520 --> 00:12:45,880 Speaker 2: Isakov And who else is my number? 214 00:12:45,880 --> 00:12:46,160 Speaker 5: Four? 215 00:12:47,559 --> 00:12:49,200 Speaker 3: Ooh, this is tough. 216 00:12:50,480 --> 00:12:52,720 Speaker 4: I wish I had the you know, the game show 217 00:12:53,080 --> 00:12:56,520 Speaker 4: sound effects underneath you, like from Jeopardy, like you. 218 00:12:56,480 --> 00:13:01,640 Speaker 5: Know, yeah, I know it, I know it. 219 00:13:01,679 --> 00:13:03,199 Speaker 3: That would not help me think. 220 00:13:03,240 --> 00:13:06,959 Speaker 2: Then I'd feel like, Okay, the pressure's really on, tell 221 00:13:06,960 --> 00:13:09,240 Speaker 2: you what, I'll go. This is a bit of some 222 00:13:09,320 --> 00:13:11,880 Speaker 2: recency bias. I don't know, if you know if this 223 00:13:12,000 --> 00:13:15,240 Speaker 2: was like a pivotals position. Just something I've been listening 224 00:13:15,240 --> 00:13:21,160 Speaker 2: to a lot recently. I've had Cameron Winter and Geese, 225 00:13:21,480 --> 00:13:24,719 Speaker 2: the band Geese and then his solo project is his name, 226 00:13:24,760 --> 00:13:28,320 Speaker 2: Cameron Winter. I've had them go and go and go 227 00:13:28,440 --> 00:13:32,880 Speaker 2: and all year. This band Geese is just incredible. They're 228 00:13:32,920 --> 00:13:38,880 Speaker 2: really experimental and cool. And Cameron Winter's solo project, he 229 00:13:38,880 --> 00:13:42,240 Speaker 2: put an album out called Heavy Metal and it's mostly 230 00:13:42,280 --> 00:13:46,320 Speaker 2: just him at piano and it's beautiful. He's great, great writer, 231 00:13:46,960 --> 00:13:48,880 Speaker 2: just loving his vibe right now. So i'd put him 232 00:13:48,960 --> 00:13:49,240 Speaker 2: up there. 233 00:13:49,400 --> 00:13:51,040 Speaker 5: That's a fantastic list. 234 00:13:51,320 --> 00:13:53,560 Speaker 3: Yeah, yeah, have you heard have you heard Geese? You know, 235 00:13:53,600 --> 00:13:54,439 Speaker 3: Cameron Winter at all? 236 00:13:54,559 --> 00:14:00,360 Speaker 2: I have not, oh, highly highly recommend really really truly. 237 00:14:01,080 --> 00:14:05,040 Speaker 3: I think they're one of the better musical acts out 238 00:14:05,240 --> 00:14:06,440 Speaker 3: Like it's stuff out right now. 239 00:14:06,640 --> 00:14:08,520 Speaker 5: Yeah, I've heard of the others. 240 00:14:08,760 --> 00:14:16,200 Speaker 4: And as you were talking about Gregory alan Isakov, we 241 00:14:16,320 --> 00:14:19,360 Speaker 4: have this other podcast that Lynn Hoffman hosts has called 242 00:14:19,440 --> 00:14:22,200 Speaker 4: Music Save Me, and she had this artist, another Nashville 243 00:14:22,760 --> 00:14:27,040 Speaker 4: based artist named Jess Joe Kay, who was a major. 244 00:14:26,760 --> 00:14:30,280 Speaker 5: Fan of Gregory allen Isakov. Like she just just. 245 00:14:30,400 --> 00:14:34,440 Speaker 4: Was going on and I'm loving and inspiring, you know, 246 00:14:34,520 --> 00:14:39,720 Speaker 4: by him. So it's funny how all things come around. 247 00:14:40,280 --> 00:14:44,720 Speaker 2: Yeah, I I it's really cool to talk about artists 248 00:14:44,760 --> 00:14:49,160 Speaker 2: like this, and it's a goal of mine someday to 249 00:14:49,280 --> 00:14:53,320 Speaker 2: be that in some ways for other musicians, you know, 250 00:14:53,480 --> 00:14:56,240 Speaker 2: like I'd love to leave a legacy that, you know, 251 00:14:56,280 --> 00:15:00,320 Speaker 2: I make something that's impactful enough that twenty years now 252 00:15:00,360 --> 00:15:02,160 Speaker 2: people are like, I'm trying to make music like that, 253 00:15:02,560 --> 00:15:06,240 Speaker 2: or not even like that, but just I'm inspired by 254 00:15:06,240 --> 00:15:07,760 Speaker 2: this music to make music. 255 00:15:07,800 --> 00:15:08,640 Speaker 3: What a special thing. 256 00:15:09,240 --> 00:15:11,400 Speaker 1: We'll be right back with more of the Taking a 257 00:15:11,440 --> 00:15:19,680 Speaker 1: Walk Podcast. Welcome back to the Taking a Walk Podcast. 258 00:15:20,640 --> 00:15:22,560 Speaker 4: Well, one of the joys for me of doing this 259 00:15:22,600 --> 00:15:30,080 Speaker 4: podcast is exactly it's my discovery of a particular artist 260 00:15:30,280 --> 00:15:36,160 Speaker 4: or their loves. I absolutely just adore that, and I 261 00:15:36,200 --> 00:15:40,320 Speaker 4: hope the audience listening adores it as well and supports 262 00:15:40,520 --> 00:15:42,040 Speaker 4: all of our sponsors as. 263 00:15:41,920 --> 00:15:44,760 Speaker 5: A result, so we can keep doing this. You know. 264 00:15:45,560 --> 00:15:50,400 Speaker 5: But as somebody who's released over seventy songs since twenty eighteen, 265 00:15:52,240 --> 00:15:54,080 Speaker 5: that's an incredible output. 266 00:15:54,440 --> 00:15:58,960 Speaker 4: First of all, yeah, ridiculous, but. 267 00:15:59,040 --> 00:15:59,760 Speaker 5: I don't think so. 268 00:16:00,000 --> 00:16:02,160 Speaker 4: So how do you decide which songs deserve to be 269 00:16:02,320 --> 00:16:03,320 Speaker 4: on the next release? 270 00:16:04,120 --> 00:16:06,480 Speaker 2: Yeah, so when it comes to when it comes to 271 00:16:06,560 --> 00:16:08,320 Speaker 2: a project like a body of work, if it's an 272 00:16:08,360 --> 00:16:11,240 Speaker 2: album or if it's an EP, they have to exist 273 00:16:11,320 --> 00:16:16,160 Speaker 2: in the same space. I'm far less particular when I'm 274 00:16:16,200 --> 00:16:18,920 Speaker 2: releasing just singles. Right, So when we're talking about twenty 275 00:16:18,920 --> 00:16:22,280 Speaker 2: twenty four, I released clean, I released Loneliest Girl, and 276 00:16:22,320 --> 00:16:26,080 Speaker 2: I released the Bird Song as kind of untethered tunes. Right, 277 00:16:26,360 --> 00:16:28,680 Speaker 2: they exist kind of in their own universe. They are 278 00:16:28,720 --> 00:16:31,560 Speaker 2: their own things, and that's fine. That was my intention 279 00:16:31,720 --> 00:16:34,000 Speaker 2: with them. I didn't really want to bundle them up 280 00:16:34,040 --> 00:16:36,640 Speaker 2: into any particular body of work because I didn't really 281 00:16:36,680 --> 00:16:40,000 Speaker 2: have a place for them at the time. When I 282 00:16:40,120 --> 00:16:44,040 Speaker 2: create an album or an EP, I am much more 283 00:16:44,080 --> 00:16:46,920 Speaker 2: particular about what belongs on that. 284 00:16:49,320 --> 00:16:55,000 Speaker 3: When it comes to finding a space for an album, 285 00:16:55,080 --> 00:16:59,640 Speaker 3: a sonic space, or a narrative, this is typically my approach. 286 00:17:01,880 --> 00:17:04,159 Speaker 3: Have you ever seen I bring that. 287 00:17:04,200 --> 00:17:06,200 Speaker 2: I've brought this up before, and I think it's a 288 00:17:06,359 --> 00:17:08,880 Speaker 2: I think it's a good metaphor. Have you ever seen 289 00:17:11,040 --> 00:17:19,600 Speaker 2: somebody try to explain how gravity effects space in that 290 00:17:19,640 --> 00:17:22,359 Speaker 2: they will stretch out a piece of cloth or a 291 00:17:22,359 --> 00:17:25,520 Speaker 2: blanket or something and place a big ball in the 292 00:17:25,560 --> 00:17:28,040 Speaker 2: middle that would act as like the sun or that 293 00:17:28,080 --> 00:17:31,840 Speaker 2: would act as some sort of gravitational strong gravitational force, 294 00:17:32,240 --> 00:17:36,080 Speaker 2: and they'll throw marbles across the blanket and you watch 295 00:17:36,160 --> 00:17:39,399 Speaker 2: them kind of rotate around and then eventually gather towards 296 00:17:39,440 --> 00:17:41,359 Speaker 2: the middle wherever that center of gravity is. 297 00:17:42,160 --> 00:17:44,400 Speaker 3: I approach a lot of my. 298 00:17:46,359 --> 00:17:49,840 Speaker 2: Bodies of work in that way, where it's like, Okay, 299 00:17:49,920 --> 00:17:51,840 Speaker 2: if I have a pocket of songs that are fitting 300 00:17:51,840 --> 00:17:55,080 Speaker 2: together really well. Let's say it's three or four songs 301 00:17:55,080 --> 00:17:59,479 Speaker 2: that talk about some of the same stuff, have some 302 00:17:59,520 --> 00:18:05,320 Speaker 2: of the same sonic or energy, you know, space is 303 00:18:05,359 --> 00:18:08,040 Speaker 2: to them. That feels like a pocket of gravity to me. 304 00:18:08,440 --> 00:18:11,240 Speaker 2: And then I can start writing songs. That's like throwing 305 00:18:11,240 --> 00:18:13,119 Speaker 2: the marbles on the sheet, and I can start writing 306 00:18:13,160 --> 00:18:16,439 Speaker 2: songs in that direction. And if things are resonating and 307 00:18:16,480 --> 00:18:19,240 Speaker 2: if things are existing nicely, then you might have a 308 00:18:19,280 --> 00:18:21,600 Speaker 2: little solar system right there that's ready to be presented 309 00:18:21,600 --> 00:18:24,600 Speaker 2: somewhere else, or that's ready to be recorded. Really like, 310 00:18:24,640 --> 00:18:27,120 Speaker 2: once you have your proof concept in the songs themselves, 311 00:18:27,119 --> 00:18:29,480 Speaker 2: it's like, Okay, let's see if we can push forward 312 00:18:29,560 --> 00:18:31,639 Speaker 2: with this. Let's see if this can really be a 313 00:18:31,720 --> 00:18:34,920 Speaker 2: system that can exist. And so that's kind of my approach, 314 00:18:35,280 --> 00:18:37,719 Speaker 2: and that was my approach with France's Aquarius. I had 315 00:18:39,040 --> 00:18:41,320 Speaker 2: two or three songs that were sitting on that project 316 00:18:41,320 --> 00:18:43,639 Speaker 2: for a long time, and I kind of just was 317 00:18:43,680 --> 00:18:46,280 Speaker 2: testing everything I wrote. I would kind of throw in 318 00:18:46,359 --> 00:18:49,400 Speaker 2: the system and sometimes the system would spit it back out. 319 00:18:49,760 --> 00:18:52,320 Speaker 2: Sometimes it would float around for a while and then 320 00:18:52,400 --> 00:18:55,560 Speaker 2: find its way out, and eventually enough songs stuck that 321 00:18:55,600 --> 00:18:58,560 Speaker 2: I was like, this makes sense. This is a narrative, 322 00:18:58,640 --> 00:19:02,080 Speaker 2: this is a space and it's ready to be seen. 323 00:19:03,760 --> 00:19:07,919 Speaker 5: It's like a checklist for landing a plane. 324 00:19:08,240 --> 00:19:09,359 Speaker 3: Elaborate on that for me. 325 00:19:10,040 --> 00:19:14,320 Speaker 4: Well, I'm not a pilot, but my understanding is when 326 00:19:14,320 --> 00:19:17,720 Speaker 4: you take off or you land a plane, pilots have 327 00:19:18,119 --> 00:19:24,959 Speaker 4: very specific checklists to make sure this happens successfully. I 328 00:19:25,040 --> 00:19:28,159 Speaker 4: realize what you're doing is not the equivalent, but it 329 00:19:28,200 --> 00:19:31,600 Speaker 4: does go through a filter and a number of things 330 00:19:32,840 --> 00:19:35,719 Speaker 4: that are tangible and emotionally that have to fit in 331 00:19:35,760 --> 00:19:38,840 Speaker 4: for you. So, oh, maybe it's a terrible analogy. No, 332 00:19:38,960 --> 00:19:41,000 Speaker 4: it's probably a terrible analoms I would say. 333 00:19:41,040 --> 00:19:44,440 Speaker 2: I would say it's the perfect analogy on a song 334 00:19:44,480 --> 00:19:49,159 Speaker 2: to song basis, It's like, does this song exist in 335 00:19:49,240 --> 00:19:51,600 Speaker 2: the same universe? Is the landing gear down. You know, 336 00:19:52,119 --> 00:19:57,119 Speaker 2: does this song like satisfy a space that other songs 337 00:19:57,119 --> 00:19:58,159 Speaker 2: on the project don't do? 338 00:19:58,680 --> 00:20:01,399 Speaker 3: You know, are our are the lights on the airwork 339 00:20:01,840 --> 00:20:04,639 Speaker 3: on the tarmac on I don't know. I don't know 340 00:20:04,640 --> 00:20:06,840 Speaker 3: the checklist diet. I've never flown a plane. I probably 341 00:20:06,840 --> 00:20:09,040 Speaker 3: never will given that performance. 342 00:20:09,080 --> 00:20:11,919 Speaker 2: But I see exactly what you're saying as far as 343 00:20:11,960 --> 00:20:14,720 Speaker 2: like qualifications for a song to exist in that universe. 344 00:20:14,920 --> 00:20:16,760 Speaker 2: That's certainly a thing you go down, you go down 345 00:20:16,800 --> 00:20:17,480 Speaker 2: that checklist. 346 00:20:18,400 --> 00:20:19,359 Speaker 5: Filters part of it. 347 00:20:19,440 --> 00:20:22,879 Speaker 3: Yeah, it's filters, and it's math a little bit, it's spatial. 348 00:20:23,240 --> 00:20:24,320 Speaker 3: It's an interesting thing. 349 00:20:24,359 --> 00:20:29,360 Speaker 2: And people who aren't creating albums, people who exist outside 350 00:20:29,359 --> 00:20:33,000 Speaker 2: of music creation, it's something they don't really get to 351 00:20:33,040 --> 00:20:33,480 Speaker 2: peak at. 352 00:20:33,520 --> 00:20:35,920 Speaker 3: A whole lot A lot of people don't realize that. 353 00:20:36,320 --> 00:20:40,119 Speaker 2: You know, there's twelve songs on France's Aquarius probably wrote 354 00:20:40,160 --> 00:20:45,159 Speaker 2: like damn near one hundred to do that exist or 355 00:20:45,600 --> 00:20:49,520 Speaker 2: existed with the intention of potentially being on the project, 356 00:20:49,560 --> 00:20:50,160 Speaker 2: you know what I mean. 357 00:20:50,920 --> 00:20:52,320 Speaker 3: So it's an interesting thing. 358 00:20:52,880 --> 00:20:57,880 Speaker 4: So when you put France's aquariusts to bed, how long 359 00:20:58,000 --> 00:21:01,159 Speaker 4: did it take you to put that to bed? And 360 00:21:02,680 --> 00:21:07,600 Speaker 4: how much restlessness in that creative process, did you have 361 00:21:07,720 --> 00:21:08,400 Speaker 4: if any. 362 00:21:08,720 --> 00:21:11,919 Speaker 3: Oh a ton a ton that thing will not be 363 00:21:11,960 --> 00:21:13,760 Speaker 3: put to bed until it's out for me. 364 00:21:15,320 --> 00:21:19,040 Speaker 2: In my mind, like I'm still wrestling with Like just 365 00:21:19,119 --> 00:21:22,480 Speaker 2: yesterday I laid down in bed and I listened to 366 00:21:22,560 --> 00:21:24,560 Speaker 2: the album again all the way through, which I hadn't 367 00:21:24,560 --> 00:21:26,600 Speaker 2: in like a week, to be like, okay. 368 00:21:26,359 --> 00:21:29,399 Speaker 3: Is this still good? Like do I still like this music? 369 00:21:29,520 --> 00:21:34,880 Speaker 2: You know? But the idea of Francis Aquarius began years ago. 370 00:21:35,680 --> 00:21:39,639 Speaker 2: I think in late twenty twenty three was when I 371 00:21:39,680 --> 00:21:40,879 Speaker 2: had the idea for the title. 372 00:21:42,440 --> 00:21:45,120 Speaker 3: I had just put out my previous record, which was. 373 00:21:45,119 --> 00:21:51,479 Speaker 2: Noah, and that album was very proud and very It 374 00:21:51,520 --> 00:21:53,240 Speaker 2: was a very much like a It felt like a 375 00:21:53,240 --> 00:21:55,560 Speaker 2: freshman album. Wasn't my first album, but it felt like 376 00:21:55,600 --> 00:21:58,280 Speaker 2: a proper introduction of like my artist project. It was 377 00:21:58,400 --> 00:22:01,119 Speaker 2: very much like here I am, check me out. This 378 00:22:01,160 --> 00:22:04,840 Speaker 2: is what I'm on. And Francis is my middle name, 379 00:22:04,960 --> 00:22:06,320 Speaker 2: and Aquarius is my sign. 380 00:22:06,480 --> 00:22:09,359 Speaker 4: Francis is my middle name as well. Come on right, 381 00:22:09,440 --> 00:22:10,920 Speaker 4: Aquarius is my sign too. 382 00:22:11,160 --> 00:22:11,960 Speaker 3: What's your birthday? 383 00:22:12,440 --> 00:22:13,520 Speaker 5: January twenty eighth? 384 00:22:13,720 --> 00:22:15,679 Speaker 3: Oh you're January. I'm a February seventh. 385 00:22:15,680 --> 00:22:19,280 Speaker 2: But hey, this this album buzz is as much yours 386 00:22:19,280 --> 00:22:21,960 Speaker 2: as it is mine. Now, that's pretty funny. Francis Aquarius. 387 00:22:21,960 --> 00:22:25,240 Speaker 2: How funny is that? Okay? Well there you go. So yeah, 388 00:22:25,280 --> 00:22:28,199 Speaker 2: middle name for are you? Is it a saintly? Is 389 00:22:28,200 --> 00:22:29,960 Speaker 2: it a saintly name? Or you're named after someone in 390 00:22:29,960 --> 00:22:32,480 Speaker 2: the family? What's the France? Where's Francis come from? 391 00:22:32,560 --> 00:22:35,480 Speaker 5: For you? I think it's a saintly thing. 392 00:22:36,040 --> 00:22:38,240 Speaker 3: Yeah, I was at Saint Francis of a CC. 393 00:22:38,400 --> 00:22:38,960 Speaker 5: That's right. 394 00:22:39,320 --> 00:22:39,959 Speaker 3: Yeah, there you go. 395 00:22:41,520 --> 00:22:44,280 Speaker 2: So anyways, it came up with that title because it 396 00:22:44,320 --> 00:22:46,080 Speaker 2: sounds like a guy. It sounds like a cool guy. 397 00:22:46,119 --> 00:22:47,119 Speaker 2: I came up with that title. 398 00:22:47,520 --> 00:22:49,000 Speaker 5: I'd like to know him. I'd like to know this. 399 00:22:49,280 --> 00:22:54,320 Speaker 2: Yeah, right, And eventually the narrative kind of unfolded that, well, 400 00:22:54,359 --> 00:22:56,240 Speaker 2: he kind of sucks. He's kind of a bad guy, 401 00:22:56,400 --> 00:22:58,680 Speaker 2: you know. It's it's kind of parts of me. He's 402 00:22:58,680 --> 00:23:02,359 Speaker 2: fun though. It's parts of me that over the last 403 00:23:03,280 --> 00:23:07,440 Speaker 2: you know, year and a half have popped up every 404 00:23:07,480 --> 00:23:09,879 Speaker 2: now and again, and I've taken note. And then I 405 00:23:10,080 --> 00:23:12,159 Speaker 2: go into songwriting sessions and I go, well, hey, this 406 00:23:12,280 --> 00:23:15,359 Speaker 2: was interesting, let's talk about it. And it usually ends 407 00:23:15,440 --> 00:23:17,120 Speaker 2: up with a song from the perspective of a guy 408 00:23:17,160 --> 00:23:18,480 Speaker 2: who isn't doing the best. 409 00:23:18,800 --> 00:23:19,080 Speaker 3: You know. 410 00:23:20,840 --> 00:23:24,720 Speaker 2: This, A lot of these songs were written around the 411 00:23:24,760 --> 00:23:27,760 Speaker 2: same time that I was going on these tours, and 412 00:23:28,400 --> 00:23:30,160 Speaker 2: I was single at the time, and I was very 413 00:23:30,200 --> 00:23:35,840 Speaker 2: aloof and I think that certainly shines through in a 414 00:23:35,880 --> 00:23:40,960 Speaker 2: lot of ways via and secure lyrics and kind of 415 00:23:41,000 --> 00:23:44,600 Speaker 2: a biting tone in a lot of these tracks. So 416 00:23:44,920 --> 00:23:47,560 Speaker 2: I don't know, interesting to think about. But it was 417 00:23:48,160 --> 00:23:51,640 Speaker 2: as far as putting the thing to bed, I mean, 418 00:23:52,600 --> 00:23:55,639 Speaker 2: Francis Aquarius is still turning over in my mind, you 419 00:23:55,640 --> 00:23:59,800 Speaker 2: know what I mean. But with any release, like once 420 00:23:59,800 --> 00:24:03,760 Speaker 2: it's out, you I at least get to wash my 421 00:24:03,800 --> 00:24:05,760 Speaker 2: hands a little bit. I at least get to say 422 00:24:06,440 --> 00:24:11,000 Speaker 2: there's no going back. And that's that's a really In 423 00:24:11,040 --> 00:24:14,640 Speaker 2: some ways it's scary, but in some ways it's pretty comforting. 424 00:24:16,160 --> 00:24:19,920 Speaker 4: Is there a calling to the spirituality? I know, your 425 00:24:19,920 --> 00:24:23,480 Speaker 4: brother's monk, your aunt was a nun. Is there a 426 00:24:23,520 --> 00:24:28,320 Speaker 4: calling to the higher powers when you're completing a project 427 00:24:28,359 --> 00:24:30,800 Speaker 4: to push it over the finish line? 428 00:24:30,840 --> 00:24:31,040 Speaker 5: Ever? 429 00:24:32,119 --> 00:24:33,200 Speaker 3: You know, it's funny. 430 00:24:34,960 --> 00:24:39,680 Speaker 2: The the idea, the initial idea of France's Aquarius. When 431 00:24:39,680 --> 00:24:41,320 Speaker 2: I like I really when I when I came up 432 00:24:41,320 --> 00:24:42,679 Speaker 2: with the title, and I was like, what could this 433 00:24:42,760 --> 00:24:46,520 Speaker 2: be the album? There were no songs that really fit 434 00:24:46,600 --> 00:24:49,160 Speaker 2: this this space, but it was like the first time 435 00:24:49,160 --> 00:24:51,399 Speaker 2: I really thought about what kind of songs could exist 436 00:24:51,400 --> 00:24:54,119 Speaker 2: in there, and I thought about doing sort of like 437 00:24:54,200 --> 00:25:01,560 Speaker 2: a front half back half like songs that dipped into 438 00:25:02,800 --> 00:25:06,080 Speaker 2: the Catholic space a little bit, not not so much 439 00:25:06,119 --> 00:25:08,359 Speaker 2: that they were like worship music, but that just like 440 00:25:08,520 --> 00:25:11,359 Speaker 2: dealt in that tone, and then the back half being 441 00:25:11,440 --> 00:25:15,280 Speaker 2: more I don't know, aquarius, like secular or outside of 442 00:25:15,320 --> 00:25:18,920 Speaker 2: the church, and kind of like wrestling with the things 443 00:25:18,960 --> 00:25:21,000 Speaker 2: that I've wrestled with over the past. Anyways, it did 444 00:25:21,119 --> 00:25:22,920 Speaker 2: end up being that it did not end up being 445 00:25:22,920 --> 00:25:24,720 Speaker 2: that because I didn't want to. 446 00:25:24,880 --> 00:25:26,000 Speaker 3: I kind of like lost. 447 00:25:25,760 --> 00:25:28,119 Speaker 2: Deem for that idea pretty quickly because it was just 448 00:25:28,119 --> 00:25:34,720 Speaker 2: so heady. But it's not like I'm putting out a 449 00:25:34,760 --> 00:25:38,600 Speaker 2: song called wild Thing and then praying to God that. 450 00:25:38,720 --> 00:25:40,760 Speaker 3: It all, that it'll resonate or whatever. 451 00:25:41,160 --> 00:25:41,359 Speaker 4: You know. 452 00:25:41,840 --> 00:25:44,640 Speaker 2: It's funny like I I, yes, I have a brother 453 00:25:44,680 --> 00:25:46,880 Speaker 2: who's a monk. I just saw him two weeks ago 454 00:25:46,920 --> 00:25:48,480 Speaker 2: for the first time in like a year or so. 455 00:25:49,560 --> 00:25:52,280 Speaker 2: I don't you can't call him you can't. You know, 456 00:25:52,320 --> 00:25:54,520 Speaker 2: he lives in a monastery in an abbey. You can 457 00:25:54,560 --> 00:25:56,639 Speaker 2: reach him via a letter or going there in person. 458 00:25:56,720 --> 00:25:58,000 Speaker 2: So I saw him for the first time in like 459 00:25:58,000 --> 00:26:02,000 Speaker 2: a year or so with my family, just two weekends ago. 460 00:26:02,680 --> 00:26:07,280 Speaker 2: And it's so funny because I'm there on this monastery 461 00:26:07,320 --> 00:26:10,520 Speaker 2: with no service, and then I leave and I'm like 462 00:26:10,800 --> 00:26:15,480 Speaker 2: throwing up a TikTok about me drinking, you know, promoting 463 00:26:15,480 --> 00:26:17,720 Speaker 2: a song about drinking too much. It's just funny. It's 464 00:26:18,880 --> 00:26:26,040 Speaker 2: I wouldn't say, I'm so much like looking up to 465 00:26:26,119 --> 00:26:28,160 Speaker 2: God being like help me out on this one man, 466 00:26:28,640 --> 00:26:29,640 Speaker 2: as I am being like. 467 00:26:30,600 --> 00:26:34,000 Speaker 3: Sorry, you know, it's just shame there, you know, with 468 00:26:34,040 --> 00:26:36,680 Speaker 3: some of the subject matter and whatever else, which is 469 00:26:36,720 --> 00:26:40,639 Speaker 3: pretty Catholic of me. But yeah, I don't know. That's 470 00:26:40,640 --> 00:26:41,560 Speaker 3: an interesting question. 471 00:26:41,800 --> 00:26:44,240 Speaker 5: What does your brother think of what you're doing? 472 00:26:45,680 --> 00:26:50,879 Speaker 2: He when he really dove into initially he wanted to 473 00:26:50,960 --> 00:26:54,280 Speaker 2: be a diocesan priest, and when he really dove into 474 00:26:54,320 --> 00:26:58,520 Speaker 2: that after he graduated from college, that was one like, 475 00:26:58,720 --> 00:27:00,680 Speaker 2: oh my gosh, I'm gonna have a brother who's a priest. 476 00:27:00,720 --> 00:27:01,360 Speaker 3: That was crazy. 477 00:27:01,440 --> 00:27:03,800 Speaker 2: That was a crazy like I had never thought that 478 00:27:03,800 --> 00:27:07,240 Speaker 2: that was going to happen, and we would have discussions 479 00:27:07,280 --> 00:27:10,400 Speaker 2: all the time where he would rip me to shreds, 480 00:27:10,440 --> 00:27:13,720 Speaker 2: being like this song is too you know. 481 00:27:15,200 --> 00:27:18,399 Speaker 3: He he's a particular fellow, but he would be like, 482 00:27:18,440 --> 00:27:19,080 Speaker 3: this song is. 483 00:27:20,840 --> 00:27:23,959 Speaker 2: You know, too sexual, or this song is too you 484 00:27:24,000 --> 00:27:24,520 Speaker 2: know whatever. 485 00:27:24,800 --> 00:27:26,960 Speaker 3: So we would get at it all the time. 486 00:27:27,240 --> 00:27:30,880 Speaker 2: If he heard some of the stuff that I've got 487 00:27:30,880 --> 00:27:32,680 Speaker 2: on this album, I'm sure he'd be shaking his head. 488 00:27:33,640 --> 00:27:34,160 Speaker 3: But he can't. 489 00:27:34,200 --> 00:27:36,440 Speaker 2: He's a monk, now, so it's not like they got 490 00:27:36,440 --> 00:27:37,480 Speaker 2: iPods there or anything. 491 00:27:38,840 --> 00:27:42,520 Speaker 3: So I don't know. Maybe maybe it's better he doesn't 492 00:27:42,560 --> 00:27:46,919 Speaker 3: hear it, but yeah, that's funny. 493 00:27:47,040 --> 00:27:48,160 Speaker 5: You can't make that up. 494 00:27:48,840 --> 00:27:52,320 Speaker 3: No, it's I've got a pretty eclectic family. That's part 495 00:27:52,359 --> 00:27:55,040 Speaker 3: of I think it's it's an interesting part of my story, 496 00:27:55,800 --> 00:27:57,560 Speaker 3: and I appreciate it so much. 497 00:27:57,640 --> 00:28:01,680 Speaker 2: It's what a gift, you know, to have these differences 498 00:28:01,720 --> 00:28:05,320 Speaker 2: and still be as tight as we are. You know. 499 00:28:05,800 --> 00:28:08,040 Speaker 5: Yeah, it's colorful, that's for sure, right. 500 00:28:07,960 --> 00:28:10,879 Speaker 3: Certainly, certainly. Oh yeah, I don't take it for granted. 501 00:28:11,720 --> 00:28:12,360 Speaker 5: So when you. 502 00:28:13,800 --> 00:28:17,560 Speaker 4: Dream into the future and you made reference to this 503 00:28:18,400 --> 00:28:24,040 Speaker 4: producing work that has staying power and that others can 504 00:28:24,400 --> 00:28:26,800 Speaker 4: admire or emulate or all the above. 505 00:28:28,840 --> 00:28:30,359 Speaker 5: You know, where do you where do you see the 506 00:28:30,400 --> 00:28:32,119 Speaker 5: future for me? 507 00:28:33,600 --> 00:28:38,440 Speaker 2: As far as like solidifying that legacy, Yep, it's twofold. 508 00:28:39,720 --> 00:28:42,680 Speaker 3: I think some of that is growth. 509 00:28:42,760 --> 00:28:46,959 Speaker 2: Some of that is like commercial success and like working 510 00:28:47,000 --> 00:28:49,560 Speaker 2: towards that, which is like a dirty thing in a 511 00:28:49,560 --> 00:28:52,360 Speaker 2: lot of ways, and it like certainly irks the my 512 00:28:53,480 --> 00:28:58,600 Speaker 2: my artist, you know, it irks me that reality, but 513 00:28:58,640 --> 00:29:00,320 Speaker 2: it's necessary and it's true, and I'm not going to 514 00:29:00,320 --> 00:29:04,760 Speaker 2: shy away from it. I think that's you know, obviously 515 00:29:04,760 --> 00:29:08,560 Speaker 2: a goal of mine is to run a successful camp 516 00:29:08,800 --> 00:29:15,720 Speaker 2: and play bigger shows and some more records and do 517 00:29:15,840 --> 00:29:19,040 Speaker 2: that whole thing. But I also think, uh, the opposite 518 00:29:19,080 --> 00:29:23,440 Speaker 2: side is addressing the responsibilities that come with being an artist, 519 00:29:23,440 --> 00:29:27,080 Speaker 2: which is breaking ground, doing things that haven't been done before, 520 00:29:27,600 --> 00:29:30,160 Speaker 2: saying things that haven't been said before, and trying to 521 00:29:30,160 --> 00:29:35,680 Speaker 2: do that more so, those are those are two doable things. 522 00:29:36,040 --> 00:29:37,680 Speaker 2: Those are two things that I feel like I can 523 00:29:37,680 --> 00:29:42,360 Speaker 2: accomplish that could solidify that legacy, but is not really 524 00:29:42,400 --> 00:29:46,000 Speaker 2: the purpose of the legacy, if that makes sense, because 525 00:29:47,360 --> 00:29:53,760 Speaker 2: I find what's worth having in a legacy because even 526 00:29:53,800 --> 00:29:56,600 Speaker 2: the legacy itself is an ego thing, like wanting to 527 00:29:56,640 --> 00:29:59,960 Speaker 2: be remembered is a bit soft, is a bit land, 528 00:30:00,360 --> 00:30:03,400 Speaker 2: is a bit boring, is a bit I don't know. 529 00:30:04,240 --> 00:30:05,640 Speaker 3: It's an old. 530 00:30:05,400 --> 00:30:09,480 Speaker 2: Way of thinking that doesn't do the artist in me 531 00:30:09,880 --> 00:30:13,600 Speaker 2: any good. Just like the commercial stuff, it's not so 532 00:30:13,720 --> 00:30:16,520 Speaker 2: different than the commercial stuff. Wanting to be remembered is 533 00:30:16,560 --> 00:30:20,040 Speaker 2: not so different from wanting to sell a zillion records. 534 00:30:20,320 --> 00:30:26,720 Speaker 2: I think for me what's important is like human impact, 535 00:30:26,880 --> 00:30:30,560 Speaker 2: like real human impact, Like my life in anybody's life 536 00:30:30,600 --> 00:30:33,880 Speaker 2: is a flash in the pan of like human history. 537 00:30:34,400 --> 00:30:39,840 Speaker 2: So like, forget legacy, Paul McCartney an incredible musician, Well, 538 00:30:39,840 --> 00:30:43,640 Speaker 2: people know Paul McCartney's music five hundred years from now. 539 00:30:43,960 --> 00:30:48,000 Speaker 2: Who's to say. Maybe maybe I'm not going to rule 540 00:30:48,000 --> 00:30:53,560 Speaker 2: that out. But at the same time, like what is 541 00:30:53,600 --> 00:30:54,480 Speaker 2: a legacy worth? 542 00:30:54,520 --> 00:30:54,720 Speaker 5: Then? 543 00:30:55,480 --> 00:31:00,440 Speaker 3: You know, for me, it's worth lies in the impact 544 00:31:01,440 --> 00:31:03,360 Speaker 3: that you make. It's like in its ripples. 545 00:31:03,760 --> 00:31:06,960 Speaker 2: It doesn't have your name necessarily attached to it, but 546 00:31:07,040 --> 00:31:10,080 Speaker 2: it may have some message of yours attached to it, 547 00:31:10,320 --> 00:31:12,760 Speaker 2: or it may have some good act or good feeling 548 00:31:12,840 --> 00:31:14,120 Speaker 2: attached to it. 549 00:31:13,960 --> 00:31:18,680 Speaker 3: It may it may be fifty years from now. 550 00:31:19,280 --> 00:31:23,280 Speaker 2: A fan of mine has a daughter and she shows 551 00:31:23,320 --> 00:31:27,320 Speaker 2: a her daughter that song and that daughter loves the song, 552 00:31:27,560 --> 00:31:32,000 Speaker 2: never learns my artist's name, hears it in her youth, 553 00:31:32,240 --> 00:31:33,920 Speaker 2: and it's a melody that sits with her, or it's 554 00:31:33,920 --> 00:31:36,840 Speaker 2: a message that sits with her and means something, or 555 00:31:36,880 --> 00:31:39,120 Speaker 2: they can sing it together or whatever, and my name 556 00:31:39,160 --> 00:31:40,160 Speaker 2: isn't even attached to it. 557 00:31:40,200 --> 00:31:43,760 Speaker 3: That's a beautiful thing that I like to imagine. Music 558 00:31:43,840 --> 00:31:45,400 Speaker 3: is a beautiful thing, and. 559 00:31:47,120 --> 00:31:50,480 Speaker 2: There are so many different ways to bastardize it or 560 00:31:50,520 --> 00:31:55,040 Speaker 2: to think about it wrong. And protecting those things selfishly 561 00:31:56,080 --> 00:32:00,520 Speaker 2: makes the art worth it, you know, and makes a 562 00:32:00,520 --> 00:32:03,400 Speaker 2: lot of the bullshit that comes with this industry worth it. 563 00:32:05,480 --> 00:32:05,920 Speaker 3: I don't know. 564 00:32:06,040 --> 00:32:09,080 Speaker 2: So as far as legacy, legacy is concerned, even that 565 00:32:09,120 --> 00:32:11,320 Speaker 2: can be a dirty word. I want my legacy to 566 00:32:11,400 --> 00:32:16,120 Speaker 2: exist in good feeling and good faith and good action. 567 00:32:17,720 --> 00:32:20,760 Speaker 5: And I would add on and being a breath of 568 00:32:20,800 --> 00:32:21,320 Speaker 5: fresh air. 569 00:32:22,360 --> 00:32:25,600 Speaker 3: I hope, so, I hope, so there's something there's I 570 00:32:25,640 --> 00:32:28,160 Speaker 3: would love to be fresh too. I would love to 571 00:32:28,200 --> 00:32:28,640 Speaker 3: be fresh. 572 00:32:28,840 --> 00:32:30,080 Speaker 5: You are a breath of fresh air. 573 00:32:30,160 --> 00:32:35,680 Speaker 4: Noah, And congratulations on Francis Aquarius and all the great work. 574 00:32:35,760 --> 00:32:38,320 Speaker 4: I so enjoyed it, and I hope you'll come back sometime. 575 00:32:38,840 --> 00:32:40,240 Speaker 3: Thank you, guys. I'd love to be back. 576 00:32:41,920 --> 00:32:44,400 Speaker 1: Thanks for listening to this episode of the Taking a 577 00:32:44,440 --> 00:32:48,320 Speaker 1: Walk podcast. Share this and other episodes with your friends 578 00:32:48,400 --> 00:32:51,920 Speaker 1: and follow us so you never miss an episode. Taking 579 00:32:51,960 --> 00:32:55,840 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 580 00:32:56,040 --> 00:32:58,360 Speaker 1: and wherever you get your podcasts.