WEBVTT - Luke Combs 0:00:01.720 --> 0:00:05.160 Welcome to Inside the Studio presented by I Heart Radio. 0:00:05.720 --> 0:00:17.640 I'm your host Joe Leaving. So my guest this time 0:00:17.640 --> 0:00:21.000 out is Luke Combs, who has just released a deluxe 0:00:21.079 --> 0:00:24.000 edition of his second album, What You See Is What 0:00:24.160 --> 0:00:27.600 You Get. In The deluxe edition adds five new songs 0:00:28.200 --> 0:00:31.640 to the one new song six ft apart, it's a 0:00:31.720 --> 0:00:34.040 song about the pandemic that Luke added to the album 0:00:34.080 --> 0:00:37.400 in May. So all in all, that's an impressive one 0:00:37.440 --> 0:00:42.080 hour in twenty one minutes of foot stomping songs about beer, 0:00:42.880 --> 0:00:47.200 good times and broken hearts, as well as slow ones 0:00:47.280 --> 0:00:52.560 about family memories and the kind of love that could 0:00:52.600 --> 0:00:56.200 make a man stop stomping his feet and settle down. 0:00:57.680 --> 0:01:00.000 I caught off with Luke on a day in September 0:01:00.200 --> 0:01:04.080 that was special in two kinds of ways. First, he'd 0:01:04.080 --> 0:01:07.200 been up early that morning to help announce the c 0:01:07.400 --> 0:01:10.360 m A nominations on Good Morning America, and in fact, 0:01:10.760 --> 0:01:14.440 he snagged six nominations himself, including Album of the Year 0:01:14.560 --> 0:01:19.160 and Entertainer of the Year. But second, Luke was celebrating 0:01:19.200 --> 0:01:22.920 his one month anniversary. And it takes a special kind 0:01:23.000 --> 0:01:26.800 of lady to appreciate a man who writes songs, comparing 0:01:26.840 --> 0:01:30.120 their bond to the match made up in Heaven between 0:01:30.160 --> 0:01:33.280 good old Boys and beer, the way Luke does in 0:01:33.360 --> 0:01:37.280 Better Together. But Luke Luke Homs has found her and 0:01:37.319 --> 0:01:41.920 in August he married Nicole Hawking, his girlfriend. Since although 0:01:42.600 --> 0:01:46.600 as he told me, they didn't know exactly where they 0:01:46.600 --> 0:01:49.480 were getting married until the last minute. We had to 0:01:49.600 --> 0:01:54.600 change our venue a week before the wedding, which was 0:01:54.880 --> 0:01:59.840 very interesting, and we actually didn't know we had two 0:02:00.040 --> 0:02:03.000 different venues, and we didn't decide until the morning of 0:02:03.040 --> 0:02:05.760 the wedding which and what what brought the change on, 0:02:05.880 --> 0:02:08.640 what was the reason for the change. Well, so we 0:02:08.760 --> 0:02:11.840 ended up getting We were gonna get married in Key West, 0:02:13.320 --> 0:02:19.160 and the city imposed harsher COVID regulations the week before 0:02:19.160 --> 0:02:22.239 the wedding, and so we were gonna invite it was 0:02:22.280 --> 0:02:25.600 gonna be about a hundred and seventy people at the 0:02:25.639 --> 0:02:29.720 wedding and there they wouldn't allow any gatherings over fifty. 0:02:30.520 --> 0:02:32.480 So we had to cut from one seventy five to 0:02:32.639 --> 0:02:36.840 fifty like the week before the wedding, find a new venue, 0:02:37.360 --> 0:02:41.519 find a new hotels, get everyone that we still needed 0:02:41.560 --> 0:02:45.480 to be there there, and then when we got there, 0:02:46.360 --> 0:02:51.720 there was a hurricane coming to the area, which up 0:02:51.800 --> 0:02:56.239 until the night before, so I guess it was Friday evening. 0:02:56.639 --> 0:03:00.560 It was like fifty fifty chance, like this, herricane's either 0:03:00.600 --> 0:03:04.960 going to come over the right exactly where we're at, 0:03:05.040 --> 0:03:08.680 or it's gonna veer off. And and I'm trying to 0:03:08.720 --> 0:03:11.079 think what the right joke is for a guy who 0:03:11.120 --> 0:03:16.040 has a hit song called Hurricane. Actually thought about that 0:03:16.080 --> 0:03:19.040 a lot of times during during that process. But so 0:03:19.120 --> 0:03:20.760 it was we had to make that. It was either 0:03:20.800 --> 0:03:24.160 going to be get married at this outside place or 0:03:24.280 --> 0:03:29.399 get married in the conference room at a hotel, which 0:03:29.400 --> 0:03:31.600 would have been terrible. So luckily it missed us and 0:03:31.639 --> 0:03:34.120 we didn't have to do that about that hurricane, not 0:03:34.400 --> 0:03:38.400 Hurricane is Ais, which caused significant damage when it did 0:03:38.480 --> 0:03:41.880 hit the US in August. But the Luke Comb song 0:03:42.440 --> 0:03:48.040 about a breakup, released independently on Luke's third EP in 0:03:50.640 --> 0:03:53.000 it did so well it it helped lead to his 0:03:53.120 --> 0:03:57.720 signing by Columbia Nashville, which re released the song in ten, 0:03:57.760 --> 0:04:01.320 at which point it became the first of US nine 0:04:01.840 --> 0:04:06.720 number one country singles. You know, like a lot of 0:04:06.800 --> 0:04:10.160 rappers these days. Early on in his career, Luke tapped 0:04:10.200 --> 0:04:13.720 the power of social media to build up a significant 0:04:13.760 --> 0:04:16.800 following as an independent artist before he ever signed to 0:04:16.839 --> 0:04:19.680 a major label. And while that might be a common 0:04:19.720 --> 0:04:22.719 story in hip hop, it's a little bit more unusual 0:04:22.800 --> 0:04:26.440 in Nashville. And Luke Holmbs is thirty now, which makes 0:04:26.520 --> 0:04:30.000 him a solid citizen of gen Y, so when he 0:04:30.040 --> 0:04:32.200 was starting out in his early twenties, it was natural 0:04:32.279 --> 0:04:35.800 for him to use Vine, Instagram, Snapchat, Twitter to get 0:04:35.880 --> 0:04:38.839 his music out and connect with people. In fact, he's 0:04:38.920 --> 0:04:41.800 such a solid citizen of gen Y that when I 0:04:41.880 --> 0:04:45.400 interviewed his managers, Chris Cappy and Lynn Oliver Klein for 0:04:45.480 --> 0:04:48.880 Billboard last year, Cappy told me a story about how 0:04:48.880 --> 0:04:52.960 when he first met Luke five years ago and he 0:04:53.040 --> 0:04:57.240 had to convince Luke to use Facebook because Luke thought 0:04:57.360 --> 0:05:03.039 of Facebook as you know. Cool. Anyway, Cappy started a 0:05:03.080 --> 0:05:06.479 Facebook group for Luke's fans. It's called the Bootleggers and things. 0:05:06.600 --> 0:05:10.720 Pretty much it's bloated from there. So when What You 0:05:10.760 --> 0:05:14.160 See Is What You Get came out last November. It 0:05:14.400 --> 0:05:18.039 debuted at number one, and it's set a record for 0:05:18.160 --> 0:05:21.760 the biggest streaming first week for a country album ever, 0:05:22.760 --> 0:05:26.360 seventy four million on demand audio streams, which is on 0:05:26.480 --> 0:05:29.960 top of the two point seven billion sorry, let me 0:05:30.000 --> 0:05:34.000 say that again, two point seven billion on demand streams 0:05:34.600 --> 0:05:37.800 that Luke had racked up since he started releasing music 0:05:37.920 --> 0:05:43.800 in Okay. So Luke Homes is a country superstar with 0:05:43.920 --> 0:05:48.640 a record setting digital approach that's a little bit futuristic 0:05:48.720 --> 0:05:53.719 for Nashville, but his music itself is a throwback. His 0:05:53.839 --> 0:05:58.000 songs are built around solid narratives and super sharp word play. 0:05:58.040 --> 0:06:01.080 These are old school values, and his songs are packed 0:06:01.200 --> 0:06:05.440 with details. There's the guy in a song called when 0:06:05.440 --> 0:06:08.280 It Rains It Pours. It's from his first album, This 0:06:08.320 --> 0:06:11.520 One's for You, and and the guy singing goes from 0:06:11.520 --> 0:06:14.240 a fight with his girlfriend to a three week run 0:06:14.320 --> 0:06:17.240 of good luck that starts with him pulling into a shell. 0:06:17.320 --> 0:06:21.599 On I there are those details, and winning one hundred 0:06:21.680 --> 0:06:25.039 bucks in a scratch off ticket which rhymes with bought 0:06:25.040 --> 0:06:28.360 two twelve packs and a tank of gas with it, 0:06:28.520 --> 0:06:31.120 or on what you See is what You Get. There's 0:06:31.240 --> 0:06:34.440 a song called every Little Bit Helps, which packs a 0:06:34.480 --> 0:06:38.600 lot of detail into just its first line, This futon 0:06:38.720 --> 0:06:41.719 I crashed on in college. Well it ain't our bed, 0:06:42.400 --> 0:06:45.080 but at least it don't smell like you. And right there, 0:06:45.120 --> 0:06:49.080 in twenty words, you get the breakup, the guy moving out. 0:06:50.040 --> 0:06:53.360 He's moving backwards to the futon he slept on in college, 0:06:53.440 --> 0:06:56.000 but he's trying to take a step forward, you know. 0:06:56.080 --> 0:06:59.240 So I get some sadness, some anger, some loss, some heartbreak, 0:06:59.279 --> 0:07:01.400 And when I just said it out loud, I noticed 0:07:01.440 --> 0:07:04.719 the internal rhyme of Futon and crashed on, which filled 0:07:04.760 --> 0:07:07.240 me with a new level of respect for the craft 0:07:07.320 --> 0:07:11.960 of songwriting here. But in addition to being well written, 0:07:12.560 --> 0:07:14.120 most of the songs on What You See Is What 0:07:14.200 --> 0:07:17.840 You Get are pretty hard rocking. Has long been true 0:07:18.360 --> 0:07:20.400 that if you were one of the people sitting around 0:07:20.440 --> 0:07:24.120 wondering if rock is dead, you are not spending much 0:07:24.160 --> 0:07:26.400 time listening to country. You're going to see it live 0:07:26.520 --> 0:07:30.960 because country has been the new arena rock for more 0:07:31.000 --> 0:07:34.560 than a minute now. But but what you see is 0:07:34.600 --> 0:07:38.760 what you Get is some very big league southern rock 0:07:39.480 --> 0:07:43.720 again old school. Before the pandemic forced him to postpone 0:07:43.800 --> 0:07:47.160 his tour, Luke was scheduled the headline arenas this year, 0:07:47.760 --> 0:07:51.840 and the dates included some stadium shows, as Luke and 0:07:51.960 --> 0:07:55.080 his co writer Jonathan Singleton and his producer Chip Matthews, 0:07:55.120 --> 0:07:58.400 It's plained to me they wrote songs like Beer Never 0:07:58.440 --> 0:08:01.680 Broke My Heart because they need some music big enough 0:08:01.840 --> 0:08:07.160 to fill those spaces. Luke talked with me about the 0:08:07.320 --> 0:08:09.880 cabin he rents where he will spend two weeks at 0:08:09.920 --> 0:08:12.679 a time writing songs and drinking beers, and it helps 0:08:12.680 --> 0:08:15.720 that there's a TV, but there's no Xbox. And he 0:08:15.960 --> 0:08:18.760 also talked about how he was overseas in March. He 0:08:18.800 --> 0:08:21.760 was scheduled to play the Country to Country festival, which 0:08:21.760 --> 0:08:24.480 brings country music to the u k And too Berlin, 0:08:25.360 --> 0:08:27.680 and he was out during a night of celebration having 0:08:27.760 --> 0:08:29.560 a good time when he got a call saying he 0:08:29.600 --> 0:08:32.120 had to get himself on a plane the very next 0:08:32.160 --> 0:08:36.280 morning because the United States had issued a travel alert 0:08:36.920 --> 0:08:41.880 due to COVID nineteen. Luke talked about his early days 0:08:41.960 --> 0:08:44.280 when he's spending six months straight on the road and 0:08:44.360 --> 0:08:47.960 nothing but a van with his manager Cappy driving, and 0:08:48.000 --> 0:08:51.839 he also talked about his hopes for the future. Here's 0:08:51.880 --> 0:08:58.679 what else he had to say. Luke comps, welcome to 0:08:58.760 --> 0:09:02.840 inside the studio. Uh, you you have some guests with you? 0:09:02.880 --> 0:09:07.080 Would you would you mind introducing them? Yes? Yes, I 0:09:07.160 --> 0:09:12.839 have Chip here and Jonathan. Uh my producers here, very handsome. 0:09:12.920 --> 0:09:17.920 Jonathan's making a white trash spit cup boys. Why don't 0:09:17.960 --> 0:09:20.959 you do you tell them a little bit about yourselves here, gentlemen, 0:09:21.000 --> 0:09:24.640 let's let's do that. Hey, I'm Jonathan Singleton and uh 0:09:24.760 --> 0:09:27.880 I've been a songwriter and uh and a guitar player 0:09:27.920 --> 0:09:31.760 and uh barbecue cooker for a long time. Was kidding 0:09:31.760 --> 0:09:35.360 about the barbecue cooker thing. And uh men friends were 0:09:35.440 --> 0:09:36.960 league for a long time. We've done a lot of 0:09:37.000 --> 0:09:39.880 songwriting together, done a lot of playing together, and I 0:09:39.960 --> 0:09:42.760 was excited to jump in here and do some do 0:09:42.840 --> 0:09:46.160 some production stuff with Chip Matthews. I'm Chip Matthews and 0:09:46.320 --> 0:09:49.800 uh I have been around Nashville for a long long 0:09:49.840 --> 0:09:54.160 time working in the trenches, engineering, producing, and uh I 0:09:54.240 --> 0:09:57.120 met Luke a few years back through Cappy I Believe 0:09:57.280 --> 0:09:59.920 and some Sony stuff, and we got the opportunity to 0:10:00.120 --> 0:10:02.920 together a few times, and then I was lucky enough 0:10:02.920 --> 0:10:04.440 for him to invite me to work with him and 0:10:04.480 --> 0:10:09.680 Jonathan on this record. So that's where we are today. So, uh, Luke, 0:10:09.760 --> 0:10:12.560 I know you've talked a little bit on on live 0:10:12.600 --> 0:10:15.880 streams about what quarantine has been like for you. You. 0:10:15.640 --> 0:10:17.760 You have gotten to enjoy a little bit of time 0:10:17.800 --> 0:10:20.599 off the road, play some call of duty. Yes, do 0:10:20.720 --> 0:10:23.280 a little turkey hunting at your place also, I believe 0:10:23.320 --> 0:10:25.800 you've been raising some chickens. Yes, that has been the 0:10:26.120 --> 0:10:29.040 bulk of my activity over the last six months or so. 0:10:29.760 --> 0:10:32.720 Turkey hunting only for a couple of months, obviously, But yeah, 0:10:32.760 --> 0:10:34.920 a lot of some call of duty. I appreciate you 0:10:34.960 --> 0:10:38.400 saying that, and not an ass load of call of duty, 0:10:38.440 --> 0:10:42.800 which is probably more realistic. But no, Yeah, I mean 0:10:42.840 --> 0:10:45.000 I've just been hanging out. You know, I just got 0:10:45.040 --> 0:10:49.200 married a month ago today, which was great, and so 0:10:49.320 --> 0:10:52.560 I've just been spending time with and my wife, which 0:10:52.600 --> 0:10:54.920 is still weird saying that. It's still I'm still not 0:10:55.000 --> 0:10:57.160 used to saying that yet. But yeah, it's been really 0:10:57.400 --> 0:11:03.319 a really weirdly good, strangely great year in a lot 0:11:03.320 --> 0:11:05.880 of ways. And you know, it's kind of sucked ass 0:11:05.920 --> 0:11:07.560 in a lot of ways too. I guess. You know 0:11:07.720 --> 0:11:11.239 you've also been doing some writing and recording during the pandemic, 0:11:11.679 --> 0:11:16.040 and uh, of course you you've We've heard six ft 0:11:16.040 --> 0:11:18.360 apart and I know the story behind that is you 0:11:18.440 --> 0:11:21.559 had a songwriting session scheduled in April, you didn't want 0:11:21.559 --> 0:11:23.960 to let it go and and tell me how did 0:11:24.040 --> 0:11:27.040 the idea of of writing about what was actually going 0:11:27.080 --> 0:11:30.320 on right then first come up? And then how was 0:11:30.720 --> 0:11:34.920 writing and recording that song different than usual? Well, so 0:11:35.080 --> 0:11:38.760 I had a right scheduled with Brent Cobb and Rob Snyder, 0:11:39.600 --> 0:11:44.080 and I hadn't written with Brent before, and so I 0:11:44.120 --> 0:11:47.040 was really wanting to do that because a really big 0:11:47.040 --> 0:11:49.520 fan of his and and think he's really great at 0:11:49.520 --> 0:11:53.280 what he does. And so Brent lives in Georgia and 0:11:53.320 --> 0:11:57.120 so he was doing it over FaceTime or something, so 0:11:57.120 --> 0:12:00.080 we all do we did like a zoom. I texted 0:12:00.120 --> 0:12:04.800 them the night before and I was like, Hey, should 0:12:04.800 --> 0:12:08.440 we just write, you know, a song about this stuff 0:12:08.559 --> 0:12:14.720 or whatever? And they actually sent me that title and 0:12:14.720 --> 0:12:17.240 they were like, we were actually talking about this before 0:12:18.320 --> 0:12:19.959 U Texas. So we were all kind of on this 0:12:20.120 --> 0:12:22.240 just happened to be on the same page with it, 0:12:22.960 --> 0:12:25.480 and we wrote it the next morning. It was probably 0:12:25.520 --> 0:12:29.360 like hour and a half maybe or something, and we 0:12:29.360 --> 0:12:30.920 were like done with it because it was just kind 0:12:30.920 --> 0:12:32.800 of like it just kind of fell out because it 0:12:32.840 --> 0:12:35.040 was just everything that was because the quarantine was like 0:12:35.120 --> 0:12:39.240 super new and weird at that time, and like things 0:12:39.280 --> 0:12:44.640 were very uncertain. But now realizing that they were less uncertain, 0:12:44.720 --> 0:12:47.199 I guess than they are now even probably, But at 0:12:47.240 --> 0:12:51.559 that time that was like really weird, you know, because 0:12:51.559 --> 0:12:53.280 we and we kind of all like, oh, it'll be 0:12:53.360 --> 0:12:56.200 over in you know, May or whatever. That's kind of 0:12:56.240 --> 0:12:59.680 what we were all thinking. It'll be those happy days 0:12:59.720 --> 0:13:02.560 when we thought this would ever end. Yes, it was like, oh, 0:13:02.640 --> 0:13:05.080 this will be done in six weeks. It'll be you know, 0:13:05.120 --> 0:13:07.480 we'll be good, Summer will come in and we'll be 0:13:07.800 --> 0:13:11.200 good and everything. And and so then I, you know, 0:13:11.280 --> 0:13:16.520 I hit up Chip here and I was like, man, like, 0:13:17.040 --> 0:13:18.960 let's just go. And because I put the song, I 0:13:18.960 --> 0:13:22.160 played the song I think the next night on Instagram 0:13:22.280 --> 0:13:25.240 or something something like that, and and got a really 0:13:25.240 --> 0:13:28.319 solid response out of it. And so I was like, man, 0:13:28.360 --> 0:13:30.720 we should just record this thing, and you know, nothing 0:13:30.760 --> 0:13:33.559 else going on. Yeah, because there was a recording moratorium 0:13:33.720 --> 0:13:37.160 from sony UM, we weren't supposed to be doing anything, 0:13:37.880 --> 0:13:40.360 and so I had to kind of go through and 0:13:40.480 --> 0:13:43.240 express to A and R what you wanted to do. 0:13:44.200 --> 0:13:47.280 And then I had to find a studio that was 0:13:47.320 --> 0:13:49.600 willing to let us in which was that was like 0:13:49.920 --> 0:13:53.280 really strict at that time. Yeah, it was very insanely strict. 0:13:54.200 --> 0:13:56.320 And um, I think it was really honestly that I 0:13:56.360 --> 0:13:58.560 had been working with those guys and been with him 0:13:58.559 --> 0:14:00.560 in person, and I was like, can I get in 0:14:00.600 --> 0:14:02.640 to do this thing? And when we first started talking 0:14:02.679 --> 0:14:04.960 about it, it it was small and they were like sure. 0:14:05.600 --> 0:14:09.000 And then when we showed up that day, the owner 0:14:09.040 --> 0:14:10.679 came down and he's like, this is a lot more 0:14:10.720 --> 0:14:13.719 than I thought you were bringing in. How many how 0:14:13.720 --> 0:14:16.400 many folks were you bringing in? Well, you know, we 0:14:16.440 --> 0:14:19.520 still cut lean. We we cut with UM. I think 0:14:19.520 --> 0:14:24.040 we cut four piece UM light and then I only 0:14:24.080 --> 0:14:30.120 had it was me you you were there, Massey was there, Yeah, 0:14:30.200 --> 0:14:33.320 second engineer. We had a fery lean crew, and we 0:14:33.320 --> 0:14:36.440 were never in the same room with the with the musicians. 0:14:37.040 --> 0:14:39.480 We never even entered the same room as them either. No, 0:14:39.680 --> 0:14:41.600 we had we had a set, we we we got 0:14:42.040 --> 0:14:44.160 a separate space for Luke that was not even part 0:14:44.200 --> 0:14:48.240 of the main studio. And then um, we had to 0:14:48.280 --> 0:14:51.680 submit protocols to the label into the studio and then 0:14:51.680 --> 0:14:53.320 really kind of had to go on the download because 0:14:53.320 --> 0:14:55.200 I think people were still kind of coming to terms 0:14:55.240 --> 0:14:58.640 with that that we shouldn't be doing that. And yeah, 0:14:58.800 --> 0:15:01.040 you know, all it took was somebody getting infected in 0:15:01.120 --> 0:15:05.920 that window for sure, so it was really getting in fast. 0:15:06.040 --> 0:15:09.280 And then we got the song and overdubbed it and 0:15:09.320 --> 0:15:11.840 one gut by one guy's just peeled off and left 0:15:11.840 --> 0:15:13.560 and never even came in the control room. They just 0:15:13.920 --> 0:15:17.000 came into their booth recorded and then left kind of 0:15:17.040 --> 0:15:21.320 waved on the way out. So that was really weird. Um, 0:15:21.360 --> 0:15:23.520 but you know, we tried to keep it simple so 0:15:23.560 --> 0:15:25.680 that we could get what we needed and move on. 0:15:25.800 --> 0:15:30.440 And then um, and then I guess you sang right. Then, yeah, 0:15:30.600 --> 0:15:33.680 we got the final we we kind of just put 0:15:33.680 --> 0:15:37.400 a mic in that room right there, yeah, where all 0:15:37.400 --> 0:15:40.640 the musician guys were, and just cut like three passes 0:15:40.680 --> 0:15:42.600 and that was it and we were out of there. 0:15:43.320 --> 0:15:45.840 And then it was like what three hours, four hours 0:15:46.080 --> 0:15:49.480 about four hours probably, and then and it was mastered 0:15:49.480 --> 0:15:53.200 two days later, two days later. Yeah, I mean, the 0:15:53.240 --> 0:15:57.000 results are great and and it it is such a 0:15:57.000 --> 0:16:00.600 a moving song, especially you know from from my perspective 0:16:00.600 --> 0:16:02.840 because I care so much about music that that the 0:16:02.920 --> 0:16:06.600 whole part about. You know, it's a mystery how long 0:16:06.640 --> 0:16:09.240 this thing goes. But there'll be crowds and they'll be shows, 0:16:09.280 --> 0:16:11.920 which is something we're all looking forward to. And we're 0:16:11.960 --> 0:16:16.600 still in that mystery moment. So there are six new 0:16:16.640 --> 0:16:20.280 tracks on this deluxe version of the record, and uh, 0:16:20.320 --> 0:16:24.480 six ft apart newly written, newly recorded. I know some 0:16:24.560 --> 0:16:27.240 of these other songs have been around for a little while. 0:16:27.600 --> 0:16:30.400 Um or were any of them, uh, newly written written 0:16:30.480 --> 0:16:33.360 under these quarantine times? These were some that we've been 0:16:33.400 --> 0:16:36.640 holding onto for a while. Uh, some of them were 0:16:36.720 --> 0:16:41.520 probably around. I know two of them were around when 0:16:41.560 --> 0:16:46.520 I recorded this album that's out now, and so one 0:16:46.520 --> 0:16:49.920 of them was the other guy that's been around for 0:16:50.680 --> 0:16:53.600 long down three years, probably to three years. I know 0:16:53.640 --> 0:16:56.360 I've seen I've seen a version of it floating around 0:16:56.440 --> 0:17:01.240 with your co writer on YouTube. I think, uh yeah, Joe, yeah, 0:17:01.360 --> 0:17:05.040 Rob maybe me and Rob Brandon, Kenny Rose road on 0:17:05.040 --> 0:17:07.639 that with me, Brandy Kenny. Yeah, you're right, Brandy Kenny 0:17:07.640 --> 0:17:10.920 and and Wilford. Yeah. I had some a buddy of 0:17:10.960 --> 0:17:12.520 mine that was gonna cut it, so you may have 0:17:12.560 --> 0:17:16.840 seen him do it. He ended up so yeah, yeah, yeah. 0:17:16.840 --> 0:17:20.880 So that one and Cold as You were both breakup songs. Uh. 0:17:20.920 --> 0:17:23.600 And the other guy is uh we're saying a couple 0:17:23.640 --> 0:17:25.880 of years old. How about Cold as You? When when 0:17:25.920 --> 0:17:28.359 was that written and recorded? January was the name? Was 0:17:28.359 --> 0:17:32.280 it January? Yeah? It was right before. Yeah, so right 0:17:32.320 --> 0:17:35.960 after kind of I did a two week kind of 0:17:36.000 --> 0:17:41.040 like writing retreat deal down and down in Florida, and 0:17:41.400 --> 0:17:45.840 I wrote that with Jonathan, Randy and Shane Minor. You 0:17:46.000 --> 0:17:49.919 and Shane started that right Yeah. Shane had the Shane 0:17:49.960 --> 0:17:53.560 had the idea, I think, yeah, and so we kind 0:17:53.560 --> 0:17:56.119 of worked used on it a little bit, and then 0:17:56.160 --> 0:17:59.360 we had Randy on that riding trip, so we were like, hey, 0:17:59.440 --> 0:18:03.600 let's just this thing. And it seemed pretty to fall out, 0:18:03.640 --> 0:18:06.400 pretty pretty easy. Yeah, that was a quick one. I 0:18:06.440 --> 0:18:09.280 remember we wrote a bunch of those couple of days 0:18:09.720 --> 0:18:12.560 because Nicole was somewhere else. I know, she was down 0:18:12.560 --> 0:18:14.800 there for the trip, but when y'all were there, she 0:18:15.040 --> 0:18:18.320 like went and visited her parents. So we just kind 0:18:18.320 --> 0:18:20.440 of wrote. We wrote the whole time, just the whole time, 0:18:23.520 --> 0:18:27.320 and and so it sounds like songwriting is just a 0:18:27.359 --> 0:18:29.960 continual process for you guys. I mean, in that case, 0:18:30.000 --> 0:18:32.520 you were you were on a retreat of some sort. 0:18:32.600 --> 0:18:35.480 But I know Jonathan you worked with with with Luke 0:18:35.560 --> 0:18:37.320 on your Never Broke My Heart and I think that 0:18:37.440 --> 0:18:40.600 was was that written while you were you were on tour? Yeah? 0:18:40.640 --> 0:18:43.560 That was one of Luke's early tours. What tour that 0:18:43.640 --> 0:18:46.960 was a club tour that was that was the Don't 0:18:47.000 --> 0:18:49.080 Tap Me with a Good Time tour, I think, and 0:18:49.119 --> 0:18:54.200 I think we were in Missouri, Columbia, Missouri, I think 0:18:54.440 --> 0:18:58.080 is where we were on the bus because we started 0:18:58.119 --> 0:19:02.439 that thing. I had that idea, we started working on it, 0:19:02.560 --> 0:19:06.000 and then I'm talking like I came in from like 0:19:06.040 --> 0:19:12.000 we started it, maybe got a verse idea going line 0:19:12.040 --> 0:19:15.239 of the chorus. I come back to the bus and 0:19:15.280 --> 0:19:20.280 these guys are drinking beers and they're not like rioting, 0:19:20.320 --> 0:19:22.240 and I'm like, what's going on? And They're like, oh, dude, 0:19:22.240 --> 0:19:28.280 here's the demo of this thing. Okay, well sweet? Then 0:19:28.640 --> 0:19:30.920 you know, so they just kind of, you know, they 0:19:30.960 --> 0:19:32.480 just kind of took the reins on that one, and 0:19:32.480 --> 0:19:34.840 I just kind of got lucky. And he was on 0:19:34.880 --> 0:19:39.560 that song too, yeah, yeah, yeah, yeah, So it's kind 0:19:39.560 --> 0:19:41.639 of the same we've you know, and Luke at that 0:19:41.720 --> 0:19:44.280 point to on beer Never Brought My Heart I remember 0:19:44.359 --> 0:19:46.119 because he was playing that was probably a five S 0:19:47.040 --> 0:19:49.639 club that night, and Luke was saying, you know, I 0:19:49.680 --> 0:19:52.159 need I need I'm gonna play I'm gonna be playing 0:19:52.480 --> 0:19:55.119 you know, stadiums next year, and I need something that 0:19:55.200 --> 0:19:56.920 will rock like this. And we were kind of laughing 0:19:56.920 --> 0:19:58.680 at him when his back turned, you know, and then 0:20:00.480 --> 0:20:02.679 and then come to find out he was telling the truth, 0:20:03.080 --> 0:20:05.800 but he was he had the foresight to know he 0:20:05.840 --> 0:20:09.000 needed a song like that, you know. And and Cold 0:20:09.040 --> 0:20:12.000 as You was in the same vange, that same kind 0:20:12.040 --> 0:20:16.080 of it scratches the same che scratches the same way 0:20:16.119 --> 0:20:18.600 to say, yeah, So we were kind of heading down 0:20:18.640 --> 0:20:20.800 that road. We kind of knew with Cold as YouTube, 0:20:21.000 --> 0:20:23.479 you know, that we were gonna end up being in 0:20:23.520 --> 0:20:26.840 that direction and uh and have a closer and and 0:20:26.920 --> 0:20:29.840 opener hopefully. And and Luke, when you say those songs 0:20:29.840 --> 0:20:32.639 scratched the same itch, are you talking about like the 0:20:33.240 --> 0:20:36.160 big riffs behind them or they they're both they're both 0:20:36.160 --> 0:20:39.360 breakup songs in a way. I think it's the field thing, 0:20:39.600 --> 0:20:42.720 like a combination of both, you know, Like the lyrical 0:20:42.800 --> 0:20:47.280 content is is similar, you know, and it's going in 0:20:47.320 --> 0:20:52.400 the same direction, but it's also that like heavy riff thing. 0:20:52.480 --> 0:20:55.600 We were going over a mixed thing. Maybe a few 0:20:55.640 --> 0:20:58.560 weeks ago and me and Chip talked on the phone 0:20:59.320 --> 0:21:01.560 and we had gone through a couple of different mixes 0:21:01.600 --> 0:21:03.439 of it, and I was like, man, I'm just missing 0:21:03.440 --> 0:21:08.320 those big like riff fills in the verses like that, 0:21:08.720 --> 0:21:12.240 like this chunky thing just wasn't in there. And it 0:21:12.320 --> 0:21:14.879 was there, it just wasn't as up as I thought 0:21:14.880 --> 0:21:17.399 it needed to be to match the like intensity of 0:21:17.440 --> 0:21:20.000 the song. You know, you had to pour some sugar 0:21:20.080 --> 0:21:29.240 on it as it was. Yes, absolutely absolutely, Tip does that. Yeah. 0:21:29.320 --> 0:21:31.720 I think Luke two is is looking for in those 0:21:31.760 --> 0:21:34.159 songs like it's you're you know, you want to just 0:21:34.359 --> 0:21:38.720 ride a fun, uplifting beer drinking song, but Luke always 0:21:38.800 --> 0:21:41.800 kind of wants a little more than that, and I didn't. 0:21:41.840 --> 0:21:44.000 I've never thought about them both men breakup songs, but 0:21:44.040 --> 0:21:45.880 it would make sense they were trying to find some 0:21:45.920 --> 0:21:48.560 story to go along with the thing. Yeah, to go 0:21:48.640 --> 0:21:51.800 along with the song. That feels great. It's a beer 0:21:51.960 --> 0:21:55.720 drinking song, but it's like also like a breakup song 0:21:55.840 --> 0:21:59.800 at the same time. Tempo negative. I think it's tempo negative. 0:21:59.840 --> 0:22:04.320 I like that that's a term that is that's uh. 0:22:03.440 --> 0:22:06.280 I think that's how you get there. Though I'm sorry, 0:22:06.280 --> 0:22:08.280 I didn't mean to interrupt you, but I think that's 0:22:08.280 --> 0:22:09.919 how you get there is you're looking You're looking at 0:22:09.920 --> 0:22:13.480 he wants that other next step of substance, meat on 0:22:13.520 --> 0:22:30.600 the bone and the song. How did you learn and 0:22:30.640 --> 0:22:33.080 develop as a songwriter your instinct is that you you 0:22:33.119 --> 0:22:37.080 want that little more there and and where where does 0:22:37.119 --> 0:22:39.080 that come from? Was there a point just as a 0:22:39.160 --> 0:22:42.200 listener when you were even before you were writing songs, 0:22:42.240 --> 0:22:44.960 where you were just listening to music and thinking, how's 0:22:45.040 --> 0:22:46.800 that work? I like the way at that line that 0:22:46.840 --> 0:22:50.040 I like the way that sounds, or how do they develop? Yeah? 0:22:50.080 --> 0:22:53.800 And I think what it was is, you know, I 0:22:53.920 --> 0:22:56.840 listened to country music when I was younger, when I 0:22:56.880 --> 0:23:00.159 was living in Charlotte and on the radio with my 0:23:00.359 --> 0:23:02.960 with my mom, that's all we listened to was country radios. 0:23:03.000 --> 0:23:05.439 I listened to Vince Gill and Brooks and Dunn and 0:23:05.480 --> 0:23:09.280 Clint Black and Garth and Alan Jackson, like those were 0:23:09.280 --> 0:23:11.679 the guys that were on the radio when I was 0:23:11.720 --> 0:23:14.240 listening to the radio. And that's when I kind of remembered, 0:23:14.280 --> 0:23:19.800 you know, and this is maybe subconsciously, those songs always 0:23:19.920 --> 0:23:22.960 had more of kind of a story and so once 0:23:23.040 --> 0:23:25.000 we moved to Asheville when I was eight or nine, 0:23:25.680 --> 0:23:28.800 I kind of just stopped listening to country music because 0:23:29.240 --> 0:23:31.480 when you're eight or nine, you just kind of listen 0:23:31.520 --> 0:23:34.880 to what your parents listened to, and so you don't 0:23:34.960 --> 0:23:37.240 have your own musical taste when you're eight years old, 0:23:37.359 --> 0:23:39.760 you're just listening to whatever mom and dad listened to. 0:23:40.320 --> 0:23:42.919 And so my parents, my mom and my dad was 0:23:42.960 --> 0:23:46.439 never really into country music. He's from Ohio, and you know, 0:23:46.520 --> 0:23:51.639 his first concert was it was We Had To I 0:23:51.680 --> 0:23:54.560 think it was The Who, and it was The Night 0:23:54.640 --> 0:23:57.080 We Landed on the Moon. Was that was my dad's 0:23:57.119 --> 0:24:02.600 first concert, and so he kind of was Zeppelin, Pink Floyd, 0:24:03.080 --> 0:24:06.480 The Who, the Rolling Stones, the Beatles, Like my dad's not. 0:24:07.119 --> 0:24:09.560 He wasn't listening to Merle Haggard, you know, like I'd 0:24:09.560 --> 0:24:12.200 be lying if I was in an interview saying Diddy 0:24:12.320 --> 0:24:15.280 was spitting beach nut and listening to Whiteland Junny, you know, 0:24:15.320 --> 0:24:18.159 like he just wasn't doing that, And so I was 0:24:18.240 --> 0:24:22.159 listening to. My mom really was more of who I 0:24:22.200 --> 0:24:24.639 listened to music with, because as an only child, I 0:24:24.680 --> 0:24:26.760 spent the majority of time with my mother because my 0:24:26.840 --> 0:24:30.159 dad worked full time, and so did my mom. But 0:24:30.240 --> 0:24:32.320 she was the one that was kind of you know, 0:24:33.000 --> 0:24:35.120 she got home first and we rode in the car 0:24:35.280 --> 0:24:37.639 to go get school clothes. Like I wasn't doing that 0:24:37.680 --> 0:24:40.320 stuff with dad, you know, he was mowing the yard 0:24:40.440 --> 0:24:43.080 and fixing ship at the house and stuff. So she 0:24:43.280 --> 0:24:48.440 was listening to like Tom Petty, John Mellencamp, Dave Matthews, 0:24:48.560 --> 0:24:50.560 like that was the kind of stuff Mom was listening 0:24:50.560 --> 0:24:54.280 to at that time, Like the satellite album Dave Matthews 0:24:54.320 --> 0:24:58.080 was on in our house a lot um And so 0:24:59.640 --> 0:25:03.480 I was is out like it, you know, not my choice, 0:25:03.800 --> 0:25:06.680 because I love Vince Gill was my favorite ever when 0:25:06.680 --> 0:25:08.520 I was I mean that was my first concert when 0:25:08.560 --> 0:25:10.479 I was six years old. That was my birthday present 0:25:10.560 --> 0:25:13.200 was to go see Vince Gill at the Charlotte Knights 0:25:13.200 --> 0:25:15.679 Baseball Stadium and my grandma and my mom took me, 0:25:16.480 --> 0:25:19.159 and I mean it was awesome, you know, And and 0:25:19.200 --> 0:25:22.640 so I loved that stuff, but I just kind of 0:25:22.720 --> 0:25:25.040 it just kind of fell out of my life for 0:25:25.080 --> 0:25:28.840 some reason. And so once I got back into country music, 0:25:28.880 --> 0:25:32.000 it wasn't until I was probably eighteen or nineteen years old, 0:25:32.760 --> 0:25:36.959 and so I had missed a decade's worth of music. 0:25:37.720 --> 0:25:40.320 So when I rediscovered it, I rediscovered it because of 0:25:40.480 --> 0:25:42.919 Eric Church. He went to the same college that I 0:25:42.920 --> 0:25:45.800 went to, and a friend of mine handed me his 0:25:45.840 --> 0:25:48.600 album or whatever. Little did I know that he was 0:25:48.640 --> 0:25:52.960 on tour with Jonathan Singleton. Jonathan was opening for him 0:25:53.000 --> 0:25:56.200 at that at that time, Uh, you know, same manager 0:25:56.359 --> 0:25:59.720 and and stuff like that, and so I think it's 0:25:59.760 --> 0:26:04.000 really really it. I mean really his songwriting was something 0:26:04.040 --> 0:26:06.359 that because I went back and kind of you know, 0:26:06.400 --> 0:26:09.040 I would hear little bits and pieces of country music 0:26:09.240 --> 0:26:11.080 through high school and stuff, and I'm like, man, that's 0:26:11.119 --> 0:26:14.119 really not for me, because it's it just didn't have 0:26:14.240 --> 0:26:17.439 that thing that I thought Brooks and Dunn had, or 0:26:17.480 --> 0:26:19.400 that I thought Vince Gill had, you know, like there 0:26:19.440 --> 0:26:24.560 was always something to be somewhat emotionally invested in. As 0:26:24.600 --> 0:26:28.240 a listener. It was like, oh, this guy's like getting 0:26:28.280 --> 0:26:32.679 his heart broken or he's you know, there's a story 0:26:32.840 --> 0:26:35.920 about something going on, and that that just wasn't there 0:26:36.000 --> 0:26:38.800 in those ten years that I missed a lot, Right, 0:26:38.880 --> 0:26:41.160 You listen, you listen to a Garth Brooks, you listen 0:26:41.200 --> 0:26:45.520 to the thunder Rolls, You that that's like a whole movie. 0:26:45.560 --> 0:26:48.240 There's a whole movie in that there's something going on. 0:26:48.440 --> 0:26:50.720 And then so then when I heard Eric Church, it 0:26:50.840 --> 0:26:55.840 was like the missing link of like modern my era 0:26:56.119 --> 0:26:59.919 quote unquote of country music meeting back up with the 0:27:00.040 --> 0:27:02.560 stuff that I fell in love with. And so then 0:27:02.560 --> 0:27:05.960 when I picked the guitar up three years later, that 0:27:06.040 --> 0:27:10.600 was what I gravitated towards was Eric's stuff, which I thought, 0:27:10.800 --> 0:27:12.679 you know, and I still think, is you know, on 0:27:12.720 --> 0:27:17.040 a different level than anyone else's really And then I 0:27:17.119 --> 0:27:19.879 got into looking at well, then I wanted to get 0:27:19.920 --> 0:27:23.200 into like who actually wrote these songs was the thing 0:27:23.240 --> 0:27:25.879 that I became obsessed with. So then I became a 0:27:25.880 --> 0:27:30.600 fan of Jonathan Singleton and Casey Bethard and all these guys, 0:27:30.640 --> 0:27:32.800 and I was like, those are the guys that I 0:27:32.800 --> 0:27:35.919 want to hang out with and do stuff with, you know, 0:27:36.080 --> 0:27:39.479 like because they're bringing something to the table, you know, 0:27:39.520 --> 0:27:44.040 there helping they can help me become better at something 0:27:44.080 --> 0:27:45.920 that I want to get better at that I'm trying 0:27:45.920 --> 0:27:48.480 to do better at it. And that was a long process, 0:27:48.520 --> 0:27:51.920 but I think that's, you know, that's the short, long 0:27:52.080 --> 0:27:55.959 version of how I got it here. I guess you know, uh, 0:27:56.520 --> 0:28:00.080 you were you were just talking about your mom and 0:28:00.480 --> 0:28:02.560 what you see. There was a dad song on what 0:28:02.600 --> 0:28:04.800 you See even though I'm leaving. And then in these 0:28:04.960 --> 0:28:09.320 additional tracks that are on the deluxe version, uh, there's 0:28:09.359 --> 0:28:15.000 a mom song that's added without you. Yeah. Yeah. The 0:28:15.000 --> 0:28:18.720 the way that kind of song played out was, you know, 0:28:19.880 --> 0:28:25.919 the first verses about my parents, second verse is about 0:28:26.200 --> 0:28:31.399 my fiance, third verses about the fans. I wanted it 0:28:31.440 --> 0:28:35.080 to be kind of a an ode to like the 0:28:35.160 --> 0:28:39.120 main kind of you know, things that kind of keep me, 0:28:39.320 --> 0:28:41.440 I guess grounded a bit. And you know it's because 0:28:41.720 --> 0:28:46.160 I sometimes I feel really guilty about being the guy 0:28:46.400 --> 0:28:50.360 that's always everybody wants to talk to me, and everybody 0:28:50.440 --> 0:28:52.840 wants to say what did you do to do this? 0:28:52.920 --> 0:28:55.560 And why is it you that does this? And everything, 0:28:55.640 --> 0:28:59.720 and like, you know, I'm very flattered by that, you know, 0:28:59.840 --> 0:29:01.960 and I've definitely worked hard to be where I am, 0:29:02.000 --> 0:29:07.320 but it's a definitely a massive team effort that nobody sees. 0:29:07.520 --> 0:29:11.040 You know. It's it's Chip and Jonathan and Massey and 0:29:11.120 --> 0:29:14.680 my managers and you know, my parents and my fiance 0:29:15.040 --> 0:29:18.160 or my wife now and you know, so it's it's 0:29:18.160 --> 0:29:20.520 there's all these people that I feel like, don't get 0:29:21.360 --> 0:29:23.800 the credit, you know, the fans, if they weren't there, 0:29:23.840 --> 0:29:26.560 then they're just none of it would work anyway. So 0:29:26.640 --> 0:29:30.000 it's just get a key lyric in that in that 0:29:30.320 --> 0:29:32.760 track is, uh, it's it's me they give the credit to. 0:29:33.040 --> 0:29:35.120 But I think I have this right. But me don't 0:29:35.160 --> 0:29:39.760 mean a thing without you, right, yeah, yeah, And so 0:29:40.080 --> 0:29:42.720 that was kind of a hook that, honestly me and 0:29:42.840 --> 0:29:47.080 I wrote that with Dan Izble and whyite Dirett in 0:29:47.240 --> 0:29:49.320 Boone up in one of those Boon trips. You've been 0:29:49.400 --> 0:29:52.520 up there, and uh, we ran a little cabin up 0:29:52.680 --> 0:29:54.960 up in Boone and sometimes we'll go up there for 0:29:55.000 --> 0:29:57.240 two weeks and just I'll have writers up for two 0:29:57.280 --> 0:30:00.400 weeks and and uh, I learned that from church. You 0:30:00.440 --> 0:30:02.800 told me about those kind of things that he does. 0:30:02.920 --> 0:30:06.360 And it's a good way to like lock in to 0:30:06.600 --> 0:30:08.880 just writing. It's better than like going, oh, I've got 0:30:08.880 --> 0:30:10.880 to ride in three weeks and it's just on a 0:30:11.000 --> 0:30:15.600 random Tuesday. I can't really get in prepared for that. 0:30:16.040 --> 0:30:18.080 You know, It's like, but if you know you're gonna 0:30:18.080 --> 0:30:19.680 be up here for two weeks and you're gonna be 0:30:19.760 --> 0:30:21.840 trying to write two songs a day for two weeks, 0:30:21.920 --> 0:30:24.640 and like you kind of gotta buckle up. There's no 0:30:25.520 --> 0:30:27.440 and you know, I rent this cabin, there's like no 0:30:27.720 --> 0:30:32.080 service almost it does have TV at least, but it's 0:30:32.120 --> 0:30:35.360 like there's not you're not playing an Xbox, and you know, 0:30:35.440 --> 0:30:37.200 there's just kind of you sit out on the porch 0:30:37.240 --> 0:30:39.680 and just kind of write songs and and drink beer 0:30:39.720 --> 0:30:42.840 and stuff all day, which is really awesome. But yeah, 0:30:42.880 --> 0:30:44.840 we were writing that we didn't have a hook. I mean, 0:30:44.840 --> 0:30:48.080 the whole song was pretty much done, and I just 0:30:48.160 --> 0:30:52.240 kind of sat there and you know, I literally just 0:30:52.280 --> 0:30:54.160 came up like pulled that hook out of the thin 0:30:54.280 --> 0:30:58.440 air pretty much. And it was like, I mean, it 0:30:58.480 --> 0:31:02.360 wasn't like we were just righteting those things like oh well, 0:31:02.440 --> 0:31:05.959 let's just talk about your parents, you know, and then 0:31:06.040 --> 0:31:09.040 let's talk about the all the stuff they do for you. 0:31:09.160 --> 0:31:12.440 And and so we had almost everything except the hook, 0:31:12.520 --> 0:31:14.760 which it usually never happens like that, usually kind of 0:31:14.840 --> 0:31:18.280 right around the hook a bit, and so that was different. 0:31:18.760 --> 0:31:21.080 You know, just kind of sat there for two hours, 0:31:21.200 --> 0:31:24.720 just beat my head into a wall, while Dan and 0:31:24.760 --> 0:31:29.040 Why probably didn't think I was doing anything. They were probably, yeah, 0:31:29.080 --> 0:31:31.880 we're up here stuck in his cabin with this fat 0:31:32.000 --> 0:31:37.040 idiot of her writing these songs, you know, so you know, 0:31:37.160 --> 0:31:39.360 but I mean sometimes I have something to add, you know, 0:31:39.560 --> 0:31:41.960 when Jonathan doesn't have the demo done while I'm taking 0:31:41.960 --> 0:31:45.760 a ship, you know, it's that song is super interesting 0:31:45.800 --> 0:31:49.400 to me because it's it's without you, you know, it 0:31:49.480 --> 0:31:52.360 is what you could the time, you know, and how 0:31:52.360 --> 0:31:54.880 many without you songs you know, so I can see 0:31:54.880 --> 0:31:58.080 where you would avoid that. But I loved how it 0:31:58.120 --> 0:32:01.120 was me don't mean a thing without you totally that's 0:32:01.120 --> 0:32:03.600 hasn't been that way. And heard that version of that song, 0:32:04.600 --> 0:32:08.320 which I thought was really really cool, and I guess again, Jonathan, 0:32:08.360 --> 0:32:10.520 you were talking about, you know, the negative and the 0:32:10.560 --> 0:32:12.800 positive and then those other songs we were talking about 0:32:12.840 --> 0:32:15.360 without you. Just as a title does sound like a 0:32:15.400 --> 0:32:18.280 song about losing someone, it does, yeah, yeah, and it 0:32:18.720 --> 0:32:20.200 kind of it kind of tricksy. It's not what you 0:32:20.280 --> 0:32:23.520 expect to hear. And without you, I mean it feels 0:32:23.560 --> 0:32:29.120 like the Motley Crue song or the other eighteen versions, 0:32:29.960 --> 0:32:33.640 you know, but it does. It moves on it, and 0:32:33.680 --> 0:32:36.480 that's what Luke spend so much. We spend more time 0:32:36.520 --> 0:32:39.680 on that in a songwriting room on the line before 0:32:39.680 --> 0:32:42.040 the hook. If we get the hook, then we got 0:32:42.040 --> 0:32:44.400 to make the line before the hook pop and and 0:32:44.440 --> 0:32:46.840 if it doesn't pomp or really not moving until it does, 0:32:48.760 --> 0:32:50.640 give me how do you mean, give me an example 0:32:50.680 --> 0:32:53.560 of the line before the hook and how it pops. 0:32:53.880 --> 0:32:57.560 It's just like I would compare it to you can't 0:32:57.640 --> 0:33:00.600 hit a home run without a good based bos swing, 0:33:00.640 --> 0:33:03.080 you know what I mean? And like the line, like 0:33:03.160 --> 0:33:06.600 that set up line to me, is the Senate sell it? 0:33:07.480 --> 0:33:09.400 That's the hook can be great. You can have a 0:33:09.400 --> 0:33:13.200 great song title, but if the line before it doesn't 0:33:13.720 --> 0:33:16.720 set it up to you know, hit it out of 0:33:16.760 --> 0:33:18.800 the park. You know, if you don't throw the right pitch, 0:33:18.880 --> 0:33:20.200 you're not going to hit it out of the park, 0:33:20.280 --> 0:33:22.520 you know what I mean. Like it's kind of something 0:33:22.560 --> 0:33:25.160 along those lines. You know, it still feels good, but 0:33:25.240 --> 0:33:28.040 you still Luke always wants to be like, oh man, 0:33:28.560 --> 0:33:33.120 after that, you want to say that yeah, you know 0:33:33.760 --> 0:33:35.800 he still wants that to happen, which is great. I mean, 0:33:36.080 --> 0:33:37.720 you're not spend a lot of time banging her head 0:33:37.720 --> 0:33:39.320 against the wall trying to figure out what it is. 0:33:40.200 --> 0:33:42.040 That song in particular felt like it did it too. 0:33:42.400 --> 0:33:44.000 I was that because when I saw the title, I 0:33:44.040 --> 0:33:50.760 was that guy, greatest hits are here but me, I 0:33:50.920 --> 0:33:52.920 mean a thing without you? It's like, oh, I get it. 0:33:52.960 --> 0:33:57.680 I mean yeah, So we're talking about a song where 0:33:57.760 --> 0:33:59.720 you bang your head against the wall for two hours 0:33:59.760 --> 0:34:02.080 to come them up with the hook. But you're still 0:34:02.080 --> 0:34:04.440 in a situation where you're writing a song or two 0:34:04.440 --> 0:34:07.600 a day. Are there are there any times? I mean, what, 0:34:07.600 --> 0:34:11.719 what's a song that that just lingered for weeks, if 0:34:11.760 --> 0:34:14.960 not months or years? There anything that that you you 0:34:15.040 --> 0:34:19.040 had even more trouble catching. The hardest, the longest one 0:34:19.080 --> 0:34:22.360 I've ever done was there was a song on What 0:34:22.480 --> 0:34:26.600 You See Is What You Get? Called Oh God. The 0:34:26.640 --> 0:34:30.239 title will live to me right now? Um, I had 0:34:30.440 --> 0:34:35.120 I wrote it with Drew Parker and Rob Wilford and 0:34:35.160 --> 0:34:38.560 it was seven it was seven rights over two years 0:34:39.600 --> 0:34:42.480 to get it. It was is that is that? Is that? 0:34:42.640 --> 0:34:46.520 Nothing like you? Nothing like? Yeah? And we had really 0:34:46.560 --> 0:34:50.360 loved that song and we had kind of got the 0:34:50.480 --> 0:34:54.680 hook and had some verse stuff and I mean we 0:34:54.760 --> 0:34:56.680 had Yeah. It was over the course of like two 0:34:56.719 --> 0:34:59.560 and a half years. It was seven different right like 0:34:59.640 --> 0:35:02.000 moving lines around and then decide we didn't like it 0:35:02.040 --> 0:35:06.040 and then bringing stuff back, and you know, sometimes it's like, 0:35:06.200 --> 0:35:07.920 I mean, that's the only song I've ever had that's 0:35:07.920 --> 0:35:10.839 been even remotely close to that long. I mean, I've 0:35:10.840 --> 0:35:12.920 had some that were like maybe three rights over the 0:35:12.960 --> 0:35:15.799 course of two or three months, but that one was 0:35:15.880 --> 0:35:18.239 just like we knew, we liked it a lot, and 0:35:18.280 --> 0:35:21.080 we wanted it to get it right. But that was 0:35:21.120 --> 0:35:23.960 the point where I was getting like super busy with touring, 0:35:24.160 --> 0:35:27.200 and so it ended up just getting spread out over 0:35:27.280 --> 0:35:30.440 this like immense amount of time, you know, because we 0:35:30.520 --> 0:35:33.719 thought the song was strong enough to to like, you know, 0:35:33.920 --> 0:35:36.880 sacrifice that amount of time to do it. You know. 0:35:51.040 --> 0:35:52.759 One of the new tracks we haven't talked about is 0:35:53.080 --> 0:35:56.520 My Kind of Folk, which is a real party track. 0:35:56.960 --> 0:36:02.120 My kind of rhymes with fire up a little smoke, yeah, um, 0:36:02.160 --> 0:36:05.879 and it it does end with some truly rocking instrumentals, 0:36:05.920 --> 0:36:09.640 and your guitarists and your organists are trading solos. Tell 0:36:09.680 --> 0:36:13.520 me about recording that one, Chip, go ahead on that one. 0:36:13.960 --> 0:36:16.960 You give us a little Well, Jonathan and I had 0:36:17.040 --> 0:36:20.759 kind of talked about, you know, when we were looking 0:36:20.800 --> 0:36:22.600 at all the songs and the range of the things 0:36:22.600 --> 0:36:24.000 we were gonna do that we knew that one was 0:36:24.040 --> 0:36:26.560 the one that guys were gonna sling it and stretch 0:36:26.640 --> 0:36:28.480 on a little bit, even though cold as you, we 0:36:28.560 --> 0:36:30.640 knew needed to be just burning the edge. But this 0:36:30.760 --> 0:36:34.319 was the one that we wanted the guys to step 0:36:34.360 --> 0:36:38.120 out a little bit and sling on. And the feel 0:36:38.160 --> 0:36:39.799 of it, the swing in it, you know, it just 0:36:39.880 --> 0:36:41.560 it was kind of loose and groovy in a way. 0:36:41.560 --> 0:36:45.200 And um, so the guys caught onto that pretty quick, 0:36:45.360 --> 0:36:48.520 and in rundowns we would just let them run a 0:36:48.520 --> 0:36:51.000 little bit. Sometimes when your band's going, you you want 0:36:51.000 --> 0:36:54.120 to let them you you're kind of like working them 0:36:54.120 --> 0:36:56.719 a little bit into to the range that you want 0:36:56.760 --> 0:36:58.239 them to play in and the things you want them 0:36:58.200 --> 0:36:59.880 to do, but at the same time you want them 0:36:59.880 --> 0:37:02.600 to feel it and run a little bit and and 0:37:02.600 --> 0:37:05.399 and sometimes that brings stuff to the surface that you go, okay, wait, 0:37:05.440 --> 0:37:07.080 we need that, we need that in there. And so 0:37:07.680 --> 0:37:10.719 what you hear on the outro um on the back 0:37:10.719 --> 0:37:12.560 side of the song is when those guys sort of 0:37:12.640 --> 0:37:14.160 knew what we were already doing and what we wanted. 0:37:14.200 --> 0:37:16.560 But then we just let them go and they came 0:37:16.560 --> 0:37:18.520 in on the back side, and then it was just 0:37:18.520 --> 0:37:21.000 too many cool little things that happened in there, And 0:37:21.080 --> 0:37:23.000 that happens a lot on recording sessions where you kind 0:37:23.040 --> 0:37:25.080 of get your verses ironed out. That's where everybody has 0:37:25.080 --> 0:37:28.400 to be so regimented, and then when the when the 0:37:28.400 --> 0:37:30.960 tape machine stops or it's in the fade and everybody 0:37:31.320 --> 0:37:36.400 loosens up, then some really cool stuff happens. So it 0:37:36.800 --> 0:37:39.080 made sense to just let that, let that go for 0:37:39.080 --> 0:37:41.440 a little bit and and let them play. Yeah, I know, 0:37:41.520 --> 0:37:43.879 it's a ton of fun and and and so are 0:37:43.920 --> 0:37:48.160 you cutting that live at the at that point mostly yeah, 0:37:48.200 --> 0:37:51.960 I mean we we grab a rundown, we play it 0:37:51.960 --> 0:37:55.280 down several times to get we're looking at little pieces 0:37:55.320 --> 0:37:57.359 each time, and then we sort of get the whole 0:37:57.360 --> 0:37:59.759 thing pulled together where we go, Okay, everybody sort of 0:37:59.800 --> 0:38:01.640 knows a roadmap and they know what we're gonna do. 0:38:01.920 --> 0:38:03.640 But Jonathan, I are still trying to look at all 0:38:03.640 --> 0:38:05.640 the pieces like puzzle pieces, and they all have to 0:38:05.640 --> 0:38:08.600 fit together in a way that you still need to 0:38:08.600 --> 0:38:11.440 mold them. But you're trying to get it as much 0:38:11.440 --> 0:38:13.839 of it live as you can. You're trying to get it, 0:38:14.680 --> 0:38:16.399 and you know you have a little bit limit about 0:38:16.440 --> 0:38:19.240 a time, but you're still going, let's let's do it again, 0:38:19.280 --> 0:38:22.760 and and then you get I don't know, we get 0:38:23.360 --> 0:38:25.759 maybe in there, and then after after that we have 0:38:25.800 --> 0:38:27.520 to come back and start looking at each part and 0:38:27.560 --> 0:38:30.640 maybe trim up some things. But you try to, particularly 0:38:30.680 --> 0:38:34.399 in Nashville where we've got such amazing players, the best 0:38:34.440 --> 0:38:38.799 player the best players players in the world, and of them, 0:38:38.880 --> 0:38:42.160 not to mention, guys who had played on Luke's earlier records, 0:38:42.560 --> 0:38:45.359 so you know, and here we are, you know, trying 0:38:45.400 --> 0:38:47.759 to fill up slot and and make it, you know, 0:38:48.480 --> 0:38:50.520 upgrade it and make it feel great, but still make 0:38:50.560 --> 0:38:52.680 it feel like Luke and and so Jerry row And 0:38:52.880 --> 0:38:57.120 and John and Saul and those guys who had played 0:38:57.160 --> 0:38:59.600 on those earlier records. Sometimes it was like, well, hey man, 0:38:59.640 --> 0:39:02.480 well what should we be doing. And there's nothing wrong 0:39:02.520 --> 0:39:04.640 with that. We do it all time. They're great players, 0:39:04.680 --> 0:39:12.240 you know. Yeah, So that's one that uh really would 0:39:12.239 --> 0:39:14.919 have been a lot of fun to see you play, 0:39:15.040 --> 0:39:17.680 uh in a big space. Talk to me a little bit. 0:39:17.719 --> 0:39:20.279 You were, you had stadium shows booked, you were, you're 0:39:20.320 --> 0:39:23.600 doing a headlining arena tour. And in fact, if I've 0:39:23.640 --> 0:39:26.319 got this right, you were overseas and playing a little 0:39:26.320 --> 0:39:30.640 bit when we went into lockdown and you came came 0:39:30.680 --> 0:39:33.640 home right before the CDC festival, Is that right? Yeah? 0:39:33.800 --> 0:39:36.480 We so we were there. We were there for probably 0:39:36.520 --> 0:39:40.480 a week before we had and I left. I think 0:39:40.480 --> 0:39:43.440 I left a day before the first arena show. So 0:39:43.480 --> 0:39:46.960 they've for the because I've played C two see that, 0:39:47.239 --> 0:39:50.279 I guess technically twice one time all the way through. 0:39:50.760 --> 0:39:54.400 But I was I was gonna headline this year, um, 0:39:54.440 --> 0:39:58.120 and so it's like O two in in Dublin, O 0:39:58.320 --> 0:40:01.719 two in Glasgow, O two in London. Those are the 0:40:01.719 --> 0:40:05.600 big arenas that you headline the one night and it's 0:40:05.760 --> 0:40:08.919 three different headliners, and then we all swapped cities every night, 0:40:09.120 --> 0:40:12.400 so there's three shows in a row in the same city, 0:40:12.440 --> 0:40:15.480 but it's three different headliners each night, and so we 0:40:15.520 --> 0:40:18.480 all swap out. But what they do is they've they're 0:40:18.520 --> 0:40:22.239 trying to expand the scope of that festival, and so 0:40:22.320 --> 0:40:26.080 they adage a show this year in Berlin and a 0:40:26.160 --> 0:40:31.920 show in Amsterdam, and those are smaller, like two to 0:40:32.080 --> 0:40:38.200 four thousand seat venues because they're just trying to establish 0:40:38.480 --> 0:40:41.840 like a country music base there, like it's such a 0:40:41.920 --> 0:40:47.280 new they call it American music by the way, Okay, 0:40:47.680 --> 0:40:50.839 they called American music, which is pretty interesting. And and 0:40:50.880 --> 0:40:53.240 then and the headliners you would have been trading places 0:40:53.280 --> 0:40:57.839 with where Darius Rucker and Eric Church. Yeah, and so 0:40:58.000 --> 0:41:01.080 we went. Eric didn't play the two smaller shows, so 0:41:01.239 --> 0:41:05.239 he actually never came over. He was like the day 0:41:05.280 --> 0:41:08.200 we had to leave was the day he was supposed 0:41:08.200 --> 0:41:10.920 to leave. And so me and him were texting back 0:41:10.960 --> 0:41:13.680 and forth, like what's going on, Like I'm texting him like, 0:41:13.760 --> 0:41:16.359 don't get on the plane. You're like, you know, like 0:41:16.480 --> 0:41:20.720 everything people were there, His people were there, He wasn't 0:41:20.800 --> 0:41:23.680 him and the band weren't there yet. His guys had 0:41:23.719 --> 0:41:26.200 flown over with the gear and stuff like the day 0:41:26.239 --> 0:41:31.520 before or something, um, which you know, that's unfortunate. But yeah, 0:41:31.560 --> 0:41:33.600 we were all there and luckily we all got back. 0:41:33.640 --> 0:41:36.840 I mean I was, I mean, I was, to be 0:41:36.880 --> 0:41:40.040 honest with you, and I was crushed the night that 0:41:40.080 --> 0:41:43.960 we found I mean, I was absolutely trashed drunk the 0:41:44.080 --> 0:41:47.200 night I found out, Not like embarrassingly drunk, you know, 0:41:47.320 --> 0:41:50.000 but like fun like having a great time. Because we 0:41:50.000 --> 0:41:52.560 had played the two shows we played Amsterdam in Berlin, 0:41:53.200 --> 0:41:55.360 and we had two days off to just kind of 0:41:56.320 --> 0:41:59.000 do whatever. And so we were me and Nicole, We're 0:41:59.239 --> 0:42:02.200 at somebody's how else, and we you know, had some 0:42:02.280 --> 0:42:05.680 drinks and I gotta call it, like, I mean one 0:42:05.800 --> 0:42:10.239 am or something that was like hey, and I had 0:42:10.280 --> 0:42:14.200 some big rights lined up over there the next day 0:42:14.239 --> 0:42:17.680 and ended up having to get on a plane at 0:42:17.719 --> 0:42:22.120 like eight or nine in the morning and just go 0:42:22.280 --> 0:42:25.200 straight back home, dude. And then it just stopped. Everything 0:42:25.280 --> 0:42:27.160 just stopped at that And and did you have to 0:42:27.160 --> 0:42:29.040 get on a plane right away, because that was when 0:42:29.040 --> 0:42:33.239 they issued the travel advisory recommending everybody come home now 0:42:33.360 --> 0:42:35.160 or you may not be able to do it. Yes. 0:42:35.400 --> 0:42:37.880 So we got the call for management at one am 0:42:38.000 --> 0:42:41.600 because my manager was over there, but obviously he was awake, 0:42:41.680 --> 0:42:44.440 and we had seen that things were getting more It 0:42:44.560 --> 0:42:46.600 was already kind of on the line of like, you 0:42:46.640 --> 0:42:49.480 know what we're going because Old Dominion they backed out 0:42:49.520 --> 0:42:52.640 before the thing started, and so we were all kind 0:42:52.640 --> 0:42:54.879 of like, man, what if that, like it doesn't get 0:42:54.920 --> 0:42:57.120 canceled and they back out with that, look bad on them, 0:42:57.239 --> 0:42:59.800 you know, And I mean they ended up making a 0:43:00.000 --> 0:43:01.680 would call. And I mean, I'm glad that we went 0:43:01.719 --> 0:43:03.600 and played those shows because I had a great time, 0:43:03.680 --> 0:43:06.680 you know, and um had still had some great experiences 0:43:06.719 --> 0:43:10.920 even though the circumstances were different. But there was no 0:43:11.040 --> 0:43:15.360 meet and greets. There was no interviews or signings, like 0:43:15.400 --> 0:43:18.520 they were already doing preventative measures at that time because 0:43:18.520 --> 0:43:21.600 it was starting to become well, people are starting to 0:43:21.640 --> 0:43:24.240 get it in other places other than China at that time. 0:43:25.120 --> 0:43:26.960 And so then it was like I got the call 0:43:27.160 --> 0:43:29.759 and literally I went to bed and they're like, there's 0:43:29.760 --> 0:43:31.600 gonna be a car to get you at seven, because 0:43:31.600 --> 0:43:34.840 I was two hours outside of London at that time, 0:43:35.600 --> 0:43:37.960 and so we had to come get a car, come 0:43:38.040 --> 0:43:40.440 get me into coal and we went straight to the 0:43:40.480 --> 0:43:43.680 airport from where we were straight to the airport and 0:43:43.680 --> 0:43:48.200 then straight home and straight into quarantine. Yeah, yep. So 0:43:48.320 --> 0:43:51.320 I mean for a lot of us, it's been weird. 0:43:51.440 --> 0:43:53.960 But for me it's weird because I'm not seeing you know, 0:43:54.040 --> 0:43:56.560 ten or twenty people at the office, but you're you're 0:43:56.600 --> 0:44:01.520 not getting a chance to see twenty people in an arena. 0:44:01.719 --> 0:44:04.160 That that that that's a big difference. What what does 0:44:04.160 --> 0:44:08.440 that feel like? Oh, I mean it sucks to be frank, 0:44:08.760 --> 0:44:11.279 you know, I mean this was gonna be you know, 0:44:11.360 --> 0:44:13.680 I think this was gonna be kind of a career 0:44:13.760 --> 0:44:17.439 defining year for me as far as touring goes. And 0:44:18.239 --> 0:44:21.360 you know, obviously it was a massive honor getting the 0:44:21.560 --> 0:44:25.319 Entertainer Nod today. But but you know, I would have 0:44:25.400 --> 0:44:27.920 loved to been able to be out there and really 0:44:28.160 --> 0:44:31.719 put a stamp on it with my touring numbers and 0:44:31.719 --> 0:44:33.719 and try to try to use that to kind of 0:44:33.760 --> 0:44:37.440 petition for you know, to make my case for maybe 0:44:37.680 --> 0:44:40.960 winning that thing, you know. And so it's kind of 0:44:42.239 --> 0:44:43.920 it's weird in that sense because, like you said, at 0:44:43.960 --> 0:44:46.239 my first stadium show was gonna be this year back 0:44:46.280 --> 0:44:48.680 where I went to college, and you know, that was 0:44:48.719 --> 0:44:51.200 a huge deal to me, and and in that town 0:44:51.239 --> 0:44:53.359 it's a really small town, so it's a big deal 0:44:53.440 --> 0:44:58.080 for them, tourism dollars wise. And um, so it was 0:44:58.120 --> 0:45:00.800 just you know, two nights a matter a Square garden, 0:45:01.400 --> 0:45:03.640 two nights at Boston Garden. I mean every show on 0:45:03.680 --> 0:45:05.560 the tour was sold out. I mean I think we 0:45:06.480 --> 0:45:10.439 you know, sold however, half a million tickets or something. 0:45:10.440 --> 0:45:13.280 I mean, it's it's like insane, you know the amount 0:45:13.320 --> 0:45:15.120 of people that were not getting to play for it 0:45:15.200 --> 0:45:18.120 this year, you know. And so and obviously we were 0:45:18.160 --> 0:45:22.279 hoping to use that success from this year to you know, 0:45:22.360 --> 0:45:28.440 transition into potentially you know, garth level shows next you know, 0:45:28.520 --> 0:45:31.759 next year was kind of the hope. So now that's 0:45:31.800 --> 0:45:34.560 just kind of all been paused. I think, you know, sure, 0:45:34.600 --> 0:45:36.919 because if you're gonna mount that big a production, you've 0:45:36.920 --> 0:45:41.480 got to start thinking if you're going to go into stadiums. Yeah, 0:45:41.520 --> 0:45:44.359 it's two years to to plan that. It's not just like, 0:45:44.400 --> 0:45:46.560 you know what, let's do that next month, you know, 0:45:46.640 --> 0:45:49.279 it's I mean it's a year, year and a half 0:45:49.320 --> 0:45:53.440 of planning in the production and you're gathering the trucks 0:45:53.480 --> 0:45:56.960 and the buses and and adding the staff and you know. 0:45:57.040 --> 0:46:00.319 So it's and that's all stuff that I, I guess 0:46:00.320 --> 0:46:02.279 I don't have to be involved in, but I'm like 0:46:02.560 --> 0:46:05.200 pretty heavily involved in like making sure that all that 0:46:05.200 --> 0:46:07.880 stuff happens, you know, I like to I'm not a 0:46:07.880 --> 0:46:10.680 control free because I'm not the guy that necessarily knows 0:46:11.920 --> 0:46:14.239 what should or shouldn't happen, but I do like to 0:46:14.280 --> 0:46:17.040 know what's going on and be involved in those decisions. 0:46:17.080 --> 0:46:20.120 So it's not like I'm just going, let's do stadiums. 0:46:20.160 --> 0:46:23.359 Call me when we're going, like I'm not that guy either. 0:46:23.560 --> 0:46:26.719 You know what I mean? Right, you do more than 0:46:26.920 --> 0:46:32.000 wait for the wait for the car to pick you up. Uh. 0:46:32.200 --> 0:46:36.080 You know you mentioned your managers a couple of times. 0:46:36.160 --> 0:46:40.960 I I had the the the uh pleasure speaking with 0:46:41.000 --> 0:46:44.600 the Lynn Lynn Oliver Klin and Chris Cappy, your managers 0:46:44.880 --> 0:46:49.040 for Billboard. And I remember something. People always talk about 0:46:49.040 --> 0:46:52.160 how quickly things happened for you, but I remembered something 0:46:52.160 --> 0:46:54.359 that Cappy told me, and I went and looked it up. 0:46:54.680 --> 0:46:57.080 He was talking about how the when he first joined 0:46:57.160 --> 0:46:59.640 up with you, that you guys were in a van, 0:46:59.800 --> 0:47:03.399 I even a trailer. It was an extended fifteen passenger van. 0:47:04.000 --> 0:47:06.960 The last two rows pulled out for the gear and 0:47:07.000 --> 0:47:09.920 we toured in that for five months. So and he 0:47:09.960 --> 0:47:13.760 was driving, yes, he was driving. So that that's six 0:47:13.800 --> 0:47:16.600 guys and their gears stuffed together in a van for 0:47:16.600 --> 0:47:19.239 for five months. That that sounds like some pretty hard work. 0:47:19.960 --> 0:47:22.320 Yeah it was. And we were playing about four shows 0:47:22.360 --> 0:47:26.040 of four shows a week then that time. And you know, 0:47:26.120 --> 0:47:28.200 me and Cappy might as well be two guys a 0:47:28.280 --> 0:47:32.200 pop at that time. I mean, he's he's recently dropped 0:47:32.200 --> 0:47:35.480 about a hundred fifty bills Um, but you know, me 0:47:35.560 --> 0:47:38.520 and him were rotting shotgun just out of necessity really 0:47:38.560 --> 0:47:41.920 at that point. Um so he was driving, I mean 0:47:42.000 --> 0:47:44.319 and he drew. It wasn't like, oh we'll trade off. 0:47:45.360 --> 0:47:51.759 Like that guy drove every mile for six months and 0:47:51.960 --> 0:47:55.680 I mean four nights away. He quit, uh you know, 0:47:55.800 --> 0:48:00.520 six figure job and blew through his entire life savings 0:48:01.440 --> 0:48:04.799 to come here and drive a shitty old van with 0:48:04.840 --> 0:48:08.080 some kid in it and a couple guys he met 0:48:08.120 --> 0:48:10.839 at the Tin Roof and you go play shows, you know. 0:48:10.960 --> 0:48:14.279 I mean like, so that level of dedication to me 0:48:14.400 --> 0:48:17.440 is like what sold me, you know on Cappy as 0:48:17.480 --> 0:48:19.640 a manager. Like you know, you don't you can't question 0:48:19.680 --> 0:48:22.640 the guy's commitment at that point, you know. But but 0:48:22.760 --> 0:48:25.719 you have this effect on people because if I remember right, 0:48:25.760 --> 0:48:28.760 Cappy told me that he saw you play a show 0:48:29.960 --> 0:48:34.640 and then almost immediately started pitching you on being your manager. 0:48:34.920 --> 0:48:37.759 And Jonathan, do I remember right that you also you 0:48:37.920 --> 0:48:45.600 saw Luke at a songwriting on a day Yeah it was, Yeah, 0:48:45.600 --> 0:48:47.600 it was on a Tuesday, that Tin Roof revival that 0:48:47.920 --> 0:48:50.520 Rob and Channing and those guys put on and me 0:48:50.520 --> 0:48:53.680 and Randy Montana was standing in the back drinking a beer. 0:48:53.719 --> 0:48:59.560 I think it was the And so we're always like 0:48:59.600 --> 0:49:02.320 the old eyes were like, hey man, we'll play the anniverse. 0:49:02.360 --> 0:49:04.960 We just put us on it like eight o'clock, you know, 0:49:05.040 --> 0:49:07.759 so we can go home early. And so we had 0:49:07.800 --> 0:49:10.000 played and we got done. We're standing at the bar 0:49:10.120 --> 0:49:11.759 drinking beer right before we walk out the door, and 0:49:12.040 --> 0:49:13.799 we hear this guy started singing and we kind of 0:49:13.880 --> 0:49:17.560 jog back, you know, to the back and just sitting 0:49:17.560 --> 0:49:20.000 there playing and yeah, we're so as Google searching him 0:49:20.080 --> 0:49:21.720 and the because we were the only ones that didn't 0:49:21.760 --> 0:49:24.600 know like the people in town, like the people who 0:49:24.600 --> 0:49:26.839 were in the business who were there, were the people 0:49:26.880 --> 0:49:29.200 who didn't know who he was. Everybody else was there 0:49:29.239 --> 0:49:31.880 to see him, and we're singing all the songs and 0:49:31.920 --> 0:49:34.360 we were like who he was? Like everyone else was 0:49:34.360 --> 0:49:39.120 like yeah, yeah. So all the silly music road people 0:49:39.200 --> 0:49:41.319 were standing there trying to figure out how they could 0:49:42.120 --> 0:49:44.280 how they could talk to this guy. And I figured 0:49:44.280 --> 0:49:46.520 it out real quick. It was turkey hunting and deer 0:49:46.600 --> 0:49:52.680 hunting went pretty well after that. It was I remember 0:49:52.680 --> 0:49:55.800 when I so Jonathan, I've probably told him the story before, 0:49:55.840 --> 0:49:58.680 but so me and Rob, one of the guys in 0:49:58.680 --> 0:50:01.879 my band Wilfred are with and stuff. We were like, 0:50:02.840 --> 0:50:07.239 we're like, still you know, super Jonathan Singleton fans, you know, 0:50:07.520 --> 0:50:11.480 like we're listening to the grove like we're in deep 0:50:11.640 --> 0:50:14.080 We're in the worm Hall of John and Singleton, you know. 0:50:14.640 --> 0:50:17.480 And so the year before that, like one year to 0:50:17.520 --> 0:50:21.160 the day was the anniversary before that, me and Rob 0:50:21.200 --> 0:50:25.640 went to watch you play at this thing and you 0:50:25.680 --> 0:50:28.480 were at the bar getting a beer and we were 0:50:28.520 --> 0:50:30.919 just kind of sitting there, like no one was around you, 0:50:32.040 --> 0:50:35.040 and and we were just kind of like we were 0:50:35.080 --> 0:50:39.319 just kind of looking over him, like dude, that's that's him, 0:50:39.360 --> 0:50:41.879 you know, kind of thing, like that's the guy, you know. 0:50:42.360 --> 0:50:46.800 And we just went over there and we're like Jonathan Singleton. 0:50:47.280 --> 0:50:50.520 He was like yeah, man, yeah, We're like, dude, you're great, 0:50:50.680 --> 0:50:55.440 you know, like he's great. He was like cool, man, yeah, 0:50:55.719 --> 0:50:57.600 you know, because I just meet you guys, you know 0:50:57.719 --> 0:51:01.160 kind of thing, you know, And um, I remember that, 0:51:01.520 --> 0:51:03.600 you know. The year later when you saw me and stuff, 0:51:03.960 --> 0:51:07.040 you had guests got in touch with Channing to get 0:51:07.040 --> 0:51:09.520 a right with me, and I was like so excited 0:51:09.560 --> 0:51:12.279 about that. And I had I had been driving my 0:51:12.320 --> 0:51:14.440 two thousand Dodge Neon, which I had had since I 0:51:14.440 --> 0:51:18.040 was sixteen at that time, and I just bought a 0:51:18.640 --> 0:51:23.000 used Ford Fusion Fusion. I always called it a probe, 0:51:24.600 --> 0:51:27.600 a used Ford Fusion, which I thought was like a 0:51:27.880 --> 0:51:31.680 you know, the sickest car ever due at that time. 0:51:31.800 --> 0:51:35.200 You know, it was for me at that time. And 0:51:35.280 --> 0:51:37.920 so it was my first car that had the little 0:51:38.480 --> 0:51:42.239 car phone in it where you could answer a call 0:51:42.360 --> 0:51:44.120 and it was like in the speakers. And so I 0:51:44.160 --> 0:51:47.560 was big time dude at that time. And so it 0:51:47.640 --> 0:51:50.080 was a couple months out, you know. And and so 0:51:50.840 --> 0:51:54.640 the day before the Right, I hadn't communicated with Singleton 0:51:54.680 --> 0:51:57.399 at all. I just knew like, hopefully this right still 0:51:57.440 --> 0:52:01.239 happening because it's tomorrow, you know, and Channing is like, yeah, 0:52:01.280 --> 0:52:06.960 we're good. I'm driving down. Yeah. So the day before 0:52:07.080 --> 0:52:10.839 I'm driving into my ride or whatever, and I get 0:52:10.840 --> 0:52:14.360 a call on my car phone thing, which I'm already 0:52:14.360 --> 0:52:16.720 excited to answer because I just have a car phone. 0:52:16.760 --> 0:52:18.799 So I'm like hit the call button, you know, And 0:52:19.360 --> 0:52:22.840 it was Jonathan and he was just like smega casual. 0:52:23.880 --> 0:52:27.000 He's like hey man, uh, you know, pumped the right 0:52:27.160 --> 0:52:30.440 and so like what's your deal? And but I was 0:52:30.480 --> 0:52:33.759 kind of like like do you want to fight like that? 0:52:33.840 --> 0:52:36.800 Be like what's your deal? Like did I do something wrong? 0:52:37.360 --> 0:52:39.239 And I'm like what do you mean? He's like like, 0:52:39.320 --> 0:52:42.440 you're publishing deal, you know, like what's your thing? And 0:52:42.480 --> 0:52:44.879 I was like, oh, I just don't. I don't have 0:52:44.920 --> 0:52:46.880 a publishing deal. And he was like, well do you 0:52:46.880 --> 0:52:49.479 want one? And I was like yeah. He's like alright, cool, 0:52:49.600 --> 0:52:51.880 We'll just do one and we just I'll see you more. 0:52:51.920 --> 0:52:54.080 And I was like all right, cool, and then that 0:52:54.200 --> 0:52:59.680 was just kind of what happened to kind of and 0:52:59.680 --> 0:53:04.080 and up and real fast after that. It was actually, yeah, 0:53:04.120 --> 0:53:06.799 well you know that was that was a good deal 0:53:06.880 --> 0:53:11.399 to make for it. It was it was well so 0:53:11.680 --> 0:53:16.480 um of course six ft Apart talks about what you're 0:53:16.480 --> 0:53:20.919 looking forward to when all of this is over, and uh, 0:53:21.000 --> 0:53:23.360 just in terms of getting back out and playing live, 0:53:23.760 --> 0:53:25.680 um talk talk to me a little about that. If 0:53:25.680 --> 0:53:28.120 you thought about the first show you're you're gonna play 0:53:28.120 --> 0:53:30.839 when you can play, I mean, I think you know 0:53:31.760 --> 0:53:36.680 right now there is no plan. I mean, I mean 0:53:36.920 --> 0:53:41.480 the hope is that we can do the shows that 0:53:41.520 --> 0:53:45.600 we left last year is literally where we'll pick up. Mhm. 0:53:46.160 --> 0:53:49.759 So the hope. The tentative plan as of this very 0:53:49.800 --> 0:53:54.080 second is that we will do those headlining shows at 0:53:54.080 --> 0:53:57.799 sea to see next year. That going the planned at 0:53:57.880 --> 0:54:02.359 this exact moment. Whether that happens or not, I don't know, 0:54:02.760 --> 0:54:07.319 but I hope that that happens obviously, and maybe it will, 0:54:07.320 --> 0:54:09.200 maybe it won't, But as of now, that's the plan, 0:54:09.280 --> 0:54:11.880 and I'm you know, I'm pretty stoked about that because 0:54:12.000 --> 0:54:13.520 you know, I left a bad taste in my mouth 0:54:13.640 --> 0:54:17.520 not getting to play for those people, and they were 0:54:17.880 --> 0:54:21.879 those people only get a country show once a year, 0:54:22.000 --> 0:54:25.239 and that's kind of that week. What's there's not a 0:54:25.280 --> 0:54:28.560 lot of acts doing headlining going to Europe and playing 0:54:28.600 --> 0:54:31.520 club shows. You know, you just can't afford to do that, 0:54:31.800 --> 0:54:34.520 so um that you know, there's definitely a huge base 0:54:34.600 --> 0:54:37.279 for it over there, that's that's heavily underserved, and so 0:54:37.760 --> 0:54:39.200 you know, i'd love for that to be the first 0:54:39.200 --> 0:54:42.960 show back. Well, I mean, fingers crossed, and we're all 0:54:42.960 --> 0:54:44.799 hoping that that that we're out of this by then, 0:54:44.880 --> 0:54:47.400 and uh and we're all looking forward to seeing some 0:54:47.480 --> 0:54:51.120 of the music live. Luke, thank you for being here, 0:54:51.160 --> 0:54:53.640 thank you, thank you for joining us. Of course, man, 0:54:53.800 --> 0:55:05.480 thanks for having us, Yeah, it's a pleasure. M Inside 0:55:05.480 --> 0:55:08.320 the Studio is a production of I heart Radio. For 0:55:08.440 --> 0:55:11.279 more podcasts for my heart Radio, check out the i 0:55:11.400 --> 0:55:15.400 heart Radio app, Apple Podcasts, or wherever you get your podcasts.