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Speaker 1: Hey guys, Bobby here, So no post show today, but

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Speaker 1: I do want to share with you a podcast that

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Speaker 1: I did with Keith Urban. Is basically an hour long

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Speaker 1: of just Keith Thurban and I talking. I love it.

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Speaker 1: You know, when he comes on the radio show, we

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Speaker 1: don't always have an hour, but he came over to

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Speaker 1: my house and this is an episode of the Bobby Cast.

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Speaker 1: So if you like this, go subscribe to the Bobby

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Speaker 1: Cast after this. You don't have to listen to every episode,

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Speaker 1: but so many upcoming artists, so many massive artists that

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Speaker 1: just want time to talk, and that's what this was about.

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Speaker 1: We talked about growing up on Australia, his relationship with

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Speaker 1: his dad, how he started playing guitar, how he went

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Speaker 1: to rehab to overcome addiction, so much more. And so

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Speaker 1: the Bobby Cast is all about just stretching out having

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Speaker 1: long conversations, more than we can do in ten minutes

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Speaker 1: twelve minutes on the radio show. So that being said,

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Speaker 1: go go subscribe to the Bobby Cast if you don't mind.

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Speaker 1: Here's episode three twenty seven of the Bobby Cast with

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Speaker 1: Keith Urban. Hope you like it all right in with

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Speaker 1: Keith Urban, which is Caitlyn sends her best my wife.

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Speaker 1: She just said, Keith's coming over and I I said yeah.

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Speaker 1: She said, tell him, first of all, thank you for

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Speaker 1: the wedding gift you sent. Is the nicest sheets we've

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Speaker 1: ever owned in our entire life. Nice. She should stay

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Speaker 1: in more often, you know. I she got onto me

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Speaker 1: a little bit because you probably don't do this, but

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Speaker 1: I still have two At times I have to spray

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Speaker 1: tan yeah, okay, okay. And I got into the sheets

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Speaker 1: and spray tan once, and she reminded me how nice

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Speaker 1: of sheets they were, right, and then I should never

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Speaker 1: do that again. And then you reminded her how much

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Speaker 1: expensive tanning was and it didn't work. The tanning does

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Speaker 1: not really hold a candle to the should destroyed, yes,

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Speaker 1: but they weren't destroyed, and they all came out wonderfully.

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Speaker 1: But she said, tell him thank you. And she had

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Speaker 1: even asked, and you tell me because we had written

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Speaker 1: you and your lovely wife and thank you card, but

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Speaker 1: we thought we would just mail it instead of handing

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Speaker 1: it to you, which would have been more awkward to

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Speaker 1: hand it to you in person, or just to get

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Speaker 1: it in like a normal in the mail. Either way,

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Speaker 1: both of fine. Yeah, and you could have even not

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Speaker 1: send it, but tell me that you did, and that's

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Speaker 1: the thought that counts. I said that too to people,

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Speaker 1: and I said, hey, what if I just send people

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Speaker 1: a message for a wedding gift, like a video message?

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Speaker 1: He felt absolutely human yeah, and said he good with that.

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Speaker 1: And I said, but everybody just roasted me like it

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Speaker 1: was the dumbest thing they had ever heard, because they

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Speaker 1: just love the tradition of the hand. If someone send

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Speaker 1: to me a thank you card for something I expect

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Speaker 1: to thank you card for, yeah, yeah, I don't feel

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Speaker 1: like it means as much if I get a thank

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Speaker 1: you card for something I don't expect to thank you. Absolutely,

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Speaker 1: that's awesome, I hear you. You know, yeah, it's It's

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Speaker 1: a complicated etiquette, isn't it? Is this back home? Is

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Speaker 1: it so? Etiquette? Back in like Australia, New Zealand. Etiquette

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Speaker 1: is a dumb American thing where we have this, you know,

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Speaker 1: this is this a thing there with after if someone

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Speaker 1: gets married. Back in New Zealand, I had to learn

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Speaker 1: the whole thing about thank you cards. And because I

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Speaker 1: didn't grow up with any of that, I think my

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Speaker 1: family was not that etiquette at all etiquette an we've

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Speaker 1: just y that were not at all. I had to

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Speaker 1: learn the hard way here that you write thank you

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Speaker 1: notes to people. That was completely foreign to me. I

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Speaker 1: remember once you were kind enough to invite me over

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Speaker 1: to your place. It was a Christmas and we were

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Speaker 1: in Australia and you said, hey, you should come over,

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Speaker 1: and I was talking to you about music in Australia

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Speaker 1: New Zealand and country music in particular. I was like,

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Speaker 1: what is country music like here? And you had kind

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Speaker 1: of expressed to me that country music there is kind

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Speaker 1: of am like, it's a different kind of homebred, folksy

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Speaker 1: country in Australia. That's some of the American version is

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Speaker 1: getting over there. But it's hard to find country music

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Speaker 1: on the radio in Australia. Well, the struggle for Australian

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Speaker 1: country artists is there isn't the big mainstream infrastructure that

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Speaker 1: there is here in America. You know, here we have

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Speaker 1: FM country stations everywhere, get satellite radio, you've got multiple

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Speaker 1: video platforms. This is even preceding you Tube with CMT

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Speaker 1: and GC. None of that existed in Australia. So there

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Speaker 1: was a lot of country out us wanting to make

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Speaker 1: more mainstream sounding country music, but there wasn't the platforms

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Speaker 1: for it, and to some degree that's still a struggle there.

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Speaker 1: So how growing up there did you attach yourself to

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Speaker 1: the thought of country music and that that's the kind

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Speaker 1: of music you wanted to make or were you naturally

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Speaker 1: just making it and it was the most organic place

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Speaker 1: for you to fit musically? Here? It well, I mean

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Speaker 1: Nashville was just the destination because why why why was

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Speaker 1: it the destination? It was written on the back of

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Speaker 1: all the records that my dad had, Domilliams mostly and

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Speaker 1: Glenn Campbell, Charlie Pride, Merle Haggard, all of those records

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Speaker 1: all sit on the back of them recorded Nashville, Tennessee.

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Speaker 1: So as a kid, I'm like, oh, that's where you

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Speaker 1: go to make records. Period. I just thought that's where

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Speaker 1: you go if you want to make a record. But

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Speaker 1: how did your dad get so involved in music from Nashville?

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Speaker 1: Because not all was from Nashville. Now you're talking about

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Speaker 1: country music, like other than Bob Dylan Skyline, you know,

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Speaker 1: there weren't a lot of I don't know if pop

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Speaker 1: would be the word or Nashville wasn't big unless it

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Speaker 1: was country American. How did your dad get involved in

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Speaker 1: that scene musically? So in the fifties he was playing

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Speaker 1: in a band. In the fifties he was a drummer

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Speaker 1: and he played the band called Ricochets in New Zealand

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Speaker 1: and in the fifties. Rock and roll happened in the

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Speaker 1: mid fifties, right, so it made its way down in

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Speaker 1: New Zealand. My dad got obsessed with rock and roll

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Speaker 1: and consequently American movies, American cars. We always had American

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Speaker 1: cars grown up, which is crazy in Australia. And he

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Speaker 1: was just in love with America and he loved rock

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Speaker 1: and roll in the fifties, all through the sixties, and

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Speaker 1: then in the late sixties when rock and roll kind

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Speaker 1: of went in a bigger, kind of different direction than

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Speaker 1: I mean, the origins of rock and roll is really rockabilly,

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Speaker 1: you know. There was there was a country element in

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Speaker 1: early rock and roll. So when rock then became more

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Speaker 1: rock as we knew it through the sixties seventies, my

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Speaker 1: dad went, that's kind of a little too hard for me.

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Speaker 1: And here's the connection. There was a group called a

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Speaker 1: Poso Sako Singers, which was a folk group in the

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Speaker 1: sixties and One of the members of that group was

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Speaker 1: a guy called Donald Williams, and then he broke away

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Speaker 1: from that group, dropped the Donald became Dom Williams and

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Speaker 1: went country and my dad just followed him. That was

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Speaker 1: really it. And so you growing up listening to that music,

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Speaker 1: that was your music in the house. Yeah, yeah, well,

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Speaker 1: and my mom loved Neil Diamond Everly Brothers, and my

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Speaker 1: brother was into Elo and Super Tramp and Eagles and

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Speaker 1: Fleetwood Mac. So that was all the fusion. How proficient

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Speaker 1: was your dad with a guitar or terrible with guitar,

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Speaker 1: great with drums, but terrible anguta? So for you, was

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Speaker 1: it drums at first or were other people playing a

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Speaker 1: guitar around you and you're like, think that that's it

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Speaker 1: for me? No, they said, Mum and Dad brought me

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Speaker 1: a ukulele when I was five, and I guess as

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Speaker 1: a toy, I mean, and my dad said I could

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Speaker 1: strum it in time with songs on the radio. I

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Speaker 1: wasn't playing cool it's but the rhythm was there. So rhythm,

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Speaker 1: which I mean possibly from him, definitely. Yeah. And my

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Speaker 1: grandfather played piano, so all of my dad's music, brothers

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Speaker 1: role musical trumpet, piano, guitar, drums, four brothers, So it

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Speaker 1: was all musical and I just took to guitar, I

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Speaker 1: guess because of the ukulele. Was he the dad that

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Speaker 1: wanted you to follow in his footsteps of Hey, if

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Speaker 1: I'm musical, I think it's cool that you're musical, or

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Speaker 1: like so many people in the creative world, it's I've

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Speaker 1: seen what a beast this can be, right, Like, I

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Speaker 1: would like to push you away from it, unless you

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Speaker 1: push so hard back that you want to get in it. Yeah,

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Speaker 1: that that was it, definitely, because I I heighted, I

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Speaker 1: wasn't very disciplined as a kid. I don't know if

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Speaker 1: you can relate to that, Bobby, But were you disciplined

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Speaker 1: as a kid, because are you disciplined now? Yes, because

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Speaker 1: of the addiction that my mom had and my dad left,

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Speaker 1: you know, because I was by myself with my dad

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Speaker 1: bailing out when I was six, my mom being a

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Speaker 1: drug addict her entire life. I was so disciplined that

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Speaker 1: I couldn't go down that path or I was going

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Speaker 1: to just go down the path and live in that path. So,

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Speaker 1: you know, even today, I've never had a drink of

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Speaker 1: alcohol because I feel the addict in me with other

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Speaker 1: things I do. Right, So I am extremely disciplined until

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Speaker 1: I'm not, and then I'm off the end and I

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Speaker 1: have to find and I don't know if you have

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Speaker 1: to do this at times. Well, I have to find

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Speaker 1: my healthy addictions. And I don't know if that's if

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Speaker 1: that's a safe thing to say, but I need to

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Speaker 1: be addicted to something, So I have to find the

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Speaker 1: healthiest thing for me to be addicted to. Because my

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Speaker 1: natural gravity is to go to something and and invest

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Speaker 1: myself all the way in it so much so that

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Speaker 1: it is unhealthy. So I gotta find the healthiest version

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Speaker 1: of that, because it's just in me intrinsically. Like I

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Speaker 1: I yes, I am so disciplined to a fault, right

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Speaker 1: because I know I had one instance where I really

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Speaker 1: felt it and I do want to get back to

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Speaker 1: you know, talking about your parents, But had one instance

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Speaker 1: one now I was um, I got jumped and got

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Speaker 1: a gun to my head and I had a bunch

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Speaker 1: of like trauma in that way where I got held

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Speaker 1: at gunpoint and I had um have a house broken into.

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Speaker 1: It was like a lot of things happening when my

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Speaker 1: career was just starting to take off, and I didn't

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Speaker 1: take it seriously yet, and I was having some some

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Speaker 1: threats from the outside and I couldn't sleep, and so

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Speaker 1: my doctor was like, hey, you should if you can't

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Speaker 1: sleep and you're sick, you shouldake sleeping pills. Took them,

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Speaker 1: had trouble with them, couldn't get off of them, and

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Speaker 1: I was like, oh my god, are you check them

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Speaker 1: and staying up jing that side of them. Well, yeah,

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Speaker 1: I don't remember. I don't right, I don't remember. And

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Speaker 1: so I would take these sleeping pills, and I remember

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Speaker 1: the day where I went, oh, I'm stuck. I'm stuck.

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Speaker 1: And it was the only time because I remember my

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Speaker 1: mom being because you couldn't sleep without them, couldn't sleep,

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Speaker 1: but couldn't sleep without them, felt like they were tethered

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Speaker 1: to me. Anywhere I went at any point, I had

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Speaker 1: to have them with me because if I needed to sleep,

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Speaker 1: that was the only way I could go. And I

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Speaker 1: remember thinking, oh, I'm I can't. I can't beat this

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Speaker 1: right now, like this has got a hold of me.

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Speaker 1: And it was the only time that I ever related

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Speaker 1: to my mom because she had been in rehabit and

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Speaker 1: out and I'd always thought why can't you just beat it? Yeah?

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Speaker 1: But I just had a smidgen of it. Yeah, and

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Speaker 1: I was like, oh god, this is it. Yeah. And

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Speaker 1: so because of that and how I grew up, I

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Speaker 1: am extremely disciplined. Right, So did to answer your easy

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Speaker 1: question about life and music? You know, I do have

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Speaker 1: that discipline in me from I gotta be or I'm

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Speaker 1: going to go off. Yeah that makes sense and not

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Speaker 1: be completely Yeah. So I was disciplined as a child.

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Speaker 1: You were not disciplined, No, I wasn't. I think just

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Speaker 1: being an artist comes with a sense of being able

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Speaker 1: to create, and there's so there's a sense of just

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Speaker 1: freedom and liberation. Also as the youngest, you know, I

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Speaker 1: had an older brother, and I think it's not uncommon

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Speaker 1: for the youngest sibling to potentially be a little more like, well,

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Speaker 1: everyone else take care of everything. I'm fine, I'm just

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Speaker 1: floating along. So your older brother played music, how come

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Speaker 1: you didn't get stuck with the bass? Yeah, he didn't play.

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Speaker 1: We started playing guitar at the exact same time. I

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Speaker 1: was six, he was eight, and he started on a

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Speaker 1: steel string acoustic and I started on one with nylon strings,

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Speaker 1: and he just couldn't hack it and gave up pretty quick.

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Speaker 1: And to your point about my dad, I went into

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Speaker 1: my dad one time and said these strength these I

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Speaker 1: hate playing guitar, and my dad goes, all right, but

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Speaker 1: then don't do it. I was like, Ah, that's not

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Speaker 1: what I wanted. I wanted him to tell me I

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Speaker 1: have to do it and get into a fight. So

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Speaker 1: it was kind of reverse psychology that worked really well.

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Speaker 1: What was the relationship like with your dad and you

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Speaker 1: as you became twelve, fourteen, sixteen years old? My dad's

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Speaker 1: alcoholic was he's not here anymore, but he was an

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Speaker 1: alcoholic his whole life and never just never dealt with it,

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Speaker 1: you know. So my brother and I are classic adult

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Speaker 1: children of alcoholic raised and I got the same genetic

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Speaker 1: disposition as my dad, and my brother didn't have that. Really,

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Speaker 1: it doesn't have it. It's wild because I feel it.

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Speaker 1: I have it right, and luckily I saw it early.

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Speaker 1: But it's crazy that you would have it and your

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Speaker 1: brother does it. Yeah, yeah, but then he has no

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Speaker 1: hair and I have hair, so it's a fair trade.

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Speaker 1: Did you feel like as you tried to achieve musically,

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Speaker 1: you were doing it for you or you were doing

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Speaker 1: it somewhat to create a bond to your dad. Maybe

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Speaker 1: wasn't there because of other circumstances, probably both, you know both,

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Speaker 1: And you know, I think in the song we Have

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Speaker 1: Wild Hearts, you know, there's a song about it opens

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Speaker 1: with Johnny Cash, you know, sort of man in Black,

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Speaker 1: because when I was five, dad, mom and dad took

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Speaker 1: us to see Johnny Cash, and I remember so much

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Speaker 1: about that concert. But the thing I think that is

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Speaker 1: subconsciously in me. I was really taken by how my

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Speaker 1: dad was staring at this guy on stage and probably thinking,

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Speaker 1: how do I get my dad to look at me

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Speaker 1: like that? Isn't that wild? Yeah? Yeah, so I don't

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Speaker 1: I don't know if I saw it. It's hard to know,

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Speaker 1: right was that Did I recognize in that person on

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Speaker 1: stage with a guitar? Did I recognize something that I

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Speaker 1: was going to do or something that I wanted to do,

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Speaker 1: or something that I should do? I don't know. It

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Speaker 1: doesn't really matter in the end. When did it start

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Speaker 1: to be And I'm not going to say the word easy,

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Speaker 1: I don't think that's fair to you, but when did

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Speaker 1: it start to be that you had an understanding that

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Speaker 1: you could actually create and manipulate with that instrument Tuesday

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Speaker 1: this week, this week. Yeah, it's a great you've been missing,

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Speaker 1: You've been missing a lot. You've been doing pretty good

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Speaker 1: up until Tuesday. You've had us all fold. Yeah? Was it?

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Speaker 1: Was it fourteen fifteen? Was it earlier than that where

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Speaker 1: you're like, Okay, I can actually do this at a

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Speaker 1: higher level than like my peers who are doing this.

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Speaker 1: I don't know if I've ever felt that way really

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Speaker 1: even now. No, because you know, in Australia, Yeah, because

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Speaker 1: I've always been around people way better than me, always,

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Speaker 1: And in Australia there's like the local guy playing in

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Speaker 1: the cover band, because people go, who your influences? I'm

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Speaker 1: the guy in the local cover band Barry Clough and

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Speaker 1: then Dallas Seldom and then rig Grant and all these

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Speaker 1: guys playing in cover bands. I'm twelve years old, thirteen

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Speaker 1: years old watching them gone, oh I wish you could

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Speaker 1: play that good. And then at some point you play

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Speaker 1: that good, and so you're already looking to the next guy,

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Speaker 1: Oh I wish you could play as good as him,

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Speaker 1: and you just you your influences keep moving. Who was

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Speaker 1: it for you that was your favorite your first favorite

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Speaker 1: artist where you really clicked and you're like, that's my

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Speaker 1: favorite your own. It's a good question. Gosh, I don't know.

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Speaker 1: For me, I'll vamp a bit as you think about

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Speaker 1: that so you can have a good answer. Yeah. For me,

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Speaker 1: you know, it was John Mayer whenever he was starting,

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Speaker 1: because I felt someone writing the things that I was

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Speaker 1: thinking and I never had had experienced that before. Wow.

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Speaker 1: He's a couple of years older than I am, but

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Speaker 1: I was like, wow, this guy one. I liked his tone,

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Speaker 1: I liked the style, but he was saying things. It

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Speaker 1: was like a really good comedian, you know how you go? Oh.

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Speaker 1: I always thought that I just didn't know how to

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Speaker 1: say it like that. It was the first time I'd

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Speaker 1: ever heard that in song, right, And I thought, wow,

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Speaker 1: he's kind of speaking for me musically. Is the first

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Speaker 1: time that had ever happened. So he became my first

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Speaker 1: ever like, that's my favorite artist. There have been others

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Speaker 1: that that since I've done that. I'm a big Counting

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Speaker 1: Crows guy too, you know, but John Mayer was it

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Speaker 1: for me. Now that I've given you a little time,

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Speaker 1: who do you think it is? Well, what I actually

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Speaker 1: think about is John Mellencamp is the is the guy

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Speaker 1: that's coming to mind. The reason is I grew up

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Speaker 1: playing list country music right, going to all these talent

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Speaker 1: quests and different competitions playing country music. But then I

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Speaker 1: got to be twelve, thirteen, fourteen. I left school at fifteen.

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Speaker 1: I was playing in a cover band at fifteen. So

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Speaker 1: we're just doing Top forty and I'm playing in all

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Speaker 1: the pubs in Australia, and the pubs are rough places,

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Speaker 1: you know, just concrete floor, hosted out the end of

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Speaker 1: the night, rough crowd, no holes bot if you suck,

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Speaker 1: that will let you know you suck. And I grew

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Speaker 1: up playing in that very rock environment, and so I

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Speaker 1: loved country. I loved rock. I loved Top forty. I'm like,

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Speaker 1: what the hell do I do? Who am I musically?

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Speaker 1: And then John put out Loans from Jubilee, which was

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Speaker 1: an album that had songs like paper and fire check

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Speaker 1: it out, Cherry Bomb, YadA, YadA, YadA, and it was

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Speaker 1: rock but it had like fiddle and it had accordion

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Speaker 1: and everything. So we went to see him in concert.

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Speaker 1: On that tour, I was playing in a cover band.

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Speaker 1: The band got tickets. We went to see him and

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Speaker 1: way up in the Nosebleeds in this arena, him and

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Speaker 1: the band comes out and they play, and it was

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Speaker 1: so insanely great and it was rock, country, something whatever

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Speaker 1: the hell was going on. It was literally an epiphany.

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Speaker 1: And I saw what John was doing and I went, Oh,

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Speaker 1: that's the answer. You don't think about labels. Just take

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Speaker 1: all the things you love, figure out how to put

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Speaker 1: them together and make it be like this. And I

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Speaker 1: was very lucky to meet John many many years later

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Speaker 1: and tell him that story, and he said, it's so

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Speaker 1: great that that's what you took away from that concert,

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Speaker 1: because most people leave the concert and go, I'm gonna

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Speaker 1: do that. I'm gonna have fiddle in my bed, you know,

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Speaker 1: and just rip off Joe Mellencamp. But what I took

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Speaker 1: from it was just do your own thing. Take all

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Speaker 1: the things you love, and the original John Mellencamp, obviously

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Speaker 1: a Middle America guy who had country and rock roots

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Speaker 1: at the same time, incorporated them all. How do you

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Speaker 1: see that affecting your show that you do now, Like,

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Speaker 1: what are the surroundings that you've taken from your life

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Speaker 1: because you have a different kind of show? Yeah, of

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Speaker 1: really anyone, I mean, and I say that in the

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Speaker 1: most complimentary way. And I've told you this off a

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Speaker 1: microphone too, Like you do the best live show I've

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Speaker 1: ever seen. You need to get out more. I've seen

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Speaker 1: a lot of live shows. I'm jaded at this point too.

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Speaker 1: I'm very extremely jaded. That's a higher compliment than thing

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Speaker 1: it is. Yeah, I know it is. I've seen it

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Speaker 1: all and I don't care to see anymore because it's

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Speaker 1: just part of the life we live right until you

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Speaker 1: But when you're moved, you're moved so hard when you're jaded,

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Speaker 1: and to watch you perform, I leave and I'm like, god, dang,

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Speaker 1: I just I thought i'd seen it all. So because

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Speaker 1: of that, you're so so what do you take? What

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Speaker 1: are your influences that have created what is your project?

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Speaker 1: In the same way that he had taken fiddle, and

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Speaker 1: he had taken you know, a different kind of percussion. Yeah,

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Speaker 1: and the different sevice for me is I play guitar.

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Speaker 1: So that becomes a strong point of the of what

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Speaker 1: I do. I love guitar riffs. I love catchy songs,

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Speaker 1: you know, unapologetically energy too, and energy yeah, and fiercely

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Speaker 1: in the moment presence, absolutely and really giving a shit,

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Speaker 1: like really really like this is the last gig I'll

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Speaker 1: ever play. Every gig is the last gig you'll ever play.

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Speaker 1: That's what I think I want to talk about your

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Speaker 1: shows is not only is it musically wonderful and sonically

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Speaker 1: just the greatest, but there's so much energy there that

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Speaker 1: doesn't feel forced energy. It feels like pure energy. And

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Speaker 1: there's a difference. Sometimes you go out and you really do.

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Speaker 1: I'm like, I'm gonna really work for this show, but

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Speaker 1: it doesn't feel like work. It feels like that's who

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Speaker 1: you are as an artist, Like that's the most genuine

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Speaker 1: version of you. And again, if if you haven't seen

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Speaker 1: Keith's show, and honestly this wasn't leading up to the

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Speaker 1: promo of your tour yet, but your tickets are until today,

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Speaker 1: which works in great into this um and it's the

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Speaker 1: it's the greatest live show I think I've seen because

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Speaker 1: and I don't know why you keep going into the audience.

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Speaker 1: He may not not do that with COVID. Now it's

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Speaker 1: I've just seen you do it so many times, like stop,

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Speaker 1: like I'm worried for your own hell yeah, like people, Um,

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Speaker 1: we were talking to Jerry uh Flower, Yeah, yeah, yeah,

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Speaker 1: he was Jerry Clower. Jerry Clowers one of my favorites too,

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Speaker 1: by the way, you mean Jerry Jerry Clowers only one

399
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Speaker 1: time and he is just a pistol. Yeah. Yeah. So

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Speaker 1: but the other Jerry, who you were in the ranch

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Speaker 1: with and who is your musical leader, band director, I

402
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Speaker 1: don't know. Player. He said that you guys were doing

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Speaker 1: a private function and you ran into the crowd and

404
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Speaker 1: they were so high they started biting you. Yeah. It's like, wait, what,

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Speaker 1: Like I knew that was going to happen, but it's

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Speaker 1: already happened. Like they pulled your shirt off and they

407
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Speaker 1: were biting you. Yeah, and you kind of give off

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Speaker 1: that door, like you accept that. So we try and

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Speaker 1: feed people before this show. Now, they're very passionate, very passionate.

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Speaker 1: Let me say this, The new American tour, The Speed

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Speaker 1: of Now World Toward twenty twenty two fifty three shows

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Speaker 1: between June seventeenth and November fifth of twenty twenty two.

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Speaker 1: There is a full list of dates and tickets right

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Speaker 1: now at keith Urban dot com. Let's go back whenever

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Speaker 1: you're playing in these cover bands, what was the ceiling

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Speaker 1: for you as far as for your career When you're

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Speaker 1: fourteen fifteen, sixteen years old. What's the ceiling in your mind? Yea,

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Speaker 1: how far you can get in your career? I never

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Speaker 1: thought of I don't know, it's so weird. I was

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Speaker 1: never one of these kids with a plan at all, none,

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Speaker 1: just let's try and get better. I was playing in

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Speaker 1: this cover band that I talked about in nineteen eighty eight,

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Speaker 1: went so well, Melly can't yeah, yeah, yeah, And I

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Speaker 1: wasn't the lead singer, guitar playing, and well it was

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Speaker 1: for a cover band. We were doing a couple of

426
00:21:03,240 --> 00:21:05,480
Speaker 1: thousand people on it on a Sunday afternoon, which was

427
00:21:05,520 --> 00:21:07,640
Speaker 1: a lot of people to come and see this cover band.

428
00:21:07,640 --> 00:21:09,359
Speaker 1: But it was a really good band. What was your

429
00:21:09,440 --> 00:21:12,160
Speaker 1: role in the cover band? Guitar in, lead singer? Well,

430
00:21:12,200 --> 00:21:14,600
Speaker 1: we had a lead singer that wasn't you. It wasn't me.

431
00:21:16,280 --> 00:21:19,639
Speaker 1: And the only reason I joined this band was I

432
00:21:19,640 --> 00:21:23,120
Speaker 1: had a manager who was also managing this band. It's

433
00:21:23,119 --> 00:21:25,600
Speaker 1: a long story, but I had been in I'd done duo,

434
00:21:25,640 --> 00:21:27,560
Speaker 1: as i'd done bands. I'd always had my own thing, right,

435
00:21:27,560 --> 00:21:30,120
Speaker 1: it was always me whatever, I was always doing my thing.

436
00:21:30,600 --> 00:21:33,760
Speaker 1: My manager thought I really need some frontman experience, how

437
00:21:33,760 --> 00:21:35,600
Speaker 1: to handle a crowd, how to put a set list together,

438
00:21:35,600 --> 00:21:37,280
Speaker 1: how to put on a show, how to just lead.

439
00:21:37,840 --> 00:21:39,560
Speaker 1: And so he said, I've got this band. I think

440
00:21:39,560 --> 00:21:42,440
Speaker 1: you should join the band and watch this frontman because

441
00:21:42,440 --> 00:21:44,600
Speaker 1: he's amazing and you'll learn so much. So I was

442
00:21:44,680 --> 00:21:46,640
Speaker 1: with that band for about a year and he was right.

443
00:21:46,720 --> 00:21:49,800
Speaker 1: I learned so much from that lead singer. But but

444
00:21:49,960 --> 00:21:52,240
Speaker 1: one of the things was I wanted to do some

445
00:21:52,280 --> 00:21:56,280
Speaker 1: original songs. We're doing all these covers, And so I

446
00:21:56,280 --> 00:21:59,359
Speaker 1: started writing a song and he loved it, and the

447
00:21:59,400 --> 00:22:02,720
Speaker 1: band learned it, and he was going to even sing

448
00:22:02,800 --> 00:22:04,760
Speaker 1: it and it would be on the set list and

449
00:22:04,800 --> 00:22:06,159
Speaker 1: I'd be looking at the guys in the band, I'm like,

450
00:22:06,200 --> 00:22:07,920
Speaker 1: here comes our song. It comes a song. We're gonna

451
00:22:07,920 --> 00:22:10,040
Speaker 1: get to do our song, and he would bail on

452
00:22:10,119 --> 00:22:13,120
Speaker 1: it every time. He'd be like, nah, I skip that one.

453
00:22:13,200 --> 00:22:18,280
Speaker 1: Let's do money money, And I'm like yeah. And after

454
00:22:18,359 --> 00:22:20,680
Speaker 1: a while of that, I just went, I'm not this

455
00:22:20,760 --> 00:22:23,240
Speaker 1: is going nowhere. What are you gonna do with covers?

456
00:22:23,320 --> 00:22:25,040
Speaker 1: I want to want to play original music. So I

457
00:22:25,200 --> 00:22:27,840
Speaker 1: left the band and the drummer and bass player quit

458
00:22:27,960 --> 00:22:36,399
Speaker 1: at the same time and came and joined me. And

459
00:22:36,480 --> 00:22:38,600
Speaker 1: so then what do you do? Is it a new

460
00:22:38,680 --> 00:22:40,359
Speaker 1: name band? Is it? Are you? It was just me,

461
00:22:40,440 --> 00:22:43,119
Speaker 1: It was just solo. But then of course I couldn't

462
00:22:43,160 --> 00:22:46,960
Speaker 1: get any work playing original songs, and so we resorted

463
00:22:46,960 --> 00:22:50,360
Speaker 1: to being another cover band, but slipping in my own

464
00:22:50,400 --> 00:22:53,160
Speaker 1: songs in between the covers at least. Yeah, And so

465
00:22:53,200 --> 00:22:55,560
Speaker 1: as you're doing your own music, are you in Australia

466
00:22:55,560 --> 00:22:57,960
Speaker 1: at this point? Yeah? Yeah, it's all in Australia. Was

467
00:22:58,000 --> 00:23:00,680
Speaker 1: the plan to get to the States, that's point. Yeah,

468
00:23:00,680 --> 00:23:02,720
Speaker 1: But I didn't know how a when and nothing knew

469
00:23:02,760 --> 00:23:05,280
Speaker 1: nothing about that? Then how did you? So in nineteen

470
00:23:05,480 --> 00:23:11,000
Speaker 1: eighty nine, my manager got some tickets for us to

471
00:23:11,040 --> 00:23:13,480
Speaker 1: come over to America and we came to Nashville and

472
00:23:13,520 --> 00:23:16,080
Speaker 1: spent splayed down at the Shawnees, which was on to Mombrian,

473
00:23:16,680 --> 00:23:21,200
Speaker 1: and pitched my crappy demo to all the labels. Met

474
00:23:21,240 --> 00:23:26,480
Speaker 1: with complete silence. Is it now? It was met with

475
00:23:26,520 --> 00:23:30,679
Speaker 1: complete silence because that's your big, famous and successful or

476
00:23:30,840 --> 00:23:32,639
Speaker 1: was it really met with complete silence? Oh? No, it

477
00:23:32,640 --> 00:23:35,000
Speaker 1: was terrible. But first of all it was a terrible demo, which,

478
00:23:35,040 --> 00:23:37,120
Speaker 1: of course when you come from if you're not from here,

479
00:23:37,119 --> 00:23:39,240
Speaker 1: you think it's pretty pretty good because it's pretty good

480
00:23:39,240 --> 00:23:41,400
Speaker 1: from where you come from, but it's pretty crap when

481
00:23:41,400 --> 00:23:46,280
Speaker 1: you get here compared everything else. And I was just

482
00:23:46,440 --> 00:23:48,960
Speaker 1: out of out of step, out of place, out of step.

483
00:23:49,000 --> 00:23:52,399
Speaker 1: My music didn't fit at all. So what made you

484
00:23:52,440 --> 00:23:56,440
Speaker 1: think that you could stay and thrive? Because Nashville was

485
00:23:56,480 --> 00:23:59,159
Speaker 1: like sixteenth and seventeenth to have. And I got here

486
00:23:59,200 --> 00:24:01,800
Speaker 1: and I went, this is it? Is this it this

487
00:24:01,880 --> 00:24:06,240
Speaker 1: is the legendary iconic music row, Like that's it, My god,

488
00:24:06,720 --> 00:24:09,480
Speaker 1: this is this is fantastic. It's not New York City,

489
00:24:09,480 --> 00:24:12,520
Speaker 1: it's not like this is I'm at home. I love

490
00:24:12,560 --> 00:24:14,200
Speaker 1: it here, It's great, and I didn't want to leave.

491
00:24:14,640 --> 00:24:18,239
Speaker 1: And I also foolishly thought, we'll get I'll get here

492
00:24:18,280 --> 00:24:20,359
Speaker 1: and I'll start writing songs and I'll record and boom,

493
00:24:20,359 --> 00:24:22,320
Speaker 1: we'll be off and running in no time. And man,

494
00:24:22,400 --> 00:24:25,000
Speaker 1: the years just went by, and by what were you doing?

495
00:24:25,520 --> 00:24:27,080
Speaker 1: Could you make money? Though? At the time, Like if

496
00:24:27,119 --> 00:24:29,159
Speaker 1: you're coming from Australia and you're just visiting, were you

497
00:24:29,200 --> 00:24:31,600
Speaker 1: able to make money? So I signed a publishing deal

498
00:24:31,720 --> 00:24:34,720
Speaker 1: with a company in Australia that had an office in Nashville.

499
00:24:35,440 --> 00:24:38,480
Speaker 1: It's very small, little wage to where it's not even

500
00:24:38,480 --> 00:24:40,160
Speaker 1: a wage. What is it like money that you're gonna

501
00:24:40,160 --> 00:24:42,960
Speaker 1: have to pay them back? Right? So I'd come over

502
00:24:43,040 --> 00:24:45,679
Speaker 1: for a couple of weeks on my own, stay with

503
00:24:45,800 --> 00:24:49,440
Speaker 1: crash with somebody at their house. Gonn write songs every

504
00:24:49,520 --> 00:24:53,080
Speaker 1: day with whoever they've put me with. You know that

505
00:24:53,280 --> 00:24:56,600
Speaker 1: thing that we do here in Nashville professional songwriters. Whenever

506
00:24:56,640 --> 00:24:58,359
Speaker 1: the new kid in town is, they throw them in

507
00:24:58,400 --> 00:25:00,680
Speaker 1: with the pro songwriters and see if something happens. Was

508
00:25:00,720 --> 00:25:02,359
Speaker 1: that weird for you, by the way, because yeah, that

509
00:25:02,400 --> 00:25:05,320
Speaker 1: was the culture and you've been writing probably by yourself. Yeah,

510
00:25:05,359 --> 00:25:08,560
Speaker 1: but yeah, it was really difficult. I also was no

511
00:25:08,640 --> 00:25:10,840
Speaker 1: when you're good enough yet? And so I'm getting with

512
00:25:11,040 --> 00:25:13,800
Speaker 1: really great pro writers and I just I sucked. I

513
00:25:13,840 --> 00:25:17,600
Speaker 1: just had so much to learn that was excruciating. And

514
00:25:17,960 --> 00:25:21,720
Speaker 1: are you learning or are you overwhelmed? I think I

515
00:25:21,760 --> 00:25:25,200
Speaker 1: had also frustrated the way in which I would write

516
00:25:25,240 --> 00:25:27,600
Speaker 1: with my drum machine and my bass or a banjo

517
00:25:27,720 --> 00:25:30,480
Speaker 1: or something and always with a groove. Always. I would

518
00:25:30,520 --> 00:25:32,520
Speaker 1: never sit with a guitar in a legal pad in

519
00:25:32,560 --> 00:25:35,080
Speaker 1: a windowless room. So were you an early track guy,

520
00:25:35,400 --> 00:25:39,360
Speaker 1: because yeah, definitely, because I like I like them well,

521
00:25:39,400 --> 00:25:42,520
Speaker 1: because I write from the music out. The music is

522
00:25:42,560 --> 00:25:44,679
Speaker 1: trying to tell a story, and then I extrapolate the

523
00:25:44,680 --> 00:25:48,119
Speaker 1: story from the music. Will you write songs with melody first?

524
00:25:50,680 --> 00:25:54,560
Speaker 1: Just straight melody? Will you write a melody and that's

525
00:25:54,560 --> 00:25:57,200
Speaker 1: what you have, then you create around the melody. Yeah?

526
00:25:57,320 --> 00:25:59,800
Speaker 1: Are you more prone to do that when writing if

527
00:25:59,800 --> 00:26:04,199
Speaker 1: you're starting from scratch or an idea a lyric, like

528
00:26:04,240 --> 00:26:06,679
Speaker 1: where do you like to start? If you get to choose,

529
00:26:06,920 --> 00:26:08,960
Speaker 1: If I get to choose, I like a groove. A

530
00:26:08,960 --> 00:26:11,320
Speaker 1: beat doesn't have to be fast, just any kind of

531
00:26:11,320 --> 00:26:16,160
Speaker 1: beat that I can then play along with. Whether it's bass, guitar, guitar, piano,

532
00:26:16,760 --> 00:26:20,760
Speaker 1: something banjo, whatever the matter, just something that you pick

533
00:26:20,840 --> 00:26:23,679
Speaker 1: up and just respond to. And then a melody comes,

534
00:26:24,080 --> 00:26:26,320
Speaker 1: A melody comes of some sort, and then I think

535
00:26:26,320 --> 00:26:28,320
Speaker 1: the music has an emotion about it. It's trying to

536
00:26:28,320 --> 00:26:30,840
Speaker 1: say something I make somebody like you. You know. That

537
00:26:30,960 --> 00:26:34,640
Speaker 1: song started from flying out to La meeting this guy

538
00:26:34,720 --> 00:26:38,680
Speaker 1: John Shanks. So I didn't know. I was so nervous

539
00:26:38,960 --> 00:26:41,840
Speaker 1: to meet with some LA guy, you know, And I'm like,

540
00:26:42,359 --> 00:26:44,040
Speaker 1: what do I know? I've showed up with my banjo

541
00:26:44,160 --> 00:26:46,240
Speaker 1: and everything, and before I went to the session, I

542
00:26:46,280 --> 00:26:49,160
Speaker 1: went to this Irish pub and I had a pine

543
00:26:49,160 --> 00:26:50,960
Speaker 1: a Guinness and it was like ten in the morning

544
00:26:51,280 --> 00:26:53,399
Speaker 1: and it was really good. Sad another one and that

545
00:26:53,480 --> 00:26:55,080
Speaker 1: was a really good so I had like a third one.

546
00:26:55,400 --> 00:26:57,760
Speaker 1: I get in my car drive over to the studio

547
00:26:57,840 --> 00:27:01,480
Speaker 1: where he is, and by then I walked in and

548
00:27:01,520 --> 00:27:05,800
Speaker 1: I felt pretty pretty just not bulletproof, but I felt

549
00:27:05,880 --> 00:27:09,639
Speaker 1: very relaxed, very confident, you know. And he had this

550
00:27:09,760 --> 00:27:14,440
Speaker 1: little drum machine and it was going, that's all it

551
00:27:14,560 --> 00:27:16,720
Speaker 1: was doing. And I pulled my banjo out of the

552
00:27:16,720 --> 00:27:22,399
Speaker 1: case and go, dang, dang danger, no idea, why just

553
00:27:22,520 --> 00:27:25,840
Speaker 1: it just came out, and we're like, oh, it feels good.

554
00:27:26,200 --> 00:27:28,240
Speaker 1: What do we do with that? You know? Send then

555
00:27:28,480 --> 00:27:34,359
Speaker 1: sound nothing, some down go and soders something, gotta find

556
00:27:34,440 --> 00:27:37,719
Speaker 1: some words and that's that's it. And then you just

557
00:27:37,960 --> 00:27:40,880
Speaker 1: the rest comes. You're creating that vocal melody too, without

558
00:27:40,880 --> 00:27:44,440
Speaker 1: putting the words on it. Yeah, yeah, so blah blah blah.

559
00:27:44,760 --> 00:27:47,399
Speaker 1: So that that and then you'll go would you record that?

560
00:27:47,720 --> 00:27:49,200
Speaker 1: You go back over and go, okay, you know what's

561
00:27:49,240 --> 00:27:51,760
Speaker 1: down here? Yeah. Well a lot of times it Gibberish

562
00:27:51,840 --> 00:27:54,359
Speaker 1: is actually trying to say something like you'll listen to

563
00:27:54,400 --> 00:27:55,920
Speaker 1: the tape which way had a tape then and it

564
00:27:55,960 --> 00:28:01,840
Speaker 1: would be new and then oh, you're like, oh there's

565
00:28:01,880 --> 00:28:03,879
Speaker 1: a never there was that a new win something. I

566
00:28:04,119 --> 00:28:07,400
Speaker 1: write that down and never never Known sounds like it's

567
00:28:07,480 --> 00:28:10,720
Speaker 1: like screw, it's all in there. I think Mick Jagger

568
00:28:10,760 --> 00:28:15,080
Speaker 1: calls it making foul movements. Great. So as you're here

569
00:28:15,119 --> 00:28:17,280
Speaker 1: and you're learning to write, when does the ranch start

570
00:28:17,280 --> 00:28:22,920
Speaker 1: to be a thing? Uh? Well? Um, this three piece

571
00:28:22,960 --> 00:28:25,600
Speaker 1: band that I mentioned, I had drum and bass player

572
00:28:25,720 --> 00:28:28,600
Speaker 1: that I took from this cover band. I thought, well,

573
00:28:28,640 --> 00:28:30,639
Speaker 1: let's let's head over to Nashville and do some shows.

574
00:28:30,800 --> 00:28:33,160
Speaker 1: You know, all I can bring is bass playing drums.

575
00:28:33,160 --> 00:28:37,679
Speaker 1: I got no money. I can't afford anything. Um. By

576
00:28:38,160 --> 00:28:40,200
Speaker 1: right around that time, I actually had built out a

577
00:28:40,240 --> 00:28:42,520
Speaker 1: five piece band. I signed a record deal in Australia,

578
00:28:42,680 --> 00:28:46,680
Speaker 1: did an album. Put two more guys in my band,

579
00:28:47,160 --> 00:28:50,360
Speaker 1: keyboard and guitar. So I had drums, bass, keyboard, guitar

580
00:28:50,600 --> 00:28:54,520
Speaker 1: and me and we're touring around playing these songs off

581
00:28:54,560 --> 00:28:56,360
Speaker 1: my album. So it was starting to happen. In today.

582
00:28:56,360 --> 00:28:57,960
Speaker 1: It was popping, had a song on the radio and

583
00:28:58,000 --> 00:28:59,479
Speaker 1: I was like, here we go. It's great, you know,

584
00:28:59,680 --> 00:29:01,520
Speaker 1: but I wanted to do is come to Nashville. I

585
00:29:01,520 --> 00:29:04,160
Speaker 1: couldn't bring the whole band, so I could bring bass

586
00:29:04,160 --> 00:29:06,120
Speaker 1: and drums at least I could bring in make a

587
00:29:06,160 --> 00:29:08,400
Speaker 1: sound out of it. My bass playing drummer were the

588
00:29:08,400 --> 00:29:10,840
Speaker 1: two guys that didn't sing, so I had no harmony,

589
00:29:10,960 --> 00:29:14,040
Speaker 1: no nothing. So my bass player went back to Australia

590
00:29:14,120 --> 00:29:17,680
Speaker 1: and I found a singing bass player from Florida and

591
00:29:18,000 --> 00:29:20,600
Speaker 1: we played for a year or so, and then he

592
00:29:20,720 --> 00:29:23,440
Speaker 1: went back to Florida and we found Jerry who came

593
00:29:23,480 --> 00:29:25,920
Speaker 1: in and took over. So we were a free piece

594
00:29:26,000 --> 00:29:28,680
Speaker 1: because of no money. It was not my preference. It

595
00:29:28,760 --> 00:29:32,320
Speaker 1: just couldn't afford anymore players, and that eventually became the Ranch.

596
00:29:32,440 --> 00:29:34,120
Speaker 1: What's interesting about that if we were playing back some

597
00:29:34,160 --> 00:29:36,640
Speaker 1: of the Ranch stuff with Jerry, and it feels like

598
00:29:36,800 --> 00:29:39,640
Speaker 1: it was just ahead of its time, like that that music,

599
00:29:39,680 --> 00:29:41,480
Speaker 1: and we were listening to some demos and some old

600
00:29:41,520 --> 00:29:46,880
Speaker 1: some old Ranch cuts, Right, it feels like seven years

601
00:29:46,960 --> 00:29:51,160
Speaker 1: later that probably hits. Yeah, do you feel like it

602
00:29:51,200 --> 00:29:55,440
Speaker 1: was a bit advanced musically and that's why it didn't

603
00:29:55,480 --> 00:29:58,720
Speaker 1: work at the time. Yeah, it certainly didn't sound like

604
00:29:58,760 --> 00:30:01,840
Speaker 1: anything on radio, and that's always the thing you know

605
00:30:02,000 --> 00:30:04,880
Speaker 1: with the record we made in nineteen ninety seven just

606
00:30:05,000 --> 00:30:08,320
Speaker 1: didn't sound like anything on the radio. It was hell

607
00:30:08,440 --> 00:30:11,440
Speaker 1: making that record because we were signed to Warner Brothers

608
00:30:11,440 --> 00:30:14,560
Speaker 1: in nineteen ninety five and we went in with every

609
00:30:14,640 --> 00:30:20,800
Speaker 1: quarter pointed producer in town. Every one of those situations

610
00:30:20,800 --> 00:30:24,160
Speaker 1: didn't work because what happens is we would either sound

611
00:30:24,960 --> 00:30:27,360
Speaker 1: like us, which didn't sound like the radio, or we

612
00:30:27,360 --> 00:30:29,000
Speaker 1: would sound like something that could go on the radio,

613
00:30:29,040 --> 00:30:30,760
Speaker 1: but it didn't sound like us, and we were just

614
00:30:30,840 --> 00:30:32,959
Speaker 1: in hell and just no matter what we did, we

615
00:30:33,000 --> 00:30:36,240
Speaker 1: just couldn't make it, couldn't make it work. Was there

616
00:30:36,320 --> 00:30:39,400
Speaker 1: someone that was betting on you though, as Keith Urban like, Okay,

617
00:30:39,400 --> 00:30:41,120
Speaker 1: the ranch didn't work, but we still have faith in you.

618
00:30:41,160 --> 00:30:43,320
Speaker 1: And so many times in this town, once you don't

619
00:30:43,360 --> 00:30:44,960
Speaker 1: make it, people are like, well you're just not gonna

620
00:30:44,960 --> 00:30:46,840
Speaker 1: make it. I see it all the time, like, well

621
00:30:46,880 --> 00:30:49,480
Speaker 1: you didn't make it, probably not for you. Yeah. Was

622
00:30:49,520 --> 00:30:51,600
Speaker 1: there anyone that was like, hey, I know that didn't

623
00:30:51,600 --> 00:30:54,280
Speaker 1: work and maybe it was just you, right? Was there

624
00:30:54,280 --> 00:30:58,280
Speaker 1: anyone that was like, hey, you have that star, like

625
00:30:58,360 --> 00:31:00,680
Speaker 1: let's keep going and try to figure out Keith Urbanez

626
00:31:00,720 --> 00:31:03,400
Speaker 1: instead of this three piece I think that was me.

627
00:31:03,640 --> 00:31:06,240
Speaker 1: I mean, I just had that burning belief. I know

628
00:31:06,320 --> 00:31:09,720
Speaker 1: wise because I was I'd grown up on all this music.

629
00:31:09,840 --> 00:31:11,960
Speaker 1: I knew how to make the music, but I didn't

630
00:31:11,960 --> 00:31:13,920
Speaker 1: know how to make it with this band. This band

631
00:31:14,320 --> 00:31:17,480
Speaker 1: had a unique sound about it, and the band wasn't

632
00:31:17,520 --> 00:31:20,960
Speaker 1: I wasn't trying to get the band signed, you know.

633
00:31:21,000 --> 00:31:25,680
Speaker 1: The band wasn't in the plan. Originally it morphed into that.

634
00:31:25,880 --> 00:31:28,000
Speaker 1: So it was originally you, it was me. It was

635
00:31:28,040 --> 00:31:29,800
Speaker 1: me and my bass player and drummer. We didn't have

636
00:31:29,800 --> 00:31:32,600
Speaker 1: a name. It was just my name. But we got

637
00:31:32,640 --> 00:31:34,720
Speaker 1: messed around with so much by the record company, and

638
00:31:34,760 --> 00:31:37,680
Speaker 1: the tipping point was over at that label, at Warner

639
00:31:37,680 --> 00:31:40,760
Speaker 1: Brothers at the time. They just signed me, not the

640
00:31:40,800 --> 00:31:44,360
Speaker 1: other two guys. And we made the record and they said, oh,

641
00:31:44,400 --> 00:31:47,000
Speaker 1: we're gonna send you guys out, maybe to play some

642
00:31:47,040 --> 00:31:49,360
Speaker 1: of these songs. But actually we're not sending you guys out.

643
00:31:49,480 --> 00:31:51,440
Speaker 1: We're just going to put a house band together, and

644
00:31:51,480 --> 00:31:53,800
Speaker 1: I'm going to send out you Keith, and about four

645
00:31:53,880 --> 00:31:55,920
Speaker 1: other artists on our label, and you guys will all

646
00:31:55,920 --> 00:31:58,120
Speaker 1: share the same band. And I went, no, I won't

647
00:31:59,080 --> 00:32:00,520
Speaker 1: like what do you mean? I go, I'm not. I'm

648
00:32:00,560 --> 00:32:03,880
Speaker 1: not I'm not playing with just I got a band,

649
00:32:04,320 --> 00:32:06,520
Speaker 1: take my band with me. And they're like, yeah, but

650
00:32:06,560 --> 00:32:08,160
Speaker 1: we didn't sign your band. I go, no, I know,

651
00:32:08,280 --> 00:32:10,400
Speaker 1: but I mean, there my band. It doesn't make sense

652
00:32:10,400 --> 00:32:13,400
Speaker 1: when I play with someone else. And when we got

653
00:32:13,520 --> 00:32:16,520
Speaker 1: dropped from that label and whenever to Capital, I said,

654
00:32:16,560 --> 00:32:19,479
Speaker 1: you have to sign everybody, and I'm going to get

655
00:32:19,560 --> 00:32:21,040
Speaker 1: rid of my name too. To hell with it and

656
00:32:21,040 --> 00:32:22,480
Speaker 1: getting rid of my name. We're doing it, you know.

657
00:32:22,880 --> 00:32:24,480
Speaker 1: And I had so many people around me saying, don't

658
00:32:24,520 --> 00:32:27,520
Speaker 1: do that, don't don't drop your name and just lose

659
00:32:27,560 --> 00:32:29,520
Speaker 1: yourself in the band. But that's what I did. When

660
00:32:29,560 --> 00:32:32,280
Speaker 1: you became Keith atone, rolled through some number one here

661
00:32:32,280 --> 00:32:34,760
Speaker 1: two thousand and one, your first number one. But for

662
00:32:34,800 --> 00:32:36,640
Speaker 1: the grace of God, let's here a little bit of

663
00:32:36,680 --> 00:32:48,000
Speaker 1: is God I'm after the years of struggle on a

664
00:32:48,120 --> 00:32:53,040
Speaker 1: label to have a hit. Did it feel like a

665
00:32:53,120 --> 00:32:56,400
Speaker 1: relief or did it feel like this is amazing? Because

666
00:32:56,400 --> 00:32:59,800
Speaker 1: there's a difference. Was that like oh my God, thank

667
00:32:59,840 --> 00:33:02,960
Speaker 1: you or the like whoa, That's what I'm talking about? Yeah,

668
00:33:03,040 --> 00:33:06,960
Speaker 1: it only above. It was surreal to have a number

669
00:33:07,040 --> 00:33:12,120
Speaker 1: one song in America was just crazy. I remember that

670
00:33:12,200 --> 00:33:15,400
Speaker 1: day like it was yesterday. Really, oh my god, twenty

671
00:33:15,480 --> 00:33:18,080
Speaker 1: years ago, you still remember it like that? You? Firstly, yeah,

672
00:33:18,480 --> 00:33:20,600
Speaker 1: I remember exactly the house I was at, what I

673
00:33:20,680 --> 00:33:24,200
Speaker 1: was doing. Who told me everything like detail because it

674
00:33:24,600 --> 00:33:27,040
Speaker 1: was too surreal. I was like number one, like the

675
00:33:27,120 --> 00:33:30,560
Speaker 1: number one most played song and country radio in America? Truly?

676
00:33:30,680 --> 00:33:33,959
Speaker 1: Really did your life change after that? After you had

677
00:33:34,000 --> 00:33:39,280
Speaker 1: a number one, since you could say it, I felt like, okay,

678
00:33:39,320 --> 00:33:42,840
Speaker 1: now we got a chance to get some more music going.

679
00:33:43,200 --> 00:33:46,400
Speaker 1: And the next single after that, I think was Where

680
00:33:46,400 --> 00:33:48,640
Speaker 1: the Blacktop Ends, which is weird because it peaked it

681
00:33:48,880 --> 00:33:50,840
Speaker 1: I was looking at numbers. It wasn't a number one, no,

682
00:33:51,480 --> 00:33:53,560
Speaker 1: but that, to me is one of the songs I

683
00:33:53,600 --> 00:33:55,840
Speaker 1: think of when I think of you and your catalog.

684
00:33:56,200 --> 00:33:59,200
Speaker 1: It's Where the Blacktop Ends. Wasn't even a number one,

685
00:33:59,600 --> 00:34:02,880
Speaker 1: which shows you not all number ones or career songs,

686
00:34:02,880 --> 00:34:05,360
Speaker 1: and not all career songs or number one song. So true,

687
00:34:05,400 --> 00:34:07,600
Speaker 1: even in two thousand and one, two thousand and two,

688
00:34:08,800 --> 00:34:11,640
Speaker 1: did that song feel big like a number one song?

689
00:34:11,760 --> 00:34:14,640
Speaker 1: Where the Black Top Ins? I can't remember that now.

690
00:34:14,680 --> 00:34:16,719
Speaker 1: When you can't remember now, I can't remember that. I mean,

691
00:34:16,760 --> 00:34:20,320
Speaker 1: I remember making that a whole album with Matt Rowlings,

692
00:34:20,840 --> 00:34:22,200
Speaker 1: And it was the first time where I was in

693
00:34:22,200 --> 00:34:25,440
Speaker 1: a studio and having gone through all of the famous

694
00:34:25,480 --> 00:34:28,480
Speaker 1: producers and realizing none of it works for me. It

695
00:34:28,600 --> 00:34:31,759
Speaker 1: just I don't know what I'm gonna do. There was

696
00:34:31,760 --> 00:34:34,360
Speaker 1: a guy running Capitol Records at the time called Pat Quigley,

697
00:34:34,960 --> 00:34:39,840
Speaker 1: and he was the president, and I used every proper

698
00:34:39,920 --> 00:34:41,920
Speaker 1: famous producer and none of it was working. And I

699
00:34:42,040 --> 00:34:44,279
Speaker 1: went into Pat and I said, can I just I

700
00:34:44,320 --> 00:34:46,879
Speaker 1: had just done a session with Matt Rowlings for somebody else.

701
00:34:47,800 --> 00:34:49,279
Speaker 1: The two of us were playing on it, and I

702
00:34:49,360 --> 00:34:51,160
Speaker 1: clicked with him and I really liked him a lot,

703
00:34:51,200 --> 00:34:52,640
Speaker 1: and I said, could I just go and record some

704
00:34:52,640 --> 00:34:54,560
Speaker 1: songs with this guy? Because I think he can put

705
00:34:54,600 --> 00:34:56,279
Speaker 1: a good band together and we can just make a

706
00:34:56,440 --> 00:35:01,719
Speaker 1: record that sounds good anyway, Yeah, whatever. It was very

707
00:35:01,760 --> 00:35:03,399
Speaker 1: much that case of like, go do whatever you want

708
00:35:03,400 --> 00:35:05,760
Speaker 1: to do. We're not that interest. You could tell whatever

709
00:35:06,320 --> 00:35:09,000
Speaker 1: it's going. So we went and cut up the Grace

710
00:35:09,080 --> 00:35:11,040
Speaker 1: God and like four or five songs, and I took

711
00:35:11,080 --> 00:35:12,239
Speaker 1: him in and played for him and he goes, there,

712
00:35:12,239 --> 00:35:14,640
Speaker 1: it sounds good. Just finished the record out. It was

713
00:35:14,800 --> 00:35:18,160
Speaker 1: no big deal, and we handed in the record, and

714
00:35:18,239 --> 00:35:20,680
Speaker 1: it had It's a love Thing and want to Be

715
00:35:20,760 --> 00:35:23,439
Speaker 1: or Everything, all the singles that came out, Grace God,

716
00:35:23,560 --> 00:35:26,879
Speaker 1: Black Top, all that stuff, and they put out love

717
00:35:27,040 --> 00:35:28,360
Speaker 1: It's a love Thing, and I think I went to

718
00:35:28,320 --> 00:35:32,200
Speaker 1: the number eighteen or something like, it's okay, pretty good.

719
00:35:33,000 --> 00:35:35,600
Speaker 1: They put out another song, I want to Be or Everything,

720
00:35:35,640 --> 00:35:37,640
Speaker 1: and I think got to top five or close to it,

721
00:35:38,320 --> 00:35:40,919
Speaker 1: and it wasn't It was okay. Everything was okay. And

722
00:35:40,960 --> 00:35:44,319
Speaker 1: then the label really focused on me and they put

723
00:35:44,360 --> 00:35:46,440
Speaker 1: out Grace at God and it did that and I

724
00:35:46,440 --> 00:35:49,920
Speaker 1: could feel everything change after that. Whenever Somebody Like You

725
00:35:49,960 --> 00:35:52,240
Speaker 1: comes out two thousand and two, there's a little clip.

726
00:36:01,120 --> 00:36:03,320
Speaker 1: Do you remember this one? Is vivid at your second

727
00:36:03,400 --> 00:36:06,000
Speaker 1: number one? Yeah? You do? Okay, everything about it. Recording

728
00:36:06,040 --> 00:36:09,640
Speaker 1: it first time, I'd work with Dan half Um working

729
00:36:09,640 --> 00:36:12,359
Speaker 1: out at Sound Kitchen and Franklin and the putting them,

730
00:36:12,400 --> 00:36:16,080
Speaker 1: putting the band together and set the whole session. I

731
00:36:16,120 --> 00:36:19,239
Speaker 1: remember it vividly because it magical. Does a guy like

732
00:36:19,320 --> 00:36:24,759
Speaker 1: Dan half challenge you? So I was going to do

733
00:36:24,840 --> 00:36:28,759
Speaker 1: the next record on my own Golden Road, and I

734
00:36:28,800 --> 00:36:31,720
Speaker 1: had already done six six sides of that record, including

735
00:36:31,760 --> 00:36:33,840
Speaker 1: who who were on him me. I put the band together,

736
00:36:33,880 --> 00:36:36,239
Speaker 1: I chose the studio, I chose the engineer. I put

737
00:36:36,239 --> 00:36:38,680
Speaker 1: it all together. And then someone said, you know, you

738
00:36:38,680 --> 00:36:40,520
Speaker 1: should try and work with Dan half and I went, no,

739
00:36:40,600 --> 00:36:43,359
Speaker 1: I don't want to work with him because and they went, well,

740
00:36:43,400 --> 00:36:45,560
Speaker 1: he's a guitar player. I mean, I'm so not going

741
00:36:45,600 --> 00:36:48,000
Speaker 1: to work with a guitar player who's gonna tell me

742
00:36:48,040 --> 00:36:50,640
Speaker 1: what to play, you know. I don't want that. I've

743
00:36:50,680 --> 00:36:53,400
Speaker 1: been down this road before. And they're like, we'll just

744
00:36:53,800 --> 00:36:56,239
Speaker 1: give it a shot, you know. And I met with Dan,

745
00:36:56,600 --> 00:36:59,080
Speaker 1: and this is a true story, and I was really

746
00:36:59,080 --> 00:37:03,600
Speaker 1: a compliment to Dan. I met with Dan. I said, Okay,

747
00:37:03,640 --> 00:37:05,560
Speaker 1: I've got this one song. It's called Somebody Like You.

748
00:37:05,719 --> 00:37:07,279
Speaker 1: That'd be a good one for us to start on.

749
00:37:07,920 --> 00:37:10,000
Speaker 1: And I'd already been in the studio for two weeks

750
00:37:10,160 --> 00:37:12,919
Speaker 1: with this band. We'd cut half the record, it's already done.

751
00:37:13,800 --> 00:37:18,839
Speaker 1: And Dan says, Okay, this song feels great. I think

752
00:37:18,880 --> 00:37:20,560
Speaker 1: we should use this drummer. And I got already got

753
00:37:20,560 --> 00:37:22,680
Speaker 1: the drummer. Well, I think we should use the space.

754
00:37:22,719 --> 00:37:24,640
Speaker 1: But I got the whole band, Dan, I got the

755
00:37:24,640 --> 00:37:26,640
Speaker 1: whole band, all right. Well, I like to work at

756
00:37:26,640 --> 00:37:28,600
Speaker 1: this studio. I said, I'm already at the studio. We're

757
00:37:28,640 --> 00:37:31,080
Speaker 1: gonna be at sound kitchen. Okay, Well, the engineer I

758
00:37:31,200 --> 00:37:32,880
Speaker 1: like to use is I already got the engineer. His

759
00:37:32,960 --> 00:37:35,120
Speaker 1: name is Justin Eebank. And he goes, what do I do?

760
00:37:35,160 --> 00:37:37,440
Speaker 1: When I go, you just show up. That's all you're

761
00:37:37,480 --> 00:37:39,480
Speaker 1: gonna do. Show up because I want to see what

762
00:37:39,520 --> 00:37:42,000
Speaker 1: you do. I'm sick of these producers that say they're

763
00:37:42,000 --> 00:37:45,200
Speaker 1: a producer, but really they have great engineer, great players,

764
00:37:45,880 --> 00:37:48,560
Speaker 1: they don't do anything. I saw it again and again

765
00:37:48,560 --> 00:37:51,359
Speaker 1: and again. I'm like, just show up. What the hell

766
00:37:51,400 --> 00:37:55,520
Speaker 1: can you possibly bring to this session? I want to see?

767
00:37:55,640 --> 00:37:58,080
Speaker 1: And he walked into that session. I've been with this

768
00:37:58,120 --> 00:38:01,040
Speaker 1: band for two weeks. He walks in and I literally

769
00:38:01,040 --> 00:38:03,839
Speaker 1: could feel all the musicianship go up a whole other

770
00:38:03,920 --> 00:38:06,279
Speaker 1: level just with him being in the room. He sat

771
00:38:06,280 --> 00:38:08,680
Speaker 1: in the room. The band's playing a bit of Somebody

772
00:38:08,680 --> 00:38:11,080
Speaker 1: Like You, and he goes, hey, Chris, just change that

773
00:38:11,120 --> 00:38:14,040
Speaker 1: snare a little bit there. Okay, yep, leave that bass

774
00:38:14,040 --> 00:38:16,719
Speaker 1: part out right there, and you play that bit over there.

775
00:38:16,719 --> 00:38:20,520
Speaker 1: And I watched him arrange this thing and the whole

776
00:38:20,600 --> 00:38:23,000
Speaker 1: track is elevated, and I'm like, well, Damn, this guy's

777
00:38:23,000 --> 00:38:26,920
Speaker 1: the real deal. He's so good. When did the town

778
00:38:27,040 --> 00:38:36,640
Speaker 1: start to treat you differently? Tuesday? I was already getting

779
00:38:36,680 --> 00:38:38,920
Speaker 1: support from the town very early on. I think because

780
00:38:38,920 --> 00:38:42,279
Speaker 1: of all those writing sessions, you know, and when you

781
00:38:42,360 --> 00:38:44,919
Speaker 1: write with people, where it gets out whether you can

782
00:38:45,000 --> 00:38:47,719
Speaker 1: really sing, really play, whether you know about country music,

783
00:38:47,760 --> 00:38:51,759
Speaker 1: if you're legit or just some poser. Really so, I

784
00:38:51,760 --> 00:38:54,760
Speaker 1: think those sort of guitar pool sessions of people's houses

785
00:38:54,880 --> 00:38:58,200
Speaker 1: going to the Bluebird, people knew I was for real.

786
00:38:59,160 --> 00:39:01,600
Speaker 1: I was watching some of your performance with her, I

787
00:39:01,640 --> 00:39:04,040
Speaker 1: guess all of it for Flurtina Turner, for the Rock

788
00:39:04,040 --> 00:39:06,880
Speaker 1: and Roll of Fame. Um, how did you? How do

789
00:39:06,960 --> 00:39:08,600
Speaker 1: you do? How did you get called in to do that?

790
00:39:08,760 --> 00:39:11,680
Speaker 1: I haven't seen any of that yet? You haven't No? Um,

791
00:39:11,760 --> 00:39:13,640
Speaker 1: what do you mean you haven't seen it? You don't watch?

792
00:39:13,719 --> 00:39:17,760
Speaker 1: Do you watch your stuff? No? Well I haven't seen that. No. Generally,

793
00:39:17,800 --> 00:39:20,160
Speaker 1: will you go and watch your stuff? It depends. Are

794
00:39:20,160 --> 00:39:21,560
Speaker 1: you one of the guys that after a live show

795
00:39:21,600 --> 00:39:24,760
Speaker 1: you want to go and critique it. I probably should

796
00:39:24,800 --> 00:39:27,560
Speaker 1: do it more than I do. Yeah, yeah, it's always

797
00:39:27,600 --> 00:39:31,640
Speaker 1: better when I get in there and care. How how

798
00:39:31,680 --> 00:39:34,200
Speaker 1: does a rock and Roll Hall of Fame invite come

799
00:39:34,400 --> 00:39:39,560
Speaker 1: with Tina fur Tina Turner. Uh, because Brian Adams couldn't

800
00:39:39,680 --> 00:39:41,680
Speaker 1: make it, And they just caught me up and they go,

801
00:39:41,719 --> 00:39:43,799
Speaker 1: would you come and fill in for Brian? It's like

802
00:39:44,160 --> 00:39:47,239
Speaker 1: day before the Yeah, that's why. Yeah, it was. It

803
00:39:47,280 --> 00:39:49,960
Speaker 1: was Thursday and Nick and I will go into the Bahamas.

804
00:39:50,480 --> 00:39:52,239
Speaker 1: And my manager calls me and he goes, hey, can

805
00:39:52,280 --> 00:39:54,120
Speaker 1: you come fill in for Brian to bla bla blaha,

806
00:39:54,160 --> 00:39:56,520
Speaker 1: And I'm like, you will go into the Bahamas on Friday.

807
00:39:56,719 --> 00:39:59,719
Speaker 1: He's like, you didn't hear what I said. I was like, no,

808
00:39:59,800 --> 00:40:03,080
Speaker 1: I heard you. We're heading off to the Bobs and

809
00:40:03,200 --> 00:40:04,839
Speaker 1: Nicks in the car and Nick's like, oh, I think

810
00:40:04,880 --> 00:40:07,719
Speaker 1: we should do that. That That sounds fun. But in my think,

811
00:40:07,760 --> 00:40:10,279
Speaker 1: in my head, I'm like, this sounds overwhelming. I've got

812
00:40:10,280 --> 00:40:12,480
Speaker 1: to learn a song in record time, a song I've

813
00:40:12,520 --> 00:40:16,160
Speaker 1: never played. It's not really my kind of song, it's

814
00:40:16,200 --> 00:40:19,239
Speaker 1: not my vocal range, it's not in my key. I'm

815
00:40:19,560 --> 00:40:22,160
Speaker 1: so in over my head. You know I was terrified.

816
00:40:22,360 --> 00:40:27,160
Speaker 1: You still get terrified, Yeah, wild dear, Yeah, do you

817
00:40:28,160 --> 00:40:32,800
Speaker 1: that anything musically would intimidate you? Yeah, to be thrown

818
00:40:32,840 --> 00:40:37,080
Speaker 1: into something that's not really my zone, especially in that place.

819
00:40:37,160 --> 00:40:38,880
Speaker 1: I'm like, maybe standing up on stage in front of

820
00:40:38,920 --> 00:40:41,520
Speaker 1: McCartney and the food Fighters and they're all, you know,

821
00:40:41,560 --> 00:40:43,560
Speaker 1: I pictured them all like arms crossed, like okay, what

822
00:40:43,600 --> 00:40:45,879
Speaker 1: do you do? What's your thing? And I'm like, well,

823
00:40:45,920 --> 00:40:50,880
Speaker 1: it's not this, it's not this is not it. So

824
00:40:51,000 --> 00:40:53,040
Speaker 1: I could picture in my head when it comes to

825
00:40:53,080 --> 00:40:55,640
Speaker 1: collaborations as far as your career is concerned, what do

826
00:40:55,680 --> 00:40:59,359
Speaker 1: you look back at and go, Man, that one right there,

827
00:40:59,400 --> 00:41:05,439
Speaker 1: we nailed it. You and who collaboration, Yeah, and so many.

828
00:41:05,520 --> 00:41:09,120
Speaker 1: I mean John doing Crossroads with John Maya to this day.

829
00:41:09,160 --> 00:41:13,279
Speaker 1: I just loved that whole experience with him playing. I

830
00:41:13,360 --> 00:41:15,839
Speaker 1: learned a lot from him. Really, you learn from him?

831
00:41:15,920 --> 00:41:19,520
Speaker 1: Hell yeah, yeah, yeah, what do you learn from John Mayer? Um?

832
00:41:19,719 --> 00:41:22,319
Speaker 1: To make the song your own? You know? You gotta

833
00:41:22,320 --> 00:41:24,920
Speaker 1: remember I still came from cover band land, which John

834
00:41:24,920 --> 00:41:28,080
Speaker 1: did not, And so John approaches it as a pure

835
00:41:28,280 --> 00:41:30,759
Speaker 1: artist and makes the song on his own. Because I

836
00:41:30,760 --> 00:41:32,759
Speaker 1: remember saying to him, now, the verset didn't go like that,

837
00:41:32,800 --> 00:41:34,200
Speaker 1: and he's like, yeah, but that's how I'm going to

838
00:41:34,239 --> 00:41:38,879
Speaker 1: sing it right on? Of course. Yeah. Yeah. Is there

839
00:41:38,960 --> 00:41:42,760
Speaker 1: a gamesmanship when you have two people that are so again,

840
00:41:42,800 --> 00:41:44,719
Speaker 1: I'll just talk about the instrument for a second, so

841
00:41:45,040 --> 00:41:47,360
Speaker 1: to be older so proficient at their instrument. Are you

842
00:41:47,360 --> 00:41:49,040
Speaker 1: guys do you feel each other out at first? Are

843
00:41:49,080 --> 00:41:50,680
Speaker 1: you like, is he really as good as I've heard?

844
00:41:51,360 --> 00:41:54,520
Speaker 1: Or is it you know, because you've you've heard for yourself,

845
00:41:54,600 --> 00:42:00,720
Speaker 1: like on a record or on YouTube. I'm not specifically,

846
00:42:00,760 --> 00:42:02,920
Speaker 1: but anyone you know when you kind of cross paddle

847
00:42:02,920 --> 00:42:04,960
Speaker 1: because I had room for squares and we played that

848
00:42:05,040 --> 00:42:07,480
Speaker 1: record to death on that two of us, so as

849
00:42:07,480 --> 00:42:09,840
Speaker 1: I was a fan right from the beginning. Um, I

850
00:42:09,920 --> 00:42:13,120
Speaker 1: love the conversation, the musical conversation that happens, and the

851
00:42:13,120 --> 00:42:15,680
Speaker 1: most important thing for me is spontaneity. It's just you know,

852
00:42:16,080 --> 00:42:18,319
Speaker 1: you can rehearse, yeah yeah, yeah, but being in the

853
00:42:18,360 --> 00:42:21,360
Speaker 1: moment and having that musical conversation with each other, this

854
00:42:21,480 --> 00:42:23,960
Speaker 1: is everything. You ever meet someone you're like, man, it's

855
00:42:23,960 --> 00:42:25,680
Speaker 1: gonna be awesome, and you're like, man, that's not really

856
00:42:26,640 --> 00:42:29,040
Speaker 1: really as good as that's heart or as as you know.

857
00:42:29,200 --> 00:42:30,560
Speaker 1: I don't want you to say. Some people don't have

858
00:42:30,600 --> 00:42:33,279
Speaker 1: a collaborative horror. That's what it is. They don't have

859
00:42:33,320 --> 00:42:38,239
Speaker 1: a collaborative horror for whatever reason, they just don't um collaborate.

860
00:42:38,600 --> 00:42:41,160
Speaker 1: They kind of they have that thing of well, this

861
00:42:41,200 --> 00:42:43,080
Speaker 1: is what I do, so you do your thing, I'll

862
00:42:43,080 --> 00:42:45,120
Speaker 1: do my thing, and I'm like, well, let's do our thing.

863
00:42:45,440 --> 00:42:47,680
Speaker 1: That's what I'm here for. On the opposite side of that,

864
00:42:47,680 --> 00:42:49,520
Speaker 1: who have you collaborated with it? You're like, oh, I

865
00:42:49,560 --> 00:42:52,080
Speaker 1: didn't expect it to be as warm and as a

866
00:42:53,680 --> 00:42:56,360
Speaker 1: just a friendly collaboration, but holy crap, we're we're in

867
00:42:56,400 --> 00:42:58,879
Speaker 1: it and it's rocking pink. I think was that when

868
00:42:58,880 --> 00:43:00,600
Speaker 1: we did one too many? Why? Why do you think

869
00:43:00,600 --> 00:43:04,840
Speaker 1: you guys hit it off? I think our voices go

870
00:43:04,920 --> 00:43:07,759
Speaker 1: together really well, and I hope they would, but you

871
00:43:07,840 --> 00:43:10,080
Speaker 1: never know until you hear it. But she was just

872
00:43:10,320 --> 00:43:16,880
Speaker 1: unbelievably giving with that whole project, you know, for a

873
00:43:16,920 --> 00:43:19,919
Speaker 1: song that she didn't write, to be giving so much

874
00:43:19,920 --> 00:43:21,920
Speaker 1: of her time and her effort to you know, we

875
00:43:21,960 --> 00:43:24,040
Speaker 1: shot a video as well, and then we shot footage

876
00:43:24,200 --> 00:43:26,239
Speaker 1: which we can use in concerts, so we have her

877
00:43:26,239 --> 00:43:29,680
Speaker 1: projected on the screen and concert. That's all time consuming,

878
00:43:30,280 --> 00:43:34,160
Speaker 1: and she was just amazing. Is that an issue whenever

879
00:43:34,200 --> 00:43:36,239
Speaker 1: you're with an artist like that, because they also have

880
00:43:36,280 --> 00:43:39,239
Speaker 1: their own music and their own singles and calendars and

881
00:43:39,239 --> 00:43:41,120
Speaker 1: when they want to put out their own to get

882
00:43:41,160 --> 00:43:43,000
Speaker 1: pink on a song, do you go, Okay, well maybe

883
00:43:43,000 --> 00:43:44,719
Speaker 1: we can release to the single, maybe not, depending on

884
00:43:44,760 --> 00:43:47,400
Speaker 1: what your schedule is, right, I mean, is that something?

885
00:43:47,719 --> 00:43:49,440
Speaker 1: Is that an issue that you deal with other artists.

886
00:43:49,800 --> 00:43:52,480
Speaker 1: It's something you have to consider, Yeah, for sure, because

887
00:43:52,560 --> 00:43:54,359
Speaker 1: sometimes it's just the time he's not going to work,

888
00:43:54,920 --> 00:43:57,319
Speaker 1: you know. Yeah, it's great. The single sounds really great,

889
00:43:57,360 --> 00:44:00,000
Speaker 1: but we're not going to release it at the right time.

890
00:44:06,800 --> 00:44:08,480
Speaker 1: I was reading on the internet that you bowl? Are

891
00:44:08,480 --> 00:44:10,319
Speaker 1: you some of the stuff I didn't know and could

892
00:44:10,320 --> 00:44:13,080
Speaker 1: be crap? Are you a bowler? Yeah? Are you a

893
00:44:13,120 --> 00:44:15,520
Speaker 1: good bowler? I'm okay. How do I not know that?

894
00:44:15,680 --> 00:44:19,920
Speaker 1: I don't know. We've never talked about it. We've been bowling, true,

895
00:44:20,000 --> 00:44:23,279
Speaker 1: But where where do you? Where do you bowl? I

896
00:44:23,320 --> 00:44:24,759
Speaker 1: haven't bowled in a long time. It's just one of

897
00:44:24,800 --> 00:44:27,400
Speaker 1: those things that I happened to be not bad at,

898
00:44:27,560 --> 00:44:29,399
Speaker 1: sort of out of the gate. It's that I hand

899
00:44:29,440 --> 00:44:33,520
Speaker 1: coordination that guitar players have. You know, your highest game?

900
00:44:33,640 --> 00:44:35,000
Speaker 1: Is that what you call it? A game? Yeah? No,

901
00:44:35,120 --> 00:44:43,160
Speaker 1: I don't know. Um uh you know too. Yeah, it's

902
00:44:43,160 --> 00:44:45,600
Speaker 1: not great me, it's three hundreds, perfect game, right, definitely

903
00:44:45,640 --> 00:44:47,719
Speaker 1: could crack no, but definitely could crack two hundred. Do

904
00:44:47,760 --> 00:44:50,120
Speaker 1: you play pool? Yeah, you go to that. I think

905
00:44:50,120 --> 00:44:52,360
Speaker 1: this mandatory. When you're from Australia, you got to play pool.

906
00:44:52,600 --> 00:44:54,640
Speaker 1: Is that a thing? Yeah, very much like all the

907
00:44:54,640 --> 00:44:58,160
Speaker 1: pubs and they all had fool tables. Yeah, I say,

908
00:44:58,360 --> 00:45:00,480
Speaker 1: sign of a misspent youth. Well think about that. Though

909
00:45:00,520 --> 00:45:03,319
Speaker 1: you're you're good at bowling, you're good at pool. I

910
00:45:03,320 --> 00:45:07,279
Speaker 1: mean is that you're obviously good at guitar. Which one

911
00:45:07,320 --> 00:45:10,040
Speaker 1: made you good at which? Because you do have the

912
00:45:10,080 --> 00:45:12,799
Speaker 1: hand eye coordination there, It's right, it's not a coincidence.

913
00:45:12,840 --> 00:45:15,839
Speaker 1: All those are very hand eye coordinated. Do you think

914
00:45:15,880 --> 00:45:17,680
Speaker 1: being a good guitar player helped you be a good bowler?

915
00:45:17,840 --> 00:45:20,920
Speaker 1: I suck at base at basketball, I cannot get that

916
00:45:20,960 --> 00:45:23,880
Speaker 1: thing in the hoop. So there goes that theory you

917
00:45:24,440 --> 00:45:26,880
Speaker 1: true or false? You were once a road guitarist for

918
00:45:26,920 --> 00:45:29,440
Speaker 1: a bit for Brooks and Dunne. No, never one of

919
00:45:29,480 --> 00:45:31,479
Speaker 1: the many things on Wikipedia. It's not true. I didn't

920
00:45:31,480 --> 00:45:32,799
Speaker 1: think the bowling was true. I'll be honest with you.

921
00:45:32,840 --> 00:45:35,319
Speaker 1: I expected that to be false. Right, Okay, Yeah, so

922
00:45:35,320 --> 00:45:37,799
Speaker 1: where did that story come from, do you know. Yeah,

923
00:45:37,800 --> 00:45:39,960
Speaker 1: we toured with Brooks and Dunne in two thousand and

924
00:45:39,960 --> 00:45:44,080
Speaker 1: one and I came out and played one song with

925
00:45:44,160 --> 00:45:49,359
Speaker 1: them as a guitarist, and I think that then from

926
00:45:49,360 --> 00:45:52,000
Speaker 1: then on, people, yeah, I was like the guy in

927
00:45:52,040 --> 00:45:55,160
Speaker 1: the band. Well, what happened was we were going to

928
00:45:55,200 --> 00:45:58,680
Speaker 1: pull a prank on them, and they had a guitar

929
00:45:58,680 --> 00:46:00,960
Speaker 1: player in the band, Charlie if last name Charlie, and

930
00:46:01,480 --> 00:46:03,520
Speaker 1: he had his hat down. Really, he had wore a

931
00:46:03,560 --> 00:46:06,439
Speaker 1: hat worked down super low, had this like leopard print

932
00:46:06,520 --> 00:46:09,120
Speaker 1: shirt and everything. And during the tour I was thinking

933
00:46:09,320 --> 00:46:12,200
Speaker 1: I could probably masqueraders. I could probably pretend to be

934
00:46:12,320 --> 00:46:15,400
Speaker 1: him and the boys wouldn't even know. And so during

935
00:46:15,400 --> 00:46:18,000
Speaker 1: one of the shows, Charlie slipped out at the back

936
00:46:18,160 --> 00:46:21,040
Speaker 1: while he was playing. I already had the same clothes on,

937
00:46:21,160 --> 00:46:25,480
Speaker 1: slipped right out and reclaimed his spot on the stage

938
00:46:26,000 --> 00:46:29,120
Speaker 1: and played an entire song. And then in the middle

939
00:46:29,120 --> 00:46:32,520
Speaker 1: of the when the solo happened, kicks goes, Charlie and

940
00:46:32,640 --> 00:46:35,240
Speaker 1: I ran down the front was shredding right in between

941
00:46:35,400 --> 00:46:37,520
Speaker 1: kicks and running, and it took a beat for them

942
00:46:37,560 --> 00:46:41,120
Speaker 1: to realize I wasn't. But so I think that was

943
00:46:41,120 --> 00:46:45,799
Speaker 1: where this rumor got started. It's like a Tuesday at

944
00:46:45,800 --> 00:46:49,520
Speaker 1: your house, like and I asked that because you and

945
00:46:49,600 --> 00:46:55,439
Speaker 1: your wife exclusively are superstars when you're together, I feel

946
00:46:55,480 --> 00:46:57,960
Speaker 1: like you're kind of normal, right, It's it's it's a

947
00:46:58,000 --> 00:47:01,120
Speaker 1: weird situation. Yeah, Like when I see you too, if

948
00:47:01,280 --> 00:47:03,560
Speaker 1: we're an event or something, I feel like as a couple,

949
00:47:03,600 --> 00:47:09,360
Speaker 1: you're quite approachable. Individually, it's different because I feel like

950
00:47:09,400 --> 00:47:10,719
Speaker 1: I know you and I could just come up to you,

951
00:47:11,000 --> 00:47:16,600
Speaker 1: But individually, I would say you're superstar Keith Urban and

952
00:47:16,640 --> 00:47:19,840
Speaker 1: she is superstar Nicole Kidman. But together it's almost like

953
00:47:19,880 --> 00:47:21,880
Speaker 1: a normal husband and wife. And I've not seen that

954
00:47:22,000 --> 00:47:24,960
Speaker 1: vibe with any other couple. Usually it's different. It's like

955
00:47:25,000 --> 00:47:29,439
Speaker 1: they're much more they're much less approachable together because there's

956
00:47:29,440 --> 00:47:31,960
Speaker 1: so much more power there. But it feels like you're

957
00:47:32,000 --> 00:47:36,520
Speaker 1: a normal, normal married couple at home. Is that true? Yeah,

958
00:47:36,680 --> 00:47:39,959
Speaker 1: you'd do a house. It's like super And I saw

959
00:47:40,000 --> 00:47:41,960
Speaker 1: her tell you once that she was gonna stop and

960
00:47:41,960 --> 00:47:44,120
Speaker 1: get some milk, and I was like, you do that?

961
00:47:45,040 --> 00:47:47,439
Speaker 1: What do you mean You're gonna get milk? Shouldn't someone

962
00:47:47,480 --> 00:47:50,120
Speaker 1: be flying that in and like flying the cow in

963
00:47:52,920 --> 00:47:56,560
Speaker 1: rock and rown't it. How how do you guys maintain

964
00:47:57,600 --> 00:47:59,919
Speaker 1: what do you focus on to try to have normal

965
00:48:00,160 --> 00:48:04,239
Speaker 1: see in a life that is abnormal? I mean, look love,

966
00:48:04,560 --> 00:48:08,359
Speaker 1: genuine love and genuine gratitude for what we get to do.

967
00:48:08,719 --> 00:48:10,959
Speaker 1: Nick has it. I have it, and I think it's

968
00:48:11,760 --> 00:48:14,360
Speaker 1: we were both raised in a similar thing to Australia's.

969
00:48:14,360 --> 00:48:16,960
Speaker 1: Really Australia has a thing called a tall poppy syndrome.

970
00:48:17,200 --> 00:48:20,160
Speaker 1: Every Aussie knows about this, and it's if you get

971
00:48:20,160 --> 00:48:22,680
Speaker 1: too big in the South, they'd say, when you get

972
00:48:22,680 --> 00:48:26,480
Speaker 1: above you raising right, they cut you down. You get

973
00:48:26,480 --> 00:48:28,560
Speaker 1: cut down. The poppy seed plan is another one. The

974
00:48:28,600 --> 00:48:32,480
Speaker 1: tall poppy gets So that's it. So it's the it's

975
00:48:32,520 --> 00:48:35,920
Speaker 1: the tall poppy syndrome where you don't last very long.

976
00:48:35,960 --> 00:48:39,000
Speaker 1: If you're strutting around with this crazy ego in Australia,

977
00:48:39,040 --> 00:48:41,040
Speaker 1: you could cut down so fast, so you just are

978
00:48:41,080 --> 00:48:43,080
Speaker 1: always down to earth. You read it, down to earth,

979
00:48:43,080 --> 00:48:45,480
Speaker 1: you're out of work. It's one of the two, and

980
00:48:45,960 --> 00:48:48,080
Speaker 1: it's it's put us in a really good place to

981
00:48:48,440 --> 00:48:50,359
Speaker 1: have a good life because of it. What are you

982
00:48:50,400 --> 00:48:53,840
Speaker 1: grateful for with her as a person? How does she

983
00:48:53,960 --> 00:48:56,400
Speaker 1: make you better? And I asked this from a personal

984
00:48:57,280 --> 00:48:59,560
Speaker 1: just personal place because I've never been married. I've never

985
00:49:00,120 --> 00:49:02,439
Speaker 1: never even told anyone hadn't either, right, Like I never

986
00:49:02,960 --> 00:49:05,160
Speaker 1: there was no I didn't know how to love until

987
00:49:05,200 --> 00:49:07,359
Speaker 1: now because I think you know, as you talk about

988
00:49:07,360 --> 00:49:09,040
Speaker 1: the trauma from your I struggle with a lot of

989
00:49:09,040 --> 00:49:11,800
Speaker 1: that trauma until now and still am. But have found someone.

990
00:49:12,120 --> 00:49:13,759
Speaker 1: But what is it about her as a human that

991
00:49:13,760 --> 00:49:16,200
Speaker 1: you appreciate so much that brings a different side of

992
00:49:16,239 --> 00:49:22,840
Speaker 1: you out that hadn't been exposed yet? Um? She really loves,

993
00:49:23,239 --> 00:49:30,480
Speaker 1: like genuinely loves and has real empathy, compassion, caring and

994
00:49:30,600 --> 00:49:35,360
Speaker 1: love like I've never never experienced before. Do you ever

995
00:49:35,400 --> 00:49:37,600
Speaker 1: watch her act and go, holy crap, that's so good

996
00:49:37,719 --> 00:49:38,840
Speaker 1: or do you see it all the time where you

997
00:49:38,880 --> 00:49:41,719
Speaker 1: just expect it to be great? No, I'm as so

998
00:49:41,960 --> 00:49:44,480
Speaker 1: she's so good. Yeah, And I don't know anything about acting.

999
00:49:44,520 --> 00:49:46,759
Speaker 1: Sometimes people say yea and the bad actor, and I'm like,

1000
00:49:46,800 --> 00:49:49,440
Speaker 1: I'll all looks the same to me. However, Yeah, I

1001
00:49:49,480 --> 00:49:54,200
Speaker 1: was watching on Hulu nine Strangers watch the whole thing.

1002
00:49:54,200 --> 00:49:59,080
Speaker 1: She's so good in that that you then go, okay,

1003
00:49:59,200 --> 00:50:03,759
Speaker 1: that's good acting, Like and she is nailing these serieses.

1004
00:50:04,080 --> 00:50:05,920
Speaker 1: If she's in a series I'll watch it. Right, it's

1005
00:50:05,960 --> 00:50:08,239
Speaker 1: just to that point now where if your wife is

1006
00:50:08,239 --> 00:50:11,160
Speaker 1: in a series, even if I don't know what it's about,

1007
00:50:11,239 --> 00:50:14,319
Speaker 1: the history of poop right now, I'm going to I'm

1008
00:50:14,360 --> 00:50:16,680
Speaker 1: going to watch it because she has showed that she's

1009
00:50:16,719 --> 00:50:18,799
Speaker 1: awesome in these things. Do you do you talk about

1010
00:50:18,800 --> 00:50:20,759
Speaker 1: projects with her? Does she talk about projects with you?

1011
00:50:20,760 --> 00:50:23,200
Speaker 1: And you come together and like should we do this? Yeah? Yeah,

1012
00:50:23,200 --> 00:50:25,480
Speaker 1: because we have to talk about scheduling and where it

1013
00:50:25,520 --> 00:50:27,640
Speaker 1: is and how's this going to work? And then of

1014
00:50:27,680 --> 00:50:30,000
Speaker 1: course a lot of the times reading scripts with her.

1015
00:50:30,360 --> 00:50:32,440
Speaker 1: You know, this is the being the Ricardos, which is

1016
00:50:32,440 --> 00:50:35,880
Speaker 1: the Lucille Ball film that's coming out. Aaron Sulkin wrote

1017
00:50:36,000 --> 00:50:39,160
Speaker 1: most amazing scripts, and just getting to read these scripts

1018
00:50:39,239 --> 00:50:43,120
Speaker 1: is something that is God, it's surreal you read with

1019
00:50:43,160 --> 00:50:46,840
Speaker 1: her sometimes, Yeah, do you ever want to do that? No?

1020
00:50:46,920 --> 00:50:50,520
Speaker 1: I have zero interest in acting, like none, zero. Does

1021
00:50:50,520 --> 00:50:54,640
Speaker 1: she ever hear a song of yours and go, yeah,

1022
00:50:54,840 --> 00:50:59,319
Speaker 1: it's okay, she doesn't have to. I can tell you can.

1023
00:50:59,560 --> 00:51:01,600
Speaker 1: Here's the thing that's more important, and you may be

1024
00:51:01,640 --> 00:51:04,920
Speaker 1: able to relate to this. I've realized that whoever I

1025
00:51:05,000 --> 00:51:06,440
Speaker 1: play a song for and I've had you at the

1026
00:51:06,440 --> 00:51:09,720
Speaker 1: house and I've played you things before. How you react

1027
00:51:09,760 --> 00:51:12,040
Speaker 1: that song tells me a lot about the song, but

1028
00:51:12,160 --> 00:51:13,960
Speaker 1: what tells me more is how I feel plan it

1029
00:51:14,040 --> 00:51:17,960
Speaker 1: for you. I've learned so much about how I feel

1030
00:51:18,000 --> 00:51:20,120
Speaker 1: about playing somebody a song, whether it's you or whether

1031
00:51:20,120 --> 00:51:22,800
Speaker 1: it's Nick, because you know, she might go, oh, I

1032
00:51:22,920 --> 00:51:26,040
Speaker 1: love that, and inside I'm thinking I did until I

1033
00:51:26,120 --> 00:51:28,359
Speaker 1: played it, and I'm not feeling so good about it now.

1034
00:51:28,680 --> 00:51:30,440
Speaker 1: So I want to figure out what's going on. What

1035
00:51:30,560 --> 00:51:36,840
Speaker 1: is your relationship with singles, EPs albums because it's a

1036
00:51:36,840 --> 00:51:39,600
Speaker 1: new land out there. Yeah, it's a tension. Spans are different.

1037
00:51:39,800 --> 00:51:43,160
Speaker 1: Sorry what exactly, but it is getting that way right, Yeah, So,

1038
00:51:43,160 --> 00:51:46,360
Speaker 1: how are you feeling these days about twelve thirteen, fourteen

1039
00:51:46,400 --> 00:51:50,280
Speaker 1: track albums? Why do you see you changing? How you're

1040
00:51:50,320 --> 00:51:53,880
Speaker 1: just you know, doing Keith Urban distribution of music. I

1041
00:51:54,440 --> 00:51:57,080
Speaker 1: still like to think it comes down to quality, the

1042
00:51:57,200 --> 00:51:59,839
Speaker 1: quality of something because people go, oh, people want short

1043
00:51:59,840 --> 00:52:01,799
Speaker 1: of as short of that, and I'm like, only because

1044
00:52:01,800 --> 00:52:04,520
Speaker 1: a lot of what's out there's just not great. It's okay,

1045
00:52:04,640 --> 00:52:07,359
Speaker 1: it's not great, and it's not great because it's having

1046
00:52:07,360 --> 00:52:09,680
Speaker 1: to be churned out at such a fast right now,

1047
00:52:09,680 --> 00:52:12,400
Speaker 1: because it's content content, content content quick you have it

1048
00:52:12,640 --> 00:52:15,200
Speaker 1: with your show, and you're trying to maintain a level

1049
00:52:15,239 --> 00:52:20,120
Speaker 1: of excellence with this often unrealistic demand for the amount

1050
00:52:20,160 --> 00:52:21,759
Speaker 1: of it. Can You're trying to walk a line, Oh,

1051
00:52:21,920 --> 00:52:24,879
Speaker 1: how can I give you the best most exactly? That's

1052
00:52:24,920 --> 00:52:28,080
Speaker 1: exactly it? And I miss a lot because sometimes I

1053
00:52:28,160 --> 00:52:30,840
Speaker 1: do most and sometimes I do best, but I often

1054
00:52:30,920 --> 00:52:33,040
Speaker 1: don't get it right at the same time. And I

1055
00:52:33,080 --> 00:52:35,719
Speaker 1: think we're in this a lot in our society right now.

1056
00:52:35,840 --> 00:52:39,040
Speaker 1: The speed of everything and the demand from more and

1057
00:52:39,080 --> 00:52:42,880
Speaker 1: more and more and more quality takes time. Not always,

1058
00:52:42,920 --> 00:52:44,959
Speaker 1: but most of the time it takes It takes a beat.

1059
00:52:51,360 --> 00:52:54,359
Speaker 1: Do you feel pressure from at this stage of your

1060
00:52:54,360 --> 00:52:56,799
Speaker 1: career label as managers like hey, let's go, we need

1061
00:52:56,840 --> 00:53:00,319
Speaker 1: another something from you, or are you now You'll get

1062
00:53:00,320 --> 00:53:02,160
Speaker 1: it when you get it. Yeah, I've never felt that.

1063
00:53:02,360 --> 00:53:06,520
Speaker 1: I've never felt I will say my record company, Capital Records,

1064
00:53:06,520 --> 00:53:08,400
Speaker 1: so I've been with a long time and I've never

1065
00:53:08,440 --> 00:53:12,239
Speaker 1: ever felt anything but support for what I do. They've

1066
00:53:12,239 --> 00:53:15,759
Speaker 1: never given me like dragging the record out of my hand,

1067
00:53:15,840 --> 00:53:19,320
Speaker 1: demanding this song with that song. Ever, They've been amazingly supportive.

1068
00:53:19,760 --> 00:53:22,440
Speaker 1: Do you need a teleprompter. Ever for lyrics, you've had

1069
00:53:22,520 --> 00:53:25,400
Speaker 1: so many number one songs, do you ever need a

1070
00:53:25,440 --> 00:53:29,440
Speaker 1: reminder of words? Do you have to refresh or are

1071
00:53:29,480 --> 00:53:31,800
Speaker 1: you just there? Yeah, refresh it if it's gonna be

1072
00:53:31,800 --> 00:53:34,160
Speaker 1: an old song. But it's I have a sick memory

1073
00:53:34,160 --> 00:53:37,680
Speaker 1: for lyrics of songs. It's crazy you bring up. I

1074
00:53:38,040 --> 00:53:40,160
Speaker 1: brought it up. But we talked about it with Ronnie Dunn,

1075
00:53:40,200 --> 00:53:43,920
Speaker 1: who I've oddly become friends with and we're opposite in

1076
00:53:43,960 --> 00:53:46,560
Speaker 1: many ways. But when we were texting last night, like

1077
00:53:46,600 --> 00:53:48,719
Speaker 1: that's he's there's a big picture when you walked into

1078
00:53:48,719 --> 00:53:50,320
Speaker 1: this guest house. He sent over to the house of

1079
00:53:50,440 --> 00:53:52,160
Speaker 1: like a bowl or something that was laying on the counter.

1080
00:53:52,520 --> 00:53:54,239
Speaker 1: But Ronnie has and I don't think he would care

1081
00:53:54,280 --> 00:53:56,040
Speaker 1: if I shared this. He has someone in his ear

1082
00:53:56,080 --> 00:53:59,240
Speaker 1: the whole time, right on a microphone, yeah, side stage,

1083
00:53:59,480 --> 00:54:01,440
Speaker 1: telling him be lyric to every song. He's had it

1084
00:54:01,440 --> 00:54:02,920
Speaker 1: for a long time. He's just like, I don't want

1085
00:54:02,920 --> 00:54:04,040
Speaker 1: to forget, and I don't have I don't have a

1086
00:54:04,080 --> 00:54:06,800
Speaker 1: good memory. Right. So they're like out in the country,

1087
00:54:07,000 --> 00:54:09,080
Speaker 1: out in the country. I mean they're right in there.

1088
00:54:10,160 --> 00:54:13,160
Speaker 1: That's excellent. I mean voice of an angel, but holy crap,

1089
00:54:13,480 --> 00:54:15,799
Speaker 1: we can't remember work, high pressure gig for the guy

1090
00:54:15,840 --> 00:54:18,960
Speaker 1: in the ear and it's and it's a yeah very

1091
00:54:19,040 --> 00:54:21,719
Speaker 1: much though, yeah, but you have it all there for

1092
00:54:21,760 --> 00:54:24,319
Speaker 1: the most part. Boy, he'd want to be on good

1093
00:54:24,400 --> 00:54:27,080
Speaker 1: terms of that guy, wouldn't he. It's like Ron Ron, Ronnie,

1094
00:54:27,120 --> 00:54:31,400
Speaker 1: don't you run Ron Burgundy? You could get Burgundy. San

1095
00:54:31,400 --> 00:54:36,040
Speaker 1: Diego really prompted there. Let's talk about the new single

1096
00:54:36,080 --> 00:54:37,359
Speaker 1: that I do want to get back to the tour.

1097
00:54:37,840 --> 00:54:40,279
Speaker 1: But the current single is Wild Hearts. Let me play

1098
00:54:40,280 --> 00:54:57,920
Speaker 1: a little bit of this for you. I kind of

1099
00:54:57,920 --> 00:54:59,920
Speaker 1: have a relationship with every songwriter on this song, which

1100
00:55:00,120 --> 00:55:03,600
Speaker 1: pretty cool. Good. Eric Pass lays, a dear friend of mine. Yeah, um,

1101
00:55:04,440 --> 00:55:07,680
Speaker 1: Jen Wayne, Ye same, she's in now she's in a

1102
00:55:07,719 --> 00:55:12,160
Speaker 1: group herself away June. There it is brad Tercy from

1103
00:55:12,160 --> 00:55:15,160
Speaker 1: Old Dominion. How does this room come together? Or was

1104
00:55:15,200 --> 00:55:17,600
Speaker 1: it a room that came together? It didn't come together.

1105
00:55:17,640 --> 00:55:21,440
Speaker 1: I got sent this song as a finished song, two verses,

1106
00:55:22,160 --> 00:55:29,400
Speaker 1: chorus done, and I got pitched the song from Roxy

1107
00:55:29,480 --> 00:55:33,840
Speaker 1: King and I heard it and I was like, mmm,

1108
00:55:34,440 --> 00:55:36,120
Speaker 1: I don't know, It's just I like the chorus. I

1109
00:55:36,120 --> 00:55:39,000
Speaker 1: don't really the rest of us not pulling me in

1110
00:55:39,120 --> 00:55:41,880
Speaker 1: and so I passed on the song. And then about

1111
00:55:41,880 --> 00:55:45,120
Speaker 1: two weeks later, I woke up one morning singing this

1112
00:55:45,360 --> 00:55:47,880
Speaker 1: chorus in my head and I'm like, what is That's

1113
00:55:47,880 --> 00:55:51,680
Speaker 1: that wild hurt song? Really special chorus. I listened to

1114
00:55:51,719 --> 00:55:54,040
Speaker 1: the song again and I went, man, that chorus is

1115
00:55:54,120 --> 00:55:57,560
Speaker 1: so freaking good. But the verses don't say anything to me.

1116
00:55:58,080 --> 00:55:59,959
Speaker 1: And so I called the writers and I said would

1117
00:56:00,440 --> 00:56:03,080
Speaker 1: I said it, would you mind if I rewrote the

1118
00:56:03,160 --> 00:56:05,919
Speaker 1: verses just to make them more personal because it's such

1119
00:56:05,920 --> 00:56:08,640
Speaker 1: a personal song. It's, you know, following your dreams. I'm like, well,

1120
00:56:08,640 --> 00:56:11,760
Speaker 1: what about what? You know? What was my dream journey

1121
00:56:12,160 --> 00:56:15,160
Speaker 1: from Australia to hear And they sent me the track

1122
00:56:15,200 --> 00:56:17,920
Speaker 1: without anything in the verses, and I just rewrote the verses.

1123
00:56:19,600 --> 00:56:22,600
Speaker 1: That's pretty cool one that they would go yes, And

1124
00:56:22,680 --> 00:56:24,239
Speaker 1: I said to them, I said, I'm a writer, so

1125
00:56:24,280 --> 00:56:25,759
Speaker 1: I get this first of all. And yeah, but I'm

1126
00:56:25,800 --> 00:56:27,319
Speaker 1: not one of these guys that's going to be like

1127
00:56:27,440 --> 00:56:30,239
Speaker 1: I added the word the give me fifty percent right,

1128
00:56:30,239 --> 00:56:33,719
Speaker 1: I've never been that guy. And I said, you guys

1129
00:56:33,719 --> 00:56:36,320
Speaker 1: have written a top song. It's top to bottom, it's finished,

1130
00:56:36,400 --> 00:56:37,960
Speaker 1: right if you can pitch it and someone wants to

1131
00:56:37,960 --> 00:56:40,240
Speaker 1: cut it as is, please do that. I'm not asking

1132
00:56:40,320 --> 00:56:43,080
Speaker 1: to dismantle your song if someone else wants to record it,

1133
00:56:43,120 --> 00:56:46,759
Speaker 1: But if you are okay and I can rewrite these

1134
00:56:46,840 --> 00:56:48,439
Speaker 1: verses and they come up the way I think they will,

1135
00:56:48,760 --> 00:56:52,000
Speaker 1: I'm definitely recording this song, and God bless them they

1136
00:56:52,040 --> 00:56:54,880
Speaker 1: let me do that. The North American Tour The Speed

1137
00:56:54,920 --> 00:56:57,800
Speaker 1: of Now World to War twenty twenty two. The tickets

1138
00:56:57,800 --> 00:57:00,319
Speaker 1: are on so now Keith urban dot com. How long

1139
00:57:00,400 --> 00:57:01,960
Speaker 1: do you think you have another ten years of doing

1140
00:57:02,000 --> 00:57:05,799
Speaker 1: these really high energy shows in you. I don't even

1141
00:57:05,800 --> 00:57:08,360
Speaker 1: think about that. I mean just the next year, the

1142
00:57:08,440 --> 00:57:12,200
Speaker 1: next show. I mean, I'm injured. My whole body's still

1143
00:57:12,239 --> 00:57:15,279
Speaker 1: injured from my nat GEO show, right yeah, bet so.

1144
00:57:15,320 --> 00:57:17,760
Speaker 1: Now I think about things in terms like could I

1145
00:57:17,760 --> 00:57:19,640
Speaker 1: do another three seasons of that show? And I can't.

1146
00:57:19,760 --> 00:57:22,280
Speaker 1: I now understand I can't. Yeh mash her wrist, her

1147
00:57:22,280 --> 00:57:25,040
Speaker 1: shoulder hurt. Everything. Tour is not that show, but your tour.

1148
00:57:25,160 --> 00:57:28,640
Speaker 1: I'm telling you. The thing is that you're mad man.

1149
00:57:28,840 --> 00:57:32,720
Speaker 1: Your tour is again is the most energetic show I

1150
00:57:32,720 --> 00:57:35,280
Speaker 1: have ever seen from a superstar who doesn't have to

1151
00:57:35,320 --> 00:57:38,160
Speaker 1: be that energetic because he's already a superstar. And I

1152
00:57:38,200 --> 00:57:40,439
Speaker 1: mean that in the most complimentary way. Right. You could

1153
00:57:40,440 --> 00:57:41,720
Speaker 1: go out and just put on a solid show and

1154
00:57:41,760 --> 00:57:44,240
Speaker 1: be Keith Urban and people will be blown away. But

1155
00:57:44,320 --> 00:57:46,160
Speaker 1: you don't. Your hair is on fire for no other

1156
00:57:46,160 --> 00:57:48,480
Speaker 1: reason than you live that your art is your hair

1157
00:57:48,600 --> 00:57:52,680
Speaker 1: being on fire during a show. Yeah, yeah, well, I

1158
00:57:52,720 --> 00:57:54,760
Speaker 1: only know one volume to get out there and play

1159
00:57:54,800 --> 00:57:58,000
Speaker 1: at there is I mean, if it's real passion and

1160
00:57:58,040 --> 00:58:00,720
Speaker 1: the audience knows it, They're like, that's legit. That's a

1161
00:58:00,760 --> 00:58:03,000
Speaker 1: guy surfing on the wave, not thinking about it, but

1162
00:58:03,000 --> 00:58:05,880
Speaker 1: it's really happening and I can feel it. It's true,

1163
00:58:05,920 --> 00:58:10,000
Speaker 1: it's in the moment. Do you lose yourself in shows? Definitely? Yeah,

1164
00:58:10,040 --> 00:58:13,360
Speaker 1: it's it's a perfect balance of being completely present and

1165
00:58:13,400 --> 00:58:16,680
Speaker 1: completely lost in the moment all simultaneously. Do you ever

1166
00:58:17,200 --> 00:58:19,320
Speaker 1: Sometimes I'll drive and I'll get somewhere and I'd be like,

1167
00:58:19,360 --> 00:58:20,960
Speaker 1: holy crap, I don't know how I got here right,

1168
00:58:21,440 --> 00:58:23,560
Speaker 1: Like subconscious has completely taken over. And then I feel

1169
00:58:23,600 --> 00:58:25,439
Speaker 1: unsafe and I'm like, you're telling me people are driving,

1170
00:58:25,440 --> 00:58:26,880
Speaker 1: and then I start thinking about other idiots who are

1171
00:58:26,920 --> 00:58:29,000
Speaker 1: doing what I did, not thinking and driving places. But

1172
00:58:29,040 --> 00:58:30,480
Speaker 1: does that ever happen in a show where you're three

1173
00:58:30,520 --> 00:58:32,080
Speaker 1: songs later and you're like, dear God, how did I

1174
00:58:32,200 --> 00:58:37,200
Speaker 1: even get here? No? No, I mean maybe no, not really,

1175
00:58:37,280 --> 00:58:38,960
Speaker 1: not even a moment. I was thinking about a moment

1176
00:58:39,000 --> 00:58:45,200
Speaker 1: and a song. No, because I don't know. I'm just

1177
00:58:45,560 --> 00:58:49,440
Speaker 1: super present, but I'm also thinking. I'm taking a multi

1178
00:58:49,600 --> 00:58:52,520
Speaker 1: multiprocessing right, which I think you do it extremely well

1179
00:58:52,560 --> 00:58:55,919
Speaker 1: on your show. You're listening to me, you're checking that out,

1180
00:58:55,960 --> 00:58:58,280
Speaker 1: you're thinking about other things, you're probably thinking about some

1181
00:58:58,320 --> 00:59:00,160
Speaker 1: other things you got to do, and it's all all

1182
00:59:00,200 --> 00:59:04,400
Speaker 1: tie processing all at once, and you totally hear as well.

1183
00:59:05,040 --> 00:59:06,840
Speaker 1: I feel like I'm completely present, but I think I'm

1184
00:59:06,880 --> 00:59:12,520
Speaker 1: good at being present well while also delegating my mind

1185
00:59:12,560 --> 00:59:16,080
Speaker 1: to do other things. The same way to put it, Yeah,

1186
00:59:16,160 --> 00:59:17,720
Speaker 1: what do you say on that microphone when you walk

1187
00:59:17,720 --> 00:59:19,720
Speaker 1: over that nobody hears you know the microphone wire were

1188
00:59:19,760 --> 00:59:21,680
Speaker 1: talking to it all right? Yea, you have one of those?

1189
00:59:21,800 --> 00:59:23,440
Speaker 1: Yeah what do you? What do you when you walk back,

1190
00:59:23,600 --> 00:59:26,080
Speaker 1: it's four songs in and only her guys on stage

1191
00:59:26,120 --> 00:59:29,440
Speaker 1: can hear you. Because for those that don't know, some

1192
00:59:29,520 --> 00:59:31,680
Speaker 1: of my friends that have them, call them. We'll call

1193
00:59:31,720 --> 00:59:34,680
Speaker 1: it a b mic word rich. We're like, we'll talking

1194
00:59:34,680 --> 00:59:37,440
Speaker 1: to the rich mic. Right, if you're going to that microphone,

1195
00:59:37,480 --> 00:59:38,880
Speaker 1: what are you saying in the middle of a show.

1196
00:59:38,880 --> 00:59:40,400
Speaker 1: Why would it might be cooled that? But I don't

1197
00:59:40,480 --> 00:59:42,680
Speaker 1: no idea, but that's what that's the only thing I

1198
00:59:42,720 --> 00:59:44,919
Speaker 1: know it as. Right, Oh, that's weird. I've never heard

1199
00:59:44,920 --> 00:59:48,080
Speaker 1: that expression. Yeah, oh you haven't. No, okay, I never

1200
00:59:48,120 --> 00:59:50,440
Speaker 1: heard that. Well I don't say it, but that's crazy.

1201
00:59:50,600 --> 00:59:52,880
Speaker 1: So we stole it from Kenny Chesney when I was

1202
00:59:52,920 --> 00:59:54,320
Speaker 1: on two with him and I saw he had one,

1203
00:59:54,360 --> 00:59:56,160
Speaker 1: and I'm like, well, that's perfect because everyone's got in

1204
00:59:56,200 --> 00:59:59,080
Speaker 1: ears and you can actually talk to everyone. Aren't you

1205
00:59:59,080 --> 01:00:01,360
Speaker 1: were needing to get out over the top. No, you're

1206
01:00:01,400 --> 01:00:04,560
Speaker 1: not at all, not that, Mike. What do you say?

1207
01:00:05,240 --> 01:00:07,280
Speaker 1: Is it like, hey guys, we're gonna switch songs or

1208
01:00:07,360 --> 01:00:08,920
Speaker 1: we're gonna play in a different or on my throat?

1209
01:00:08,960 --> 01:00:11,480
Speaker 1: Her like what? It could be something to my guitar, tech,

1210
01:00:11,920 --> 01:00:14,160
Speaker 1: could be something to the monitor guy, could be something

1211
01:00:14,200 --> 01:00:16,880
Speaker 1: to the band. It could be something to security. It

1212
01:00:16,960 --> 01:00:19,200
Speaker 1: could just be really like you see something out there.

1213
01:00:19,280 --> 01:00:21,400
Speaker 1: For sure, security has ears in and they can hear that.

1214
01:00:21,920 --> 01:00:24,320
Speaker 1: I know that it's gonna get to where it's going

1215
01:00:24,360 --> 01:00:26,560
Speaker 1: to get to. If maybe not directly, someone will relay

1216
01:00:26,600 --> 01:00:29,160
Speaker 1: the message. But yeah, if I feel like there's just

1217
01:00:29,240 --> 01:00:31,840
Speaker 1: heavy handed security at a place, not letting people have

1218
01:00:31,960 --> 01:00:34,480
Speaker 1: fun or anything like that, I'll make sure it gets

1219
01:00:34,480 --> 01:00:37,840
Speaker 1: taken care of. Definitely. Of all the things that you do.

1220
01:00:37,880 --> 01:00:41,000
Speaker 1: As we wrap this up, one of my favorites is

1221
01:00:41,000 --> 01:00:42,840
Speaker 1: when you and I haven't seen it in a while

1222
01:00:42,920 --> 01:00:47,280
Speaker 1: because you haven't been on the road as normal no

1223
01:00:47,280 --> 01:00:50,160
Speaker 1: one has. Right when you do those videos with the

1224
01:00:50,160 --> 01:00:52,960
Speaker 1: police escort behind you and you're like, thank you guys. Great,

1225
01:00:53,800 --> 01:00:55,680
Speaker 1: Like I love the blue light video at the end

1226
01:00:55,680 --> 01:01:00,360
Speaker 1: of the show right so much so. They're a couple

1227
01:01:00,360 --> 01:01:03,800
Speaker 1: of times where you know, we did a we've done

1228
01:01:03,840 --> 01:01:05,440
Speaker 1: a couple of shows. We did a festival, and I

1229
01:01:05,520 --> 01:01:07,000
Speaker 1: threw a festival in Texas and we had like four

1230
01:01:07,080 --> 01:01:08,640
Speaker 1: or five thousand people and we had to get out,

1231
01:01:08,680 --> 01:01:10,120
Speaker 1: and I was like, Hey, I'm gonna get that blue light, Keith,

1232
01:01:10,400 --> 01:01:12,080
Speaker 1: because I got to get that shot right. So you're

1233
01:01:12,120 --> 01:01:14,200
Speaker 1: inspiring me in ways you had no idea. It's great.

1234
01:01:14,240 --> 01:01:16,200
Speaker 1: It's much better having in front of you than behind you.

1235
01:01:16,320 --> 01:01:18,200
Speaker 1: Let me tell you, I would agree with I've spent

1236
01:01:18,200 --> 01:01:20,800
Speaker 1: way more years with the opposite. So this is nice, Mike.

1237
01:01:20,840 --> 01:01:23,560
Speaker 1: Anything that I have missed that we need to address

1238
01:01:23,640 --> 01:01:25,920
Speaker 1: with Keith before he leaves, I think that's everything. It's

1239
01:01:25,920 --> 01:01:28,120
Speaker 1: a daylight savings time just about so it's getting darker

1240
01:01:28,240 --> 01:01:30,200
Speaker 1: now and so it feels like it's midnight. I'm a

1241
01:01:30,320 --> 01:01:33,080
Speaker 1: little tired, kind of run through it here. Anything you'd

1242
01:01:33,080 --> 01:01:34,960
Speaker 1: like to say, Read, you're a massive Keith fan. Read

1243
01:01:35,040 --> 01:01:37,280
Speaker 1: is my video guy. He's been looking for people looking

1244
01:01:37,320 --> 01:01:40,000
Speaker 1: forward to this whole life. Oh my gosh, So Read,

1245
01:01:40,040 --> 01:01:42,240
Speaker 1: this is your one shot with Keith. Is there anything

1246
01:01:42,360 --> 01:01:44,600
Speaker 1: take a deep breath, all right that you'd like to

1247
01:01:44,640 --> 01:01:49,560
Speaker 1: ask Keith? All right, Keith, I don't know. All I'm

1248
01:01:49,560 --> 01:01:54,040
Speaker 1: thinking about is when I first started learning guitar. My

1249
01:01:54,120 --> 01:01:58,920
Speaker 1: dad got me your Golden Road DVD that had all

1250
01:01:58,920 --> 01:02:01,080
Speaker 1: the music videos on it, and I would stand in

1251
01:02:01,120 --> 01:02:02,560
Speaker 1: front of the TV and I would try to mimic

1252
01:02:02,640 --> 01:02:04,560
Speaker 1: and try to learn learn the songs, and it was

1253
01:02:04,600 --> 01:02:07,920
Speaker 1: god awful. But I remember that moment. And then I

1254
01:02:07,960 --> 01:02:10,280
Speaker 1: got the pleasure of going to your show. I think

1255
01:02:10,360 --> 01:02:14,720
Speaker 1: it was in Dallas like three no, maybe like two

1256
01:02:14,800 --> 01:02:18,160
Speaker 1: years ago, and my girlfriend got me the tickets and

1257
01:02:18,160 --> 01:02:20,120
Speaker 1: and of course you were out in the crowd running

1258
01:02:20,160 --> 01:02:23,400
Speaker 1: around and you came up to us and I can

1259
01:02:23,480 --> 01:02:26,880
Speaker 1: just remember my uh my girlfriend just going Keith, Keith,

1260
01:02:27,320 --> 01:02:32,280
Speaker 1: but that was probably me actually, but yeah, so yeah,

1261
01:02:32,400 --> 01:02:34,000
Speaker 1: those were just the moments that came up to me.

1262
01:02:34,040 --> 01:02:36,240
Speaker 1: But I was a huge fan man, Thank you so much.

1263
01:02:36,760 --> 01:02:39,880
Speaker 1: How's the plan coming along? Oh it's it's good. Yeah,

1264
01:02:40,040 --> 01:02:44,560
Speaker 1: yeah you're still playing? Yeah, yeah, sir, y. I love songwriting. Uh.

1265
01:02:44,880 --> 01:02:47,160
Speaker 1: I don't do a lot of playing shows or anything,

1266
01:02:47,240 --> 01:02:49,720
Speaker 1: but um I love to produce my own music as

1267
01:02:49,760 --> 01:02:53,560
Speaker 1: well and write songs. So right, yes, sir, yeah there

1268
01:02:53,600 --> 01:02:56,560
Speaker 1: we haven't an emotional emotional moment here. Yeah, I'll mention

1269
01:02:56,600 --> 01:02:58,920
Speaker 1: this before you go to I. As we were walking

1270
01:02:58,920 --> 01:03:03,320
Speaker 1: out of our wedding, we played God Whispered Your Name? Wow.

1271
01:03:03,720 --> 01:03:07,640
Speaker 1: Thank the writers. Or one of the writers saw me out.

1272
01:03:07,960 --> 01:03:09,520
Speaker 1: I was getting some ice cream with Caitlin and he

1273
01:03:09,600 --> 01:03:12,040
Speaker 1: was like, you guys played got when God Whispered your

1274
01:03:12,080 --> 01:03:13,480
Speaker 1: Name at your wedding And I was like, first time

1275
01:03:13,480 --> 01:03:15,240
Speaker 1: I heard Keeps sing that song, I was like, that's it.

1276
01:03:15,520 --> 01:03:17,480
Speaker 1: Like I felt that there's one of those rare songs

1277
01:03:17,480 --> 01:03:19,320
Speaker 1: in my life where I was like because when I

1278
01:03:19,320 --> 01:03:22,040
Speaker 1: heard it the first time, I thought, if I can

1279
01:03:22,120 --> 01:03:25,160
Speaker 1: ever have this in my life, that's it. And then

1280
01:03:25,200 --> 01:03:28,120
Speaker 1: when I met my wife, now I went, this is

1281
01:03:28,120 --> 01:03:33,200
Speaker 1: that song like it was the songwriting, it was the delivery,

1282
01:03:33,320 --> 01:03:36,000
Speaker 1: it was the texture, all of those things together in

1283
01:03:36,080 --> 01:03:38,080
Speaker 1: that song. I remember thinking, man, if I ever find

1284
01:03:38,120 --> 01:03:40,200
Speaker 1: this because I heard a song before I knew her,

1285
01:03:41,480 --> 01:03:43,360
Speaker 1: But when I met her and I was like, oh,

1286
01:03:43,480 --> 01:03:47,080
Speaker 1: this is when God whispered your name. Wow. And it's

1287
01:03:47,120 --> 01:03:49,680
Speaker 1: one of those few moments where a song you're super romanic,

1288
01:03:49,760 --> 01:03:54,800
Speaker 1: punches you in the gut you really are. Yeah, okay,

1289
01:03:55,880 --> 01:03:59,120
Speaker 1: maybe you got you got married and you love that

1290
01:03:59,200 --> 01:04:01,880
Speaker 1: kind of song and yeah yeah. Danni Shd played at

1291
01:04:01,880 --> 01:04:05,480
Speaker 1: you winning Yes cool and they The funny part about

1292
01:04:05,480 --> 01:04:09,440
Speaker 1: that was my wife and Abby Smires are really close friends.

1293
01:04:09,680 --> 01:04:11,200
Speaker 1: Dan and I have been buddies for a long time,

1294
01:04:11,680 --> 01:04:17,160
Speaker 1: and I was like, hey, look you get because they're like,

1295
01:04:17,160 --> 01:04:18,880
Speaker 1: whatever you want, we'll play. Like Dan was like, well

1296
01:04:19,080 --> 01:04:21,000
Speaker 1: you didn't even ask us, like we'll play whatever you want.

1297
01:04:21,040 --> 01:04:22,520
Speaker 1: And I think they expected us to pick one of

1298
01:04:22,520 --> 01:04:25,160
Speaker 1: their songs because they have a hundred love songs the best,

1299
01:04:25,560 --> 01:04:27,800
Speaker 1: but I didn't. I picked the Beach Boys song Oh

1300
01:04:27,840 --> 01:04:30,680
Speaker 1: what song did you pick? Forever? I don't know, but

1301
01:04:30,880 --> 01:04:35,160
Speaker 1: everyone I say, make you laugh, I talk forever Um.

1302
01:04:35,560 --> 01:04:37,960
Speaker 1: Dennis Wilson wrote it. I didn't know that song. Jesse

1303
01:04:38,080 --> 01:04:40,040
Speaker 1: and the Rippers later did it on Full House. Dennis

1304
01:04:40,080 --> 01:04:44,160
Speaker 1: Wilson wrote it and the drummer well, and they crushed

1305
01:04:44,160 --> 01:04:47,240
Speaker 1: it and for it and they did so they put

1306
01:04:47,280 --> 01:04:48,960
Speaker 1: it on. They give us a file. They recorded it

1307
01:04:49,000 --> 01:04:50,640
Speaker 1: as well as a wedding gift to us and gave

1308
01:04:50,640 --> 01:04:52,560
Speaker 1: it to us. It was awesome, amazing, And what was

1309
01:04:52,600 --> 01:04:55,040
Speaker 1: cool was even Ronnie was like, hey, you don't want

1310
01:04:55,080 --> 01:04:56,840
Speaker 1: anything for your wedding, Like I can't get you anything.

1311
01:04:57,400 --> 01:04:58,560
Speaker 1: What do you mean to sing? And I was like,

1312
01:04:58,560 --> 01:05:01,200
Speaker 1: that's the greatest gift ever. So he's saying neon Moon.

1313
01:05:01,240 --> 01:05:04,400
Speaker 1: It was awesome. Oh my goodness, it's awesome. Wow. How

1314
01:05:04,440 --> 01:05:07,880
Speaker 1: did he remember the words? I worried too. I said,

1315
01:05:07,880 --> 01:05:09,240
Speaker 1: do we need to get that mic for you? Over

1316
01:05:09,280 --> 01:05:11,720
Speaker 1: on the side. We didn't. He knew the words though,

1317
01:05:11,800 --> 01:05:13,560
Speaker 1: had the cell phone up his ear the whole time.

1318
01:05:13,640 --> 01:05:16,600
Speaker 1: All right, get tickets, they're on sale today. Keith Urban

1319
01:05:16,920 --> 01:05:19,720
Speaker 1: the Speed of Now World toward twenty twenty two, they're up.

1320
01:05:19,880 --> 01:05:22,160
Speaker 1: Go see him this podcast This show has heard in

1321
01:05:22,240 --> 01:05:25,280
Speaker 1: all kinds of countries, so obviously North America, but all

1322
01:05:25,280 --> 01:05:27,320
Speaker 1: over the world. I don't know how you do it.

1323
01:05:27,480 --> 01:05:29,040
Speaker 1: I don't know how you do it and maintain as you.

1324
01:05:29,160 --> 01:05:30,800
Speaker 1: I love what I do. I love what I get

1325
01:05:30,840 --> 01:05:33,960
Speaker 1: to do, and truly it's a game. You know. People go, oh,

1326
01:05:34,040 --> 01:05:39,040
Speaker 1: it's a gift if it really is. And I'll finish

1327
01:05:39,080 --> 01:05:41,760
Speaker 1: with this because I think it's what is. What it's

1328
01:05:41,760 --> 01:05:45,640
Speaker 1: all about is I went. I was born with the

1329
01:05:45,640 --> 01:05:48,640
Speaker 1: addictive gene. I went to three rehabs in the span

1330
01:05:48,720 --> 01:05:50,920
Speaker 1: of three years, in the span of eight years, my

1331
01:05:51,000 --> 01:05:53,160
Speaker 1: first rehab of nineteen ninety eight, my second one was

1332
01:05:53,160 --> 01:05:55,040
Speaker 1: two thousand and three, and my third one was two

1333
01:05:55,040 --> 01:05:57,800
Speaker 1: thousand and six. And it took what it took for

1334
01:05:57,920 --> 01:06:06,040
Speaker 1: me to finally get sober. And that journey brought the deepest,

1335
01:06:06,240 --> 01:06:08,680
Speaker 1: deepest level of gratitude for what I get to do

1336
01:06:09,520 --> 01:06:11,040
Speaker 1: that I don't know if I ever would have gotten

1337
01:06:11,080 --> 01:06:14,280
Speaker 1: that gratitude level without that journey. I think when you

1338
01:06:14,320 --> 01:06:17,480
Speaker 1: come close to losing all of that and then it

1339
01:06:17,520 --> 01:06:20,560
Speaker 1: gets given back to you through grace, in my case,

1340
01:06:20,600 --> 01:06:23,480
Speaker 1: getting back to me, I was like, I'm never going

1341
01:06:23,520 --> 01:06:25,880
Speaker 1: to take this for granted. Ever, again, does it make

1342
01:06:25,920 --> 01:06:29,480
Speaker 1: you a more giving person going through because for me,

1343
01:06:29,560 --> 01:06:32,160
Speaker 1: I have found that growing up a poverty kid and

1344
01:06:32,240 --> 01:06:36,840
Speaker 1: someone who's been through those struggles with addiction secondary that

1345
01:06:36,920 --> 01:06:39,920
Speaker 1: affects me and how I treat other people. Do you

1346
01:06:39,960 --> 01:06:43,800
Speaker 1: think you were two different people before and after your

1347
01:06:43,840 --> 01:06:48,800
Speaker 1: final run, your final time and rehab? Very much? Yeah,

1348
01:06:48,840 --> 01:06:54,160
Speaker 1: and yes, I separate the person from the addiction. You

1349
01:06:54,200 --> 01:06:56,000
Speaker 1: are known as one of the nicer guys in town,

1350
01:06:57,120 --> 01:06:59,840
Speaker 1: just generally by people like Keith urban Is the nicest guy.

1351
01:07:00,560 --> 01:07:03,120
Speaker 1: Were you known early in your career? Is that guy?

1352
01:07:03,240 --> 01:07:06,280
Speaker 1: Were you always just completely dialed into the human aspect

1353
01:07:06,280 --> 01:07:08,600
Speaker 1: of people? Because now you are and you're known for that.

1354
01:07:09,040 --> 01:07:12,840
Speaker 1: I like people, and I like collaborating. I love Yeah,

1355
01:07:12,880 --> 01:07:15,320
Speaker 1: I love people. I've always loved people. You've always been

1356
01:07:15,320 --> 01:07:17,720
Speaker 1: a nice guy. I've always I think I've always been

1357
01:07:17,920 --> 01:07:21,800
Speaker 1: um bridge builder. I'm a bridge builder. I'm an entertainer.

1358
01:07:22,320 --> 01:07:25,560
Speaker 1: I you know, I think I was the I was

1359
01:07:25,600 --> 01:07:28,600
Speaker 1: the I was the peace person. You know, if you

1360
01:07:28,640 --> 01:07:31,560
Speaker 1: have an identity in your home, I was the bridge

1361
01:07:31,560 --> 01:07:34,160
Speaker 1: builder between my brother and my father, always trying to

1362
01:07:34,240 --> 01:07:36,840
Speaker 1: kill each other. I was like, interesting, I'm gonna I'm

1363
01:07:36,880 --> 01:07:38,920
Speaker 1: gonna be the one that keeps the peace here. And

1364
01:07:38,960 --> 01:07:40,760
Speaker 1: I think I've carried that into my life. All right,

1365
01:07:40,800 --> 01:07:43,800
Speaker 1: Go to a show, listen to the music. Keith Urban,

1366
01:07:44,200 --> 01:07:46,840
Speaker 1: thank you always good to talk. Good to talk to

1367
01:07:46,840 --> 01:07:48,000
Speaker 1: you too. There he is Keith Urban.