1 00:00:00,280 --> 00:00:03,520 Speaker 1: I'm Alec Baldwin and you're listening to Here's the Thing 2 00:00:03,960 --> 00:00:10,560 Speaker 1: You to stop Fight. You used to stop fight. Now 3 00:00:10,600 --> 00:00:20,840 Speaker 1: I'm burning my own body down to stop. Today, I'll 4 00:00:20,880 --> 00:00:24,120 Speaker 1: start with a prediction. This will be Here's the Thing's 5 00:00:24,200 --> 00:00:51,199 Speaker 1: most downloaded episode of next to stud Anyway Stop. This 6 00:00:51,240 --> 00:00:54,600 Speaker 1: show is usually my way of taking you into the 7 00:00:54,720 --> 00:00:58,120 Speaker 1: lives and careers of giants. People at the top of 8 00:00:58,160 --> 00:01:01,800 Speaker 1: their mountain looking down. Today our guests are at the 9 00:01:01,880 --> 00:01:06,440 Speaker 1: base of the mountain looking up. Perda is at a 10 00:01:06,560 --> 00:01:10,560 Speaker 1: thrilling moment for any great band. This track is called 11 00:01:10,600 --> 00:01:14,920 Speaker 1: from Fire, and it's the only song they've released in 12 00:01:15,120 --> 00:01:19,000 Speaker 1: the Beatles timeline. It's after the Kasba Coffee Club, but 13 00:01:19,280 --> 00:01:23,959 Speaker 1: before George Martin. They're represented by William Morris, but the 14 00:01:24,000 --> 00:01:28,160 Speaker 1: frontman still works at Starbucks. They had a profile and 15 00:01:28,280 --> 00:01:32,480 Speaker 1: paper magazine, but the guitarist mom drove them to our interview. 16 00:01:36,120 --> 00:01:40,160 Speaker 1: Perda's frontman is Matt Bazulka, and there are only a 17 00:01:40,240 --> 00:01:43,679 Speaker 1: handful of people in a generation with his talent and 18 00:01:43,760 --> 00:01:46,959 Speaker 1: stage presence. Within a year, maybe two, you will know 19 00:01:47,120 --> 00:01:50,880 Speaker 1: his name. But joined by the band's founder, Colin Kenrick 20 00:01:51,240 --> 00:01:54,400 Speaker 1: in a small l a studio for our conversation. He's 21 00:01:54,440 --> 00:01:59,240 Speaker 1: still just a normal kid, well not normal exactly. Something 22 00:01:59,320 --> 00:02:03,680 Speaker 1: his parents accommodated. I wanted to perform since I was 23 00:02:03,800 --> 00:02:06,960 Speaker 1: very young. Um, they had me trying different sports out 24 00:02:07,000 --> 00:02:09,320 Speaker 1: and then um, one day during wrestling match, I got 25 00:02:09,360 --> 00:02:10,960 Speaker 1: like flipped over and lost of tooth and they were like, 26 00:02:11,000 --> 00:02:16,400 Speaker 1: maybe we should dry the art. And Pennsylvania like rural Pennsylvania. 27 00:02:16,639 --> 00:02:19,280 Speaker 1: It's called the Lehigh Valley. Yeah, it's a small collection 28 00:02:19,280 --> 00:02:21,799 Speaker 1: of towns. I remember I made like the front page 29 00:02:21,840 --> 00:02:23,560 Speaker 1: of the newspaper when I was eight years old because 30 00:02:23,600 --> 00:02:26,360 Speaker 1: I was the only male dancer in like the entire alley. Well, 31 00:02:26,400 --> 00:02:28,840 Speaker 1: when I listened to you is when you're there, You're 32 00:02:28,880 --> 00:02:31,720 Speaker 1: at the gig, at the troubadour. Where's the one where 33 00:02:31,760 --> 00:02:39,760 Speaker 1: you're wearing the white and I'm sitting there watch and 34 00:02:39,800 --> 00:02:43,040 Speaker 1: you stand up, you like make an entrance, even they 35 00:02:43,040 --> 00:02:46,240 Speaker 1: were already there. You stand up, and I'll let you 36 00:02:46,320 --> 00:02:48,040 Speaker 1: describe it. I don't want to say it's Elvis. I 37 00:02:48,040 --> 00:02:52,480 Speaker 1: don't want to say it. Share that white jumpsuits split 38 00:02:52,560 --> 00:02:55,680 Speaker 1: open to the navel, the fringes I'm going look at 39 00:02:55,760 --> 00:02:59,040 Speaker 1: this guy originally was not actually to the navel, but 40 00:02:59,160 --> 00:03:02,760 Speaker 1: they didn't have air conditioning. Yeah, and you opened your 41 00:03:02,760 --> 00:03:04,320 Speaker 1: mouth and I thought I was going to pass out. 42 00:03:04,880 --> 00:03:08,120 Speaker 1: Did you train? I mean I took a year of 43 00:03:08,200 --> 00:03:12,040 Speaker 1: lessons when I was like eleven. Whose idea was it? 44 00:03:12,240 --> 00:03:14,080 Speaker 1: My mom? You and you left there when you were 45 00:03:14,120 --> 00:03:16,440 Speaker 1: how old? Right after I graduated high school to go 46 00:03:16,480 --> 00:03:19,760 Speaker 1: where here? Yeah? Well that's the thing is, it's like 47 00:03:19,800 --> 00:03:21,919 Speaker 1: I have this kind of ignorance, is bliss way about 48 00:03:21,960 --> 00:03:24,480 Speaker 1: like finding things in life. And I just kind of 49 00:03:24,680 --> 00:03:26,480 Speaker 1: followed this one teacher that I really trusted. She's like, 50 00:03:26,520 --> 00:03:28,799 Speaker 1: there's a school called Calerts that I think you'll really love. 51 00:03:28,960 --> 00:03:30,400 Speaker 1: I had never even been to the West Coast. I 52 00:03:30,400 --> 00:03:32,880 Speaker 1: hadn't even really traveled. My first day in California was 53 00:03:32,919 --> 00:03:37,120 Speaker 1: my first day of school. Did you like it right away? Yeah? Absolutely? 54 00:03:37,200 --> 00:03:39,160 Speaker 1: I was all weirdo in high school, so I felt 55 00:03:39,160 --> 00:03:41,320 Speaker 1: like I fit right in. Yeah. And for training, I 56 00:03:41,320 --> 00:03:43,840 Speaker 1: mean like they went for acting. So the voice training 57 00:03:43,840 --> 00:03:49,520 Speaker 1: that they did was for speech and distinction like theater 58 00:03:49,280 --> 00:03:52,680 Speaker 1: the right and for you talking to Colin ken Rick, now, 59 00:03:53,080 --> 00:03:55,760 Speaker 1: for you, what was music in your life? Was a child? 60 00:03:56,000 --> 00:03:59,320 Speaker 1: Like what did you listen to? Were you rapidly into music? 61 00:03:59,720 --> 00:04:03,440 Speaker 1: What's what's your musical? D n A. So music was 62 00:04:03,480 --> 00:04:06,480 Speaker 1: the connection to my dad. I was raised on the 63 00:04:06,520 --> 00:04:11,160 Speaker 1: classic songwriters, you know, Paul Simon, Bob Dylan, w local Il, 64 00:04:11,160 --> 00:04:14,320 Speaker 1: A kid in the suburbs and going up my dad. 65 00:04:14,520 --> 00:04:16,680 Speaker 1: I remember him showing me a Dylan song when I 66 00:04:16,720 --> 00:04:20,920 Speaker 1: was thirteen. It was Spanish Boots of Spanish Leather by 67 00:04:20,960 --> 00:04:23,919 Speaker 1: Bob Dylan, and that was a song that it was 68 00:04:23,960 --> 00:04:27,240 Speaker 1: like a sailor song. For some reason, this story really 69 00:04:27,279 --> 00:04:30,039 Speaker 1: spoke to me. And then when I started playing music, 70 00:04:30,160 --> 00:04:32,040 Speaker 1: you picked up a what I picked up a guitar. 71 00:04:32,400 --> 00:04:34,800 Speaker 1: I picked up a guitar and fumbled through some chords. 72 00:04:35,440 --> 00:04:37,719 Speaker 1: So I started with that and I eventually moved on 73 00:04:37,760 --> 00:04:39,440 Speaker 1: to you know, people like Ellett Smith, just kind of 74 00:04:39,480 --> 00:04:44,039 Speaker 1: the classic songwriters, really angsty. That was my bag. So 75 00:04:44,200 --> 00:04:46,960 Speaker 1: shifting this project, it's very much away from what I 76 00:04:47,040 --> 00:04:50,080 Speaker 1: used to write because it's not really worked in my bed. 77 00:04:50,160 --> 00:04:53,240 Speaker 1: How old do you know? I six? Right? Did you 78 00:04:53,240 --> 00:04:55,960 Speaker 1: have another band before the span high school band? You 79 00:04:55,960 --> 00:04:58,080 Speaker 1: know nothing to you know, nothing to write home about. 80 00:04:58,480 --> 00:05:03,800 Speaker 1: Someone's laughing mockingly. It's not me. No, they're wonderful videos 81 00:05:03,839 --> 00:05:09,680 Speaker 1: on YouTube. We're not talking about this. I can't wait. Yeah, 82 00:05:10,160 --> 00:05:12,480 Speaker 1: So I went to school for this and I started 83 00:05:12,520 --> 00:05:15,159 Speaker 1: doing songwriting and I wasn't really sure what I wanted 84 00:05:15,160 --> 00:05:17,840 Speaker 1: to do when I When I left and we both 85 00:05:17,880 --> 00:05:20,360 Speaker 1: went to cal Arts, to California's through the Arts up 86 00:05:20,360 --> 00:05:25,360 Speaker 1: in Valencia, California. Great place. And did you meet there? 87 00:05:25,960 --> 00:05:28,279 Speaker 1: Sort of? We knew each other. We were in one 88 00:05:28,360 --> 00:05:31,440 Speaker 1: class I remember. Yeah, I don't remember that class because 89 00:05:31,440 --> 00:05:36,719 Speaker 1: you were hot and it was a science quote unquote class. 90 00:05:36,920 --> 00:05:40,400 Speaker 1: But what about music of your generation? Beyond the Beatles 91 00:05:40,480 --> 00:05:43,480 Speaker 1: and Simon and graphical whatever. What did you listen to? 92 00:05:43,640 --> 00:05:46,640 Speaker 1: What did you love? Oh? Man, I don't know if 93 00:05:46,640 --> 00:05:50,480 Speaker 1: there's anything I really loved. I think it was just 94 00:05:51,080 --> 00:05:54,360 Speaker 1: a matter of influence for me from you know, where 95 00:05:54,360 --> 00:05:58,000 Speaker 1: I was receiving music from, you know, mostly my dad 96 00:05:58,040 --> 00:06:00,719 Speaker 1: and kind of his group of friends, and you're raised 97 00:06:00,720 --> 00:06:03,440 Speaker 1: on something else. Oh yeah, absolutely? What was this music 98 00:06:03,640 --> 00:06:05,359 Speaker 1: of your generation? What was it missing? As far as 99 00:06:05,400 --> 00:06:08,800 Speaker 1: you were concerned? I think it really was missing the storytelling, 100 00:06:08,920 --> 00:06:12,560 Speaker 1: the structure of a song explaining a story, whereas it 101 00:06:12,600 --> 00:06:14,880 Speaker 1: just felt like an even more so now about the 102 00:06:14,920 --> 00:06:18,760 Speaker 1: hooks and the catchiness and repetitiveness. Yeah, what's the first 103 00:06:18,800 --> 00:06:21,240 Speaker 1: time that you sang, this is always intriguing to me 104 00:06:21,240 --> 00:06:23,080 Speaker 1: because I had this. I had this wonderful conversation with 105 00:06:23,120 --> 00:06:27,320 Speaker 1: Tom York about this. Tom York sits here with me 106 00:06:27,360 --> 00:06:29,400 Speaker 1: in our studio when York and says, you know that 107 00:06:29,440 --> 00:06:32,040 Speaker 1: he hated his voice. He didn't think he could sing. 108 00:06:33,240 --> 00:06:35,080 Speaker 1: When did you first? How old were you and where 109 00:06:35,120 --> 00:06:36,800 Speaker 1: were you when people first said to you you could 110 00:06:36,839 --> 00:06:40,680 Speaker 1: do this. We went in the bathroom and like a 111 00:06:40,760 --> 00:06:44,400 Speaker 1: share outfit with a brush in your hand. Do you 112 00:06:44,440 --> 00:06:48,640 Speaker 1: believe that Sarah wasn't my da? I mean, of course, 113 00:06:48,720 --> 00:06:55,520 Speaker 1: you know, honor and respect her. But Britney spears, no, no, 114 00:06:55,600 --> 00:06:59,839 Speaker 1: it's perfect, It's perfect. Again in the bathroom of distinctly, 115 00:07:00,240 --> 00:07:01,680 Speaker 1: I got her CD. Oh god, I think it was 116 00:07:01,680 --> 00:07:03,480 Speaker 1: the second one. I wanted it so bad for Christmas, 117 00:07:03,520 --> 00:07:05,440 Speaker 1: and my grandma bought it for me, but she she 118 00:07:06,120 --> 00:07:07,960 Speaker 1: the way she handed it to me. So how we 119 00:07:08,000 --> 00:07:09,479 Speaker 1: did is we unwrapped gifts and then we went up 120 00:07:09,480 --> 00:07:11,239 Speaker 1: and had to say thank you, So I like, unwrapped 121 00:07:11,240 --> 00:07:12,920 Speaker 1: the gift anyway, just saying thank you, and she's like, 122 00:07:12,920 --> 00:07:15,200 Speaker 1: oh that trash, and my mom just yelled from the 123 00:07:15,240 --> 00:07:17,520 Speaker 1: other room. He likes what he likes. Leave him alone, 124 00:07:17,880 --> 00:07:22,400 Speaker 1: always my whole childhood, my mom. Yeah, I don't know, 125 00:07:23,000 --> 00:07:25,280 Speaker 1: but that was the beginning. Well yeah, I mean honestly, 126 00:07:25,320 --> 00:07:27,960 Speaker 1: like my siblings and I would put on productions at 127 00:07:27,960 --> 00:07:30,360 Speaker 1: my grandparents house in the summertime, and I was like 128 00:07:30,640 --> 00:07:32,360 Speaker 1: the one who was into performing. So I was like 129 00:07:32,400 --> 00:07:38,400 Speaker 1: the director and like stars. I was in the nicolas um, 130 00:07:38,720 --> 00:07:43,760 Speaker 1: you know. I I think I pursued acting because I 131 00:07:43,800 --> 00:07:46,440 Speaker 1: didn't really I remember there was a moment in high 132 00:07:46,440 --> 00:07:50,160 Speaker 1: school when I was really starting to think about music seriously, 133 00:07:50,840 --> 00:07:53,160 Speaker 1: and there was somebody who asked me. They're like, well, 134 00:07:53,160 --> 00:07:55,720 Speaker 1: do you understand music theory? And I think that deterred 135 00:07:55,760 --> 00:07:58,280 Speaker 1: me because my mind couldn't really grasp chord progressions, and 136 00:07:58,280 --> 00:08:00,200 Speaker 1: so I was just like, I don't know. I I 137 00:08:00,200 --> 00:08:02,120 Speaker 1: I honestly thought of music as like magic, and I 138 00:08:02,160 --> 00:08:03,680 Speaker 1: was just like, Okay, well that's out of reach, but like, 139 00:08:03,680 --> 00:08:06,040 Speaker 1: how can I continue to express myself? And I really 140 00:08:06,040 --> 00:08:09,040 Speaker 1: love dissecting plays and like reading them. And she's still 141 00:08:09,080 --> 00:08:10,440 Speaker 1: on the fence about whether you want to keep up 142 00:08:10,480 --> 00:08:12,880 Speaker 1: acting and do this full time. No, you know, thanks 143 00:08:12,880 --> 00:08:15,880 Speaker 1: to Colin, like I feel a lot more confident about 144 00:08:16,040 --> 00:08:18,200 Speaker 1: doing this and and I get the best of both worlds. 145 00:08:18,200 --> 00:08:20,640 Speaker 1: So like with the songwriting process, the lyrics are very 146 00:08:20,720 --> 00:08:24,000 Speaker 1: like story driven. Um, we only have the one song 147 00:08:24,040 --> 00:08:25,680 Speaker 1: out now, but a lot of the songs that are 148 00:08:26,480 --> 00:08:29,880 Speaker 1: from Fire and the like, trust that one's about growing 149 00:08:29,920 --> 00:08:32,120 Speaker 1: up in Pennsylvania, that one's about not having much money. 150 00:08:32,200 --> 00:08:34,080 Speaker 1: I'm gonna get to the songwriting thing after I ask 151 00:08:34,160 --> 00:08:36,240 Speaker 1: you described me. How did the whole group come together. 152 00:08:37,160 --> 00:08:40,520 Speaker 1: It's kind of a long road. So, like I said, 153 00:08:40,520 --> 00:08:44,360 Speaker 1: we kind of knew each other in college, and you 154 00:08:44,400 --> 00:08:46,840 Speaker 1: knew we could sing. No, no, I had no idea 155 00:08:47,120 --> 00:08:49,920 Speaker 1: nothing of the start. So I left cal Arts. I 156 00:08:49,960 --> 00:08:52,319 Speaker 1: got a great education, but I was very deterred from 157 00:08:52,400 --> 00:08:56,320 Speaker 1: music making. I was very self conscious about my own process. Um, 158 00:08:56,360 --> 00:08:58,679 Speaker 1: I was looking around and Cal Arts is the best 159 00:08:58,720 --> 00:09:00,959 Speaker 1: of everybody, right, It's like the best of every town 160 00:09:00,960 --> 00:09:02,800 Speaker 1: in the country coming together. So you get there and 161 00:09:02,800 --> 00:09:05,920 Speaker 1: all of a sudden you're like, wow, I thought I 162 00:09:05,960 --> 00:09:07,640 Speaker 1: was great, but this guy is super good at this, 163 00:09:07,720 --> 00:09:09,640 Speaker 1: and this guy is really good at this, and it 164 00:09:10,360 --> 00:09:12,600 Speaker 1: deterred me from my own process because I was trying 165 00:09:12,640 --> 00:09:15,120 Speaker 1: to do what everyone else was doing. So by the 166 00:09:15,120 --> 00:09:17,280 Speaker 1: time I graduated, I thought I was done with music. 167 00:09:17,440 --> 00:09:19,600 Speaker 1: I thought music was like behind me. I went into 168 00:09:19,720 --> 00:09:21,599 Speaker 1: music management, you know. I got a job at a 169 00:09:21,640 --> 00:09:24,760 Speaker 1: music management company. I eventually end up working as a 170 00:09:24,800 --> 00:09:27,600 Speaker 1: talent agent for a little bit where I worked at 171 00:09:27,600 --> 00:09:30,160 Speaker 1: a place called First Artist Management and shout out to them. 172 00:09:30,160 --> 00:09:33,720 Speaker 1: It's a small boutique UH composer agency for film and 173 00:09:33,760 --> 00:09:39,040 Speaker 1: television composers. But I was managing another group out of college, 174 00:09:39,440 --> 00:09:42,880 Speaker 1: Um and Matt. We put them in a warehouse show 175 00:09:43,080 --> 00:09:47,320 Speaker 1: for them and Super Illegal and Matt very opened for 176 00:09:47,360 --> 00:09:49,320 Speaker 1: the band that I was working with, and he came 177 00:09:49,320 --> 00:09:51,800 Speaker 1: on stage with the producers a guy on a computer 178 00:09:52,800 --> 00:09:54,400 Speaker 1: and like opened his mouth and I had the same 179 00:09:54,400 --> 00:09:57,560 Speaker 1: reaction you did. I just like stopped. I walked up 180 00:09:57,559 --> 00:09:59,520 Speaker 1: to him immediately after the show. I was just like, 181 00:09:59,679 --> 00:10:03,360 Speaker 1: d how do I not know this about you? You know, 182 00:10:03,400 --> 00:10:05,000 Speaker 1: how do I not know you're this kind of singer? 183 00:10:05,679 --> 00:10:08,240 Speaker 1: And I just said, let me take you to dinner tomorrow. 184 00:10:08,280 --> 00:10:09,640 Speaker 1: It was like the next day, I was like, let 185 00:10:09,640 --> 00:10:11,520 Speaker 1: me take you to dinner. Did you have the money 186 00:10:11,559 --> 00:10:13,439 Speaker 1: to take him to dinner? Did you actually have them? 187 00:10:13,440 --> 00:10:17,199 Speaker 1: I pretended, absolutely pretending because all we got was appetizers. 188 00:10:17,240 --> 00:10:20,400 Speaker 1: I got drinks. It's a very nice place, so we 189 00:10:20,440 --> 00:10:23,040 Speaker 1: sat down and I said, you know, you're amazing. What 190 00:10:23,080 --> 00:10:25,120 Speaker 1: do you wanted of music? What is it that you need? 191 00:10:25,200 --> 00:10:27,880 Speaker 1: And we both kind of simultaneously came to the conclusion 192 00:10:27,920 --> 00:10:31,280 Speaker 1: that he needed live musicians because being on stage by 193 00:10:31,280 --> 00:10:33,760 Speaker 1: yourself with a guy on a computer didn't feel like 194 00:10:33,800 --> 00:10:37,400 Speaker 1: it fulfilled his vision. I find this facet you began 195 00:10:37,440 --> 00:10:41,400 Speaker 1: to conceive is going to bet you with a synthesizer. 196 00:10:41,559 --> 00:10:43,520 Speaker 1: It was just we wanted to We wanted a band 197 00:10:43,520 --> 00:10:46,679 Speaker 1: because he because he was so dynamic on stage, and 198 00:10:46,880 --> 00:10:49,160 Speaker 1: I got the sense that he was a little bit 199 00:10:49,200 --> 00:10:51,600 Speaker 1: bored because he didn't have the ability to interact with people. 200 00:10:52,080 --> 00:10:54,560 Speaker 1: It felt it was it was it was lonely to 201 00:10:54,600 --> 00:10:58,839 Speaker 1: be honest, like like it was. It was a very 202 00:11:00,200 --> 00:11:02,600 Speaker 1: no I mean yeah, I mean I was. I'm just 203 00:11:02,640 --> 00:11:04,880 Speaker 1: like used to like being an ensemble and like it 204 00:11:04,920 --> 00:11:07,720 Speaker 1: was a lonely process and like, um, there was a 205 00:11:07,720 --> 00:11:09,520 Speaker 1: lot of times where I wanted to change something, but 206 00:11:09,520 --> 00:11:12,160 Speaker 1: I didn't necessarily have the vocabulary. And now, like being 207 00:11:12,200 --> 00:11:14,040 Speaker 1: in a room full of like live musicians, I can 208 00:11:14,080 --> 00:11:15,800 Speaker 1: be like it should you know, if it could feel 209 00:11:15,800 --> 00:11:18,120 Speaker 1: like this, that would be amazing. And like Danny our 210 00:11:18,120 --> 00:11:19,800 Speaker 1: bass player can be like Okay, well, what if we 211 00:11:19,840 --> 00:11:21,840 Speaker 1: try you know what I mean? Sometimes all I can 212 00:11:21,920 --> 00:11:24,640 Speaker 1: use is like imagery for that kind of stuff because 213 00:11:24,679 --> 00:11:27,000 Speaker 1: I don't have the vocabulary that they have. So the 214 00:11:27,040 --> 00:11:28,960 Speaker 1: two of you go out and get who what happens now? 215 00:11:29,080 --> 00:11:31,920 Speaker 1: So after we talk, I texted a lot of the 216 00:11:31,920 --> 00:11:33,440 Speaker 1: guys who you know are now in the group, and 217 00:11:33,480 --> 00:11:36,000 Speaker 1: I made a joke. I'm like, I'm starting supergroup right 218 00:11:36,080 --> 00:11:39,200 Speaker 1: around this lead singer. Here's like a voice moment on 219 00:11:39,240 --> 00:11:42,319 Speaker 1: an iPhone, maybe a thirty second clip of him singing. Right. 220 00:11:42,400 --> 00:11:45,559 Speaker 1: So I texted, you know, Daniel Zuktar bass player, Justin 221 00:11:45,640 --> 00:11:49,800 Speaker 1: Siegel are drummer, and I was like, tomorrow my bedroom, 222 00:11:50,080 --> 00:11:53,640 Speaker 1: everybody meet, bring your instruments. And it was the next day. 223 00:11:53,720 --> 00:11:55,959 Speaker 1: They were like, yeah, I'm in sounds great? Was that 224 00:11:56,080 --> 00:11:59,080 Speaker 1: like for you? I was so embarrassed because they like 225 00:11:59,240 --> 00:12:02,760 Speaker 1: actually joyed that clip enough to like come in. And 226 00:12:02,800 --> 00:12:04,280 Speaker 1: I also like, growing up, I didn't have a lot 227 00:12:04,320 --> 00:12:05,679 Speaker 1: of guy friends, so it was like I was very 228 00:12:05,760 --> 00:12:08,080 Speaker 1: very nervous. In fact, I had one guy friend, Um 229 00:12:08,200 --> 00:12:10,800 Speaker 1: and Colin made everything really really comfortable and the guys 230 00:12:10,800 --> 00:12:13,000 Speaker 1: were super super chill, and but I was nervous because, 231 00:12:13,000 --> 00:12:15,120 Speaker 1: like I just didn't know if they were interested in 232 00:12:15,200 --> 00:12:17,079 Speaker 1: the thing or if they thought something was like stupid 233 00:12:17,200 --> 00:12:19,800 Speaker 1: or um and I, you know, I just I don't know. 234 00:12:19,840 --> 00:12:22,720 Speaker 1: I was very like on edge about the whole thing. 235 00:12:22,800 --> 00:12:24,199 Speaker 1: But then like as soon as we got into the 236 00:12:24,280 --> 00:12:26,960 Speaker 1: room and there was this the first song UM written 237 00:12:27,000 --> 00:12:30,559 Speaker 1: was a song called Skittles and UM, we just started 238 00:12:30,600 --> 00:12:32,320 Speaker 1: playing it together there they're Colin was like, let's just 239 00:12:32,400 --> 00:12:35,280 Speaker 1: jam on it, and I was like, that's I had 240 00:12:35,280 --> 00:12:36,760 Speaker 1: like a kind of like a I was like this. 241 00:12:36,920 --> 00:12:39,160 Speaker 1: I was like, this is it. This is like never 242 00:12:39,240 --> 00:12:42,880 Speaker 1: jammed before, never had and so I don't know, it 243 00:12:42,960 --> 00:12:45,360 Speaker 1: was cool. It was cool, It was it felt fun. 244 00:12:45,559 --> 00:12:48,400 Speaker 1: It was before actually had a different guitar player at 245 00:12:48,440 --> 00:12:52,439 Speaker 1: the time. Interesting, how do you tell someone but it's 246 00:12:52,440 --> 00:12:56,199 Speaker 1: not he's so sweet, like a very sweet I think 247 00:12:56,240 --> 00:12:58,760 Speaker 1: what happened ultimately was it's nothing to do with reflection 248 00:12:58,760 --> 00:13:02,200 Speaker 1: of anybody's ability or talent. It became clear just at 249 00:13:02,240 --> 00:13:04,040 Speaker 1: that point in our lives, at the four of us, 250 00:13:04,320 --> 00:13:05,560 Speaker 1: you know, we were the ones who are like this 251 00:13:05,600 --> 00:13:07,600 Speaker 1: is this is it for us? This was kind of 252 00:13:07,600 --> 00:13:10,160 Speaker 1: are all in. There was no like backup options. It 253 00:13:10,280 --> 00:13:12,680 Speaker 1: was just for a bunch of young men. Where do 254 00:13:12,720 --> 00:13:15,280 Speaker 1: you rehearse? Where do you right? How do you get 255 00:13:15,280 --> 00:13:18,360 Speaker 1: out of the garage and into the club and performing? 256 00:13:18,400 --> 00:13:23,439 Speaker 1: We're still in the kitchen. That's were the bedroom band 257 00:13:23,480 --> 00:13:26,120 Speaker 1: to a kitchen band because there was another place. But 258 00:13:26,400 --> 00:13:28,360 Speaker 1: in an ideal world, is there another place you should 259 00:13:28,360 --> 00:13:32,240 Speaker 1: be rehearsing? Yeah, certainly, I just think, Uh, there's an 260 00:13:32,320 --> 00:13:34,080 Speaker 1: endless amount of studio space in l A. It's just 261 00:13:34,080 --> 00:13:37,000 Speaker 1: to rehearse, to rehearse. It's just it's expensive and unfortunately 262 00:13:37,040 --> 00:13:39,800 Speaker 1: that's the process. I mean, we're pretty young as a band, 263 00:13:39,960 --> 00:13:42,839 Speaker 1: and we've been incredibly fortunate um for a lot of 264 00:13:42,840 --> 00:13:46,080 Speaker 1: the opportunities we received. You know, we started out playing 265 00:13:46,120 --> 00:13:50,319 Speaker 1: like the smallest bars and clubs you've never heard of, 266 00:13:50,480 --> 00:13:53,720 Speaker 1: right like where Yeah, like the State Social House, you 267 00:13:53,720 --> 00:13:56,120 Speaker 1: know what I mean. We're like in West Hollywood, Like 268 00:13:56,160 --> 00:14:00,079 Speaker 1: this is all like many seats, we're playing to a 269 00:14:00,080 --> 00:14:03,640 Speaker 1: wall and the people the literally very small and like 270 00:14:03,640 --> 00:14:08,560 Speaker 1: this is the stage was as big as this stage. 271 00:14:08,679 --> 00:14:11,840 Speaker 1: Imagine like a drum kit, basis, a keyboard, everything was 272 00:14:11,880 --> 00:14:13,199 Speaker 1: on and you were one of how many acts on 273 00:14:13,240 --> 00:14:15,400 Speaker 1: the show That meant oh that was just us. It 274 00:14:15,480 --> 00:14:20,640 Speaker 1: was just thirty five minutes. Yeah, we did our best. Yeah, 275 00:14:20,760 --> 00:14:23,440 Speaker 1: the sound guy took a phone call and yeah, exactly, 276 00:14:23,840 --> 00:14:28,480 Speaker 1: it was amazing. That's why it's it's interesting to the 277 00:14:28,520 --> 00:14:30,360 Speaker 1: process like where we started and obviously we have a 278 00:14:30,360 --> 00:14:32,880 Speaker 1: long way to go, but you know, we've been really 279 00:14:32,960 --> 00:14:35,440 Speaker 1: lucky about you know, we headlined the Trooper Door at 280 00:14:35,440 --> 00:14:37,520 Speaker 1: some point because we got an option. Did that happened? 281 00:14:37,680 --> 00:14:40,280 Speaker 1: So we got an opportunity to open for We played 282 00:14:40,320 --> 00:14:42,720 Speaker 1: there twice beforehand. You would play there a couple of 283 00:14:42,720 --> 00:14:45,480 Speaker 1: times before. How do you first get into the Trooper Door? Okay, 284 00:14:45,480 --> 00:14:48,800 Speaker 1: so you send up a tape. Usually came to the 285 00:14:49,120 --> 00:14:52,400 Speaker 1: little club that you were in. The first opportunity was 286 00:14:52,440 --> 00:14:55,240 Speaker 1: our bass player played in another band, kind of local. 287 00:14:55,240 --> 00:14:59,040 Speaker 1: They've since disbanded um and they were playing and they 288 00:14:59,040 --> 00:15:00,800 Speaker 1: wanted an opening act, right, They had a couple of 289 00:15:00,800 --> 00:15:03,240 Speaker 1: bands playing, three or four bands playing, so we played. 290 00:15:03,760 --> 00:15:06,960 Speaker 1: Then the next time one of the acts was there 291 00:15:06,960 --> 00:15:09,880 Speaker 1: and saw us. Him and his manager approached us because 292 00:15:10,160 --> 00:15:12,600 Speaker 1: they thought we fit their style and they really liked 293 00:15:12,600 --> 00:15:14,920 Speaker 1: our show and like, will you guys be our opener? 294 00:15:15,360 --> 00:15:18,920 Speaker 1: And after that show, I got in pretty close with 295 00:15:19,080 --> 00:15:22,680 Speaker 1: the booker at the Troubador. His name is Amy. She 296 00:15:22,880 --> 00:15:24,680 Speaker 1: like emailed me the next day like hey, great show, 297 00:15:24,680 --> 00:15:27,120 Speaker 1: Like when we booked Purda for a headlining show, and 298 00:15:27,120 --> 00:15:30,240 Speaker 1: then that was it. And then from there we did 299 00:15:30,280 --> 00:15:34,320 Speaker 1: our headlining show and someone from w OM came because 300 00:15:34,320 --> 00:15:37,440 Speaker 1: he knew Amy really well, and she's like, you gotta 301 00:15:37,440 --> 00:15:39,360 Speaker 1: come check out the show, and you know, we we 302 00:15:39,400 --> 00:15:42,640 Speaker 1: did a couple of creative things. My roommate actually works 303 00:15:42,680 --> 00:15:45,360 Speaker 1: at WOM, so he went to the A and R 304 00:15:45,880 --> 00:15:49,120 Speaker 1: people secretly without mentioning our relationship, was like, listen, you 305 00:15:49,200 --> 00:15:52,520 Speaker 1: gotta cover this show. I promise you'd be great. So 306 00:15:52,520 --> 00:15:55,040 Speaker 1: they sent a couple of agents who had no expectations 307 00:15:55,040 --> 00:15:58,400 Speaker 1: like all right, some local band whatever. And after the show, 308 00:15:58,480 --> 00:15:59,880 Speaker 1: like they all came up to me, and you know, 309 00:16:00,240 --> 00:16:02,920 Speaker 1: our agent, Ben Schiffer was just kind of like this 310 00:16:02,960 --> 00:16:06,280 Speaker 1: is amazing, um, like can how do we talk? The 311 00:16:06,600 --> 00:16:09,200 Speaker 1: reason I love this because this is something I'm kind 312 00:16:09,200 --> 00:16:11,880 Speaker 1: of obsessed with is I'm always saying to people like 313 00:16:11,960 --> 00:16:15,360 Speaker 1: when they'rever I've taught acting, they get right to the 314 00:16:15,440 --> 00:16:17,520 Speaker 1: career question. If we do a Q and A. They 315 00:16:17,520 --> 00:16:20,320 Speaker 1: don't want to talk about lighting in films and they 316 00:16:20,320 --> 00:16:22,040 Speaker 1: don't want to have anything technical. They're like, how do 317 00:16:22,080 --> 00:16:23,520 Speaker 1: I get an agent, how do I make it? You know? 318 00:16:23,920 --> 00:16:26,480 Speaker 1: For their version of that, And I'll say to them, 319 00:16:26,520 --> 00:16:28,760 Speaker 1: you know, be in anything like, you got to just 320 00:16:28,800 --> 00:16:30,600 Speaker 1: put it out there. You gotta play in the shitty 321 00:16:30,600 --> 00:16:34,920 Speaker 1: little club that's got like we're just playing to a wall. 322 00:16:35,240 --> 00:16:37,320 Speaker 1: You've got to put it out there and it's going 323 00:16:37,360 --> 00:16:39,320 Speaker 1: to come back to you. And if you don't, it 324 00:16:39,400 --> 00:16:41,400 Speaker 1: might take some time. And if it doesn't come back 325 00:16:41,400 --> 00:16:42,960 Speaker 1: to you and you put it out there, then you 326 00:16:42,960 --> 00:16:51,680 Speaker 1: know you tried. This is not what our My guests 327 00:16:51,680 --> 00:16:56,040 Speaker 1: are lead singer Matt Basolka and keyboardist slash manager Colin 328 00:16:56,120 --> 00:17:00,000 Speaker 1: Kenrick of the band Perta. This is their song still Unrelieved, 329 00:17:00,000 --> 00:17:06,520 Speaker 1: East the Woods on the Brier. Nobody had an eye 330 00:17:06,560 --> 00:17:10,200 Speaker 1: for the big act like Ron Delsoner New York's foremost 331 00:17:10,280 --> 00:17:14,040 Speaker 1: concert promoter for more than forty years. It's a huge 332 00:17:14,119 --> 00:17:17,800 Speaker 1: and poorly understood job. I had this show at p 333 00:17:18,040 --> 00:17:21,119 Speaker 1: eighty four, which has appeared that the long showman control that. 334 00:17:21,200 --> 00:17:23,400 Speaker 1: I didn't really know that until they said, hey, we've 335 00:17:23,440 --> 00:17:25,240 Speaker 1: got to help you here. A lot of the guys 336 00:17:25,280 --> 00:17:27,120 Speaker 1: day will connect the who cares. I'll tell you about 337 00:17:27,160 --> 00:17:31,040 Speaker 1: that later when the guy dies he's still alive. The 338 00:17:31,119 --> 00:17:34,520 Speaker 1: rest of that conversation in our archive that here's the 339 00:17:34,600 --> 00:17:39,359 Speaker 1: thing dot org after the break. What it's like having 340 00:17:39,560 --> 00:17:42,520 Speaker 1: major label A and R court you at night, then 341 00:17:42,600 --> 00:18:04,520 Speaker 1: serving Latte's in the morning and come do this let 342 00:18:05,640 --> 00:18:17,040 Speaker 1: that game. This is Alec Baldwin and you're listening to 343 00:18:17,200 --> 00:18:22,240 Speaker 1: here's the thing. I'm gonna take flight off the chi 344 00:18:22,800 --> 00:18:26,719 Speaker 1: because I can feel in my bones. I've got that 345 00:18:26,800 --> 00:18:32,720 Speaker 1: East Coast thunderfol cats in the valley on my pelvis, 346 00:18:32,840 --> 00:18:36,040 Speaker 1: and I got in my family's faith and I gave 347 00:18:36,160 --> 00:18:47,800 Speaker 1: it to me. I gotta trust funds like it doesn't 348 00:18:47,840 --> 00:18:51,320 Speaker 1: love trust fund from the band Perta, which includes my 349 00:18:51,400 --> 00:18:55,120 Speaker 1: two guests today, Colin Kenrick and Matt Basalka, who are 350 00:18:55,160 --> 00:18:59,200 Speaker 1: still figuring out how to overcome stage fright. This is Matt. 351 00:18:59,520 --> 00:19:02,960 Speaker 1: I do very very nervous, but I have this thing 352 00:19:03,119 --> 00:19:05,720 Speaker 1: I haven't told anybody yet, but I like pretend like 353 00:19:05,760 --> 00:19:08,200 Speaker 1: I'm walking into warm water and that really helps me. 354 00:19:08,480 --> 00:19:11,240 Speaker 1: And I always try to make an entrance um one 355 00:19:11,280 --> 00:19:14,200 Speaker 1: for the theatricality of it, but like also because fans 356 00:19:14,280 --> 00:19:17,879 Speaker 1: demanded right exactly all three of them. Um. It just 357 00:19:17,920 --> 00:19:20,960 Speaker 1: helps me like kind of like click into place I 358 00:19:20,960 --> 00:19:22,720 Speaker 1: can fall back on the technical if I need to, 359 00:19:22,800 --> 00:19:24,960 Speaker 1: But I end up always kind of after at least 360 00:19:24,960 --> 00:19:27,080 Speaker 1: the first song. I I always kind of get lost 361 00:19:27,119 --> 00:19:30,000 Speaker 1: and like I don't know, like I said, when I 362 00:19:30,040 --> 00:19:31,960 Speaker 1: was growing up and I was performing those shows for 363 00:19:32,040 --> 00:19:34,760 Speaker 1: my grandparents, it was always just such bliss and freedom 364 00:19:34,840 --> 00:19:37,560 Speaker 1: and like um and we were running amuck around the 365 00:19:37,560 --> 00:19:39,480 Speaker 1: house and like all of the crafts were available to 366 00:19:39,560 --> 00:19:41,000 Speaker 1: us from the basement, so we were able to make 367 00:19:41,000 --> 00:19:43,399 Speaker 1: these costumes. And because the lights are in my eyes 368 00:19:43,440 --> 00:19:45,840 Speaker 1: are like it really feels like I'm going back to 369 00:19:45,960 --> 00:19:49,520 Speaker 1: like those times. If I would do a movie, it 370 00:19:49,600 --> 00:19:51,840 Speaker 1: was always like what can I do to stay in 371 00:19:51,880 --> 00:19:55,480 Speaker 1: a certain state that is symbiotic with the work I'm doing. 372 00:19:55,480 --> 00:19:57,879 Speaker 1: So if I'm doing something very light, the hardest thing 373 00:19:57,960 --> 00:19:59,760 Speaker 1: is to be as light and free and funny and 374 00:20:00,000 --> 00:20:02,560 Speaker 1: warm and generous of spirit. So I was doing like 375 00:20:02,560 --> 00:20:04,639 Speaker 1: a comedy. I go in my room and I'd watch 376 00:20:04,680 --> 00:20:07,840 Speaker 1: like Dopeye comedies on the TV. I'd watch something like 377 00:20:07,880 --> 00:20:10,560 Speaker 1: it Hot, and I'd watch Nothing to Take to blow 378 00:20:10,640 --> 00:20:13,280 Speaker 1: the wind, you know. My sales in any direction that 379 00:20:13,400 --> 00:20:15,920 Speaker 1: was like heavy, so that when they say, okay, we're 380 00:20:15,920 --> 00:20:17,399 Speaker 1: ready for you, they knock up the trail and they 381 00:20:17,440 --> 00:20:18,440 Speaker 1: go We're ready for you, and I go out and 382 00:20:18,480 --> 00:20:22,399 Speaker 1: be like, hey, I'm ready and whatever my thing is. 383 00:20:22,440 --> 00:20:23,840 Speaker 1: And then if it was the opposite, if I was 384 00:20:23,880 --> 00:20:27,480 Speaker 1: doing something really heavy and really dark, We're watching Scarface 385 00:20:27,560 --> 00:20:29,760 Speaker 1: on a loop like for nine hours old and wanted 386 00:20:29,840 --> 00:20:32,159 Speaker 1: to stay in that zone of like you want to 387 00:20:32,160 --> 00:20:34,399 Speaker 1: funk with me, you want to funk with me, okay, 388 00:20:34,720 --> 00:20:36,600 Speaker 1: but then I want to paddle back into that current 389 00:20:36,760 --> 00:20:39,160 Speaker 1: in front of the camera. So for you, you try 390 00:20:39,160 --> 00:20:41,480 Speaker 1: to relax and get yourself in some zones. Yeah, I 391 00:20:42,320 --> 00:20:45,800 Speaker 1: usually spend the day like being alone. I have to. 392 00:20:45,840 --> 00:20:48,600 Speaker 1: I have to like interesting. Yeah, even in New York, 393 00:20:48,680 --> 00:20:50,960 Speaker 1: like the boys stayed in one house and I got 394 00:20:50,960 --> 00:20:52,959 Speaker 1: to see you when you were barbed, like don't come in. 395 00:20:54,440 --> 00:20:57,920 Speaker 1: You never's quiet, and then the day of the show 396 00:20:57,960 --> 00:21:01,080 Speaker 1: comes and it's just like silent. It's you know what 397 00:21:01,080 --> 00:21:02,960 Speaker 1: I mean. He doesn't want to talk to anybody. It's 398 00:21:03,040 --> 00:21:06,879 Speaker 1: like very like you whisper to him. He's the maestro. 399 00:21:07,080 --> 00:21:09,320 Speaker 1: He's drinking teen Like all right, so talk to me 400 00:21:09,359 --> 00:21:13,439 Speaker 1: about songwriting. Do you have an album's worth the songs together? 401 00:21:13,880 --> 00:21:15,679 Speaker 1: At this point, we probably have an album's worth if 402 00:21:15,760 --> 00:21:17,479 Speaker 1: not a little bit more. How many songs is an 403 00:21:17,480 --> 00:21:21,000 Speaker 1: album now? I mean, yeah, we have more than that. 404 00:21:21,280 --> 00:21:24,320 Speaker 1: I mean we probably, but like finished from this yeah, finished, 405 00:21:24,359 --> 00:21:29,520 Speaker 1: unfinished the twentiesomething songs fire. You wrote that song? Yeah, 406 00:21:29,600 --> 00:21:33,359 Speaker 1: lyric and melody, not chord progression, Like that's all these boys? Now? 407 00:21:33,400 --> 00:21:35,080 Speaker 1: Why is that the song that's out there that you 408 00:21:35,200 --> 00:21:38,560 Speaker 1: released in social media? It was our like groovyoust most 409 00:21:38,640 --> 00:21:41,600 Speaker 1: upbeat thing um, which I mean, and also like what 410 00:21:41,640 --> 00:21:42,919 Speaker 1: I love about it now, which is not something that 411 00:21:42,920 --> 00:21:44,240 Speaker 1: we're thinking about at the time, but I think it 412 00:21:44,880 --> 00:21:47,399 Speaker 1: is like the truth testament of like how we function 413 00:21:47,440 --> 00:21:50,680 Speaker 1: as a band. So like I originally had written that 414 00:21:50,760 --> 00:21:53,040 Speaker 1: on my shitty guitar and brought it and it was 415 00:21:53,080 --> 00:21:55,439 Speaker 1: a ballad. It was like a very Jeff Buckley like ballad. 416 00:21:55,560 --> 00:21:58,160 Speaker 1: And for for maybe the first year we were trying 417 00:21:58,200 --> 00:22:01,199 Speaker 1: to like figure out where that song should land. We 418 00:22:01,240 --> 00:22:03,800 Speaker 1: performed a different ways and we did the rock ballad version, 419 00:22:04,119 --> 00:22:05,840 Speaker 1: and you know, at the end of it, everybody was like, 420 00:22:05,920 --> 00:22:07,639 Speaker 1: it doesn't feel right. And then I think it was 421 00:22:07,720 --> 00:22:10,560 Speaker 1: Justin Justin he was like, um, our drummer, he said, 422 00:22:10,560 --> 00:22:12,600 Speaker 1: he was like, uh, Danny, why don't you try to 423 00:22:12,640 --> 00:22:15,080 Speaker 1: like funking it up, because Danny was like, we're he 424 00:22:15,240 --> 00:22:17,040 Speaker 1: They were just jamming before rehearsal to warm up, and 425 00:22:17,040 --> 00:22:18,480 Speaker 1: he was like doing some funk stuff. He's like, what 426 00:22:18,520 --> 00:22:20,919 Speaker 1: if we funked up from fire? That's the beauty of 427 00:22:20,960 --> 00:22:23,720 Speaker 1: this kind of collaboration is, you know, if you listen 428 00:22:23,760 --> 00:22:27,080 Speaker 1: to the lyrics, the lyrics aren't necessarily as upbeat um 429 00:22:27,119 --> 00:22:29,399 Speaker 1: as the feeling of it is. But I think that 430 00:22:29,440 --> 00:22:32,439 Speaker 1: it represents how these boys and I interact and how 431 00:22:32,440 --> 00:22:34,760 Speaker 1: I can trust them with like feelings and stuff. Yeah, 432 00:22:34,920 --> 00:22:36,919 Speaker 1: I think I think at the time it was the 433 00:22:36,960 --> 00:22:39,160 Speaker 1: song that where it felt like everything clicked for us. 434 00:22:39,160 --> 00:22:41,600 Speaker 1: You know, when you started as a band, we all 435 00:22:41,640 --> 00:22:44,600 Speaker 1: have very different backgrounds musically, you know, and I think 436 00:22:44,600 --> 00:22:46,000 Speaker 1: it was the one where we all kind of came 437 00:22:46,040 --> 00:22:48,879 Speaker 1: together and like, oh, this is our sound. This is 438 00:22:49,200 --> 00:22:52,960 Speaker 1: what we've been kind of searching for that satisfies everybody's 439 00:22:53,040 --> 00:22:57,080 Speaker 1: musical background and feels right. So when that song came 440 00:22:57,119 --> 00:23:00,600 Speaker 1: together in its current rendition, it was just one that 441 00:23:00,640 --> 00:23:05,040 Speaker 1: made sense. You mentioned that Justin was the one that said, 442 00:23:05,040 --> 00:23:09,080 Speaker 1: funk this somebody, So it's collaborative in that sense, but 443 00:23:09,200 --> 00:23:12,920 Speaker 1: is somebody the decider No, it's a group. Weally have 444 00:23:13,000 --> 00:23:15,879 Speaker 1: this conversation last night because I mean that's the beauty 445 00:23:15,880 --> 00:23:19,560 Speaker 1: of being with a bunch of emotionally intelligent people, is 446 00:23:19,600 --> 00:23:22,240 Speaker 1: like our our fights aren't really fights, their their conversations. 447 00:23:22,280 --> 00:23:23,800 Speaker 1: I told Justin I was to smack the ship out 448 00:23:23,800 --> 00:23:26,240 Speaker 1: of him, and then they had a huge fight and 449 00:23:26,240 --> 00:23:30,679 Speaker 1: now here don't do that. No, we just i mean 450 00:23:30,760 --> 00:23:32,720 Speaker 1: had like a little moment of disagreement. We're like, okay, 451 00:23:32,720 --> 00:23:34,800 Speaker 1: so like, how have we been deciding about things? But 452 00:23:34,880 --> 00:23:37,480 Speaker 1: you're you're you're function as a road manager for the band. Yeah, 453 00:23:38,280 --> 00:23:39,800 Speaker 1: yeah for now. I mean since we've been doing this, 454 00:23:39,840 --> 00:23:41,639 Speaker 1: I've been you know, I'm the guy in the emails basically, 455 00:23:41,720 --> 00:23:43,840 Speaker 1: but there was somebody who is the goal to get 456 00:23:43,880 --> 00:23:46,840 Speaker 1: somebody external from the band to take Yeah, that's advisable. 457 00:23:47,119 --> 00:23:49,800 Speaker 1: Yeah initially, I mean when we started this band, I 458 00:23:49,840 --> 00:23:51,960 Speaker 1: was only the manager. I wasn't even the keyboard player, 459 00:23:52,040 --> 00:23:54,440 Speaker 1: you know what I mean. I started playing what year ago. 460 00:23:54,800 --> 00:23:57,240 Speaker 1: That's an incredible thing is he's as good as he 461 00:23:57,320 --> 00:23:59,160 Speaker 1: is now and has only been playing for a year. 462 00:23:59,160 --> 00:24:02,440 Speaker 1: He plays drums, drums, and who's the other one, Daniel 463 00:24:02,600 --> 00:24:05,920 Speaker 1: is the bass player bass. She's still the keyboard. Yeah, 464 00:24:06,040 --> 00:24:07,320 Speaker 1: you're the one that cut the throat of the other 465 00:24:07,359 --> 00:24:12,879 Speaker 1: keyboard player and came to me. Looks at me and 466 00:24:12,880 --> 00:24:15,639 Speaker 1: they're like, how are you gonna do this? Man? But 467 00:24:15,720 --> 00:24:18,360 Speaker 1: you want to get no pun intended, but you want 468 00:24:18,359 --> 00:24:21,000 Speaker 1: the Brian Epstein who's on the outside. We're also looking 469 00:24:21,040 --> 00:24:25,719 Speaker 1: for George Martin. How do you at this stage? I mean, 470 00:24:25,760 --> 00:24:27,800 Speaker 1: you guys haven't taken off yet so to speak, but 471 00:24:27,840 --> 00:24:32,120 Speaker 1: how do you integrate everybody's musicianship? Meaning do you sit 472 00:24:32,119 --> 00:24:33,840 Speaker 1: there and go we need to get him a solo. 473 00:24:33,960 --> 00:24:39,000 Speaker 1: We need to talk about each person. I think the 474 00:24:39,000 --> 00:24:41,560 Speaker 1: good thing about this band is everybody has strengths and weaknesses, 475 00:24:41,880 --> 00:24:45,360 Speaker 1: but they compliment each other really nicely. So there's not 476 00:24:45,440 --> 00:24:47,400 Speaker 1: like we am we leaning each other for those things, 477 00:24:47,480 --> 00:24:49,280 Speaker 1: you know what I mean? There are certain things where 478 00:24:49,320 --> 00:24:51,560 Speaker 1: you know, I'm not as technically proficient as a lot 479 00:24:51,600 --> 00:24:53,560 Speaker 1: of these guys in this band, but but I'm a songwriter, 480 00:24:53,640 --> 00:24:55,720 Speaker 1: Like that's where I grew up doing, so I have 481 00:24:55,800 --> 00:24:58,040 Speaker 1: a sense of how to craft songs and you know what, 482 00:24:58,119 --> 00:25:01,040 Speaker 1: we're knowledge of music theory and I think I work 483 00:25:01,040 --> 00:25:03,399 Speaker 1: as Matt's editor. He'll write something and I'm kind of 484 00:25:03,400 --> 00:25:05,560 Speaker 1: like Okay, that's great, or like that's too many words. 485 00:25:05,640 --> 00:25:07,760 Speaker 1: Can we consolidate them a little bit? That is not 486 00:25:07,920 --> 00:25:11,000 Speaker 1: enough with him. Sometimes I will be like I have 487 00:25:11,080 --> 00:25:12,720 Speaker 1: to go with my gut on this, and he respects that. 488 00:25:13,040 --> 00:25:15,720 Speaker 1: It's tedious sometimes because you get so like solidified on something. 489 00:25:15,760 --> 00:25:17,320 Speaker 1: But you know when you spend time away from it 490 00:25:17,320 --> 00:25:19,879 Speaker 1: and you listen back to a rehearsal recording and I'm like, Okay, 491 00:25:20,040 --> 00:25:22,080 Speaker 1: that's a lot of syllables. What would you do now? 492 00:25:22,240 --> 00:25:23,840 Speaker 1: Like what would you do? Like like if you could 493 00:25:23,880 --> 00:25:27,520 Speaker 1: afford it financially. More rehearsal time is like getting in 494 00:25:27,560 --> 00:25:30,520 Speaker 1: the room and just playing and playing and exploring together. 495 00:25:30,600 --> 00:25:33,040 Speaker 1: I think the more recording time, honestly, I mean we've 496 00:25:33,080 --> 00:25:35,760 Speaker 1: been we've been in a nicer facility. Well, well right 497 00:25:35,760 --> 00:25:37,840 Speaker 1: now we're kind of making do with what we can. 498 00:25:37,960 --> 00:25:39,719 Speaker 1: You know what I mean? Were you recording now? We 499 00:25:39,760 --> 00:25:42,159 Speaker 1: work at the producer named Dan wideland shout out Dan. 500 00:25:42,320 --> 00:25:44,320 Speaker 1: So from Fire was recorded in his studio in the 501 00:25:44,359 --> 00:25:48,520 Speaker 1: studio in about fifteen hours. We did that and you 502 00:25:48,560 --> 00:25:50,560 Speaker 1: have to pay for that. Yeah, that's why we did 503 00:25:50,600 --> 00:25:53,320 Speaker 1: in one day. For a week we would have met it. 504 00:25:53,359 --> 00:25:55,520 Speaker 1: You know, you have an even better song. So here's 505 00:25:55,520 --> 00:25:58,399 Speaker 1: what's interesting to me. If someone dropped a chunk of 506 00:25:58,400 --> 00:26:00,640 Speaker 1: money on you, you're gonna go and have a nice 507 00:26:00,680 --> 00:26:03,040 Speaker 1: place to record. Is that like a dream for you 508 00:26:03,080 --> 00:26:05,320 Speaker 1: to have? But have the freedom or you all have 509 00:26:05,480 --> 00:26:08,760 Speaker 1: to work? You're working? How many jobs you're working down, 510 00:26:09,359 --> 00:26:11,639 Speaker 1: I'd say two and a half. And what are they? 511 00:26:11,680 --> 00:26:14,920 Speaker 1: If you want to say, um, I do work for Starbucks, 512 00:26:15,080 --> 00:26:16,680 Speaker 1: that one is probably the one I'm ready to get 513 00:26:16,760 --> 00:26:19,080 Speaker 1: rid of the most. I love them, They're a great company, 514 00:26:19,119 --> 00:26:20,840 Speaker 1: But four thirty in the morning, five days a week, 515 00:26:20,880 --> 00:26:25,720 Speaker 1: it's no fucking hard. Yeah, usual days like four thirty 516 00:26:25,720 --> 00:26:27,840 Speaker 1: to one, and then um, I work in an after 517 00:26:27,840 --> 00:26:30,120 Speaker 1: school program. Was actually is one of my favorite jobs 518 00:26:30,160 --> 00:26:33,600 Speaker 1: because I've worked with kids um in different aspects UM. 519 00:26:33,640 --> 00:26:35,879 Speaker 1: At the LGBT Center, I worked for two years in 520 00:26:35,880 --> 00:26:40,200 Speaker 1: a program there with why honestly, I graduated uh cal 521 00:26:40,320 --> 00:26:44,439 Speaker 1: arts and UM, I like there was a lot about 522 00:26:44,760 --> 00:26:47,080 Speaker 1: queer culture that I was not familiar with. There was 523 00:26:47,119 --> 00:26:49,960 Speaker 1: a lot of like stuff um internally that I wasn't 524 00:26:50,080 --> 00:26:52,840 Speaker 1: dealing with healthily, and so I honestly joined that program 525 00:26:52,840 --> 00:26:56,280 Speaker 1: because as much for yourself, Yeah, yeah, honestly, just because 526 00:26:56,280 --> 00:26:58,800 Speaker 1: I wanted to want. It's so it's an educational program 527 00:26:58,840 --> 00:27:01,760 Speaker 1: called Community Actually Network, and they go to high schools 528 00:27:01,760 --> 00:27:04,240 Speaker 1: and middle schools and they educate the kids on their 529 00:27:04,359 --> 00:27:07,960 Speaker 1: gender sexuality alliances. They organized them especially in the lower 530 00:27:07,960 --> 00:27:10,119 Speaker 1: budget schools that like no teachers, and you felt you 531 00:27:10,160 --> 00:27:12,800 Speaker 1: weren't taking care of yourself in that regard because I 532 00:27:12,800 --> 00:27:14,879 Speaker 1: was learning. I was learning so so much. I was 533 00:27:14,960 --> 00:27:19,040 Speaker 1: learning about transgender people and and and and activists that 534 00:27:19,080 --> 00:27:21,240 Speaker 1: I had no idea existed before. When you grew up 535 00:27:21,240 --> 00:27:24,800 Speaker 1: in the Lehigh Valley was an easier I commuted to 536 00:27:24,920 --> 00:27:27,639 Speaker 1: a performing arts high school. Before then it was I 537 00:27:27,680 --> 00:27:31,000 Speaker 1: had a very difficult time making friends. Um, yeah, the 538 00:27:31,160 --> 00:27:33,679 Speaker 1: art school. Yeah, And you know, and I remember I 539 00:27:33,680 --> 00:27:36,200 Speaker 1: got to high school and my main focus was trust, 540 00:27:36,240 --> 00:27:39,040 Speaker 1: trying to make friends, and so I kind of I 541 00:27:39,119 --> 00:27:40,520 Speaker 1: was talking to my mom about this the other day. 542 00:27:40,560 --> 00:27:42,200 Speaker 1: It was a little bit of like an identity crisis 543 00:27:42,280 --> 00:27:44,240 Speaker 1: just because I was I was saying yes to everything, 544 00:27:44,280 --> 00:27:46,600 Speaker 1: and like, um, I remember my dad when we were 545 00:27:46,600 --> 00:27:48,720 Speaker 1: growing up, was always playing kind of similar to Collin's. 546 00:27:48,800 --> 00:27:52,000 Speaker 1: Dad was playing like the classics, like Bob Dylan, Tom 547 00:27:52,000 --> 00:27:54,560 Speaker 1: Petty and the Heartbreakers and like and I loved that music. 548 00:27:54,560 --> 00:27:57,200 Speaker 1: I loved hearing it um but I I also loved 549 00:27:57,200 --> 00:27:59,280 Speaker 1: singing Indian and Britney spears, and those were my things. 550 00:27:59,520 --> 00:28:01,879 Speaker 1: And then I got high school and it was like me, 551 00:28:02,119 --> 00:28:03,800 Speaker 1: my all of my friends were listening to pop music. 552 00:28:03,800 --> 00:28:05,679 Speaker 1: And I did enjoy it. But I kind of like 553 00:28:05,760 --> 00:28:08,000 Speaker 1: turned my shoulder on my dad because I was just like, well, 554 00:28:08,080 --> 00:28:11,919 Speaker 1: he doesn't know what it's cool, you know. And actually, 555 00:28:12,240 --> 00:28:15,560 Speaker 1: and I really regretted. I really regretted because I but 556 00:28:15,720 --> 00:28:17,160 Speaker 1: but there's a part of me that feels like I'm 557 00:28:17,160 --> 00:28:19,879 Speaker 1: becoming conscious again and like re hearing all this music 558 00:28:19,920 --> 00:28:22,639 Speaker 1: and like, you know, Colin will tell me somebody like 559 00:28:22,680 --> 00:28:24,440 Speaker 1: that I should have known years ago, and he'll be like, 560 00:28:24,480 --> 00:28:26,040 Speaker 1: you should listen to this song or this song. And 561 00:28:26,080 --> 00:28:27,960 Speaker 1: so the past two years have been a little bit 562 00:28:27,960 --> 00:28:29,920 Speaker 1: of like a what did you call this bridge over 563 00:28:30,000 --> 00:28:34,639 Speaker 1: troubled water? But I can like feel it. I like, no, 564 00:28:34,760 --> 00:28:36,880 Speaker 1: I've heard it before. And it's because my dad. I'm 565 00:28:36,880 --> 00:28:40,360 Speaker 1: actually glad that Matt had, you know, was raised on that. 566 00:28:40,560 --> 00:28:42,160 Speaker 1: You can hear it, you can hear it. And and 567 00:28:42,200 --> 00:28:44,440 Speaker 1: so that's the weirdest part is like when we first 568 00:28:44,440 --> 00:28:47,880 Speaker 1: started singing together, I literally was making vocal choices that 569 00:28:47,960 --> 00:28:50,720 Speaker 1: I was like, where is this like guns and roses, 570 00:28:50,840 --> 00:28:54,040 Speaker 1: like vibrato coming from? I got that from you when 571 00:28:54,040 --> 00:28:57,800 Speaker 1: you sang the rock lead, the feminine and the masculine. 572 00:28:58,080 --> 00:29:01,080 Speaker 1: And what's amazing is when you sing there's a power 573 00:29:01,200 --> 00:29:04,320 Speaker 1: to you singing. Where does that come from? It's literally 574 00:29:04,320 --> 00:29:06,760 Speaker 1: my brothers and sisters growing up in a family of 575 00:29:06,800 --> 00:29:09,000 Speaker 1: like three sisters and I'm the youngest, um and a 576 00:29:09,000 --> 00:29:11,520 Speaker 1: brother who all ended up joining the military. They joined 577 00:29:11,520 --> 00:29:13,880 Speaker 1: for a reason. Very aggressive people. There's a part of 578 00:29:13,880 --> 00:29:15,920 Speaker 1: your growth too, I think, because when we started, your 579 00:29:15,960 --> 00:29:18,560 Speaker 1: predisposition was to do kind of a falsetto like a 580 00:29:18,640 --> 00:29:20,280 Speaker 1: hot higher that's kind of what you grew up on. 581 00:29:20,320 --> 00:29:23,720 Speaker 1: It was pretty as love like Jeff exactly, and I 582 00:29:23,720 --> 00:29:25,000 Speaker 1: think it was like just like all of us in 583 00:29:25,000 --> 00:29:28,160 Speaker 1: our process. And he eventually, like when he would get 584 00:29:28,200 --> 00:29:30,520 Speaker 1: lower and kind of stuck that range, we kind of 585 00:29:30,520 --> 00:29:34,080 Speaker 1: like do that more man, and then some sounds great. 586 00:29:34,120 --> 00:29:37,200 Speaker 1: He did something he like growled, and I was like, yo, 587 00:29:37,640 --> 00:29:39,560 Speaker 1: like that is to do that every song, you know 588 00:29:39,560 --> 00:29:41,760 Speaker 1: what I mean, just like sing from that area. And 589 00:29:41,960 --> 00:29:43,880 Speaker 1: it's just like it's been a growth for all of us, 590 00:29:43,920 --> 00:29:45,640 Speaker 1: you know, what I mean, just like our musical journey, 591 00:29:46,240 --> 00:29:48,960 Speaker 1: his journey with discovering his voice. He's always been a 592 00:29:48,960 --> 00:29:52,320 Speaker 1: great singer, but now he's really discovering his voice. Was 593 00:29:52,360 --> 00:29:53,880 Speaker 1: there were a fear that if like a producer came 594 00:29:53,880 --> 00:29:55,920 Speaker 1: along and was like, hey, man, you're you're you're, you're 595 00:29:55,920 --> 00:29:59,320 Speaker 1: at that next show and the next person wokes up, 596 00:29:59,360 --> 00:30:01,720 Speaker 1: that's going to care you over the next river, and 597 00:30:01,720 --> 00:30:03,720 Speaker 1: and fill so and so walks and said, man, you 598 00:30:03,720 --> 00:30:05,880 Speaker 1: guys great, I'm gonna do my camp be versions. You 599 00:30:05,920 --> 00:30:08,600 Speaker 1: guys have finished. I want you to call me yet 600 00:30:09,160 --> 00:30:11,800 Speaker 1: you know x y Z records in the morning seeing 601 00:30:12,120 --> 00:30:13,600 Speaker 1: and then you call him. It's like he's just gonna 602 00:30:13,640 --> 00:30:15,600 Speaker 1: funk with your show. And are you worried about that? That 603 00:30:15,520 --> 00:30:17,680 Speaker 1: That people gonna go you just change this, do this, 604 00:30:18,080 --> 00:30:20,240 Speaker 1: I mean, I think to make it the nice things 605 00:30:20,240 --> 00:30:22,600 Speaker 1: when we sign with with William Morris, who when we 606 00:30:22,640 --> 00:30:24,840 Speaker 1: love our agents over there is that they were kind 607 00:30:24,880 --> 00:30:29,280 Speaker 1: of like, do whatever you're doing, just keep doing it, 608 00:30:29,360 --> 00:30:31,640 Speaker 1: Like we want to help with the business aspect of things, 609 00:30:31,680 --> 00:30:34,040 Speaker 1: but like your show is why we signed you, Like 610 00:30:34,400 --> 00:30:36,680 Speaker 1: we do not want any part of the creative process. 611 00:30:37,120 --> 00:30:39,000 Speaker 1: And I think, I mean, I think like anything, there's 612 00:30:39,040 --> 00:30:40,640 Speaker 1: a given take. You know, I don't want us to 613 00:30:40,640 --> 00:30:42,960 Speaker 1: assume that we know best because we are so young. 614 00:30:43,120 --> 00:30:45,520 Speaker 1: You're doing this. You'll take the good ideas wherever they come. 615 00:30:46,600 --> 00:30:49,720 Speaker 1: Have the text certain aspects that we don't want to lose. 616 00:30:49,760 --> 00:30:52,400 Speaker 1: You know, we're not I mean, like I work, those 617 00:30:52,400 --> 00:30:54,720 Speaker 1: don't have jobs. But I'd rather keep doing that than 618 00:30:54,960 --> 00:30:59,360 Speaker 1: you know, be singing songs that don't mean it interesting. Absolutely, 619 00:30:59,560 --> 00:31:01,400 Speaker 1: we got so we could ask all the time that like, 620 00:31:01,440 --> 00:31:03,160 Speaker 1: would you work with you know, if if we had 621 00:31:03,160 --> 00:31:05,720 Speaker 1: a you know, not from anybody up top, but just saying, 622 00:31:05,880 --> 00:31:07,440 Speaker 1: you know, would you have a songwriter come in? Do 623 00:31:07,520 --> 00:31:09,200 Speaker 1: you want to have someone write your songs for you 624 00:31:09,240 --> 00:31:11,360 Speaker 1: and then to kind of sing them? And unanimously we're 625 00:31:11,400 --> 00:31:14,440 Speaker 1: all like no, Like that's just not the fun. Part 626 00:31:14,440 --> 00:31:15,960 Speaker 1: of this is that we get to write around music, 627 00:31:16,040 --> 00:31:18,000 Speaker 1: you know what I mean, Like if we're a cover band, 628 00:31:18,080 --> 00:31:19,880 Speaker 1: we could just do covers. You know, what's the point 629 00:31:19,880 --> 00:31:22,000 Speaker 1: if you're not really writing your own music. So even 630 00:31:22,040 --> 00:31:24,800 Speaker 1: though if you eventually do sell out completely to make 631 00:31:24,840 --> 00:31:28,280 Speaker 1: it today as of today your vowing not to, you're 632 00:31:28,280 --> 00:31:30,880 Speaker 1: taking that vow today as of today. You're gonna throw 633 00:31:30,920 --> 00:31:36,520 Speaker 1: that in the garbage maybe, but for today, today, today, 634 00:31:36,680 --> 00:31:44,560 Speaker 1: recording this show, you are purely my heart. What's the 635 00:31:44,600 --> 00:31:47,560 Speaker 1: next step to go to the next You have an 636 00:31:47,560 --> 00:31:50,160 Speaker 1: agent at William Marks. What are they doing for you? 637 00:31:50,360 --> 00:31:52,479 Speaker 1: Booking you in shows? So yeah, they booked us these 638 00:31:52,520 --> 00:31:56,680 Speaker 1: two showcases for managers and labels, and as far as 639 00:31:56,680 --> 00:31:59,600 Speaker 1: we know, people have reached out and there's a general 640 00:31:59,800 --> 00:32:03,000 Speaker 1: in the street interest about us, and you know, at 641 00:32:03,000 --> 00:32:04,400 Speaker 1: their advice, they're like, you know, we're not going to 642 00:32:04,520 --> 00:32:07,200 Speaker 1: take anything right now because it's gonna be a bad deal, 643 00:32:07,360 --> 00:32:10,640 Speaker 1: you know, like it's who knows what they're people are 644 00:32:10,640 --> 00:32:12,520 Speaker 1: gonna try and screw you over. I mean, luckily we 645 00:32:12,560 --> 00:32:16,680 Speaker 1: have a fantastic lawyer. Shout out Ken hurts very good 646 00:32:20,480 --> 00:32:23,440 Speaker 1: like Congress, and I'm gonna get in texts seeing like 647 00:32:23,480 --> 00:32:27,000 Speaker 1: you didn't shout me out, you know. So um So 648 00:32:27,040 --> 00:32:28,720 Speaker 1: I think the next step for us, I think it's 649 00:32:28,720 --> 00:32:32,239 Speaker 1: just more about back to songwriting, back to songwriting, really 650 00:32:32,280 --> 00:32:34,480 Speaker 1: getting to the heart of what we do and playing 651 00:32:34,480 --> 00:32:36,920 Speaker 1: as many time for that. Yeah, we need more to 652 00:32:37,000 --> 00:32:39,360 Speaker 1: I mean, honestly, you can take a break. What's your data? Dad, 653 00:32:39,400 --> 00:32:42,080 Speaker 1: job up until the end of January was a talent 654 00:32:42,120 --> 00:32:45,680 Speaker 1: agent and now I'm doing this band full time answering emails. 655 00:32:45,720 --> 00:32:47,760 Speaker 1: And you come from a rich family, Oh I wish, 656 00:32:47,960 --> 00:32:51,600 Speaker 1: but I come from very resilient family. Yeah, I like that. 657 00:32:51,800 --> 00:32:54,080 Speaker 1: I like that. Well. I just want to say that 658 00:32:54,080 --> 00:32:57,440 Speaker 1: that you know, the chance to divert towards the commercial 659 00:32:57,520 --> 00:32:59,360 Speaker 1: and make a lot of money, But there's nothing wrong 660 00:32:59,400 --> 00:33:01,920 Speaker 1: with that. See I disagree with you where you say 661 00:33:01,920 --> 00:33:03,840 Speaker 1: I'd rather not sing songs, I don't want to sing 662 00:33:04,640 --> 00:33:06,520 Speaker 1: and stay at Starbucks for the next several years, where 663 00:33:06,560 --> 00:33:09,280 Speaker 1: I think I'd rather you sing things that are commercial 664 00:33:09,360 --> 00:33:11,600 Speaker 1: to make money, so they can do it. So long 665 00:33:11,640 --> 00:33:14,320 Speaker 1: as you stick to you, you pivot back to the other, 666 00:33:14,600 --> 00:33:16,320 Speaker 1: as long as you're always one for them, one for me, 667 00:33:16,360 --> 00:33:18,719 Speaker 1: one for them, one from it. It's less about saying like, 668 00:33:18,800 --> 00:33:21,920 Speaker 1: we don't mind writing something that is a little bit more, 669 00:33:21,960 --> 00:33:24,959 Speaker 1: you know, for chord progression, like something a little more 670 00:33:24,960 --> 00:33:26,360 Speaker 1: catchy and something, but we want to make sure that 671 00:33:26,360 --> 00:33:28,360 Speaker 1: it always has like a little bit of I mean 672 00:33:28,400 --> 00:33:30,000 Speaker 1: a lot of bit of like us in it, so 673 00:33:30,040 --> 00:33:33,760 Speaker 1: that it is still kind of stands apart. So simplifying 674 00:33:33,880 --> 00:33:35,680 Speaker 1: is not something I'm afraid of as much as like 675 00:33:36,080 --> 00:33:39,360 Speaker 1: singing a pop hit written by somebody and maybe it flops, 676 00:33:39,400 --> 00:33:41,080 Speaker 1: and then that's out there in the world for us. 677 00:33:41,400 --> 00:33:44,680 Speaker 1: When the show, and let's assume the show goes well, 678 00:33:44,760 --> 00:33:46,480 Speaker 1: you guys have a good show and you're in a 679 00:33:46,560 --> 00:33:50,440 Speaker 1: nice room, you walk off stage, how do you feel whatsover? 680 00:33:50,520 --> 00:33:53,120 Speaker 1: How do you feel? Are you ever happy? It's weird. 681 00:33:53,160 --> 00:33:55,920 Speaker 1: Being on stages for me is like the most electrifying 682 00:33:56,080 --> 00:33:58,720 Speaker 1: feeling that you can have, you know, especially you know, 683 00:33:58,720 --> 00:34:01,000 Speaker 1: we haven't done that many shows, and we're walking out 684 00:34:01,000 --> 00:34:03,239 Speaker 1: on shows these days, and like there's actually people who 685 00:34:03,360 --> 00:34:05,240 Speaker 1: come to see us. It's not just like when you 686 00:34:05,240 --> 00:34:07,680 Speaker 1: start out it's like friends and family and all that stuff. 687 00:34:07,680 --> 00:34:09,080 Speaker 1: And now we go there and there are people we've 688 00:34:09,080 --> 00:34:12,080 Speaker 1: never met before saying, like, you know, screaming and wanting 689 00:34:12,120 --> 00:34:14,920 Speaker 1: to be there. So that's an amazing feeling. As a musician, 690 00:34:15,200 --> 00:34:16,880 Speaker 1: I always get off stage and I think, you know what, 691 00:34:16,920 --> 00:34:20,360 Speaker 1: I could have done this better again, and yeah, like 692 00:34:20,400 --> 00:34:25,120 Speaker 1: can't just go do that one right again? So and 693 00:34:25,160 --> 00:34:26,680 Speaker 1: I don't think that will ever change. And I think 694 00:34:26,719 --> 00:34:28,520 Speaker 1: that's just the nature of trying to be creative and 695 00:34:28,520 --> 00:34:30,920 Speaker 1: being artists. For you, Matthew, I mean, I'm watching you 696 00:34:30,960 --> 00:34:33,840 Speaker 1: in this song. I mean to me, there's nothing wrong 697 00:34:33,920 --> 00:34:38,200 Speaker 1: with all the celebration of Freddie Mercury and Bohemian Rhapsody. 698 00:34:38,239 --> 00:34:40,000 Speaker 1: But what I was excited about when I saw you 699 00:34:40,040 --> 00:34:41,760 Speaker 1: as I was like, okay, well where's the next Freddie 700 00:34:41,800 --> 00:34:45,640 Speaker 1: Mercury rather than us sitting here and to me, you 701 00:34:45,680 --> 00:34:49,040 Speaker 1: are the next Freddie Mercury. You were like Bowie and 702 00:34:49,200 --> 00:34:51,360 Speaker 1: I want to know, are you ever satisfied? It's the 703 00:34:51,400 --> 00:34:53,600 Speaker 1: same as Colin, and we kind of bound about that 704 00:34:53,640 --> 00:34:56,200 Speaker 1: fact that we walked off the stage in New York 705 00:34:56,360 --> 00:34:59,680 Speaker 1: Babies all right, and um this one and from like 706 00:34:59,719 --> 00:35:02,440 Speaker 1: sound or something drunkenly cornered me and I was like 707 00:35:02,560 --> 00:35:04,719 Speaker 1: already in a state of like I sucked this up. 708 00:35:04,719 --> 00:35:08,280 Speaker 1: I sucked this up. And I also strained and pushed 709 00:35:08,360 --> 00:35:10,080 Speaker 1: during the sound check, and so I was a little 710 00:35:10,160 --> 00:35:12,960 Speaker 1: raspier and so um my mom always says like you're 711 00:35:13,000 --> 00:35:15,640 Speaker 1: your toughest critic. But I mean, honestly, I think that's 712 00:35:15,640 --> 00:35:18,040 Speaker 1: what keeps making us like better and better. Why would 713 00:35:18,080 --> 00:35:19,640 Speaker 1: we not, why would you you know? But I mean 714 00:35:19,719 --> 00:35:21,359 Speaker 1: then we do enjoy. It's not like we sit there 715 00:35:21,360 --> 00:35:23,000 Speaker 1: and like that was sitty. It's like you get off 716 00:35:23,000 --> 00:35:25,239 Speaker 1: and you're like this this and this I'm gonna like 717 00:35:25,280 --> 00:35:30,080 Speaker 1: focus on for the next show. Now, let's enjoy, you know, 718 00:35:30,920 --> 00:35:33,960 Speaker 1: I think that's yeah. Oh, by the way, where did 719 00:35:33,960 --> 00:35:36,239 Speaker 1: the name come from? Purchas is actually one of my 720 00:35:36,239 --> 00:35:39,400 Speaker 1: favorite place. It's called Bertie by Naomi Wallace. It's an 721 00:35:39,440 --> 00:35:43,280 Speaker 1: adaptation of a novel um and it's it's this bird 722 00:35:43,760 --> 00:35:47,280 Speaker 1: that this boy from Pennsylvania who is battling his identity 723 00:35:47,320 --> 00:35:50,400 Speaker 1: crisis of being a gay young man in you know 724 00:35:50,840 --> 00:35:54,319 Speaker 1: this from the book novel adapted into a play by 725 00:35:54,400 --> 00:35:58,759 Speaker 1: Naomi Wallace and and and that's cold m Bertie Bertie. Yeah, 726 00:35:58,800 --> 00:36:02,880 Speaker 1: And is the bird the boy. It's really a psychological 727 00:36:02,920 --> 00:36:06,160 Speaker 1: thing where he like puts the his like his confidence 728 00:36:06,160 --> 00:36:08,040 Speaker 1: into a bird and the bird really like tells him 729 00:36:08,040 --> 00:36:10,040 Speaker 1: like she was like Equis, but rather than a horse 730 00:36:10,200 --> 00:36:15,560 Speaker 1: the bird. Yes, And I'm Daniel Rudcla. Okay, that's the 731 00:36:16,280 --> 00:36:19,680 Speaker 1: moment I was mad about I love you naked with 732 00:36:19,680 --> 00:36:30,200 Speaker 1: a bird? They news me game and you forgot to 733 00:36:30,480 --> 00:36:37,560 Speaker 1: Benny bit you want the truth, you need a big 734 00:36:37,800 --> 00:36:48,080 Speaker 1: cut and never felt but I get a dress. Colin 735 00:36:48,160 --> 00:36:52,400 Speaker 1: Kenrick and Matt Bazonka of Perta. This is their track 736 00:36:52,680 --> 00:37:12,200 Speaker 1: Bad Newsman Perta as you'll know by heart in a 737 00:37:12,200 --> 00:37:16,880 Speaker 1: few months is vocals by Matt Basolka, Daniel Zuker on bass, 738 00:37:17,200 --> 00:37:21,680 Speaker 1: Colin Kenrick on keyboard, Justin Siegel on drums, and guitarist 739 00:37:22,000 --> 00:37:26,360 Speaker 1: Chance Taylor. Check them out at perda music dot com 740 00:37:26,400 --> 00:37:30,120 Speaker 1: that's p E r t A or at PERA Music 741 00:37:30,280 --> 00:37:44,920 Speaker 1: on Instagram. Everything that I Wanted This is Alec Baldwin 742 00:37:45,239 --> 00:38:03,239 Speaker 1: and you're listening to Here's the Thing that a ho 743 00:38:03,440 --> 00:38:08,880 Speaker 1: Let the left floor, Come on, give me when the 744 00:38:09,120 --> 00:38:10,400 Speaker 1: you're bad. Newstan