1 00:00:00,440 --> 00:00:01,240 Speaker 1: Taking a Walk. 2 00:00:01,280 --> 00:00:03,160 Speaker 2: I think about the fact that Megan and I for 3 00:00:03,320 --> 00:00:07,360 Speaker 2: years have started, you know, and maintained a YouTube channel 4 00:00:07,360 --> 00:00:10,559 Speaker 2: where we cover a wide variety of songs, and we 5 00:00:11,119 --> 00:00:13,640 Speaker 2: started out doing that just for fun, just as a 6 00:00:13,640 --> 00:00:16,040 Speaker 2: way like in between tours for us to stay fresh 7 00:00:16,079 --> 00:00:18,520 Speaker 2: and sharp, and you know, go and learn a Tom 8 00:00:18,560 --> 00:00:21,239 Speaker 2: Petty song, Go and learn a Black Sabbath song, Go 9 00:00:21,320 --> 00:00:23,439 Speaker 2: and learn a Pat Metheenie song, Go and learn a 10 00:00:23,480 --> 00:00:26,680 Speaker 2: Steve Moore song. And that was sort of like our 11 00:00:26,800 --> 00:00:30,600 Speaker 2: way of educating ourselves further in the language of music. 12 00:00:30,760 --> 00:00:33,760 Speaker 1: Welcome to the Taking a Walk Podcast, the show where 13 00:00:33,800 --> 00:00:36,840 Speaker 1: Buzz Night talks to musicians and gets to the heart 14 00:00:37,080 --> 00:00:40,600 Speaker 1: of their craft and their creative process. On this episode, 15 00:00:40,760 --> 00:00:44,320 Speaker 1: he talks with Rebecca and Meghan Lovell, two sisters who 16 00:00:44,400 --> 00:00:48,000 Speaker 1: lead the roots rock and Americana band Lark and Poe. 17 00:00:48,479 --> 00:00:52,160 Speaker 1: Here's Buzz Night with Lark and Poe on Taking a Walk. 18 00:00:53,560 --> 00:00:57,400 Speaker 3: Rebecca and Meghan, Lark and Poe. So great to have 19 00:00:57,520 --> 00:00:59,840 Speaker 3: you on the Taken a Walk Podcast. 20 00:01:00,240 --> 00:01:01,760 Speaker 2: It is so fun to be here. 21 00:01:01,840 --> 00:01:03,320 Speaker 4: Yeah, thank you for having us. 22 00:01:03,920 --> 00:01:06,520 Speaker 3: Take me back both of you sitting at a piano 23 00:01:06,760 --> 00:01:10,319 Speaker 3: with your mom learning to sing. What do you remember 24 00:01:10,400 --> 00:01:13,600 Speaker 3: about that important moment in your career. 25 00:01:14,520 --> 00:01:19,560 Speaker 4: Our mom grew up singing with her siblings, so harmony 26 00:01:19,640 --> 00:01:22,920 Speaker 4: was always a big part of our musical heritage. I 27 00:01:22,920 --> 00:01:26,399 Speaker 4: guess you could say our mom grew up listening to 28 00:01:26,440 --> 00:01:29,640 Speaker 4: a lot of folk artists and grew up in the 29 00:01:29,720 --> 00:01:32,959 Speaker 4: land of Dolly Parton, so I think that siblings singing 30 00:01:33,000 --> 00:01:36,600 Speaker 4: together was a big part of her hurt growing up 31 00:01:36,640 --> 00:01:39,520 Speaker 4: as well. So she sat down and taught us to sing. 32 00:01:40,040 --> 00:01:44,240 Speaker 4: There's a four siblings all together, but the three sisters 33 00:01:44,319 --> 00:01:47,160 Speaker 4: are the ones that sang together. So Rebecca and I 34 00:01:47,200 --> 00:01:50,680 Speaker 4: and our older sister, we learned to sing harmony before 35 00:01:50,720 --> 00:01:51,480 Speaker 4: we could even read. 36 00:01:52,520 --> 00:01:55,640 Speaker 3: And it's a pivotal moment that really shaped both of you. 37 00:01:55,840 --> 00:01:56,040 Speaker 1: Right. 38 00:01:57,200 --> 00:02:01,320 Speaker 2: Yeah, at the time, I guess we weren't even considering 39 00:02:01,360 --> 00:02:04,040 Speaker 2: it as as a career because it was a very 40 00:02:04,040 --> 00:02:07,840 Speaker 2: special gift that my mother gave us from you know, 41 00:02:08,080 --> 00:02:10,320 Speaker 2: three and four years old, our parents allowing us to 42 00:02:10,320 --> 00:02:14,519 Speaker 2: start taking classical violin and piano lessons and making music 43 00:02:14,639 --> 00:02:17,960 Speaker 2: such an integral part of our household. And again, like, 44 00:02:18,680 --> 00:02:21,480 Speaker 2: even from our parents' perspective, I don't think that they 45 00:02:21,560 --> 00:02:26,560 Speaker 2: were ever intending us to treat music as a livelihood. 46 00:02:26,639 --> 00:02:29,960 Speaker 2: It was just a joy that they experienced and wanted 47 00:02:30,040 --> 00:02:33,280 Speaker 2: us to be able to have use of a language, 48 00:02:33,280 --> 00:02:34,400 Speaker 2: the language of music. 49 00:02:34,800 --> 00:02:37,320 Speaker 4: I feel so fortunate that music really was a part 50 00:02:37,360 --> 00:02:40,120 Speaker 4: of our daily lives, and they instilled in us a 51 00:02:40,240 --> 00:02:44,359 Speaker 4: love of music, and they listened to all different kinds 52 00:02:44,400 --> 00:02:48,440 Speaker 4: of music, from you know, rock to jazz, to bluegrass, 53 00:02:48,600 --> 00:02:53,880 Speaker 4: to classical music, world music, all of the hard rock. Yeah, 54 00:02:54,120 --> 00:02:58,120 Speaker 4: so we grew up having kind of a diverse love. 55 00:03:00,080 --> 00:03:00,280 Speaker 5: Well. 56 00:03:00,320 --> 00:03:03,920 Speaker 3: I feel like as Lark and Poe has evolved, I 57 00:03:04,040 --> 00:03:10,120 Speaker 3: really feel that you're really not typecast in terms of genre. 58 00:03:10,320 --> 00:03:13,400 Speaker 3: In my view, I think you are a little bit 59 00:03:13,400 --> 00:03:15,839 Speaker 3: of this and a little bit of that, and you're 60 00:03:15,880 --> 00:03:21,240 Speaker 3: constantly exploring. Is that a fair assessment, Absolutely. 61 00:03:21,000 --> 00:03:22,760 Speaker 2: And it is. It's interesting as well. I think the 62 00:03:22,800 --> 00:03:25,919 Speaker 2: older that we get, or I'll speak from my perspective, 63 00:03:25,919 --> 00:03:29,520 Speaker 2: the older that I get when I look back at 64 00:03:30,120 --> 00:03:33,400 Speaker 2: our track record, so many of the pivotal moments in 65 00:03:33,440 --> 00:03:37,760 Speaker 2: our career or the practices that have ultimately shaped us 66 00:03:37,800 --> 00:03:44,040 Speaker 2: the most, we're very rarely intentional, or we're very rarely like, 67 00:03:44,960 --> 00:03:47,600 Speaker 2: you know, a means to an end. Like I think 68 00:03:47,640 --> 00:03:50,440 Speaker 2: about the fact that Megan and I for years have started, 69 00:03:51,080 --> 00:03:53,960 Speaker 2: you know, and maintained a YouTube channel where we cover 70 00:03:54,200 --> 00:03:57,840 Speaker 2: a wide variety of songs. And we started out doing 71 00:03:57,920 --> 00:04:01,080 Speaker 2: that just for fun, just as a way like in 72 00:04:01,160 --> 00:04:03,640 Speaker 2: between tours, for us to stay fresh and sharp, and 73 00:04:04,200 --> 00:04:06,280 Speaker 2: you know, go and learn a Tom Petty song, go 74 00:04:06,320 --> 00:04:08,600 Speaker 2: and learn a Black Sabbath song, Go and learn a 75 00:04:08,640 --> 00:04:11,280 Speaker 2: Pat Metheeni song, Go and learn a Steve Moore song. 76 00:04:11,840 --> 00:04:14,800 Speaker 2: And that was sort of like our way of educating 77 00:04:14,800 --> 00:04:18,840 Speaker 2: ourselves further in the language of music. But I think 78 00:04:18,920 --> 00:04:21,760 Speaker 2: as a result, and we never would have premedicated this, 79 00:04:22,000 --> 00:04:24,839 Speaker 2: that people view us, I think as a less attached 80 00:04:24,839 --> 00:04:28,279 Speaker 2: to genre because they know us for our original material 81 00:04:28,360 --> 00:04:32,400 Speaker 2: and they also know us for covering anything from rockabilly 82 00:04:32,760 --> 00:04:36,719 Speaker 2: to you know to hard rock from our YouTube series. 83 00:04:36,760 --> 00:04:39,640 Speaker 2: So I think that that has actually, somewhat unexpectedly been 84 00:04:39,720 --> 00:04:43,279 Speaker 2: such a boon to us and allowing Lark and Poe 85 00:04:43,279 --> 00:04:46,479 Speaker 2: to kind of skate on like the surface of a 86 00:04:46,640 --> 00:04:50,599 Speaker 2: very broad musical lake. And in that way, it's like 87 00:04:50,680 --> 00:04:51,360 Speaker 2: such a gift. 88 00:04:51,640 --> 00:04:55,520 Speaker 4: Also, we played for a long time and we're kind 89 00:04:55,560 --> 00:04:59,159 Speaker 4: of mentored by Elvis Costello, and that's also a man 90 00:04:59,200 --> 00:05:02,760 Speaker 4: who has a very diverse career in terms of genre, 91 00:05:03,360 --> 00:05:05,680 Speaker 4: and it allows him to change it up and keep 92 00:05:05,760 --> 00:05:10,440 Speaker 4: himself fresh. And he kind of imparted that wisdom onto us, like, 93 00:05:10,760 --> 00:05:14,680 Speaker 4: don't box yourselves in, keep try and keep audiences guessing 94 00:05:14,720 --> 00:05:17,800 Speaker 4: a little bit so that you can be at the 95 00:05:17,839 --> 00:05:19,159 Speaker 4: forefront of your own game. 96 00:05:21,000 --> 00:05:25,599 Speaker 3: Talk about some other career turning points that have really 97 00:05:25,640 --> 00:05:28,479 Speaker 3: sort of continued to free you creatively. 98 00:05:29,640 --> 00:05:33,520 Speaker 2: I feel twenty seventeen is a big one. Twenty seventeen 99 00:05:33,640 --> 00:05:37,400 Speaker 2: is the year that we self produced our first record together, Peach, 100 00:05:37,720 --> 00:05:41,640 Speaker 2: and we started our record label, and that really has 101 00:05:41,760 --> 00:05:46,080 Speaker 2: been one of the more the single most impactful moments 102 00:05:46,080 --> 00:05:49,840 Speaker 2: of our career because it was a very intimidating move 103 00:05:49,880 --> 00:05:52,719 Speaker 2: to make and it felt a little bit fullhardy. I 104 00:05:52,720 --> 00:05:55,839 Speaker 2: think both my sister and I, even for being touring 105 00:05:55,920 --> 00:05:59,680 Speaker 2: musicians in the entertainment field, we're fairly risk averse, even 106 00:05:59,720 --> 00:06:02,760 Speaker 2: though you would think otherwise it's a very risky line 107 00:06:02,760 --> 00:06:05,039 Speaker 2: of work to try and make a buck in, but 108 00:06:06,120 --> 00:06:08,039 Speaker 2: being able, I think to come together as a team 109 00:06:08,080 --> 00:06:09,320 Speaker 2: and be like, you know what, we're going to jump 110 00:06:09,320 --> 00:06:13,560 Speaker 2: off this cliff. We're gonna do it ourselves. We've always 111 00:06:13,600 --> 00:06:17,040 Speaker 2: known from the beginning that we've had very strong creative opinions. Clearly, 112 00:06:18,160 --> 00:06:21,320 Speaker 2: our mother and our father raised us to like to 113 00:06:21,760 --> 00:06:23,320 Speaker 2: do what we want to do when we want to 114 00:06:23,320 --> 00:06:25,919 Speaker 2: do it, and for that I'm eternally grateful because it 115 00:06:25,960 --> 00:06:27,719 Speaker 2: has allowed us, I think, to reach that point in 116 00:06:27,760 --> 00:06:30,359 Speaker 2: our career and have the sense of self and the 117 00:06:30,400 --> 00:06:33,440 Speaker 2: faith to take that leap and start our own label 118 00:06:33,520 --> 00:06:37,680 Speaker 2: and start producing our own records. And that was really 119 00:06:37,760 --> 00:06:42,600 Speaker 2: our first taste of pure, unfettered creative freedom and there's 120 00:06:42,600 --> 00:06:43,440 Speaker 2: no going back for us. 121 00:06:43,520 --> 00:06:48,920 Speaker 3: Now, where did you get the desire to always seek 122 00:06:49,480 --> 00:06:52,800 Speaker 3: continuous improvement? Is that from your parents? I know they 123 00:06:52,800 --> 00:06:55,680 Speaker 3: were in sort of the medical field, right, m. 124 00:06:56,720 --> 00:06:59,480 Speaker 4: Yeah, they were both in the medical field and both 125 00:07:00,160 --> 00:07:04,720 Speaker 4: very much do it yourselfers, and both of them have 126 00:07:04,800 --> 00:07:09,680 Speaker 4: a very strong drive and work ethic. So I do 127 00:07:09,720 --> 00:07:12,120 Speaker 4: think that we got a lot of that from them, 128 00:07:12,280 --> 00:07:15,760 Speaker 4: and I think it's also helped to have a little 129 00:07:15,760 --> 00:07:22,280 Speaker 4: bit of sibling rivalry as well, in healthy and unhealthy ways, 130 00:07:22,280 --> 00:07:25,800 Speaker 4: but mostly healthy. You know, I think that we push 131 00:07:25,840 --> 00:07:29,840 Speaker 4: each other and there's no resting on laurels when you've 132 00:07:29,840 --> 00:07:32,920 Speaker 4: got somebody beside you who really who really knows you 133 00:07:33,520 --> 00:07:37,560 Speaker 4: and kind of wants to see you improve. As well. 134 00:07:37,680 --> 00:07:40,160 Speaker 4: So I think I think we do push each other. 135 00:07:41,240 --> 00:07:44,000 Speaker 2: Yeah, that's it's fair to say. That's very fair to say, 136 00:07:44,240 --> 00:07:46,960 Speaker 2: and I agree. I think that that is a blessing 137 00:07:46,960 --> 00:07:51,200 Speaker 2: and a curse because I think especially in the music 138 00:07:51,280 --> 00:07:56,000 Speaker 2: industry of today's time, where there is such a hand 139 00:07:56,200 --> 00:08:00,680 Speaker 2: in glove relationship with social media, and so there's always 140 00:08:00,720 --> 00:08:05,920 Speaker 2: this upping of the ante. There's this this this image conscious, 141 00:08:06,080 --> 00:08:09,880 Speaker 2: this never resting, twenty four hour news cycle approach to 142 00:08:10,760 --> 00:08:14,640 Speaker 2: the creative arts at this point that sometimes I think, 143 00:08:14,760 --> 00:08:17,440 Speaker 2: because we are we do have a very high expectation 144 00:08:17,720 --> 00:08:20,760 Speaker 2: of the kind of work that we can do together 145 00:08:20,800 --> 00:08:24,720 Speaker 2: as a teen that finding those moments where it's like 146 00:08:24,760 --> 00:08:27,480 Speaker 2: you know what, Hey, actually we need to dial back 147 00:08:27,520 --> 00:08:30,320 Speaker 2: the self criticism. We need to dial back sort of 148 00:08:30,480 --> 00:08:34,640 Speaker 2: the always on because I think back to you know, 149 00:08:34,640 --> 00:08:37,600 Speaker 2: when we were in our early teens, late teens, we 150 00:08:37,640 --> 00:08:40,800 Speaker 2: would have uninterrupted hours of time to sit and hone 151 00:08:40,840 --> 00:08:43,640 Speaker 2: our craft, just sitting and noodling on our instruments, sitting 152 00:08:43,720 --> 00:08:49,400 Speaker 2: and toying with a song. And nowadays, like the ratio 153 00:08:49,520 --> 00:08:53,120 Speaker 2: of time it's so weighted in, like our calendar is full, 154 00:08:53,200 --> 00:08:55,800 Speaker 2: we have so much stuff to do. There's these extra 155 00:08:55,840 --> 00:08:58,920 Speaker 2: pressures that I think if you don't keep it in check, 156 00:08:58,960 --> 00:09:05,319 Speaker 2: if you don't keep that that work ethic of the 157 00:09:05,360 --> 00:09:09,320 Speaker 2: work side of running a band, running a business, running 158 00:09:09,320 --> 00:09:12,600 Speaker 2: a record label, being a toying musician, the work side 159 00:09:12,640 --> 00:09:16,199 Speaker 2: of busy work. You have to keep that in an 160 00:09:16,240 --> 00:09:20,360 Speaker 2: appropriate relationship to the meat of our work, which is 161 00:09:20,440 --> 00:09:24,320 Speaker 2: being created, which is being musicians. And that I think 162 00:09:24,480 --> 00:09:28,800 Speaker 2: is something that we're especially in our thirties now and 163 00:09:30,000 --> 00:09:32,679 Speaker 2: in our thirties now that we have arrived at this 164 00:09:32,720 --> 00:09:35,040 Speaker 2: new point in time where we're trying to be super 165 00:09:35,040 --> 00:09:38,600 Speaker 2: intentional about dialing back some of that push, push, push 166 00:09:38,600 --> 00:09:40,559 Speaker 2: and be like, you know what, actually, let's make sure 167 00:09:40,559 --> 00:09:41,640 Speaker 2: our priorities are in line. 168 00:09:42,600 --> 00:09:46,200 Speaker 3: Rebecca, what's the one thing Megan does to push you 169 00:09:46,600 --> 00:09:50,520 Speaker 3: to greater heights? And then conversely, Megan, what's the thing 170 00:09:50,960 --> 00:09:52,839 Speaker 3: Rebecca does to push you. 171 00:09:55,080 --> 00:09:57,240 Speaker 2: The thing that I love about one of the many, 172 00:09:57,280 --> 00:10:00,960 Speaker 2: many things that I love about my sister is Meghan 173 00:10:01,080 --> 00:10:04,400 Speaker 2: doesn't mince the truth that I think there is in 174 00:10:04,440 --> 00:10:07,680 Speaker 2: our relationship. I sense that Megan really respects me to 175 00:10:07,840 --> 00:10:11,160 Speaker 2: handle the truth from her, and so she will give 176 00:10:11,200 --> 00:10:15,280 Speaker 2: me her undiluted truth that in some ways for me 177 00:10:15,400 --> 00:10:17,960 Speaker 2: like I'm definitely like a little bit more of a 178 00:10:18,000 --> 00:10:21,200 Speaker 2: pr agent, like, well, how can we like the room 179 00:10:21,360 --> 00:10:23,960 Speaker 2: was basically sold out, you know what I mean? That 180 00:10:24,160 --> 00:10:25,840 Speaker 2: kind of an energy, a little bit of a used 181 00:10:25,920 --> 00:10:30,320 Speaker 2: car salesman energy. But she's not that. Megan is like 182 00:10:30,400 --> 00:10:32,480 Speaker 2: the world of tables and chairs and like, this is 183 00:10:32,520 --> 00:10:34,839 Speaker 2: how I see it. I'm going to tell you how 184 00:10:34,880 --> 00:10:37,480 Speaker 2: I see it. And so sometimes when I can get 185 00:10:37,520 --> 00:10:40,440 Speaker 2: like as a little sis all get like super in 186 00:10:40,600 --> 00:10:45,520 Speaker 2: my head about my prowess as an instrumentalist, or my 187 00:10:45,679 --> 00:10:48,840 Speaker 2: body image or like all the things that I think 188 00:10:49,040 --> 00:10:53,480 Speaker 2: can get distorted. Again, speaking back to social media, you 189 00:10:53,480 --> 00:10:55,080 Speaker 2: can kind of get in your head and have a 190 00:10:55,120 --> 00:10:58,440 Speaker 2: warped view of reality. And I appreciate Meghan to the 191 00:10:58,440 --> 00:11:01,800 Speaker 2: best of her ability bringing me back to the reality 192 00:11:01,840 --> 00:11:03,840 Speaker 2: as she sees it. And I trust this woman, I 193 00:11:03,880 --> 00:11:06,760 Speaker 2: really do. So that's one thing that I feel super 194 00:11:06,760 --> 00:11:09,880 Speaker 2: super grateful for and the way that she continues to 195 00:11:10,000 --> 00:11:11,600 Speaker 2: educate me to be like, hey, just take it as 196 00:11:11,640 --> 00:11:16,360 Speaker 2: it comes. Breathe, relax. Think about this from a different perspective. 197 00:11:16,400 --> 00:11:20,280 Speaker 2: It's all perspective. I respect your ability to tap into that. 198 00:11:21,240 --> 00:11:24,440 Speaker 4: We are very different people, but I think that we 199 00:11:24,960 --> 00:11:30,920 Speaker 4: marry mirror each other very well. That we're kind of 200 00:11:30,960 --> 00:11:34,840 Speaker 4: like puzzle pieces a little bit so different, and yet 201 00:11:34,840 --> 00:11:38,880 Speaker 4: we fit together. And I think that I am a 202 00:11:39,000 --> 00:11:42,760 Speaker 4: very concrete person. But to match that, you need somebody 203 00:11:42,760 --> 00:11:45,040 Speaker 4: who has their head in the clouds a little bit, 204 00:11:45,080 --> 00:11:48,360 Speaker 4: somebody who's like wants to jump in and take action. 205 00:11:49,040 --> 00:11:52,160 Speaker 4: And that's something that Rebecca is really good at. She 206 00:11:53,400 --> 00:11:58,280 Speaker 4: is very much a move forward like momentum is king, 207 00:11:58,520 --> 00:12:02,000 Speaker 4: and you've got to to get started on the journey 208 00:12:02,000 --> 00:12:05,079 Speaker 4: in order to continue. Like I think it's really important 209 00:12:05,520 --> 00:12:08,200 Speaker 4: to remember that you've got it. The hardest part is 210 00:12:08,240 --> 00:12:14,240 Speaker 4: starting something, and she's very good at starting and sometimes 211 00:12:14,240 --> 00:12:16,840 Speaker 4: has to drag me along a little bit maybe, But 212 00:12:17,040 --> 00:12:20,480 Speaker 4: also it's been really good for me to be in 213 00:12:20,520 --> 00:12:24,880 Speaker 4: that energy because I think that I sometimes want to 214 00:12:24,920 --> 00:12:28,520 Speaker 4: research something to death before I even get started. Sometimes 215 00:12:28,559 --> 00:12:32,360 Speaker 4: you just have to jump in and learn trial by fire, 216 00:12:32,880 --> 00:12:33,680 Speaker 4: sink or swim. 217 00:12:35,080 --> 00:12:39,560 Speaker 3: So I love your fascination with the technical aspects of 218 00:12:39,640 --> 00:12:45,280 Speaker 3: your your playing, the relationship that you have with Beard, 219 00:12:46,240 --> 00:12:49,839 Speaker 3: you know, instruments, and just sort of those nuances there. 220 00:12:50,440 --> 00:12:55,360 Speaker 3: I had Skunk Baxter on many months ago on the podcast, 221 00:12:55,440 --> 00:12:58,920 Speaker 3: and he talked about how he sort of reverse engineered 222 00:12:59,040 --> 00:13:02,840 Speaker 3: certain versions of guitars and kind of you know, had 223 00:13:02,880 --> 00:13:04,120 Speaker 3: that sort of mindset. 224 00:13:04,640 --> 00:13:06,880 Speaker 5: Are you both wired sort of that way. 225 00:13:06,920 --> 00:13:11,839 Speaker 3: As far as the technical aspects of the instruments, I. 226 00:13:11,800 --> 00:13:17,760 Speaker 2: Would say no, But then there is evidence that would 227 00:13:17,960 --> 00:13:22,640 Speaker 2: speak contrarily to that. No. I think as it relates 228 00:13:22,720 --> 00:13:27,760 Speaker 2: to like our pedal boards or effects pedals or amplifiers, 229 00:13:27,920 --> 00:13:31,360 Speaker 2: we're very low like, we're very low maintenance when it 230 00:13:31,400 --> 00:13:33,600 Speaker 2: comes to that kind of stuff. We like to find 231 00:13:33,600 --> 00:13:35,040 Speaker 2: something that works and then stick. 232 00:13:35,200 --> 00:13:35,280 Speaker 4: Like. 233 00:13:35,320 --> 00:13:38,360 Speaker 2: We're not the kind of touring musicians who are like, oh, 234 00:13:38,400 --> 00:13:40,559 Speaker 2: I went to like a guitar shop in Saint Louis 235 00:13:40,559 --> 00:13:43,560 Speaker 2: and found this new fuzz and I'm going to dismantle 236 00:13:43,600 --> 00:13:46,679 Speaker 2: my board and put a new Like. We like the consistency, 237 00:13:46,720 --> 00:13:49,040 Speaker 2: I think, especially because we've toured for so many years 238 00:13:49,080 --> 00:13:51,560 Speaker 2: and had so much stuff break, and like the pressure 239 00:13:51,640 --> 00:13:55,760 Speaker 2: of shaking up the ghosts in the machine. We want 240 00:13:55,800 --> 00:13:59,360 Speaker 2: the ghosts to just rest. Just don't talk to the ghosts, 241 00:13:59,360 --> 00:14:01,920 Speaker 2: don't acknowledge the ghosts, and the thing will just work. 242 00:14:02,440 --> 00:14:07,040 Speaker 2: But when it comes to the creativity of engineering a 243 00:14:07,040 --> 00:14:10,240 Speaker 2: new instrument, shout out to Megan for yeah, reverse engineering 244 00:14:10,559 --> 00:14:14,000 Speaker 2: her instrument and starting a new line of slide guitars 245 00:14:14,000 --> 00:14:15,640 Speaker 2: called ELECTROLEGH. 246 00:14:15,040 --> 00:14:18,520 Speaker 4: Because I would I would say that I'm not a tweaky, 247 00:14:18,600 --> 00:14:21,520 Speaker 4: deeky kind of a person, but I am. I do 248 00:14:21,640 --> 00:14:23,920 Speaker 4: know what I'm looking for, and I'm going to be 249 00:14:24,000 --> 00:14:27,720 Speaker 4: very very picky until I get to that point where 250 00:14:27,760 --> 00:14:30,040 Speaker 4: I feel satisfied and I think that you're the same, 251 00:14:30,160 --> 00:14:33,120 Speaker 4: you know what you're looking for. I don't really care 252 00:14:33,160 --> 00:14:36,360 Speaker 4: how we get there, just as long as we get there, 253 00:14:36,400 --> 00:14:40,160 Speaker 4: and then I want to stick with that. So I 254 00:14:40,200 --> 00:14:44,080 Speaker 4: for a long time have played Rickenbacker lap steels, which 255 00:14:44,080 --> 00:14:48,120 Speaker 4: are just incredible and I love them. They're very very 256 00:14:48,280 --> 00:14:53,280 Speaker 4: heavy instruments, so I was finding that it was impacting 257 00:14:53,360 --> 00:14:56,320 Speaker 4: me on a day to day basis touring, so I 258 00:14:56,400 --> 00:15:01,440 Speaker 4: want I just wanted basically my Rickenbacker accept light and 259 00:15:01,640 --> 00:15:04,960 Speaker 4: made more for standing and running around the stage. So 260 00:15:05,000 --> 00:15:07,120 Speaker 4: I worked with Beer Guitars and we were able to 261 00:15:07,360 --> 00:15:10,280 Speaker 4: develop this this lap steal that's half the way to 262 00:15:10,360 --> 00:15:13,920 Speaker 4: the Electro League, yet it still has that tone that 263 00:15:14,000 --> 00:15:18,120 Speaker 4: I'm looking for and is shaped better for standing on stage. 264 00:15:18,760 --> 00:15:20,960 Speaker 1: We'll be right back with more of the Taken a 265 00:15:20,960 --> 00:15:29,200 Speaker 1: Walk podcast. Welcome back to the Taken a walk podcast. 266 00:15:29,880 --> 00:15:34,440 Speaker 3: How did your life change when you discovered the dobro 267 00:15:34,600 --> 00:15:36,800 Speaker 3: and the lap as well? 268 00:15:37,520 --> 00:15:42,800 Speaker 4: Oh, definitely changed my life. I heard Jerry Douglas playing, 269 00:15:43,760 --> 00:15:45,800 Speaker 4: and we had grown up listening to a lot of 270 00:15:45,840 --> 00:15:49,440 Speaker 4: Alison Kraus and Union Station featuring Jerry Douglas, so I 271 00:15:49,480 --> 00:15:51,760 Speaker 4: had that sound in my head. But it wasn't until 272 00:15:51,800 --> 00:15:54,680 Speaker 4: I actually saw a dobro being played that I really 273 00:15:54,680 --> 00:15:57,040 Speaker 4: connected the dots. I was like, Oh, this is the 274 00:15:57,320 --> 00:16:01,560 Speaker 4: this is the instrument I've been searching for. I'm a 275 00:16:01,640 --> 00:16:04,720 Speaker 4: relatively quiet person. I don't sing lead. I sing harmony 276 00:16:04,760 --> 00:16:08,040 Speaker 4: to Rebecca, who sings lead. So I think I was 277 00:16:08,040 --> 00:16:12,320 Speaker 4: always searching for my voice in an instrument. And lap 278 00:16:12,320 --> 00:16:15,760 Speaker 4: steel dobro, these slide instruments, I think have such a 279 00:16:15,840 --> 00:16:20,240 Speaker 4: vocal quality to them. It's like a fingerprint. I feel 280 00:16:20,240 --> 00:16:23,200 Speaker 4: like the way that people play slides or it's very 281 00:16:23,320 --> 00:16:26,280 Speaker 4: unique in the speed of the vibrato and the way 282 00:16:26,280 --> 00:16:31,760 Speaker 4: that the slide touches the strings. It's it's very human, 283 00:16:32,320 --> 00:16:36,640 Speaker 4: I think. So I was. I was extremely drawn to 284 00:16:36,720 --> 00:16:40,760 Speaker 4: that and seeking that in my life. 285 00:16:41,000 --> 00:16:44,720 Speaker 3: I love that. It's amazing. Jerry Douglass is amazing too. 286 00:16:45,440 --> 00:16:49,400 Speaker 3: Who are some other folks that have influenced the both 287 00:16:49,400 --> 00:16:52,800 Speaker 3: of you that to this day you learn from either 288 00:16:52,840 --> 00:16:57,040 Speaker 3: from observing them or your you know, interactions in person 289 00:16:57,080 --> 00:16:57,480 Speaker 3: with them. 290 00:16:58,640 --> 00:17:03,480 Speaker 2: In terms of other artists, definitely shout out Jerry. Jerry 291 00:17:03,520 --> 00:17:07,640 Speaker 2: Douglas is just I mean, I remember, like Slide Rule 292 00:17:07,880 --> 00:17:10,800 Speaker 2: was such a pivotal record for us, and we learned 293 00:17:10,880 --> 00:17:14,080 Speaker 2: every melody. At the time, I was playing mandolin, so 294 00:17:14,119 --> 00:17:16,280 Speaker 2: I learned all the Manlin solos and stuff, and just 295 00:17:16,320 --> 00:17:19,560 Speaker 2: a great, great piece of work that was really important 296 00:17:19,560 --> 00:17:22,400 Speaker 2: for us. We have to shout out once again Elvis Costello. 297 00:17:22,520 --> 00:17:25,960 Speaker 2: He has had an indelible impact on our career and 298 00:17:26,520 --> 00:17:29,000 Speaker 2: who we are as people. He's become a very dear 299 00:17:29,000 --> 00:17:31,840 Speaker 2: friend and mentor. So we got to shout out Elvis. 300 00:17:32,080 --> 00:17:34,640 Speaker 2: Who else comes to your mind? I'm actually curious. 301 00:17:35,520 --> 00:17:40,200 Speaker 4: We have in the last I would say decade been 302 00:17:40,359 --> 00:17:44,040 Speaker 4: super influenced by blues music because we grew up listening 303 00:17:44,119 --> 00:17:47,480 Speaker 4: to a lot of Allman Brothers and going back and 304 00:17:48,080 --> 00:17:52,800 Speaker 4: sort of researching whoo who were well who was influencing 305 00:17:53,320 --> 00:17:58,240 Speaker 4: like southern rock music, and so we love Skip James 306 00:17:58,320 --> 00:18:03,119 Speaker 4: and Son House really inspired by some of the Delta 307 00:18:03,160 --> 00:18:04,159 Speaker 4: blues musicians. 308 00:18:04,480 --> 00:18:09,240 Speaker 2: Yeah, that is kind of a fascinating point of conversation, 309 00:18:10,720 --> 00:18:13,160 Speaker 2: the fact that a lot of the records that we 310 00:18:13,200 --> 00:18:16,320 Speaker 2: are seeking inspiration from and that have influenced the way 311 00:18:16,359 --> 00:18:19,280 Speaker 2: that we write. I mean, clearly, anybody who listens to 312 00:18:19,400 --> 00:18:23,960 Speaker 2: our records could say that we make music that is 313 00:18:24,080 --> 00:18:26,760 Speaker 2: adjacent to the blues. We are not a blues band. 314 00:18:27,440 --> 00:18:32,240 Speaker 2: But so many of these artists somehow skip James Muddy, 315 00:18:32,440 --> 00:18:36,680 Speaker 2: like the Three Kings. These are the guys that we're 316 00:18:36,680 --> 00:18:40,159 Speaker 2: listening to and taking tips of writing, tips of tone, 317 00:18:40,359 --> 00:18:43,320 Speaker 2: tips of expression, and these are people that will never 318 00:18:43,400 --> 00:18:47,520 Speaker 2: rub shoulders with on the physical plane. So it is 319 00:18:47,560 --> 00:18:51,920 Speaker 2: really special to meet individuals like out on the touring circuit. 320 00:18:51,960 --> 00:18:57,760 Speaker 2: And we run into so many thoughtful, considerate, kind humans 321 00:18:59,280 --> 00:19:02,720 Speaker 2: out on the fest circuit, increasingly so many more women 322 00:19:02,880 --> 00:19:05,760 Speaker 2: out on the touring circuit that I feel like we're 323 00:19:05,800 --> 00:19:08,760 Speaker 2: all it's sort of like the collective toolbox, where everyone's like, hey, 324 00:19:08,760 --> 00:19:11,040 Speaker 2: have you thought about this, have you tried this, how 325 00:19:11,080 --> 00:19:13,720 Speaker 2: do you feel when you're on stage and you're sick, 326 00:19:13,880 --> 00:19:18,240 Speaker 2: or just like random information that we're constantly all gleaning 327 00:19:18,400 --> 00:19:22,320 Speaker 2: from those that have committed their lives to the road 328 00:19:22,480 --> 00:19:25,320 Speaker 2: as we have. But again, it is sort of like 329 00:19:25,400 --> 00:19:28,639 Speaker 2: that spiritual like the realm of Like I think of 330 00:19:28,760 --> 00:19:32,199 Speaker 2: Chris Whitley. He's a huge inspiration to me and he 331 00:19:32,359 --> 00:19:36,639 Speaker 2: died before I was born. I think of Ozzy Osbourne, 332 00:19:36,640 --> 00:19:39,760 Speaker 2: who I odds are I'm never going to meet Ozzy Osbourne, 333 00:19:39,800 --> 00:19:42,639 Speaker 2: but the impact that his music has had on my 334 00:19:42,720 --> 00:19:47,080 Speaker 2: life is huge. So it's that's a very fun question 335 00:19:47,240 --> 00:19:53,440 Speaker 2: to think about. How how we glean impacts from people 336 00:19:53,480 --> 00:19:55,439 Speaker 2: around us, if it's on a spiritual level, or if 337 00:19:55,480 --> 00:19:57,800 Speaker 2: it really is, like, hey, Elvis is our buddy and 338 00:19:57,840 --> 00:20:00,399 Speaker 2: I'm going to call him up and get advice on something. 339 00:20:00,600 --> 00:20:03,560 Speaker 2: It's neat the many myriad ways in which we can 340 00:20:03,600 --> 00:20:05,879 Speaker 2: all impact one another in this world. 341 00:20:06,960 --> 00:20:07,160 Speaker 1: Yeah. 342 00:20:07,200 --> 00:20:08,639 Speaker 5: I thought of three. 343 00:20:10,480 --> 00:20:15,359 Speaker 3: Either artists or bands that you know, when I listened 344 00:20:15,359 --> 00:20:18,399 Speaker 3: to the vibe of Lark and Poe that I wondered about, 345 00:20:18,840 --> 00:20:25,280 Speaker 3: whether you know you'd researched it all. One is Little Feet, 346 00:20:26,400 --> 00:20:30,560 Speaker 3: just due to you know, once again, this incredible musicianship 347 00:20:30,600 --> 00:20:32,879 Speaker 3: that they have and that. 348 00:20:33,440 --> 00:20:38,080 Speaker 5: You guys have. I thought a Ry Cooter as well. 349 00:20:39,960 --> 00:20:44,520 Speaker 3: You know, once again, the vibe and the stellar you know, 350 00:20:45,119 --> 00:20:51,600 Speaker 3: musicianship matches what what Lark and Poe is is certainly 351 00:20:51,640 --> 00:20:52,600 Speaker 3: all about. 352 00:20:54,080 --> 00:20:57,560 Speaker 5: Does that resonate with you at all? Those Yes? 353 00:20:57,920 --> 00:20:59,080 Speaker 4: Who was the third. 354 00:20:59,000 --> 00:21:01,840 Speaker 5: Yeah, just looking up into the air and it floated 355 00:21:01,880 --> 00:21:04,080 Speaker 5: above me. So when it comes down, Oh. 356 00:21:04,040 --> 00:21:04,520 Speaker 4: No, worries. 357 00:21:04,640 --> 00:21:08,040 Speaker 2: I'm just curious because that that is exactly the space, 358 00:21:08,240 --> 00:21:12,119 Speaker 2: like the space between Little Feet Rye Cooter, And like, 359 00:21:12,160 --> 00:21:14,280 Speaker 2: what would you add is a third point? Maybe the Crows, 360 00:21:14,920 --> 00:21:17,359 Speaker 2: maybe the Black Crows. It's like, because we want to rock, 361 00:21:18,080 --> 00:21:20,439 Speaker 2: we want we want to get on stage and kick ass, 362 00:21:20,560 --> 00:21:22,960 Speaker 2: but we don't want to shred. Like neither my sister 363 00:21:23,200 --> 00:21:26,640 Speaker 2: or I are like we need to have a thousand 364 00:21:26,720 --> 00:21:30,480 Speaker 2: notes in order to like prove a point. We're definitely in. 365 00:21:30,840 --> 00:21:33,840 Speaker 2: Like I think of the melodies that ry Cooter writes 366 00:21:33,880 --> 00:21:38,439 Speaker 2: with his guitar, and I think of the lyrical depth 367 00:21:38,520 --> 00:21:41,359 Speaker 2: of a band like Little Feet, where it's like you 368 00:21:41,400 --> 00:21:43,880 Speaker 2: can crawl inside the story and get a little piece 369 00:21:43,920 --> 00:21:45,840 Speaker 2: of the human experience. So that that's a really great 370 00:21:45,880 --> 00:21:49,040 Speaker 2: little trilogy for us. Thank you, that's such such kind compliments. 371 00:21:49,119 --> 00:21:50,520 Speaker 5: And I did think of the third one. 372 00:21:50,600 --> 00:21:54,240 Speaker 3: I'm embarrassed you're probably for forgetting briefly gonna you know, 373 00:21:54,520 --> 00:22:00,440 Speaker 3: hang up on me, But Bonnie rate, oh yay. 374 00:22:00,840 --> 00:22:02,200 Speaker 2: The Queen the Queen. 375 00:22:02,440 --> 00:22:07,680 Speaker 4: I love Bonnie Ray. Yeah, and especially as a female 376 00:22:07,680 --> 00:22:13,159 Speaker 4: slide player. I revere Bonnie. She was she was doing 377 00:22:13,240 --> 00:22:17,680 Speaker 4: something in her time that nobody was doing. There's nobody 378 00:22:18,119 --> 00:22:20,800 Speaker 4: who looked like her laying the way that she did. 379 00:22:20,920 --> 00:22:22,199 Speaker 4: So yeah, huge respect. 380 00:22:23,520 --> 00:22:26,679 Speaker 3: So I love the version of running Down a Dream 381 00:22:27,160 --> 00:22:30,520 Speaker 3: that that you do on the Petty Collection, and it's 382 00:22:30,560 --> 00:22:32,400 Speaker 3: also in Bad Monkey. 383 00:22:33,800 --> 00:22:37,960 Speaker 5: It's amazing. I think Running Down a Dream is one. 384 00:22:37,800 --> 00:22:42,919 Speaker 3: Of those greatest driving songs certainly of all time. What 385 00:22:43,000 --> 00:22:46,680 Speaker 3: are some of your favorite driving songs as well? 386 00:22:46,960 --> 00:22:51,960 Speaker 4: Oh, another run in song, Running on Empty is a 387 00:22:52,040 --> 00:22:55,680 Speaker 4: huge one for me. That's a great driving featuring David 388 00:22:55,720 --> 00:22:57,919 Speaker 4: Linley of course on lap steel playing one of the 389 00:22:58,040 --> 00:23:03,120 Speaker 4: most iconic guitar so of all time. I think that's 390 00:23:03,200 --> 00:23:04,320 Speaker 4: a great driving song. 391 00:23:04,400 --> 00:23:07,480 Speaker 2: I'm gonna actually this is sort of a random one, 392 00:23:08,080 --> 00:23:12,000 Speaker 2: but anytime we drive in the Little Rock we have 393 00:23:12,080 --> 00:23:15,320 Speaker 2: to listen to Little Rock by Colin Ray. Do you 394 00:23:15,320 --> 00:23:15,920 Speaker 2: know that song? 395 00:23:16,400 --> 00:23:19,880 Speaker 4: I can mom mo roll here a little Rock. 396 00:23:20,280 --> 00:23:23,760 Speaker 2: Like anytime you cross the state line, like out of Tennessee, 397 00:23:23,800 --> 00:23:26,520 Speaker 2: it's like, all right, crank up, Colin Ray, let's go. 398 00:23:26,800 --> 00:23:29,239 Speaker 2: So that's a huge driving song for me. Yeah, it's 399 00:23:29,280 --> 00:23:30,520 Speaker 2: a big one. 400 00:23:30,880 --> 00:23:34,600 Speaker 5: That's a good one. Tell me about your creative process 401 00:23:34,640 --> 00:23:35,560 Speaker 5: in the studio. 402 00:23:37,000 --> 00:23:40,159 Speaker 3: Take us inside that. How does that work, what's the 403 00:23:40,160 --> 00:23:43,000 Speaker 3: give and take of it? Give us a little glimpse 404 00:23:43,000 --> 00:23:43,199 Speaker 3: of that. 405 00:23:44,480 --> 00:23:48,720 Speaker 2: I would describe it as ever evolving. I think, especially 406 00:23:48,760 --> 00:23:52,399 Speaker 2: as kids of the nineties and growing up with the 407 00:23:52,440 --> 00:23:58,959 Speaker 2: advent of garage, band and logic, our relationship to recording 408 00:24:00,160 --> 00:24:04,480 Speaker 2: is like constantly on the move. We you know, in 409 00:24:04,600 --> 00:24:08,800 Speaker 2: early Larkin po days, we've recorded live records. We've recorded 410 00:24:10,680 --> 00:24:15,240 Speaker 2: records in our bedrooms using laptops to program drums, But 411 00:24:15,359 --> 00:24:21,000 Speaker 2: most recently we've phased into attempting as as much as 412 00:24:21,080 --> 00:24:24,119 Speaker 2: possible to try and represent who we are on the 413 00:24:24,160 --> 00:24:28,159 Speaker 2: live stage in the studio. So we've definitely done a 414 00:24:28,160 --> 00:24:30,640 Speaker 2: lot of live tracking, but I think the goal for 415 00:24:30,760 --> 00:24:33,120 Speaker 2: us is to do an all live record because there 416 00:24:33,200 --> 00:24:40,159 Speaker 2: is there is something, There is something unique, and you 417 00:24:40,280 --> 00:24:45,000 Speaker 2: used the word earlier fingerprint. There's a fingerprint of spiritual 418 00:24:45,119 --> 00:24:49,399 Speaker 2: energy that exists when humans make music together, which I 419 00:24:49,400 --> 00:24:53,480 Speaker 2: think is truly the antidote to AI's. 420 00:24:52,960 --> 00:24:55,360 Speaker 4: Participation in music creation. 421 00:24:55,680 --> 00:25:01,600 Speaker 2: That AI can never recreate the unique energy of humans 422 00:25:01,720 --> 00:25:06,720 Speaker 2: responding spontaneously with one another in the live space that 423 00:25:07,680 --> 00:25:10,000 Speaker 2: increasingly I would have such an interest in trying to 424 00:25:10,040 --> 00:25:15,600 Speaker 2: capture on our records, but there is also budgetary limitations. 425 00:25:17,000 --> 00:25:19,600 Speaker 2: We've actually made the last I mean what four or 426 00:25:19,600 --> 00:25:23,640 Speaker 2: five of our records in our home studio, and it's 427 00:25:23,640 --> 00:25:27,040 Speaker 2: a very petite space, so being able to have everyone 428 00:25:27,119 --> 00:25:30,040 Speaker 2: set up in a circle and tracking together, it's just 429 00:25:30,160 --> 00:25:33,960 Speaker 2: not physically possible due to our spacial limitations. But we're 430 00:25:34,000 --> 00:25:36,840 Speaker 2: really excited. We're in the process of building a recording 431 00:25:36,880 --> 00:25:40,920 Speaker 2: studio so that hopefully Larcompoe records in the future will 432 00:25:40,920 --> 00:25:44,240 Speaker 2: be able to be performed alive with the appropriate isolation. Well, 433 00:25:44,280 --> 00:25:46,119 Speaker 2: we'll have a booth to put Meg in a booth 434 00:25:46,200 --> 00:25:48,680 Speaker 2: to put me drummer in the live room and everyone 435 00:25:48,760 --> 00:25:53,000 Speaker 2: looking at each other and capturing those live performances. 436 00:25:54,440 --> 00:25:58,960 Speaker 5: Are you mentoring anybody on the label these days? 437 00:26:00,480 --> 00:26:04,720 Speaker 2: We have actually not branched out into mentoring at this 438 00:26:04,840 --> 00:26:09,159 Speaker 2: point in terms of signing an artist or producing another artist, 439 00:26:09,720 --> 00:26:13,040 Speaker 2: But I feel that that is something that we I 440 00:26:13,040 --> 00:26:14,680 Speaker 2: think that we will have a passion for, and I 441 00:26:14,720 --> 00:26:16,399 Speaker 2: think that we would be really well suited as a 442 00:26:16,440 --> 00:26:20,200 Speaker 2: team to work with an artist in the capacity. Right now, 443 00:26:20,240 --> 00:26:22,720 Speaker 2: I feel like we're just remaxed, maxed out. 444 00:26:23,080 --> 00:26:26,199 Speaker 4: We're so busy as handling everything lark and po But 445 00:26:26,480 --> 00:26:29,600 Speaker 4: once we have a little bit more time, I feel 446 00:26:29,600 --> 00:26:33,359 Speaker 4: like we would love to devote some energy to mentoring 447 00:26:33,680 --> 00:26:37,359 Speaker 4: the next generation of music makers. That would be that 448 00:26:37,359 --> 00:26:38,880 Speaker 4: would be incredibly meaningful. 449 00:26:39,000 --> 00:26:41,119 Speaker 2: I'm excited for that, and that I think is the 450 00:26:41,200 --> 00:26:43,919 Speaker 2: one thing that I do find a lot of like 451 00:26:44,280 --> 00:26:48,400 Speaker 2: comfort and excitement in it is that even though being 452 00:26:48,400 --> 00:26:52,880 Speaker 2: a touring musician it comes with a very unique set 453 00:26:52,920 --> 00:26:59,600 Speaker 2: of stressors. The unpredictability of the work. You know, some 454 00:26:59,640 --> 00:27:02,359 Speaker 2: of the secon srifes that it requires. The thing that 455 00:27:02,440 --> 00:27:06,840 Speaker 2: it really gives, the gifts it gives in spades are 456 00:27:06,880 --> 00:27:10,320 Speaker 2: are the fact that it's ever changing. That you know, 457 00:27:10,400 --> 00:27:12,439 Speaker 2: within the next five to ten years, the kind of 458 00:27:12,440 --> 00:27:14,919 Speaker 2: work that we're doing, it'll still be creative work, but 459 00:27:14,960 --> 00:27:17,200 Speaker 2: it may look very different. And I'm super excited for 460 00:27:17,240 --> 00:27:18,360 Speaker 2: the future in that respect. 461 00:27:19,920 --> 00:27:23,919 Speaker 3: I love how you've built your fan base and worked 462 00:27:23,920 --> 00:27:27,720 Speaker 3: so hard at it almost it seems as a fair 463 00:27:27,760 --> 00:27:30,600 Speaker 3: to say in a one fan at a time sort 464 00:27:30,640 --> 00:27:34,160 Speaker 3: of basis, can you talk a little bit about how 465 00:27:34,200 --> 00:27:35,280 Speaker 3: you built the fan base. 466 00:27:36,280 --> 00:27:40,200 Speaker 4: It was person by person by person, our twenties were 467 00:27:40,200 --> 00:27:44,359 Speaker 4: definitely dedicated towards a huge grassroots effort. I feel like 468 00:27:45,200 --> 00:27:50,240 Speaker 4: we went everywhere and played to five people, you know, 469 00:27:51,520 --> 00:27:53,760 Speaker 4: and we'll come back through a city and there's a 470 00:27:53,760 --> 00:27:56,120 Speaker 4: few more people, and come back through again and there's 471 00:27:56,320 --> 00:27:58,720 Speaker 4: a few more. And then there's a little bit of 472 00:27:58,720 --> 00:28:01,920 Speaker 4: a snowball effect that has happened over the past few 473 00:28:02,000 --> 00:28:06,880 Speaker 4: years where we were suddenly like jumping up and selling 474 00:28:06,880 --> 00:28:09,639 Speaker 4: out places and selling out entire tours, and that was 475 00:28:09,920 --> 00:28:15,000 Speaker 4: extremely exciting continued, especially considering that we've we've spent many 476 00:28:15,080 --> 00:28:17,800 Speaker 4: years playing to sometimes just the bar staff at a bar, 477 00:28:17,920 --> 00:28:22,119 Speaker 4: you know. So it's it's definitely hard one, but that 478 00:28:22,320 --> 00:28:27,200 Speaker 4: also ties us to our supporters, and these people that 479 00:28:27,200 --> 00:28:29,760 Speaker 4: that that come out and spend their time and energy 480 00:28:29,800 --> 00:28:32,400 Speaker 4: on us were tied together in a in a very 481 00:28:32,400 --> 00:28:36,640 Speaker 4: emotional way, and it's it's super meaningful. And I think 482 00:28:36,640 --> 00:28:41,440 Speaker 4: the relationships that you can form with music lovers is 483 00:28:40,720 --> 00:28:46,080 Speaker 4: is huge and it keeps us going. It's it's it's 484 00:28:46,120 --> 00:28:48,440 Speaker 4: the joy of our life to be able to go 485 00:28:48,520 --> 00:28:50,000 Speaker 4: out and connect with people. 486 00:28:51,120 --> 00:28:53,600 Speaker 3: In closing then, and I think you sort of already 487 00:28:53,680 --> 00:28:58,560 Speaker 3: led to this, how do you describe musical happiness. 488 00:28:59,800 --> 00:29:05,760 Speaker 2: You musical happiness. Oh my gosh, you are so good 489 00:29:05,760 --> 00:29:10,280 Speaker 2: at your job. That is a wonderful question, and I'm 490 00:29:10,360 --> 00:29:13,000 Speaker 2: really curious to hear what we each have to say. 491 00:29:13,000 --> 00:29:16,280 Speaker 2: What do you do you have a little neural synapsies 492 00:29:16,320 --> 00:29:17,000 Speaker 2: firing off? 493 00:29:20,560 --> 00:29:25,680 Speaker 4: For me, musical happiness, I think is time to experiment, 494 00:29:26,600 --> 00:29:32,600 Speaker 4: to create something new that then can go out into 495 00:29:32,640 --> 00:29:37,120 Speaker 4: the world and mean something to somebody else. I think 496 00:29:37,160 --> 00:29:43,560 Speaker 4: that musical happiness is me creating something within myself that 497 00:29:43,640 --> 00:29:48,880 Speaker 4: then doesn't belong to me anymore. Ooh, I love that. 498 00:29:50,400 --> 00:29:51,960 Speaker 2: I'm going to go to the opposite direction. I'm going 499 00:29:52,040 --> 00:29:55,360 Speaker 2: to go introspective because I was actually what first popped 500 00:29:55,360 --> 00:29:58,880 Speaker 2: into my mind was this was maybe a month and 501 00:29:58,920 --> 00:30:03,400 Speaker 2: a half two months ago. Meghan and I backed up 502 00:30:04,480 --> 00:30:07,440 Speaker 2: on You played dobro and lapsteel and I played mandolin. 503 00:30:07,880 --> 00:30:10,640 Speaker 2: One of our heroes we love t Bone. Burnett and 504 00:30:10,720 --> 00:30:13,960 Speaker 2: t Bone released an incredible record and he played a 505 00:30:14,000 --> 00:30:16,960 Speaker 2: scattering of shows in the Southeast and so we were 506 00:30:17,000 --> 00:30:19,240 Speaker 2: able to come out and support him on. 507 00:30:19,000 --> 00:30:21,240 Speaker 4: One as part of his band. 508 00:30:22,040 --> 00:30:26,400 Speaker 2: And it was such a cool experience to sit acoustically 509 00:30:26,400 --> 00:30:29,360 Speaker 2: on the stage and it was Megan on my left 510 00:30:29,400 --> 00:30:31,400 Speaker 2: and there was an upright bass player, Dennis Crouch to 511 00:30:31,440 --> 00:30:34,640 Speaker 2: my right, and there was a fiddle player across the stage, 512 00:30:34,880 --> 00:30:38,880 Speaker 2: and everyone was playing in concert together, and it was 513 00:30:38,920 --> 00:30:42,760 Speaker 2: acoustic because clearly we're playing a rock and roll show, 514 00:30:42,920 --> 00:30:47,040 Speaker 2: as Larkin Poe the majority of the time, which requires 515 00:30:47,080 --> 00:30:50,120 Speaker 2: there to be like the introduction of tech where we've 516 00:30:50,160 --> 00:30:52,160 Speaker 2: got we're wearing in years so that we can actually 517 00:30:52,240 --> 00:30:55,080 Speaker 2: have isolation over the drums, because for years we toured 518 00:30:55,840 --> 00:30:58,600 Speaker 2: on monitors where you have speakers on the stage blasting 519 00:30:58,640 --> 00:31:01,640 Speaker 2: sound at you. I was routinely singing my voice out 520 00:31:01,680 --> 00:31:05,400 Speaker 2: trying to sing over the drums. So there, I think, 521 00:31:05,480 --> 00:31:10,560 Speaker 2: by necessity, some of our some of our touring implements 522 00:31:11,200 --> 00:31:13,240 Speaker 2: create a little bit of a barrier between us and 523 00:31:13,280 --> 00:31:17,440 Speaker 2: the music just by nature of kind of like the 524 00:31:17,440 --> 00:31:19,400 Speaker 2: way the world turns and the way you're able to 525 00:31:19,440 --> 00:31:23,040 Speaker 2: do the amount of shows that we book. But I 526 00:31:23,080 --> 00:31:26,840 Speaker 2: think in the future, for some ar compos tours, I 527 00:31:26,880 --> 00:31:30,239 Speaker 2: would want to recreate that intimacy because again it was 528 00:31:31,240 --> 00:31:33,760 Speaker 2: it was a bunch of humans sitting within feet of 529 00:31:33,800 --> 00:31:37,320 Speaker 2: each other, and the sound waves coming from one human 530 00:31:37,360 --> 00:31:39,920 Speaker 2: to the next was impacting all of us and our 531 00:31:40,000 --> 00:31:43,640 Speaker 2: chemistry on stage, which in turn, was spilling over and 532 00:31:43,760 --> 00:31:47,240 Speaker 2: to speak to your points well, touching the audience. So 533 00:31:47,360 --> 00:31:51,760 Speaker 2: I think being able to create that kind of a 534 00:31:51,880 --> 00:31:54,720 Speaker 2: musical experience on stage which you and I share all 535 00:31:54,760 --> 00:31:57,200 Speaker 2: the time. I feel so blessed to be able to 536 00:31:57,200 --> 00:32:00,280 Speaker 2: sit literally right next to one of my best friends 537 00:32:00,600 --> 00:32:04,960 Speaker 2: and play music that is instinctual and so rarely we're 538 00:32:05,040 --> 00:32:07,600 Speaker 2: able to carry that out on stage in its purest 539 00:32:07,720 --> 00:32:09,840 Speaker 2: raw form for a crowd, and I think that'll be 540 00:32:09,840 --> 00:32:11,360 Speaker 2: really cool at some point in the future. So that's 541 00:32:11,360 --> 00:32:12,320 Speaker 2: physical happiness to me. 542 00:32:12,440 --> 00:32:16,000 Speaker 4: So would you say it's a conversation, yes, Yeah, when 543 00:32:16,120 --> 00:32:18,480 Speaker 4: music is allowed to be a conversation, when it's not 544 00:32:18,840 --> 00:32:21,560 Speaker 4: too premeditated, there's not too much tech. 545 00:32:21,400 --> 00:32:26,720 Speaker 2: Involved, there isn't pressure. Musical happiness is when it's conversational. 546 00:32:27,520 --> 00:32:34,120 Speaker 3: Yeah, Well, Rebecca and Megan. For me, podcasting happiness is 547 00:32:35,040 --> 00:32:37,160 Speaker 3: this is an example of it. I get to do 548 00:32:37,240 --> 00:32:40,640 Speaker 3: it frequently, and this is one of those moments that 549 00:32:40,960 --> 00:32:44,640 Speaker 3: I'm so grateful for. And I'm grateful for the music 550 00:32:44,720 --> 00:32:47,560 Speaker 3: you continue to give us. And thank you for being 551 00:32:47,600 --> 00:32:49,480 Speaker 3: on the Taking a Walk Podcast. 552 00:32:49,920 --> 00:32:51,080 Speaker 2: Thank you so much. 553 00:32:52,800 --> 00:32:55,240 Speaker 1: Thanks for listening to this episode of the Taking a 554 00:32:55,280 --> 00:32:59,200 Speaker 1: Walk Podcast. Share this and other episodes with your friends 555 00:32:59,280 --> 00:33:02,760 Speaker 1: and follow us so you never miss an episode. Taking 556 00:33:02,800 --> 00:33:06,680 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 557 00:33:06,920 --> 00:33:09,200 Speaker 1: and wherever you get your podcasts.