Speaker 1: Hello everyone, and welcome to another episode of Inside the
Speaker 1: Studio on iHeart Radio. My name is Jordan runt Dog,
Speaker 1: but enough about me. My guest today is a piano
Speaker 1: prodigy and for my money, a genius of the human soul.
Speaker 1: I feel like I may have inavertently stolen that ho horrific,
Speaker 1: but it doesn't make it any less true. Her seminal
Speaker 1: solo debut, Little Earthquakes, was forged from the searing pain
Speaker 1: of feeling simultaneously ostracized from and wounded by the environment
Speaker 1: of her upbringing. In channeling her fears and rage, she
Speaker 1: gave voice to those struggling to find themselves in their
Speaker 1: place in the world and offered hope for redemption. Her
Speaker 1: latest album, due out October, took form amid an equally
Speaker 1: tempestuous emotional Maelstrom called Ocean to Ocean. It's a musical
Speaker 1: message in a bottle. Written during in forest isolation in
Speaker 1: her adopted home of Cornwall, England, amid the COVID nineteen lockdown.
Speaker 1: Grappling with the globe crisis, political turmoil in her home country,
Speaker 1: and the recent death of her mother, she took solace
Speaker 1: in the songs, which are among the most soul bearing
Speaker 1: of her career. Whether she's using words or music, or
Speaker 1: speaking to human beings, trees, or the metaphysical beings she
Speaker 1: refers to as her muses, her skill for communicating strength
Speaker 1: and vulnerability remains undiminished and unparalleled. I'm so happy to
Speaker 1: welcome Tory Anus. Well, I don't even know where to begin.
Speaker 1: I mean, your new album is absolutely astonishing. I guess
Speaker 1: my my first question for you is the last year
Speaker 1: and a half has changed just in in so many ways.
Speaker 1: How has it changed your relationship to music or has it?
Speaker 1: H Well, I I guess I was writing a different
Speaker 1: type of record if you were going to talk to
Speaker 1: me over a year ago, and um well, over a
Speaker 1: year ago, so a year and a half ago. But
Speaker 1: then it seemed as if the energy of those songs
Speaker 1: that wasn't where I wanted to go anymore. It wasn't
Speaker 1: going to take me. It wasn't my sonic rocket ship
Speaker 1: that was going to take me into a different um well,
Speaker 1: I'm saying the word frequency, but just a different magical
Speaker 1: space that I wanted to be in. And so the
Speaker 1: new songs kind of started coming in in a strange
Speaker 1: way because I just said to the muses I need
Speaker 1: something different. And then they said, well, then you have
Speaker 1: to walk away from the old, handed over and then
Speaker 1: be receptive to the new and right from where you
Speaker 1: are right now, which is you're grieving. So start there
Speaker 1: and let see what happens. And that was really the
Speaker 1: beginning with with Metal water Wood. What is it about
Speaker 1: songwriting that makes it such an effective method for for
Speaker 1: processing emotions and and also pulling you out of those
Speaker 1: dark places? Oh well, I think songwriting can be a
Speaker 1: very lonely a place to be. It can be um
Speaker 1: a place where you have to kind of confront things,
Speaker 1: confront your part in things, look at sides to yourself
Speaker 1: that you might not really want to look at, and
Speaker 1: then you begin framing. Then you begin thinking, okay, so
Speaker 1: how do we want to tell this story? I understand
Speaker 1: some of the components, some of the emotions, but then
Speaker 1: how do we want to convey this? Because we can
Speaker 1: bring characters in, we can bring people in, some that
Speaker 1: we know, some at our composites of people we know,
Speaker 1: so that we we tell the story. And then you're
Speaker 1: making choices all along. This is when you get out
Speaker 1: your skill set and your toolbox and your sonic paints
Speaker 1: and you start then really forming this and working with
Speaker 1: structure and and sometimes, um, you know, you find that
Speaker 1: you're not crazy about that verse. You like maybe the
Speaker 1: middle eight, but you're not crazy about the verses, So
Speaker 1: maybe you keep this bit. And what happens is I
Speaker 1: come to the studio and I show Mark, who I've
Speaker 1: been working with for a long for a long time
Speaker 1: now in the studio. I happened to be married to him,
Speaker 1: and we've been making records since Boys for Plee together,
Speaker 1: and I'll show the song, and then that will be
Speaker 1: the beginning of Okay, where does this want to go?
Speaker 1: You mentioned communing with the muses. How you write your work?
Speaker 1: How much control do you have over the process when
Speaker 1: you write? How much of it is thinking versus stepping
Speaker 1: back and kind of getting out of the way and
Speaker 1: letting it come through. That's a good question. Sometimes it
Speaker 1: seems like it's paradox because on one hand, you're trying
Speaker 1: to listen to what's coming through. It's sort of it
Speaker 1: feels sort of like you're being zapped, but zapped in
Speaker 1: a good way. Um, and then I record that and
Speaker 1: then listen back. So sometimes it's a stream of consciousness
Speaker 1: and then In the listening back, I start to try
Speaker 1: and figure out, Okay, what is um bold dash and
Speaker 1: what is worth working with and what should I throw
Speaker 1: away because it was just getting me from one place
Speaker 1: to another during the stream of consciousness type of session.
Speaker 1: Have you ever finished a song and listen to it
Speaker 1: back and learned something else about yourself from it, almost
Speaker 1: like a really good dream analysis or something. Sometimes it's
Speaker 1: horrifying what you learned about yourself. Well, because I think
Speaker 1: if you're listen, if you're honest, then you can kind
Speaker 1: of yes, you can have a chuckle, but then you go, oh,
Speaker 1: I'm a bit mortified that, Um, I don't know that
Speaker 1: I responded in a certain way or um I think
Speaker 1: sometimes there's you know, Gallows humor. The Brits are very
Speaker 1: good at that, and I have been surrounded by Brits,
Speaker 1: my friend. They they are everywhere because I've I've sort
Speaker 1: of been in exile here in England for eighteen months.
Speaker 1: And the funny thing though about the Brits is that
Speaker 1: they're at their best, and I've said this for a
Speaker 1: long time, when I think things are at their worst,
Speaker 1: they find a way they go to their humor. That's
Speaker 1: that's what they turned to as a culture is their humor.
Speaker 1: And and when things are good, like if it's a
Speaker 1: beautiful sunny day and maybe it's like degrees within two hours,
Speaker 1: Brits are going to complain to you, I'm boiling. It's
Speaker 1: so bloody hot, and it's never it's never gonna be okay.
Speaker 1: This is gonna last a long time. So I think
Speaker 1: they're very they are more comfortable when they're being challenged,
Speaker 1: and I think they're humor did help me through this time.
Speaker 1: There there's no question about it. And I have no
Speaker 1: idea what I'm saying to I'm just rambling. Oh you know,
Speaker 1: It's It's funny because what you said to me really
Speaker 1: resonated with me because as I was listening to your album,
Speaker 1: for some reason, the Churchill quote popped into my head.
Speaker 1: If you're going through hell, keep going, and I that
Speaker 1: was something that really that struck me while listening to
Speaker 1: your music. I mean, that's something I've always loved about
Speaker 1: your music because your your honesty and your vulnerability, and
Speaker 1: so much about ocean. The ocean is your willingness to
Speaker 1: sort of you give us permission to sort of not
Speaker 1: be okay. And because in the last year and a half.
Speaker 1: We've all had those moments when we haven't been okay,
Speaker 1: and you've been willing to sort of meet us in
Speaker 1: that place with these with these songs. And I think
Speaker 1: that that's that's so valuable and I'm precious right now
Speaker 1: because I think that's something we all need. We all
Speaker 1: need that kind of compassion. I do think we need compassion.
Speaker 1: You're spot on right there, and and sometimes sometimes I
Speaker 1: think that's it's like gold when somebody has it, just
Speaker 1: holds a space, just holds a space for you to
Speaker 1: be where you are in that moment. And the record
Speaker 1: I wanted to do that. It wanted to also reflect
Speaker 1: what I was getting from the Earth once I started
Speaker 1: going outside and it was cold, and it was the winter,
Speaker 1: and it was and you know cornwall, so you know
Speaker 1: what that can be like. Even though it's beautiful, it
Speaker 1: can be really traumatic and freezing and wet and all
Speaker 1: those things. But at the same time, it was invigorating.
Speaker 1: It was like, Okay, so we've been under house arrest
Speaker 1: and yet Mother Earth is regenerating and at the same
Speaker 1: time dealing with a huge crisis with the fires on
Speaker 1: the West coast in the States and with the flooding
Speaker 1: in Europe and other places, and and yet in Cornwall
Speaker 1: it seemed to be her finding um the balance going
Speaker 1: from winter and spring. And I watched that evolution happening
Speaker 1: before my eyes, really seeing the change that happened in
Speaker 1: the transfer Asian and things being reborn again, so that
Speaker 1: there was a death that was happening, and that's something
Speaker 1: that I was going through. I was having to let
Speaker 1: songs go and let my mom, you know, go, except
Speaker 1: that she has passed to the other side and um,
Speaker 1: and yet now step into the rebirth energy and that
Speaker 1: that's quite you know, it's a process. And the whole
Speaker 1: album is really exploring that process. And I got the
Speaker 1: impression that your mother is a major presence on the
Speaker 1: album and the first single you release, speaking with Trees,
Speaker 1: I think it hits anybody who who has dealt with loss,
Speaker 1: which unfortunately is you know, pretty much all of us.
Speaker 1: Um intensely personal song, and it didn't realize. Took me
Speaker 1: a moment to realize that the lyrics in it, which
Speaker 1: I thought were metaphors, were in fact very literal. Tell
Speaker 1: me more about that song. It's it's really for me.
Speaker 1: It's one of my favorite tracks on the album. Well,
Speaker 1: I was when I was going outside, it seemed as
Speaker 1: if I was guided to just sit and listen to
Speaker 1: the trees and the rhythm um. And then at the
Speaker 1: same time I started getting books and reading about, um,
Speaker 1: how trees communicate with each other. Um there there there's
Speaker 1: a book out by Susanne Simard. If I'm I hope
Speaker 1: I'm saying her name correctly, and if not, I apologize
Speaker 1: because her book really talks about the network underneath the trees.
Speaker 1: Made up a fun guy and again not a scientist,
Speaker 1: so I'm not gonna explain this correctly. But how it
Speaker 1: made me feel was this amazing world, a lot of
Speaker 1: it underground that is interconnected. And so just the alchemy
Speaker 1: of that, the alchemical idea concept of what is really
Speaker 1: going on down there, got me all very excited and
Speaker 1: and put me, I don't know, in a state of
Speaker 1: um collaboration with nature and and wanting to be a
Speaker 1: student of Earth mother and watching her deal with everything
Speaker 1: at one time, and of course that's the paradox that
Speaker 1: was going on there, with the climate crisis happening on
Speaker 1: different in different countries around the globe, and then her
Speaker 1: rebirthing herself as well. That must have been a really
Speaker 1: special because I of traveling has been such a huge
Speaker 1: part of your life since you know, you were with
Speaker 1: thirteen on going on tour, and also you you have
Speaker 1: your your home in Florida, so kind of being on
Speaker 1: the move a lot, being stationary, weill. I'm sure it's
Speaker 1: hard for a million different reasons. Being able to sit
Speaker 1: and see that process take place that really requires you
Speaker 1: to be to be still. Uh, must have been a
Speaker 1: nice silver lining of what I must, you know, imagine
Speaker 1: as being a very difficult time. M At first, I
Speaker 1: don't think my patience. I didn't have a lot. I
Speaker 1: didn't have the amount of patients that I found I
Speaker 1: needed in order to really observe like we're talking about,
Speaker 1: I needed to discipline myself a bit and stop the chatter,
Speaker 1: the inner chatter that we all have, and and really observe.
Speaker 1: You know I've said before, list and with ears size
Speaker 1: of Kansas, really listen. And and to do that you
Speaker 1: have to to stop the inner voices, the inner critic,
Speaker 1: the mur mur mur will you know? And that took
Speaker 1: some effort, if I'm honest with you, and it did
Speaker 1: take some time. It took time, and then I was
Speaker 1: going down to the little vege patch in the garden,
Speaker 1: and I really found that so rewarding. These things became huge,
Speaker 1: joy joyful moments for me. I know there was some
Speaker 1: slightly less joyful moments with nature. I I know. You
Speaker 1: just released the song spies uh the other day, which
Speaker 1: was about some uninvited winged guests coming into your home
Speaker 1: during during lockdown. Can you tell me a little about
Speaker 1: the background of that song. Yeah, the background the the
Speaker 1: windows in the old farmhouse. So it's very hot. It
Speaker 1: was very hot in July, even hot hot for Britain.
Speaker 1: And that's an American telling you it's really hot. That's
Speaker 1: not just the Brids complaining about it's so hard and
Speaker 1: you're kind of going, this is sixty degrees are you
Speaker 1: kidding me? But no, it was hot. So we had
Speaker 1: the windows open, and the bats we're getting in the
Speaker 1: house like in the middle of the night, and our
Speaker 1: daughter would be texting us it's saying, there are bats,
Speaker 1: and then you'd hearse this running around power upstairs, and
Speaker 1: and so Tash camped out downstairs, not in her bedroom
Speaker 1: but in the living room, and she was really not
Speaker 1: overjoyed with this. That situation. Now, why they didn't come
Speaker 1: find me because I love bats, I really I adore them,
Speaker 1: but she does not. So I figured in order to
Speaker 1: get her back into her room, it looked like almost
Speaker 1: ten days. Um, she needed a lullaby. But to write
Speaker 1: a lullaby for year old is very different than when
Speaker 1: I would write for a six and seven year old.
Speaker 1: So I thought, okay, let's listen to some drilling bass
Speaker 1: and let's make spot let's make this happen. So they're
Speaker 1: benevolent beings from Cornwall to London, through the through the
Speaker 1: British isles in Ireland that are tracking the scheming meanies
Speaker 1: so that children can actually get to sleep at night
Speaker 1: and get some shut I that's a wonderful song. I
Speaker 1: you mentioned earlier about the communication between trees and all
Speaker 1: the different ways that that elements of nature communicate. I
Speaker 1: mean bats with you know the ways that they communicate.
Speaker 1: And there's articles about how dolphins communicate and um, you
Speaker 1: know the secret life plants and stuff. I'm wanna ask
Speaker 1: you a question about communication. How much of your your
Speaker 1: desire to write, your impetus to write, comes from a
Speaker 1: desire to communicate versus exercising something inside of you. If
Speaker 1: you were on a desert island somewhere. Would you would
Speaker 1: you continue songwriting? Huh? I don't know. Probably probably because
Speaker 1: I think it's a it's a compulsion. It's something that
Speaker 1: wants to happen when it wants to happen. Now, my
Speaker 1: husband would like it to happen sooner than it happened
Speaker 1: this time. I mean the words divorce a tory. We're
Speaker 1: probably close to his lips and his and on his
Speaker 1: brain because I was, I know, I was driving them
Speaker 1: all kind of mad. We I was still writing while
Speaker 1: we were mixing, and that is something that you never
Speaker 1: want to put put the musicians and the mixers through,
Speaker 1: that's for sure. But that's just what happened this time.
Speaker 1: That's just how it was. Because he would be like,
Speaker 1: can't you make those muses move any faster? I said,
Speaker 1: you try. Good luck with that. They come when they come,
Speaker 1: they leave when they leave, and you know they don't
Speaker 1: need a passport. They show up when they want to
Speaker 1: show up. And I really know when they show up,
Speaker 1: because it's a totally different thing when they're around than
Speaker 1: when I'm doing it myself. I'm not kidding you about this.
Speaker 1: I'm not weaving a tale here. I can write a
Speaker 1: song a day. I don't think it's necessarily anything anybody
Speaker 1: should listen to. But when there's this collaboration happening, then
Speaker 1: kiss met, something can happen that that has a little
Speaker 1: sprinkle of magic to it. Oh. I absolutely believe that.
Speaker 1: Is there an element of superstition in a way that
Speaker 1: is there something that you can kind of do to
Speaker 1: to coax them to come in these music or is
Speaker 1: it purely on their own, on their own time? M hm.
Speaker 1: You know they're not gullible. They're really not coaxing them.
Speaker 1: I think they know every trick that every songwriter has
Speaker 1: had for thousands of years trying to get them to
Speaker 1: hurry up. So I you know, it's hard, it's it's
Speaker 1: hard to fool them, and I think it's best to
Speaker 1: just surrender to it and and then and then you
Speaker 1: might find that they are there. I just have to
Speaker 1: listen a bit harder. I just have to steal myself
Speaker 1: and be open. Because another thing to this is that
Speaker 1: sometimes they want to go some where that I'm I'm
Speaker 1: resisting going there. Resisting very different than the word resistance.
Speaker 1: I don't see the word resistance as a pejorative, which
Speaker 1: it gets used all the time. I mean, if we're
Speaker 1: saying I have a resistance to creativity, well that then
Speaker 1: that is negative. But a resistance to tyranny, which is
Speaker 1: what you know, I wrote the book Resistance about that's
Speaker 1: a very different thing. So I've had to monitor am
Speaker 1: I being open to where they want to go? Or
Speaker 1: am I digging my heels? And because I want them
Speaker 1: to go somewhere else? Well, then if I need to
Speaker 1: surrender and surrendering, they know when you're just pretending to surprender.
Speaker 1: I speaking of resistance, I I think you meant you
Speaker 1: mentioned this before about being inspired by by artists who
Speaker 1: use their medium in this case long to to to
Speaker 1: reflect the time around them. People like Marvin Gaye, Nina Simone, um,
Speaker 1: who are some people who who did that for you?
Speaker 1: Sort of pointed you in that direction of what you
Speaker 1: could use your your art form for m Well, well,
Speaker 1: you know, the late sixties was the time of huge revolution. Um.
Speaker 1: I was having to relive it today for for another
Speaker 1: conversation about and I was five at the time, and
Speaker 1: I just remember how music was affecting people, how songs
Speaker 1: were affecting people. I just had been accepted into the
Speaker 1: Peabody and the conservatory, the prep and I was surrounded
Speaker 1: by teenagers, and I was watching how they were being
Speaker 1: motivated by this music, whether the Beatles, Marvin Gay, Simon,
Speaker 1: m Garif and Golden, all the Motown artists of Wreath, Franklin, Um, Yes, Nina,
Speaker 1: Nina Simone, and and the list goes on, of all
Speaker 1: the all the bands and artists that really, um, what
Speaker 1: do you uh? Got a generation to stand up and
Speaker 1: questioned the Vietnam War. During that year we lost Dr
Speaker 1: Martin Luther King he was killed, and we lost Robert
Speaker 1: Kennedy who was killed. So it was such a time
Speaker 1: where music was crystallizing for me how important it was
Speaker 1: and what songs could do. It could start off, it
Speaker 1: could start a whole new well revolution really and that's
Speaker 1: and that's what it did. I think noticing over over
Speaker 1: the course of our discussion talking about muse it coming
Speaker 1: from inner life and the music coming from you know
Speaker 1: in the world, you derive more inspiration from looking outward
Speaker 1: or looking inward. M hmmm mm hmm. I think I
Speaker 1: think that's the for me. The key is finding the
Speaker 1: balance in that because one it gets the other. So
Speaker 1: observing I take I would take pilgrimage a lot before
Speaker 1: this pandemic. I would go somewhere wherever that was, the desert,
Speaker 1: wherever that was, I would go and observe, and my
Speaker 1: senses were different. And it just in doing that activity alone,
Speaker 1: you're breaking a pattern. You're breaking your own routine, which
Speaker 1: then puts you sort of in a different It puts
Speaker 1: me anyway, in a different space of Okay, I'm I'm
Speaker 1: in a different place where my senses now are heightened
Speaker 1: and I'm able to push myself into hearing and seeing
Speaker 1: and feeling different things. So when that wasn't offered, when
Speaker 1: that was off the table because of the restrictions that
Speaker 1: we've all been under, then I had to find other
Speaker 1: ways and that that has been a challenge, but it's
Speaker 1: also been really eye opening because this record wouldn't have
Speaker 1: happened without everything happening the way it happened in the
Speaker 1: last eighteen months. What were some ways that that you
Speaker 1: you challenge you sort of take a trip mentally, I mean,
Speaker 1: was it through reading or meditation. What were some ways
Speaker 1: that in lieu of travel that you were able to
Speaker 1: to take yourself out of your familiar mental space and
Speaker 1: and try other things. I'm going to be really honest
Speaker 1: with you. I am the crappest person to meditate. You
Speaker 1: don't nobody wants to meditate with me. I'm auntie and
Speaker 1: a pain in the ass. It's just not what I'm sorry,
Speaker 1: it's not what I do. However, hanging out if somebody's
Speaker 1: lighting a fire outside and you're wrapped up in blankets
Speaker 1: and um, you know Oliver Tasha's boyfriend puts on Oliver's
Speaker 1: tracks and you know, whether it's some great jazz that
Speaker 1: uh is being written by some of his friends, or
Speaker 1: or drilling bass which he's a fan of. And he
Speaker 1: turned me onto that from the nineties. That's how that's
Speaker 1: kind of how I roll. That's where I get, That's
Speaker 1: where I was traveling. That's how my imagination got fired up.
Speaker 1: Is and have in conversations and sharing music uh tash
Speaker 1: showing me documentaries UH different through different art forms, and
Speaker 1: and then a whole new world starts to open up
Speaker 1: to me. How gardeners were approaching you know, the VEGGI
Speaker 1: the veggie patch. That was a whole new world for me.
Speaker 1: Because I do not have a green thumb. I would
Speaker 1: just go and sing to the tomatoes every day. So
Speaker 1: I was singing. I'd go down there and I'd sing.
Speaker 1: I talked to the plants. I sing to them, and
Speaker 1: I think they I think they're making songs with me
Speaker 1: in my mind. I have quite a relationship with the
Speaker 1: vedge patch. Oh that's a real thing. I've absolutely heard
Speaker 1: about music therapy for plants that that farmers and gardeners do.
Speaker 1: I've I've heard quite a lot of good things about that.
Speaker 1: While I was taking my show down there, my repertoire,
Speaker 1: the new songs that I was testing them out on
Speaker 1: the squash and seeing how we were going, and then
Speaker 1: if the squash started to grow within a few days.
Speaker 1: I mean sometimes this the squash cut really big pumpkins
Speaker 1: and it was okay. I think that song is a keeper.
Speaker 1: I mean, that's a great response to your music. I mean,
Speaker 1: when you when you are playing for for for humans,
Speaker 1: I'll say, what is the best thing that's someone that
Speaker 1: you can hear from someone who's listened to your music.
Speaker 1: Is there a response that you can hear from somebody
Speaker 1: where you think to yourself, Okay, I know all the
Speaker 1: pain that I went through and lost that went into
Speaker 1: this song, but that response really made it worth it
Speaker 1: for me. Is there something that anyone can say that
Speaker 1: can make you feel that well, I have to tell you,
Speaker 1: I'm very fortunate to have people come to the shows
Speaker 1: that are open that aren't really you know, they're open
Speaker 1: to having an experience, they're open to traveling together and
Speaker 1: kind of saying, I don't know where we're going to
Speaker 1: go tonight, but you do need to know Tory that
Speaker 1: this happened in Chicago over the last week. So there's
Speaker 1: sort of informants. They're like boots on the ground in
Speaker 1: my six For me, that's my relationship with them, and
Speaker 1: so we then share this information and then the show
Speaker 1: becomes collaborative, And so there isn't one saying that somebody
Speaker 1: can say, because honestly, I'm open to to what they think.
Speaker 1: And amuses have always told me their response to a
Speaker 1: song is just as valid as your response. It just
Speaker 1: so happens you're part of the channeling process. Um, But
Speaker 1: that doesn't mean that their relationship with the song isn't
Speaker 1: isn't as valid as your relationship with the song. So
Speaker 1: why wouldn't Why wouldn't you want to know what somebody's
Speaker 1: experience with the song is. I find it really fascinating
Speaker 1: when when they talk to me about their relations ship
Speaker 1: with a song, What is your relationship like with with
Speaker 1: your your prior songs? Do you feel a sense of
Speaker 1: ownership over them or are they you know, sort of
Speaker 1: what Once you let them go, they're free to roam.
Speaker 1: Oh they're roaming, my friend. You're kidding? You think I
Speaker 1: have any say no, They're out there doing what they're doing.
Speaker 1: And that's why the time before the mastering is finished,
Speaker 1: it's it is always bitter sweet because we're done or
Speaker 1: we're almost done, and we know, okay, this is this
Speaker 1: is leaving Marshan Engineering, this is leaving within twenty four hours. Uh.
Speaker 1: And the mastering is done down here with John Astley,
Speaker 1: and I know it's going and I kind of have
Speaker 1: this moment, this last little moment with the song gals,
Speaker 1: and I'll just tell them all go bye and and
Speaker 1: have a nice life. And some of them, you know,
Speaker 1: they go off with a vegan muff and some of
Speaker 1: them always one with a bottle of tegila, trust me,
Speaker 1: and and you just wave. I have a tear in
Speaker 1: my eye when they skipped down the lane and pass
Speaker 1: the cows and the sheep and the tractor and it's
Speaker 1: like see you t and then they're gone, and then
Speaker 1: they're not mine anymore. And that that is a moment
Speaker 1: where where it's bitter sweet because you want to share them,
Speaker 1: you want them to have a life with other people,
Speaker 1: but kind of as there, I don't know their gal pal.
Speaker 1: I have to hand hand them over and let them go. Yeah,
Speaker 1: I mean, I hear many artists talk about their songs
Speaker 1: being their kids, and their kids are growing up and
Speaker 1: are going to make their way in the world. Now. Yeah, No,
Speaker 1: I feel that it's funny during the during the pandemic.
Speaker 1: I I've derived a lot of souls from what I
Speaker 1: call musical comfort food, like music that I haven't listened
Speaker 1: to in fifteen twenty years and suddenly I find my
Speaker 1: way back to it. Um, have you been finding any
Speaker 1: other music therapeutic other than the act of writing it yourself?
Speaker 1: Has that been as music comfort food been a thing
Speaker 1: for you? Oh? Yeah, in different ways. We talked about
Speaker 1: Oliver's tracks, which was, you know, a lot of it
Speaker 1: I had never heard before, so that that was a
Speaker 1: new experience. But there was a moment when Mark and
Speaker 1: I went back and just just traverse that Beatles catalog.
Speaker 1: I'm sure, I'm not the only one that did that, um,
Speaker 1: because that music is what it is, and it has
Speaker 1: um so so many facets to it. Just getting lost
Speaker 1: in one of the one of the albums at a time,
Speaker 1: just saying Okay, let's just really dive into this one
Speaker 1: for a few days. That's something that we did. I
Speaker 1: love doing that. I love revisiting certain catalogs. I consider
Speaker 1: those albums friends of mine. I know that may sound funny,
Speaker 1: but those those records. I don't know if you can see.
Speaker 1: I have a a in store advertisement for Rubber Soul
Speaker 1: framed on my wall behind me. They mean a great
Speaker 1: deal to me. UM understood, Yeah, understood. There was a
Speaker 1: quote you gave UM when you first announced Ocean the Ocean,
Speaker 1: where you said that that you were in in a
Speaker 1: powerless place when you first began. If it's not too
Speaker 1: presumptuous to ask, I wanted to ask, are you feeling
Speaker 1: more empowered now? I went on this journey with the songs,
Speaker 1: so they they changed me, and they the act of
Speaker 1: writing with them, writing out of this power or less
Speaker 1: place into a place of surrender to Earth Mother, into
Speaker 1: a place of her becoming my teacher in a way,
Speaker 1: and then um, watching here while hearing some of the
Speaker 1: I've called it a bit of a sonic elixir, so
Speaker 1: no difference than some people are making something in the kitchen.
Speaker 1: We were trying to create this something delicious sonically for
Speaker 1: people that would would give them something, not exhaust them,
Speaker 1: but give them relief. Um be mana manna feed them.
Speaker 1: And and that was that was what the songs did
Speaker 1: for me. So I'm I'm hoping that it can do
Speaker 1: that for other people. Well I know it certain they
Speaker 1: did for me. I think that's a beautiful note to
Speaker 1: end on. Although I could talk to you all day, Tori,
Speaker 1: thank you so much for especially your music and your
Speaker 1: time today. It's been such an honor and a pleasure.
Speaker 1: Thank you so much. Well, I really enjoy this, I
Speaker 1: have to tell you, but I've really enjoyed talking with you.
Speaker 1: You asked great questions, So thank you, Oh, thank you.
Speaker 1: That means that means so much to hear. I I
Speaker 1: have admired your music. God since I could hear all
Speaker 1: be thank you. We hope you enjoyed this episode of
Speaker 1: Inside the Studio, a production of I Heart Radio. For
Speaker 1: more episodes of Inside the Studio or other fantastic shows,
Speaker 1: check out the I Heart Radio app, Apple podcast, or
Speaker 1: wherever you listen to your favorite podcasts.