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Speaker 1: We've kind of gotten out of the business of doing

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Speaker 1: a lot of In case you missed it, but we

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Speaker 1: had a great Bobby Cast with Keith Urban that I

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Speaker 1: did just a few weeks ago. If you missed it,

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Speaker 1: go back and listen to it, because Keith talked about

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Speaker 1: where he lived when he moved to town from Australia,

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Speaker 1: like where he put us clothes in some of the

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Speaker 1: guy's drawer. It's a really good episode, but there were

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Speaker 1: certain questions I did not ask him because I had

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Speaker 1: asked him that the last time we were here. So

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Speaker 1: it's been a few years, but this is like the

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Speaker 1: ultimate Keith Urban bio podcast.

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Speaker 2: What do you agree? I would definitely agree.

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Speaker 1: So we talked about his love and music, him talking

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Speaker 1: about his dad, which he almost never talks about, seeing

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Speaker 1: Johnny Cash with his dad as a kid, and that

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Speaker 1: story's wild, so rehab. We talked about that, which is

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Speaker 1: why I didn't get into it last time. Not because

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Speaker 1: I was scared to get into it, because I knew

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Speaker 1: we had already talked about a lot of this, and

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Speaker 1: then how him and his wife and Nicoll keep it

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Speaker 1: normal at home. This is Keith Urban from twenty twenty one.

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Speaker 1: It's kind of the prequel, the prequel. Oh yeah, it's

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Speaker 1: the prequel to the one that came out last Tuesday.

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Speaker 1: And by the way, if you missed that, you can

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Speaker 1: go listen to it, but also the full video of

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Speaker 1: it as well on the YouTube. Just go to at

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Speaker 1: Bobby Bone's channel. At Bobby Bones's channel to watch that

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Speaker 1: basically forty five fifty minute interview with Keith Urban. All right,

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Speaker 1: here you go, all right in with Keith Urban, which

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Speaker 1: it's Caitlin sends her best my wife. She just said,

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Speaker 1: Keith's coming over. I said, yeah, she said, tell him,

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Speaker 1: first of all, thank you for the the wedding gifty cent.

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Speaker 1: It's the nicest sheets we've ever owned in our entire life.

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Speaker 2: Nice. You should stay in more of them, you know.

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Speaker 1: I she got on to me a little bit because

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Speaker 1: you probably don't do this, but I still have two

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Speaker 1: At times.

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Speaker 2: I have spray tan yeah, okay, okay.

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Speaker 1: And I got into the sheets and spraytan once and

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Speaker 1: she reminded me how nice of sheets they were, and

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Speaker 1: then I should never do that again.

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Speaker 2: And then you reminded her how much expensive tanning was,

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Speaker 2: and it didn't work.

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Speaker 3: The tanning does not really hold a candle to.

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Speaker 2: The destroyed sheet.

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

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

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

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

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

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

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

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Speaker 1: it like a normal in the mail.

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Speaker 2: Either way, both are fine. Yeah, and you could have

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Speaker 2: even not sent it, but told me that you did.

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Speaker 2: In a sauthild accounts, I.

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Speaker 1: Said that to to people, and I said, hey, what

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Speaker 1: if I just send people a message for a wedding gift,

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Speaker 1: like a video message?

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Speaker 2: I heart felt sure, absolutely human?

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Speaker 1: Yeah, and said that, and I said, but everybody just

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Speaker 1: roasted me like it was the dumbest thing they had

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Speaker 1: ever heard, because they just loved the tradition of the hand.

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Speaker 1: If someone sends me a thank you card for something

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Speaker 1: I expected thank you card for, I don't feel like

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Speaker 1: it means as much. If I get a thank you

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

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Speaker 1: that's awesome, I hear you.

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Speaker 2: You know, Yeah, it's It's a complix hated etiquette, isn't it?

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Speaker 1: Is this back home? Is it so etiquette back in

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Speaker 1: like Australia.

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Speaker 2: New Zealand. Yeah, etiquette.

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Speaker 3: This is a dumb American thing where we have this,

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Speaker 3: you know?

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Speaker 2: Is this?

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Speaker 1: Is this the thing there with after if someone gets married.

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Speaker 1: Back in New Zealand, I.

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Speaker 2: Had to learn the whole thing about thank you gods.

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Speaker 2: And because I didn't grow up with any of that,

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Speaker 2: I think my family was not that etiquette at all.

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Speaker 2: Etiquette eternally just no, they were not at all. I

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Speaker 2: had to learn the hardway here that you write thank

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Speaker 2: you notes to people. That was that was completely foreign

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Speaker 2: to me.

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Speaker 3: I remember once you were kind enough to invite me

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Speaker 3: over to your place.

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Speaker 1: It was a Christmas and we were in Australia and

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Speaker 1: you said, hey, you should come over, and I was

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Speaker 1: talking to you about music in Australia and New Zealand

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Speaker 1: and country music in particular.

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Speaker 3: I was like, what is country music like here?

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Speaker 1: And you you had kind of expressed to me that

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Speaker 1: country music there is kind of am like, it's a

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Speaker 1: different kind of home bred folksya country in Australia. Now

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Speaker 1: some of the American version is getting over there, but

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Speaker 1: it's hard to find country music on the radio in Australia.

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Speaker 2: Well, the struggle for Australian country artists is there isn't

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Speaker 2: the big mainstream infrastructure that there is here in America.

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Speaker 2: You know, here we have FM country stations everywhere, satellite radio,

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Speaker 2: you got multiple video platforms. This is even preceding YouTube

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Speaker 2: with CMD and GAC. None of that existed in Australia.

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Speaker 2: So there was a lot of country artists wanting to

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Speaker 2: make more mainstream sounding country music, but there wasn't the

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Speaker 2: platforms for it. And there's some degree that's still a

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Speaker 2: struggle there.

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

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

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

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

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Speaker 1: you to fit musically here?

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Speaker 2: It well, I mean Nashville was just the destination.

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Speaker 3: Because why why was it the destination?

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Speaker 2: It was written on the back of all the records

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Speaker 2: that my dad had, Don Williams mostly and Glenn Campbell,

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Speaker 2: Charlie Pride, Merle Haggard, all of those records all sit

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Speaker 2: on the back of them recorded in Nashville. Tennessee. So

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Speaker 2: as a kid, I'm like, oh, that's where you go

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Speaker 2: to make records. Period. I just thought that's where you

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Speaker 2: go if you want to make a record.

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Speaker 1: But how did your dad get so involved in music

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Speaker 1: from Nashville because not all was from Nashville. You're talking

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

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

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

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Speaker 1: was country Americana.

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Speaker 3: So how did your dad get involved in that scene?

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Speaker 2: Musically? So in the fifties he was playing in a band.

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Speaker 2: In the fifties he was a drummer and he played

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Speaker 2: and ban called the Ricochets in New Zealand and in

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Speaker 2: the fifties. Rock and roll happened in the mid fifties, right,

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Speaker 2: so it made its way down to New Zealand. My

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Speaker 2: dad got obsessed with rock and roll and consequently American movies,

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Speaker 2: American cars. We always had American cars growing up, which

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Speaker 2: is crazy in Australia. He was just in love with

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Speaker 2: America and he loved rock and roll in the fifties

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Speaker 2: all through the sixties and then in the late sixties

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Speaker 2: when rock and roll kind of went a in a bigger,

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Speaker 2: kind of different direction than I mean, the origins of

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Speaker 2: rock and roll is really rockabilly. You know, there was

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Speaker 2: a country element in early rock and roll. So when

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Speaker 2: rock then became more rock as we knew it through

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Speaker 2: the sixties seventies, my dad went, that's kind of a

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Speaker 2: little too hard for me. And here's the connection. There

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Speaker 2: was a group called the pos O Seiko Singers, which

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Speaker 2: was a folk group in the sixties, and one of

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Speaker 2: the members of that group was a guy called Donald Williams,

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Speaker 2: and then he broke away from that group, dropped the

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Speaker 2: Donald became Dom Williams in went country, and my dad

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Speaker 2: just followed him. That was really it.

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Speaker 3: And so you growing up listening to that music, that

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Speaker 3: was your music in the house.

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Speaker 2: Yeah, yeah, Well, and my mom loved Neil Diamond Everly Brothers.

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Speaker 2: My brother was into Elo and Supertramp and Eagles and

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Speaker 2: Fleetwood Mac. So that was older fusion.

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Speaker 3: How proficient was your dad with a guitar?

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Speaker 2: Oh, terrible with guitar, great with drums, but terrible and guitar.

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Speaker 1: So for you, was it drums at first or were

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Speaker 1: other people playing a guitar around you, and you're like,

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Speaker 1: think that that's.

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Speaker 2: It for me? No, they said, Mom and dad brought

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Speaker 2: me a ukulele when I was five, and I guess

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Speaker 2: it is a toy I mean, and my dad said

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Speaker 2: I could strum it in time with songs on the radio.

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Speaker 2: I wasn't playing any cholds, but the rhythm was there.

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Speaker 3: So rhythm, which I mean possibly from.

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Speaker 2: Him, definitely. Yeah. And my grandfather played piano, so all

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Speaker 2: of my dad's music brothers role musical, trumpet, piano, guitar, drums,

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Speaker 2: four brothers. Uh so it was all musical, and I

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Speaker 2: just took the guitar. I guess because of the ukulele.

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Speaker 1: Was he the dad that wanted you to follow in

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Speaker 1: his footsteps of Hey, if I'm musical, I think it's

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Speaker 1: cool that you're musical, or like so many people in

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Speaker 1: the creative worlds, I've seen what a beast this can be.

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

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Speaker 1: unless you push so hard back that you want to

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Speaker 1: get in it.

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Speaker 2: Yeah, that that was it, definitely, because I I heighted,

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Speaker 2: I wasn't very disciplined as a kid. I don't know

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Speaker 2: if you can relate to that. Bobby but were you

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Speaker 2: disciplined as a kid, because are you disciplined now?

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Speaker 1: Yes, because of the addiction that my mom had and

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

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Speaker 1: with my dad bailing out when I was six, my

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Speaker 1: mom being a drug addict her entire life. I was

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Speaker 1: so disciplined that I couldn't go down that path or

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Speaker 1: I was going to just go down the path and

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Speaker 1: live in that path. So, you know, even today, I've

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Speaker 1: never had a drink of alcohol because I feel the

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Speaker 1: addict in me with other things I do.

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Speaker 3: So I am extremely disciplined until i'm not, and then

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Speaker 3: I'm off the end.

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

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

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Speaker 1: to find my healthy addictions. And I don't know if

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

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

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

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Speaker 1: my now coatural gravity is to go to something and

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Speaker 1: and and invest myself all the way in. It's so

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Speaker 1: much so that it is unhealthy. So I gotta find

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Speaker 1: the healthiest version of that, because it's just in me intrinsically,

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

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

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

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

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Speaker 1: instance when now I was I got jumped and got

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

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

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Speaker 1: healthy gunpoint, I had had my house broken into. It

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

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

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

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

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

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Speaker 1: and you're sick, you should take sleeping pills. Took them,

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

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Speaker 1: I was like, oh my god, well are.

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Speaker 2: You taking them and staying up side of them?

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Speaker 3: Well, yeah, I don't remember. I don't right, I don't remember.

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Speaker 1: And so I would take these sleeping pills and I

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

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Speaker 2: I'm stuck.

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Speaker 3: And it was the only time because I remember my mom.

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Speaker 4: Being because you couldn't sleep without them, couldn't sleep, but

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Speaker 4: couldn't sleep without them, felt like they were tethered to

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Speaker 4: me anywhere I went at any point, I had to

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Speaker 4: have them with me because if I needed a sleep,

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Speaker 4: that was the only way I could go.

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

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Speaker 1: beat this right now, like this has got a.

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Speaker 2: Hold of me.

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

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

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

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Speaker 1: But I just had to mention of it.

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Speaker 3: Yeah, and I was like, oh God, this is it.

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Speaker 2: Yeah.

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

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

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

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Speaker 1: that discipline in me from I gotta be.

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Speaker 2: Or I'm going to go off. Yeah that makes sense

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Speaker 2: and not be completely Yeah.

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Speaker 1: So I was disciplined as a child. You were not disciplined, No,

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Speaker 1: I wasn't.

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Speaker 2: I think just being an artist comes with a sense

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Speaker 2: of being able to create, and so there's a sense

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Speaker 2: of just freedom and liberation. Also as the youngest, you know,

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Speaker 2: I had an older brother, and I think it's not

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Speaker 2: uncommon for the younger sibling to potentially be a little

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Speaker 2: more like, well, everyone else take care of everything. I'm fine.

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Speaker 2: I'm just floating along.

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Speaker 1: So your older brother played music, how come you didn't

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Speaker 1: get stuck with the bass.

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Speaker 2: Yeah, he didn't play. We started playing guitar at the

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Speaker 2: exact same time. I was six, he was eight, and

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Speaker 2: he started on a steel string acoustic and I started

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Speaker 2: on with nylon strings and he just couldn't hack it

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Speaker 2: and gave up pretty quick. And to your point about

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Speaker 2: my dad, I went into my dad one time and

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Speaker 2: said these strength these I hate playing guitar, and my

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Speaker 2: dad goes, all right, well, then don't do it. And

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Speaker 2: I was like, ah, that's not what I wanted. I

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Speaker 2: wanted him to tell me I have to do it

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Speaker 2: and get into a fight. So it was kind of

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Speaker 2: reverse psychology that works really well.

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

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Speaker 1: as you became twelve, fourteen, sixteen years old?

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Speaker 2: My dad's alcoholic was he's not here anymore, but he

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Speaker 2: was alcoholic his whole life. I never just never dealt

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Speaker 2: with it, you know. So my brother and I classic

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Speaker 2: adult children of alcoholic raised and I got the same

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Speaker 2: genetic disposition as my dad and my brother didn't have that. Really,

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Speaker 2: it doesn't have it. No, it's wild because I feel it.

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Speaker 2: I have it right, and luckily I saw it early.

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Speaker 2: But it's crazy that you would have it and your

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Speaker 2: brother doesn't. Yeah. Yeah, but then he has no hair

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Speaker 2: and I have hair, so it's a fair trade.

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

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

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Speaker 1: it somewhat to create a bond to your dad that

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Speaker 1: maybe wasn't there because of other circumstances.

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Speaker 2: Probably both, you know both, And you know, I think

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Speaker 2: in the song we have wild Heart, so you know

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Speaker 2: there's a song about it opens with Johnny Cash, you know,

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Speaker 2: sort of man in Black, because when I was five, dad,

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Speaker 2: mom and dad took us to see Johnny Cash, and

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Speaker 2: I remember so much about that concert. But the thing

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Speaker 2: I think that it's subconsciously in me was I was

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Speaker 2: really taken by how my dad was staring at this

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Speaker 2: guy on stage and probably thinking, how do I get

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Speaker 2: my dad to look at me like that? Right? Isn't

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Speaker 2: that wild? Yeah? Yeah, so I don't. I don't know

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Speaker 2: if I saw it. It's hard to know, right, did

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Speaker 2: I recognize in that person on stage with the guitar.

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Speaker 2: Did I recognize something that I was going to do,

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Speaker 2: or something that I wanted to do, or something that

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Speaker 2: I should do? I don't know, it doesn't really matter

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Speaker 2: in the end.

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Speaker 1: When did it start to be And I'm not going

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Speaker 1: to say the word easy, I don't think that's fair

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Speaker 1: to you, But when did it start to be that

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Speaker 1: you had an understanding that you could actually create and

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Speaker 1: manipulate with that instrument?

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Speaker 2: Tuesday? This week?

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Speaker 3: This week?

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Speaker 2: Yeah, it's a great moment.

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Speaker 1: You've been missing, You've missing a lot, You've been doing

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Speaker 1: pretty good up until Tuesday.

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Speaker 2: You've had us all fulled. Yeah?

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Speaker 3: Was it fourteen fifteen?

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Speaker 1: Was it earlier than that where you're like, Okay, I

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Speaker 1: can actually do this at a higher level than like

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Speaker 1: my peers are doing this.

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Speaker 2: Uh. I don't know if I've ever felt that way really, No, No,

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Speaker 2: because you know in Australia, Yeah, because I've always been

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Speaker 2: around people way better than me, always, And in Australia

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Speaker 2: there's like the local guy playing in the cover band,

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Speaker 2: because people go who your influences? I'm like, ah, the

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Speaker 2: guy in the local cover band, Barry Kloff And then

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Speaker 2: Dallas Southam and then Redge Grant and all these guys

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Speaker 2: playing in cover bands. I'm twelve years old, thirteen years

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Speaker 2: old watching them going, Oh, I wish I could play

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Speaker 2: that good. And then at some point you'd play that good,

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Speaker 2: and so you're already looking to the next guy. Oh,

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Speaker 2: I wish could play as good as him, and you

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Speaker 2: just your your influences, keep moving.

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Speaker 1: Who was it for you that was your favorite, your

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Speaker 1: first favorite artist where you really clicked and you're like,

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Speaker 1: that's my favorite, your own.

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Speaker 2: It's a good question. Gosh, I don't know.

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Speaker 3: For me, I'll vamp of it as you think. He

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Speaker 3: can have a good answer for me.

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

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

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Speaker 1: and I never had experienced that before. Wow, he's a

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Speaker 1: couple of years older than I am, but I was like, wow,

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Speaker 1: this guy one. I liked his tone, I liked his style,

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Speaker 1: but he was saying things. It was like a really

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Speaker 1: good comedian, you know how you go.

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Speaker 2: Oh.

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Speaker 3: I always thought that I just didn't know how to

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Speaker 3: say it like that.

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Speaker 1: It was the first time I'd ever heard that in song,

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Speaker 1: and I thought, Wow, he's kind of speaking for me

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Speaker 1: musically is the first time that it ever happened. So

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Speaker 1: he became my first ever like, that's my favorite artist.

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Speaker 1: There have been others that that since have done that.

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Speaker 1: I'm a big Counting Crows guy to you know, but

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Speaker 1: John Mayer was it for me?

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Speaker 3: Now that I've given you a little time, who do

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Speaker 3: you think it is for?

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Speaker 2: Well, what I actually think about is Joe Mellencamp is

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Speaker 2: the is the guy that's coming to mind. The reason

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Speaker 2: is I grew up playing with list country music right,

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Speaker 2: going to at least talent quests and different petitions playing

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Speaker 2: country music. But then I got to be twelve, thirteen, fourteen.

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Speaker 2: I left school at fifteen. I was playing in a

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Speaker 2: cover band at fifteen, so we just do on Top

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Speaker 2: forty and I'm playing in all the pubs in Australia.

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Speaker 2: And the pubs are rough places, you know, just concrete floor,

363
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Speaker 2: hose it out the end of the night, rough crowd,

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Speaker 2: no holes barred. If you suck, they will let you

365
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Speaker 2: know you suck. And I grew up playing in that

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Speaker 2: very rock environment and so I loved country. I loved rock,

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Speaker 2: I loved Top forty. I'm like, what the hell do

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Speaker 2: I do who am I musically? And then John put

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Speaker 2: out Loansome Jubilee, which was an album that had songs

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Speaker 2: like paper and Fire check it out, Cherry Bomb, YadA

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Speaker 2: yea Dayada, and it was rock, but it had like

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Speaker 2: fiddle and it had accordion and everything. So we went

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Speaker 2: to see him in concert on that tour. I was

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Speaker 2: playing in a cover band. The band got tickets. We

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Speaker 2: went to see him, and we're way up in the

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Speaker 2: nosebleeds in this arena. Him and the band comes out

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Speaker 2: and they and it was so insanely great and it

378
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Speaker 2: was rock country something whatever the hell was going on.

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Speaker 2: It was literally an epiphany. And I saw what Jill

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Speaker 2: was doing and I went, oh, that's the answer. You

381
00:17:16,119 --> 00:17:18,640
Speaker 2: don't think about labels. Just take all the things you love,

382
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Speaker 2: figure it out how to put them together and make

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Speaker 2: it be like this. And I was very lucky to

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Speaker 2: meet John many many years later and tell him that story,

385
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Speaker 2: and he said, it's so great that that's what you

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Speaker 2: took away from that concert, because most people leave the

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Speaker 2: concert and go, I'm going to do that. I'm gonna

388
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Speaker 2: have fiddle in my bed, you know, and just rip off.

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Speaker 2: Joe Mellencamp but what I took from it was just

390
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Speaker 2: do your own thing.

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

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

393
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Speaker 1: roots at the same time, incorporated them all.

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Speaker 3: How do you see that affecting your show that you

395
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Speaker 3: do now?

396
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Speaker 1: Like, what are the surroundings that you've taken from your

397
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Speaker 1: life because you have a different kind of show?

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Speaker 3: Yeah, of really anyone?

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Speaker 1: I mean, and I say that in the most complimentary way.

400
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Speaker 1: And I've told you this off a microphone too, Like,

401
00:18:00,920 --> 00:18:02,720
Speaker 1: you do the best live show I've ever seen.

402
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Speaker 2: You need to get out more, Bubby.

403
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Speaker 1: I've seen a lot of live shows. I'm jaded at

404
00:18:06,119 --> 00:18:08,680
Speaker 1: this point too. I'm extremely jaded.

405
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Speaker 2: That's a higher compliment than it is. Yeah, it is.

406
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Speaker 1: I've seen it all and I don't care to see

407
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Speaker 1: anymore because it's just part of the life we live

408
00:18:14,600 --> 00:18:15,080
Speaker 1: right until.

409
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Speaker 3: But when your move, your move so hard.

410
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Speaker 1: When you're jaded, and to watch you perform, I leave

411
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Speaker 1: and I'm like, god, dang, I just I thought i'd

412
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Speaker 1: seen it all. So because of that, you're it is

413
00:18:26,560 --> 00:18:28,800
Speaker 1: so So what do you take? What are your influences

414
00:18:28,800 --> 00:18:32,120
Speaker 1: that have created what is your project in the same

415
00:18:32,119 --> 00:18:34,800
Speaker 1: way that he had taken fiddle and he had taken

416
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Speaker 1: you know, a different kind of percussion.

417
00:18:36,600 --> 00:18:38,879
Speaker 2: Yeah, and the different self is for me as I

418
00:18:38,920 --> 00:18:41,960
Speaker 2: play guitar, So that becomes a strong point of the

419
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Speaker 2: of what I do. I love guitar riffs. I love

420
00:18:46,600 --> 00:18:51,720
Speaker 2: catchy songs, you know, unapologetically energy too, and energy yeah,

421
00:18:51,760 --> 00:18:56,119
Speaker 2: and fiercely in the moment presence, absolutely and really giving

422
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Speaker 2: a shit, like really really like this is the last

423
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Speaker 2: gig I'll ever play. Every is the last gig ever play.

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

425
00:19:03,560 --> 00:19:06,840
Speaker 1: shows is not only is it musically wonderful and sonically

426
00:19:07,240 --> 00:19:10,080
Speaker 1: just the greatest, but there's so much energy there that

427
00:19:10,160 --> 00:19:11,600
Speaker 1: doesn't feel forced energy.

428
00:19:11,960 --> 00:19:15,000
Speaker 3: It feels like pure energy. And there's a difference.

429
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Speaker 1: Sometimes you go out and you really do I'm like,

430
00:19:16,960 --> 00:19:18,560
Speaker 1: I'm gonna really work for this show, but it doesn't

431
00:19:18,560 --> 00:19:20,719
Speaker 1: feel like work. It feels like that's who you are

432
00:19:20,760 --> 00:19:23,960
Speaker 1: as an artist, Like that's the most genuine version of you.

433
00:19:24,280 --> 00:19:25,920
Speaker 1: And again, if you if you haven't seen Keith's show,

434
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Speaker 1: and honestly this wasn't leading up to the promo of

435
00:19:27,960 --> 00:19:30,040
Speaker 1: your tour. Yeah, your tickets are on until today, which

436
00:19:30,080 --> 00:19:33,119
Speaker 1: works in great into this and it's the it's the

437
00:19:33,200 --> 00:19:36,800
Speaker 1: greatest live show I think I've seen because and I

438
00:19:37,040 --> 00:19:38,639
Speaker 1: don't know why you keep going into the audience.

439
00:19:38,640 --> 00:19:39,800
Speaker 3: You may not not do that with COVID.

440
00:19:39,880 --> 00:19:46,880
Speaker 1: Now I've just seen you do it so many times.

441
00:19:45,760 --> 00:19:49,080
Speaker 3: Like stop, like I'm worried for your own hell.

442
00:19:49,400 --> 00:19:53,720
Speaker 1: Yeah, like people we were talking to Jerry Flower, Yeah,

443
00:19:54,920 --> 00:19:58,040
Speaker 1: Jerry Klower. Jerry Clower is one of my favorites too,

444
00:19:58,040 --> 00:20:01,840
Speaker 1: by the way, hear me Jerry.

445
00:20:01,240 --> 00:20:03,960
Speaker 2: Clowers only one time and he is just a pistol.

446
00:20:04,240 --> 00:20:05,080
Speaker 2: Yeah yeah.

447
00:20:05,119 --> 00:20:07,600
Speaker 1: So but the other Jerry who you were in the

448
00:20:07,640 --> 00:20:11,560
Speaker 1: ranch with, and who is your musical leader, band director?

449
00:20:11,560 --> 00:20:12,840
Speaker 2: I don't know, yea bas player, yep.

450
00:20:13,440 --> 00:20:15,359
Speaker 1: He said that you guys were doing a private function

451
00:20:15,560 --> 00:20:17,480
Speaker 1: and you ran into the crowd and they were so

452
00:20:17,600 --> 00:20:23,840
Speaker 1: high they started biting you. Oh yeah, I like wait what,

453
00:20:24,119 --> 00:20:25,760
Speaker 1: Like I knew that was going to happen, but it's

454
00:20:25,800 --> 00:20:28,520
Speaker 1: already happened. Like they pulled your shirt off and they

455
00:20:28,520 --> 00:20:31,280
Speaker 1: were biting you. Yeah, and you kind of give off

456
00:20:31,280 --> 00:20:33,960
Speaker 1: that or like you accept that. So we try and

457
00:20:33,960 --> 00:20:40,000
Speaker 1: feed people before the show. Now, they're very passionate, is

458
00:20:40,080 --> 00:20:40,600
Speaker 1: very passionate.

459
00:20:40,680 --> 00:20:41,159
Speaker 2: Let me say this.

460
00:20:41,240 --> 00:20:43,840
Speaker 1: The new American tour, The Speed of Now World Tour

461
00:20:43,880 --> 00:20:47,560
Speaker 1: twenty twenty two fifty three shows between June seventeenth and

462
00:20:47,600 --> 00:20:50,800
Speaker 1: November fifth of twenty twenty two. There is a full

463
00:20:50,840 --> 00:20:52,800
Speaker 1: list of dates and tickets right now at Keith Urban

464
00:20:52,840 --> 00:20:56,879
Speaker 1: dot com. Let's go back whenever you're playing in these

465
00:20:56,880 --> 00:20:59,840
Speaker 1: cover bands, what was the ceiling for you as far

466
00:20:59,840 --> 00:21:03,960
Speaker 1: as as for your career when you're fourteen, fifteen, sixteen

467
00:21:04,000 --> 00:21:04,280
Speaker 1: years old?

468
00:21:04,320 --> 00:21:06,320
Speaker 2: What's the ceiling in your mind? Yeah? How far you

469
00:21:06,359 --> 00:21:08,959
Speaker 2: can get in your career. I never thought of it.

470
00:21:09,000 --> 00:21:11,760
Speaker 2: I don't know, it's so weird. I was never one

471
00:21:11,760 --> 00:21:15,400
Speaker 2: of these kids with a plan at all, none, just

472
00:21:15,400 --> 00:21:17,760
Speaker 2: try and get better. I was playing in this cover

473
00:21:17,800 --> 00:21:19,600
Speaker 2: band that I talked about in nineteen eighty eight when

474
00:21:19,600 --> 00:21:22,240
Speaker 2: it saw Mellencamp. Yah, yeah, yeah, And I wasn't the

475
00:21:22,280 --> 00:21:27,440
Speaker 2: lead singer. I was guitar playing and we were playing.

476
00:21:27,720 --> 00:21:29,439
Speaker 2: It was for a cover band. We were doing a

477
00:21:29,440 --> 00:21:31,960
Speaker 2: couple of thousand people on a Sunday afternoon, which was

478
00:21:32,000 --> 00:21:34,120
Speaker 2: a lot of people to come and see this cover band.

479
00:21:34,160 --> 00:21:35,400
Speaker 2: But it was a really good band.

480
00:21:35,480 --> 00:21:37,159
Speaker 3: What was your role in the cover band guitar and

481
00:21:37,240 --> 00:21:37,680
Speaker 3: lead singer?

482
00:21:38,440 --> 00:21:40,719
Speaker 2: Well, we had a lead singer that wasn't you, It

483
00:21:40,720 --> 00:21:44,960
Speaker 2: wasn't me. And the only reason I joined this band

484
00:21:45,840 --> 00:21:48,840
Speaker 2: was I had a manager who was also managing this band.

485
00:21:49,480 --> 00:21:51,640
Speaker 2: It's a long story, but I had been in I'd

486
00:21:51,640 --> 00:21:54,040
Speaker 2: done duo's, I'd done bands. I'd always had my own thing, right.

487
00:21:54,080 --> 00:21:56,320
Speaker 2: It was always me was whatever. I was always doing

488
00:21:56,320 --> 00:21:59,959
Speaker 2: my thing. My manager thought, I really need some frontman experience,

489
00:22:00,119 --> 00:22:01,640
Speaker 2: how to handle a crowd, how to put a set

490
00:22:01,640 --> 00:22:03,280
Speaker 2: list together, how to put on a show, how to

491
00:22:03,320 --> 00:22:05,720
Speaker 2: just lead. And so he said, I've got this band.

492
00:22:05,800 --> 00:22:08,000
Speaker 2: I think you should join the band and watch this

493
00:22:08,200 --> 00:22:10,680
Speaker 2: front man because he's amazing and you'll learn so much.

494
00:22:10,720 --> 00:22:12,240
Speaker 2: So I was with that band for about a year

495
00:22:12,560 --> 00:22:15,240
Speaker 2: and he was right. I learned so much from that

496
00:22:15,320 --> 00:22:18,400
Speaker 2: lead singer. But one of the things was I wanted

497
00:22:18,440 --> 00:22:21,600
Speaker 2: to do some original songs. We're doing all these covers,

498
00:22:22,119 --> 00:22:25,480
Speaker 2: and so I started writing a song and he loved it,

499
00:22:25,680 --> 00:22:28,720
Speaker 2: and the band learned it, and he was going to

500
00:22:28,760 --> 00:22:30,800
Speaker 2: even sing it and it would be on the set

501
00:22:30,840 --> 00:22:32,480
Speaker 2: list and I'd be looking at the guys in the band,

502
00:22:32,480 --> 00:22:34,000
Speaker 2: I'm like, here comes that song. He comes a song.

503
00:22:34,000 --> 00:22:35,760
Speaker 2: We were going to get to do our song and

504
00:22:35,800 --> 00:22:38,480
Speaker 2: he would bail on it. Every time. He'd be like,

505
00:22:38,560 --> 00:22:40,840
Speaker 2: n I skip that one. Let's do money money, and

506
00:22:40,880 --> 00:22:45,760
Speaker 2: I'm like yeah, And after a while of that, I

507
00:22:45,840 --> 00:22:48,720
Speaker 2: just went I'm not this is going nowhere. What are

508
00:22:48,760 --> 00:22:50,360
Speaker 2: you going to do with covers? I want to want

509
00:22:50,359 --> 00:22:53,040
Speaker 2: to play original music. So I left the band and

510
00:22:53,040 --> 00:22:55,080
Speaker 2: the drummer and bass player quit at the same time

511
00:22:55,119 --> 00:22:56,119
Speaker 2: and came and joined me.

512
00:23:02,880 --> 00:23:04,919
Speaker 3: And so then what do you do? Is it a

513
00:23:04,960 --> 00:23:05,680
Speaker 3: new name band?

514
00:23:05,720 --> 00:23:07,119
Speaker 2: Is it are you? It was just me, it was

515
00:23:07,160 --> 00:23:09,919
Speaker 2: just solo. But then of course I couldn't get any

516
00:23:10,000 --> 00:23:13,639
Speaker 2: work playing original songs, and so we resorted to be

517
00:23:13,640 --> 00:23:17,280
Speaker 2: in another cover band, but slipping in my own songs

518
00:23:17,280 --> 00:23:19,240
Speaker 2: in between the covers at least. Yeah.

519
00:23:19,280 --> 00:23:21,480
Speaker 1: And so as you're doing your own music, are you

520
00:23:21,520 --> 00:23:22,440
Speaker 1: in Australia at this point?

521
00:23:22,640 --> 00:23:24,120
Speaker 2: Yeah? Yeah, it's all in Australia.

522
00:23:24,400 --> 00:23:26,080
Speaker 3: Was the plan to get to the States.

523
00:23:26,200 --> 00:23:28,280
Speaker 2: At some point? Yeah, But I didn't know how when

524
00:23:28,600 --> 00:23:31,240
Speaker 2: nothing knew nothing about that? Then how did you? So

525
00:23:31,320 --> 00:23:37,240
Speaker 2: in nineteen eighty nine, my manager got some tickets for

526
00:23:37,320 --> 00:23:39,399
Speaker 2: us to come over to America and we came to

527
00:23:39,480 --> 00:23:41,760
Speaker 2: Nashville and spent lips played down at the Shoonees which

528
00:23:41,800 --> 00:23:45,760
Speaker 2: was on Demonbrian and pitched my crappy demo to all

529
00:23:45,800 --> 00:23:48,760
Speaker 2: the labels, met with complete silence?

530
00:23:51,240 --> 00:23:52,320
Speaker 3: Is it now?

531
00:23:52,400 --> 00:23:55,200
Speaker 1: It was met with complete silence because it's your big,

532
00:23:55,240 --> 00:23:58,720
Speaker 1: famous and successful or was it really met with complete silence?

533
00:23:58,800 --> 00:24:00,560
Speaker 2: Oh? No, it was terrible. First of all, was a

534
00:24:00,640 --> 00:24:02,959
Speaker 2: terrible demo, which, of course when you come from if

535
00:24:02,960 --> 00:24:04,920
Speaker 2: you're not from here, you think it's pretty pretty good

536
00:24:04,920 --> 00:24:06,639
Speaker 2: because it's pretty good from where you come from, but

537
00:24:06,680 --> 00:24:09,760
Speaker 2: it's pretty crap when you get here compared to everything else.

538
00:24:10,480 --> 00:24:14,480
Speaker 2: And I was just out of out of step, out

539
00:24:14,480 --> 00:24:17,200
Speaker 2: of place, out of step. My music didn't fit at all.

540
00:24:17,760 --> 00:24:21,200
Speaker 2: So what made you think that you could stay and thrive?

541
00:24:22,080 --> 00:24:25,280
Speaker 2: Because Nashville was like sixteenth and seventeenth have And I

542
00:24:25,320 --> 00:24:27,159
Speaker 2: got here and I went, this is it? Is this

543
00:24:27,280 --> 00:24:31,760
Speaker 2: it This is the legendary iconic music row like that's it.

544
00:24:32,119 --> 00:24:35,080
Speaker 2: I'm like, ah, this is this is fantastic. It's not

545
00:24:35,200 --> 00:24:38,560
Speaker 2: New York City. It's like this is I'm at home.

546
00:24:38,680 --> 00:24:40,360
Speaker 2: I love it here, it's great, and I didn't want

547
00:24:40,359 --> 00:24:44,400
Speaker 2: to leave. And I also foolishly thought we'll get I'll

548
00:24:44,400 --> 00:24:46,479
Speaker 2: get here and I'll start writing songs and I'll record

549
00:24:46,480 --> 00:24:48,160
Speaker 2: and boom, We'll be off and running in no time.

550
00:24:48,200 --> 00:24:50,760
Speaker 2: And man, the years just went by and by, and.

551
00:24:50,800 --> 00:24:52,920
Speaker 1: What were you doing? And could you make money though

552
00:24:52,960 --> 00:24:54,680
Speaker 1: at the time, Like if you're coming from Australia and

553
00:24:54,720 --> 00:24:56,680
Speaker 1: you're just visiting, were you able to make money?

554
00:24:56,760 --> 00:24:59,080
Speaker 2: So I signed a publishing deal with a company in

555
00:24:59,119 --> 00:25:03,200
Speaker 2: Australia that had an office in Nashville. It's very small,

556
00:25:03,280 --> 00:25:05,439
Speaker 2: little wage to where it's not even a wage. What

557
00:25:05,520 --> 00:25:06,919
Speaker 2: is it like money that you're gonna have to pay

558
00:25:06,960 --> 00:25:10,000
Speaker 2: them back? Right? So I'd come over for a couple

559
00:25:10,040 --> 00:25:13,959
Speaker 2: of weeks on my own, stay with crashes somebody at

560
00:25:14,000 --> 00:25:17,720
Speaker 2: their house, go and write songs every day with whoever

561
00:25:17,880 --> 00:25:20,320
Speaker 2: they put me with. You know that thing that we

562
00:25:20,400 --> 00:25:23,600
Speaker 2: do here in Nashville professional songwriters. Whenever the new kid

563
00:25:23,640 --> 00:25:25,240
Speaker 2: in town is, they throw them in with the pro

564
00:25:25,320 --> 00:25:26,919
Speaker 2: songwriters and see if something happens.

565
00:25:27,160 --> 00:25:28,560
Speaker 1: Was that weird for you, by the way, because that

566
00:25:28,920 --> 00:25:30,960
Speaker 1: was the culture and you've been writing probably by yourself.

567
00:25:31,160 --> 00:25:34,879
Speaker 2: Yeah, but yeah, it was really difficult. I also was

568
00:25:35,000 --> 00:25:37,359
Speaker 2: nowhere near good enough yet, and so I'm getting with

569
00:25:37,560 --> 00:25:40,280
Speaker 2: really great pro writers and I just I sucked. I

570
00:25:40,359 --> 00:25:42,600
Speaker 2: just had so much to learn that was excruciating.

571
00:25:43,000 --> 00:25:45,440
Speaker 3: And are you learning or are you overwhelmed?

572
00:25:45,640 --> 00:25:49,320
Speaker 2: I think and also frustrated the way in which I

573
00:25:49,320 --> 00:25:51,680
Speaker 2: would write with my drum machine and my bass or

574
00:25:51,720 --> 00:25:54,639
Speaker 2: a banjo or something, and always with a groove. Always.

575
00:25:54,800 --> 00:25:56,639
Speaker 2: I would never sit with a guitar and a legal

576
00:25:56,680 --> 00:25:58,080
Speaker 2: pad in a windowless room.

577
00:25:58,200 --> 00:25:59,680
Speaker 3: So were you an early track guy?

578
00:26:00,080 --> 00:26:03,960
Speaker 2: Because if yeah, definitely, because I like I like them well,

579
00:26:04,000 --> 00:26:07,159
Speaker 2: because I write from the music out. The music is

580
00:26:07,160 --> 00:26:09,280
Speaker 2: trying to tell a story, and then I extrapolate the

581
00:26:09,280 --> 00:26:10,160
Speaker 2: story from the music.

582
00:26:10,600 --> 00:26:12,719
Speaker 5: Let's take a quick pause for a message from our

583
00:26:12,760 --> 00:26:24,680
Speaker 5: sponsor and we're back on the Bobby Cast.

584
00:26:24,960 --> 00:26:26,680
Speaker 3: Will you write songs with melody?

585
00:26:26,680 --> 00:26:26,920
Speaker 4: First?

586
00:26:28,400 --> 00:26:28,560
Speaker 2: Uh?

587
00:26:29,560 --> 00:26:31,480
Speaker 3: Just straight melody? Will you write a melody?

588
00:26:31,800 --> 00:26:32,879
Speaker 2: Do? Do? Do?

589
00:26:33,080 --> 00:26:35,159
Speaker 3: And that's what you have? Then you create around the melody.

590
00:26:35,240 --> 00:26:35,800
Speaker 2: Yeah?

591
00:26:36,200 --> 00:26:38,679
Speaker 1: Are you more prone to do that when writing if

592
00:26:38,720 --> 00:26:43,520
Speaker 1: you're starting from scratch or an idea, a lyric like where.

593
00:26:43,359 --> 00:26:45,520
Speaker 2: Do you like to start? If you get to choose,

594
00:26:45,840 --> 00:26:47,760
Speaker 2: If I get to choose, I like a groove. A

595
00:26:47,800 --> 00:26:50,159
Speaker 2: beat doesn't have to be fast, just any kind of

596
00:26:50,160 --> 00:26:56,640
Speaker 2: beat that I can then play along with, whether it's bass, guitar, guitar, piano, something, banjo, whatever,

597
00:26:56,680 --> 00:26:59,840
Speaker 2: It doesn't matter, just something that you pick up and

598
00:26:59,880 --> 00:27:03,520
Speaker 2: just respond to and then a melody comes, a melody

599
00:27:03,520 --> 00:27:05,200
Speaker 2: comes of some sort, and then you I think the

600
00:27:05,560 --> 00:27:07,360
Speaker 2: music has an emotion about it. It's trying to say

601
00:27:07,359 --> 00:27:10,119
Speaker 2: something I make somebody like you. You know. That song

602
00:27:10,200 --> 00:27:14,119
Speaker 2: started from flying out to La meeting this guy John Shanks.

603
00:27:14,200 --> 00:27:18,399
Speaker 2: I didn't know. I was so nervous to meet with

604
00:27:18,440 --> 00:27:21,439
Speaker 2: some LA guy, you know, and I'm like, what do

605
00:27:21,520 --> 00:27:23,479
Speaker 2: I know. I've showed up with my banjo and everything.

606
00:27:23,520 --> 00:27:25,359
Speaker 2: And before I went to the session, I went to

607
00:27:25,440 --> 00:27:28,520
Speaker 2: this Irish pub and I had a pint of guinness

608
00:27:28,600 --> 00:27:30,320
Speaker 2: and it was like ten in the morning and it

609
00:27:30,359 --> 00:27:32,280
Speaker 2: was really good. So I had another one and that

610
00:27:32,320 --> 00:27:33,960
Speaker 2: was a really good. So I had like a third one.

611
00:27:34,320 --> 00:27:36,640
Speaker 2: I get in my car, drive over to the studio

612
00:27:36,720 --> 00:27:40,119
Speaker 2: where he is and by and by then I walked

613
00:27:40,119 --> 00:27:44,199
Speaker 2: in and I felt pretty pretty just not bulletproof, but

614
00:27:44,240 --> 00:27:48,119
Speaker 2: I felt very relaxed, very confident, you know. And he

615
00:27:48,280 --> 00:27:53,000
Speaker 2: had this little drum machine and it was going, that's

616
00:27:53,040 --> 00:27:55,440
Speaker 2: all it was doing. And I pulled my banjo out

617
00:27:55,440 --> 00:28:01,280
Speaker 2: of the case and go, Dan, no idea, why just

618
00:28:01,400 --> 00:28:04,680
Speaker 2: it just came out and We're like, oh, it feels good.

619
00:28:05,040 --> 00:28:06,840
Speaker 2: What do we do with that? You know? And then

620
00:28:08,480 --> 00:28:14,160
Speaker 2: nothing something and so does something. Gotta find some words

621
00:28:14,720 --> 00:28:17,520
Speaker 2: and that's that's it, and then you just the rest comes.

622
00:28:18,080 --> 00:28:20,320
Speaker 1: You're creating that vocal melody to without putting the words

623
00:28:20,320 --> 00:28:24,200
Speaker 1: on it. Yeah, so blah blah blah. So that that

624
00:28:24,200 --> 00:28:26,199
Speaker 1: that and then you'll go would you record that?

625
00:28:26,400 --> 00:28:26,600
Speaker 2: Yeah?

626
00:28:26,720 --> 00:28:28,560
Speaker 3: Go back over and go, okay, you know what's down here?

627
00:28:28,720 --> 00:28:31,200
Speaker 2: Yeah? Well a lot of times it's gibberish. Is actually

628
00:28:31,240 --> 00:28:33,639
Speaker 2: trying to say something like you listen to the tape,

629
00:28:33,640 --> 00:28:35,119
Speaker 2: which we had a tape then, and it would be

630
00:28:37,600 --> 00:28:41,880
Speaker 2: and you're like, oh, there's a there was that a

631
00:28:41,920 --> 00:28:44,840
Speaker 2: new wind? Something write there now never never known, sounds

632
00:28:44,880 --> 00:28:48,960
Speaker 2: like it's like scared. It's all in there. I think

633
00:28:49,040 --> 00:28:51,960
Speaker 2: Mick Jagger calls it making vowel movements. Great.

634
00:28:52,720 --> 00:28:55,120
Speaker 3: So as you're here and you're learning to write, when

635
00:28:55,160 --> 00:28:56,080
Speaker 3: does the ranch.

636
00:28:55,880 --> 00:29:01,800
Speaker 2: Start to be a thing? Uh? Well, this three piece

637
00:29:01,840 --> 00:29:04,640
Speaker 2: band that I mentioned, I had drummer, bass player that

638
00:29:04,680 --> 00:29:07,920
Speaker 2: I took from this cover band. I thought, well, let's

639
00:29:07,960 --> 00:29:09,840
Speaker 2: head over to Nashville and do some shows. You know,

640
00:29:10,120 --> 00:29:12,040
Speaker 2: all I can bring is bass player and drums. I

641
00:29:12,120 --> 00:29:17,520
Speaker 2: got no money. I can't afford anything by Right around

642
00:29:17,560 --> 00:29:19,760
Speaker 2: that time, I actually had built out a five piece band.

643
00:29:19,800 --> 00:29:22,959
Speaker 2: I sign a record deal in Australia, did an album,

644
00:29:23,920 --> 00:29:26,840
Speaker 2: put two more guys in my band, keyboard and guitar,

645
00:29:27,000 --> 00:29:30,640
Speaker 2: so I had drums, bass, keyboard, guitar, and me and

646
00:29:30,680 --> 00:29:33,840
Speaker 2: we were touring around playing these songs off my album.

647
00:29:33,920 --> 00:29:35,680
Speaker 2: So it was starting to happen in Australia, was popping,

648
00:29:35,760 --> 00:29:37,080
Speaker 2: had a song on the radio and I was like,

649
00:29:37,120 --> 00:29:38,920
Speaker 2: here we go. It's great, you know, but all I

650
00:29:38,920 --> 00:29:40,920
Speaker 2: wanted to do is come to Nashville. I couldn't bring

651
00:29:40,960 --> 00:29:43,520
Speaker 2: the whole band, so I could bring bass and drums.

652
00:29:43,600 --> 00:29:45,480
Speaker 2: At least I could bring and make a sound out

653
00:29:45,480 --> 00:29:47,400
Speaker 2: of it. My bass play and drummer were the two

654
00:29:47,400 --> 00:29:50,280
Speaker 2: guys that didn't sing, so I had no harmony, no nothing.

655
00:29:50,440 --> 00:29:53,200
Speaker 2: So my bass player went back to Australia and I

656
00:29:53,280 --> 00:29:57,520
Speaker 2: found a singing bass player from Florida and we played

657
00:29:57,560 --> 00:29:59,880
Speaker 2: for a year or so, and then he went back

658
00:29:59,880 --> 00:30:02,640
Speaker 2: to Florida and we found Jerry who came in and

659
00:30:02,680 --> 00:30:06,080
Speaker 2: took over. So we were free piece. Because of no money.

660
00:30:06,400 --> 00:30:09,880
Speaker 2: It was not my preference. It just couldn't afford anymore players,

661
00:30:09,880 --> 00:30:11,200
Speaker 2: and that eventually became the Ranch.

662
00:30:11,320 --> 00:30:13,000
Speaker 1: What's interesting about that if we were playing back some

663
00:30:13,040 --> 00:30:15,440
Speaker 1: of the Ranch stuff with Jerry, and it feels like

664
00:30:15,680 --> 00:30:18,480
Speaker 1: it was just ahead of a time like that, that music,

665
00:30:18,520 --> 00:30:20,120
Speaker 1: and we were listening to some demos and some old

666
00:30:20,400 --> 00:30:23,880
Speaker 1: some old you know Ranch cuts. Right, it feels like

667
00:30:25,160 --> 00:30:28,240
Speaker 1: seven years later, right, that probably hits.

668
00:30:28,480 --> 00:30:29,000
Speaker 2: Yeah.

669
00:30:29,040 --> 00:30:32,160
Speaker 1: Do you feel like it was a bit advanced musically

670
00:30:33,240 --> 00:30:35,400
Speaker 1: and that's why it didn't work at the time.

671
00:30:36,360 --> 00:30:39,080
Speaker 2: Yeah, it certainly didn't sound like anything on radio. And

672
00:30:39,200 --> 00:30:41,560
Speaker 2: that's always the thing, you know, with the record we

673
00:30:41,600 --> 00:30:45,000
Speaker 2: made in nineteen ninety seven just didn't sound like anything

674
00:30:45,240 --> 00:30:48,160
Speaker 2: on the radio. When it was hell making that record

675
00:30:48,200 --> 00:30:51,120
Speaker 2: because we were signed to Warner Brothers in nineteen ninety

676
00:30:51,120 --> 00:30:54,960
Speaker 2: five and we went in with every quarter pointed producer

677
00:30:55,200 --> 00:31:01,360
Speaker 2: in town. Every one of those situations didn't work because

678
00:31:01,400 --> 00:31:04,600
Speaker 2: what happens is we would either sound like us, which

679
00:31:04,600 --> 00:31:06,800
Speaker 2: didn't sound like the radio, or we would sound like

680
00:31:06,800 --> 00:31:08,440
Speaker 2: something that could go on the radio. It didn't sound

681
00:31:08,480 --> 00:31:10,360
Speaker 2: like us, and we were just in hell and just

682
00:31:10,360 --> 00:31:13,280
Speaker 2: no matter what we did, we just couldn't make it,

683
00:31:13,640 --> 00:31:14,600
Speaker 2: couldn't make it work.

684
00:31:14,840 --> 00:31:16,440
Speaker 3: Was there someone that was betting on you?

685
00:31:16,480 --> 00:31:19,000
Speaker 1: Though? As Keith Urban, Like, Okay, the ranch didn't work,

686
00:31:19,040 --> 00:31:20,400
Speaker 1: but we still have faith in you. And so many

687
00:31:20,400 --> 00:31:22,720
Speaker 1: times in this town, once you don't make it, people

688
00:31:22,760 --> 00:31:24,320
Speaker 1: are like, well, you're just not gonna make it. I

689
00:31:24,320 --> 00:31:27,480
Speaker 1: see it all the time, like, wow, you didn't make it, Probably.

690
00:31:27,280 --> 00:31:28,160
Speaker 2: Not for you. Yeah.

691
00:31:28,280 --> 00:31:30,040
Speaker 1: Was there anyone that was like, hey, I know that

692
00:31:30,120 --> 00:31:33,000
Speaker 1: didn't work and maybe it was just you, right? Was

693
00:31:33,000 --> 00:31:37,120
Speaker 1: there anyone that was like, hey, you have that star, like,

694
00:31:37,240 --> 00:31:39,120
Speaker 1: let's keep going and try to figure out who Keith

695
00:31:39,200 --> 00:31:40,520
Speaker 1: Urban is instead of this three piece?

696
00:31:41,400 --> 00:31:43,600
Speaker 2: I think that was me. I mean I just had

697
00:31:43,720 --> 00:31:46,280
Speaker 2: that burning belief. I know why is because I was

698
00:31:47,000 --> 00:31:49,440
Speaker 2: I'd grown up on all this music. I knew how

699
00:31:49,440 --> 00:31:51,080
Speaker 2: to make the music, but I didn't know how to

700
00:31:51,080 --> 00:31:53,880
Speaker 2: make it with this band. This band had a unique

701
00:31:53,880 --> 00:31:57,040
Speaker 2: sound about it, and the band wasn't I wasn't trying

702
00:31:57,040 --> 00:32:01,200
Speaker 2: to get the band signed, you know, the band wasn't

703
00:32:01,800 --> 00:32:04,920
Speaker 2: in the plan. Originally. It morphed into that. So it

704
00:32:04,960 --> 00:32:07,040
Speaker 2: was originally you, It was me. It was me and

705
00:32:07,080 --> 00:32:09,040
Speaker 2: my base player drummer. We didn't have a name. It

706
00:32:09,120 --> 00:32:12,200
Speaker 2: was just my name. But we got messed around with

707
00:32:12,280 --> 00:32:14,320
Speaker 2: so much by the record company and the tipping point

708
00:32:14,400 --> 00:32:17,320
Speaker 2: was over at that label. At Warner Brothers at the time.

709
00:32:18,480 --> 00:32:21,080
Speaker 2: They just signed me, not the other two guys. And

710
00:32:21,520 --> 00:32:23,520
Speaker 2: we made the record and they said, oh, we're going

711
00:32:23,560 --> 00:32:25,960
Speaker 2: to send you guys out, maybe to play some of

712
00:32:26,000 --> 00:32:28,240
Speaker 2: these songs. But actually we're not sending you guys out.

713
00:32:28,360 --> 00:32:30,320
Speaker 2: We're just going to put a house band together, and

714
00:32:30,360 --> 00:32:32,680
Speaker 2: we're going to send out you, Keith, and about four

715
00:32:32,720 --> 00:32:34,760
Speaker 2: other artists on our label, and you guys will all

716
00:32:34,760 --> 00:32:38,000
Speaker 2: share the same band. And I went, no, I won't, Like,

717
00:32:38,040 --> 00:32:40,520
Speaker 2: what do you mean. I go, I'm not I'm not

718
00:32:40,640 --> 00:32:43,480
Speaker 2: playing with just I got a band, right, take my

719
00:32:43,560 --> 00:32:45,720
Speaker 2: band with me. And they're like, yeah, but we didn't

720
00:32:45,760 --> 00:32:47,239
Speaker 2: sign your band, and I go, no, I know, but

721
00:32:47,320 --> 00:32:49,400
Speaker 2: I mean they're my band. It doesn't make sense when

722
00:32:49,400 --> 00:32:52,680
Speaker 2: I play with someone else. And when we got dropped

723
00:32:52,720 --> 00:32:55,400
Speaker 2: from that label and went over to Capitol, I said,

724
00:32:55,400 --> 00:32:58,360
Speaker 2: you have to sign everybody, and I'm going to get

725
00:32:58,440 --> 00:33:00,240
Speaker 2: rid of my name too. The hell with it getting

726
00:33:00,240 --> 00:33:01,840
Speaker 2: read of my name. We're doing it, you know. And

727
00:33:01,880 --> 00:33:03,640
Speaker 2: I had so many people around me saying, don't do that,

728
00:33:03,680 --> 00:33:07,240
Speaker 2: don't drop your name and just lose yourself in the band.

729
00:33:07,280 --> 00:33:09,440
Speaker 2: But that's what I did. When you became Keith Urber.

730
00:33:09,440 --> 00:33:11,240
Speaker 1: I want to roll through some number ones here two

731
00:33:11,240 --> 00:33:13,400
Speaker 1: thousand and one, your first number one.

732
00:33:13,400 --> 00:33:15,240
Speaker 3: But for the grace of God, let's hear a little

733
00:33:15,280 --> 00:33:15,720
Speaker 3: bit of this.

734
00:33:19,240 --> 00:33:20,160
Speaker 2: I must.

735
00:33:24,760 --> 00:33:26,960
Speaker 3: After the years of struggle on a.

736
00:33:26,960 --> 00:33:31,920
Speaker 1: Label to have a hit, did it feel like a

737
00:33:31,960 --> 00:33:35,240
Speaker 1: relief or did it feel like this is amazing? Because

738
00:33:35,240 --> 00:33:38,920
Speaker 1: there's a difference. Was that like, oh my god, thank you?

739
00:33:39,120 --> 00:33:41,120
Speaker 1: It was it like whoa, That's what I'm talking about?

740
00:33:41,320 --> 00:33:45,840
Speaker 2: Yeah, only above. It was surreal to have a number

741
00:33:45,920 --> 00:33:50,960
Speaker 2: one song in America was just crazy. I remember that

742
00:33:51,040 --> 00:33:54,160
Speaker 2: day like it was yesterday. Really, oh my god.

743
00:33:54,040 --> 00:33:55,920
Speaker 3: Twenty years ago, you still remember it like that your

744
00:33:55,960 --> 00:33:56,600
Speaker 3: first Wanly?

745
00:33:56,720 --> 00:33:59,160
Speaker 2: Yeah, yeah, I remember exactly the house I was at,

746
00:33:59,200 --> 00:34:02,680
Speaker 2: what I was doing, Who told me everything? Like detail?

747
00:34:02,720 --> 00:34:05,479
Speaker 2: Because it was too surreal. I was like number one,

748
00:34:05,680 --> 00:34:08,319
Speaker 2: like the number one most played song in country radio

749
00:34:08,400 --> 00:34:09,400
Speaker 2: in America? Truly?

750
00:34:09,520 --> 00:34:12,799
Speaker 1: Really did your life change after that? After you had

751
00:34:12,840 --> 00:34:15,520
Speaker 1: a number one? Since you could say it.

752
00:34:16,960 --> 00:34:19,640
Speaker 2: I felt like, Okay, now we got a chance to

753
00:34:19,719 --> 00:34:24,480
Speaker 2: get some more music going. And the next single after

754
00:34:24,560 --> 00:34:26,480
Speaker 2: that I think was Where the Blacktop Ends, which.

755
00:34:26,320 --> 00:34:28,560
Speaker 1: Is weird because it peaked it. I was looking at numbers.

756
00:34:28,600 --> 00:34:31,080
Speaker 1: It wasn't a number one No, but that, to me

757
00:34:31,280 --> 00:34:33,080
Speaker 1: is one of the songs I think of when I

758
00:34:33,120 --> 00:34:36,720
Speaker 1: think of you and your catalog is where the Blacktop ends.

759
00:34:37,160 --> 00:34:40,359
Speaker 1: Wasn't even number one, no, which shows you not all

760
00:34:40,440 --> 00:34:42,879
Speaker 1: number ones or career songs, and not all career songs are.

761
00:34:42,880 --> 00:34:43,600
Speaker 2: Number one song.

762
00:34:43,719 --> 00:34:46,160
Speaker 1: So true, even in two thousand and one, two thousand

763
00:34:46,160 --> 00:34:50,120
Speaker 1: and two, did that song feel big like a number

764
00:34:50,160 --> 00:34:51,880
Speaker 1: one song where the Black Top ends.

765
00:34:52,120 --> 00:34:54,640
Speaker 2: I can't remember that now, one you can't remember now?

766
00:34:54,680 --> 00:34:57,280
Speaker 2: I can't remember that. I mean I I remember making

767
00:34:57,320 --> 00:35:00,080
Speaker 2: that a whole album with Matt Rawlings and it it

768
00:35:00,120 --> 00:35:01,560
Speaker 2: was the first time where I was in a studio

769
00:35:01,719 --> 00:35:05,600
Speaker 2: and having gone through all of the famous producers and

770
00:35:05,640 --> 00:35:07,920
Speaker 2: realizing none of it works for me. I don't know

771
00:35:07,960 --> 00:35:11,320
Speaker 2: what I'm going to do. It was a guy running

772
00:35:11,440 --> 00:35:14,840
Speaker 2: Capitol Records at the time called Pat Quiggley, and he

773
00:35:14,960 --> 00:35:19,600
Speaker 2: was the president. And I used every proper famous producer

774
00:35:19,600 --> 00:35:21,480
Speaker 2: and none of it was working. And I went in

775
00:35:21,520 --> 00:35:23,319
Speaker 2: to Pat and I said, can I just I had

776
00:35:23,400 --> 00:35:25,760
Speaker 2: just done a session with Matt Rowlings for somebody else.

777
00:35:26,680 --> 00:35:28,160
Speaker 2: The two of us were playing on it, and I

778
00:35:28,200 --> 00:35:30,000
Speaker 2: clicked with him and I really liked him a lot,

779
00:35:30,040 --> 00:35:31,480
Speaker 2: and I said, could I just go and record some

780
00:35:31,480 --> 00:35:33,440
Speaker 2: songs with this guy, because I think he can put

781
00:35:33,440 --> 00:35:35,160
Speaker 2: a good band together and we can just make a

782
00:35:35,320 --> 00:35:40,200
Speaker 2: record that sounds good. And he went, yeah, whatever. It

783
00:35:40,239 --> 00:35:42,000
Speaker 2: was very much that case of like, go do whatever

784
00:35:42,000 --> 00:35:43,520
Speaker 2: you want to do. We're not that interest. You could

785
00:35:43,560 --> 00:35:47,520
Speaker 2: tell whatever it's going. So we went and cut up

786
00:35:47,560 --> 00:35:49,640
Speaker 2: the Grace Guard and like four or five songs, and

787
00:35:49,640 --> 00:35:50,960
Speaker 2: I took him in and played for him and he goes,

788
00:35:51,080 --> 00:35:53,520
Speaker 2: that sounds good to finish the record out. It was

789
00:35:53,640 --> 00:35:57,080
Speaker 2: no big deal. And we handed in the record and

790
00:35:57,120 --> 00:35:59,520
Speaker 2: it had It's a Love Thing and want to Be

791
00:35:59,600 --> 00:36:02,800
Speaker 2: or everything all the singles that came out, Grace God, Blacktop,

792
00:36:02,840 --> 00:36:06,120
Speaker 2: all that stuff, and they put out Love It's a

793
00:36:06,160 --> 00:36:08,279
Speaker 2: love Thing. I think I went to number eighteen or

794
00:36:08,360 --> 00:36:12,959
Speaker 2: something like It's okay, pretty good. They put out another song,

795
00:36:13,520 --> 00:36:15,200
Speaker 2: I want to Be Everything, and I think got to

796
00:36:15,200 --> 00:36:18,040
Speaker 2: top five or close to it, and it wasn't it

797
00:36:18,080 --> 00:36:21,640
Speaker 2: was okay. Everything was okay. And then the label really

798
00:36:21,680 --> 00:36:24,040
Speaker 2: focused on me and they put out Grace of God

799
00:36:24,080 --> 00:36:26,399
Speaker 2: and it did that and I could feel everything change

800
00:36:26,440 --> 00:36:26,920
Speaker 2: after that.

801
00:36:27,640 --> 00:36:29,919
Speaker 1: Whenever somebody like you comes out two thousand and two,

802
00:36:30,239 --> 00:36:41,120
Speaker 1: here's a little clip, Yeah, do you remember this one?

803
00:36:41,200 --> 00:36:42,960
Speaker 1: Is Vivid your second number one? Yeah?

804
00:36:43,080 --> 00:36:45,480
Speaker 2: You do? Okay, everything about it, recording it first time,

805
00:36:45,480 --> 00:36:49,360
Speaker 2: I'd work with Dan Hulf working out at sound Kitchen

806
00:36:49,400 --> 00:36:53,360
Speaker 2: at Franklin and the putting, the putting the band together and

807
00:36:53,440 --> 00:36:56,640
Speaker 2: thee the whole session. I remember it's vividaly because it

808
00:36:56,760 --> 00:36:57,560
Speaker 2: got magical.

809
00:36:57,640 --> 00:36:59,080
Speaker 3: Does a guy like Dan Huff challenge you?

810
00:37:00,719 --> 00:37:04,400
Speaker 2: So I was going to do the next record on

811
00:37:04,440 --> 00:37:09,080
Speaker 2: my own Golden Road, and I had already done six

812
00:37:09,160 --> 00:37:12,080
Speaker 2: sides of that record, including who wanted me. I put

813
00:37:12,080 --> 00:37:14,800
Speaker 2: the band together, I chose the studio, I chose the engineer,

814
00:37:14,800 --> 00:37:17,400
Speaker 2: I put it all together. And then someone said, you know,

815
00:37:17,480 --> 00:37:19,400
Speaker 2: you should try and work with Dan half and I went, no,

816
00:37:19,440 --> 00:37:22,239
Speaker 2: I don't want to work with him because and they went, well,

817
00:37:22,239 --> 00:37:24,480
Speaker 2: he's a guitar player. I mean, I'm so not going

818
00:37:24,480 --> 00:37:26,759
Speaker 2: to work with the guitar player who's going to tell

819
00:37:26,800 --> 00:37:29,200
Speaker 2: me what to play, you know. I don't want that.

820
00:37:29,239 --> 00:37:32,080
Speaker 2: I've been down this road before. And they're like, we'll

821
00:37:32,200 --> 00:37:34,640
Speaker 2: just give it a shot, you know. And I met

822
00:37:34,680 --> 00:37:37,520
Speaker 2: with Dan, and this is a true story, and there

823
00:37:37,640 --> 00:37:41,520
Speaker 2: was really a compliment to Dan. I met with Dan.

824
00:37:41,800 --> 00:37:43,759
Speaker 2: I said, Okay, I've got this one song. It's called

825
00:37:43,760 --> 00:37:45,640
Speaker 2: Somebody Like You. That'd be a good one for us

826
00:37:45,680 --> 00:37:48,160
Speaker 2: to start on. And I'd already been in the studio

827
00:37:48,239 --> 00:37:51,080
Speaker 2: for two weeks with this band. We'd cut half the record,

828
00:37:51,040 --> 00:37:57,040
Speaker 2: it's already done. And Dan says, Okay, this song feels great.

829
00:37:57,480 --> 00:37:59,000
Speaker 2: I think we should use this drummer. And I got

830
00:37:59,040 --> 00:38:01,200
Speaker 2: already got the drummer. Well, I think we should use

831
00:38:01,200 --> 00:38:03,000
Speaker 2: this base. But I I got the whole band, Dan,

832
00:38:03,120 --> 00:38:05,000
Speaker 2: I got the whole band. All right, Well, I like

833
00:38:05,040 --> 00:38:06,880
Speaker 2: to work at this studio, I said, I'm already at

834
00:38:06,920 --> 00:38:09,319
Speaker 2: the studio. We're gonna be at sound kitchen. Okay, Well,

835
00:38:09,360 --> 00:38:11,120
Speaker 2: the engineer I like to use head when I already

836
00:38:11,120 --> 00:38:13,560
Speaker 2: got the engineer's name's Justin Ebank, And he goes, what

837
00:38:13,600 --> 00:38:15,399
Speaker 2: do I do? When I go, you just show up.

838
00:38:15,680 --> 00:38:17,600
Speaker 2: That's all you're going to do. Show up, because I

839
00:38:17,600 --> 00:38:19,839
Speaker 2: want to see what you do. I'm sick of these

840
00:38:19,880 --> 00:38:22,560
Speaker 2: producers that say they're a producer, but really they have

841
00:38:22,600 --> 00:38:26,600
Speaker 2: great engineer, great players, they don't do anything. I saw

842
00:38:26,640 --> 00:38:29,359
Speaker 2: it again and again and again. I'm like, just show up.

843
00:38:29,640 --> 00:38:33,000
Speaker 2: What the hell can you possibly bring to this session?

844
00:38:33,600 --> 00:38:36,160
Speaker 2: I want to see? And he walked into that session.

845
00:38:36,280 --> 00:38:38,800
Speaker 2: I'd been with this band for two weeks. He walks

846
00:38:38,800 --> 00:38:41,600
Speaker 2: in and I literally could feel all the musicianship go

847
00:38:41,800 --> 00:38:44,000
Speaker 2: up a whole other level just with him being in

848
00:38:44,000 --> 00:38:46,720
Speaker 2: the room. He sat in the room, the band's playing

849
00:38:46,760 --> 00:38:49,359
Speaker 2: a bit of Somebody Like You, and he goes, hey, Chris,

850
00:38:49,440 --> 00:38:51,640
Speaker 2: just change that snare a little bit there. Okay, ye

851
00:38:52,239 --> 00:38:54,839
Speaker 2: leave that bass pot out right there, and you play

852
00:38:54,880 --> 00:38:57,840
Speaker 2: that bit of it there. And I watched him arrange

853
00:38:57,880 --> 00:39:01,360
Speaker 2: this thing and the whole track is Elevator, and I'm like, well, damn,

854
00:39:01,400 --> 00:39:03,759
Speaker 2: this guy's the real deal. He's so good.

855
00:39:04,680 --> 00:39:07,040
Speaker 3: When did the town start to treat you differently?

856
00:39:08,600 --> 00:39:16,359
Speaker 2: Tuesday? As I was already getting support from the town

857
00:39:16,480 --> 00:39:19,040
Speaker 2: very early on. I think because of all those writing sessions,

858
00:39:19,719 --> 00:39:22,520
Speaker 2: you know, and when you write with people where it

859
00:39:22,560 --> 00:39:25,040
Speaker 2: gets out whether you can really thing, really play, whether

860
00:39:25,080 --> 00:39:28,440
Speaker 2: you know about country music if you're legit or just

861
00:39:28,520 --> 00:39:31,600
Speaker 2: some posa really so, I think those sort of guitar

862
00:39:31,640 --> 00:39:35,479
Speaker 2: pool sessions of people's houses going to the Bluebird, people

863
00:39:35,560 --> 00:39:37,080
Speaker 2: knew I was. I was, for real.

864
00:39:38,040 --> 00:39:40,480
Speaker 1: I was watching some of your performance with her. I

865
00:39:40,480 --> 00:39:43,000
Speaker 1: guess all of it. Befotina Turner for the Rock.

866
00:39:42,880 --> 00:39:43,400
Speaker 2: And Roll Hall of Fame.

867
00:39:43,400 --> 00:39:46,759
Speaker 3: Oh well, how do you do? How did you get

868
00:39:46,760 --> 00:39:47,480
Speaker 3: called in to do that?

869
00:39:47,600 --> 00:39:49,280
Speaker 2: I haven't seen any of that? You haven't?

870
00:39:49,360 --> 00:39:52,080
Speaker 1: No, what do you mean you haven't seen it? You

871
00:39:52,080 --> 00:39:53,360
Speaker 1: don't watch it? Do you watch your stuff?

872
00:39:53,440 --> 00:39:55,520
Speaker 2: No? Well I haven't seen that. No.

873
00:39:56,200 --> 00:39:58,000
Speaker 3: Generally, will you go and watch your stuff?

874
00:39:58,040 --> 00:39:58,600
Speaker 2: It depends.

875
00:39:58,880 --> 00:40:00,399
Speaker 3: Are you one of the guys that after live show

876
00:40:00,440 --> 00:40:01,319
Speaker 3: you want to go on critique it?

877
00:40:02,480 --> 00:40:04,480
Speaker 2: I probably should do it more than I do.

878
00:40:04,840 --> 00:40:05,280
Speaker 1: Yeah.

879
00:40:05,600 --> 00:40:08,680
Speaker 2: Yeah, it's always better when I get in there and care.

880
00:40:09,960 --> 00:40:12,800
Speaker 1: How does a Rock and Roll Hall of Fame invite

881
00:40:12,840 --> 00:40:14,640
Speaker 1: come with tin for Tina Turner?

882
00:40:15,120 --> 00:40:19,759
Speaker 2: Uh? Because Brian Adams couldn't make it, And they just

883
00:40:19,800 --> 00:40:21,120
Speaker 2: caught me up and they go, would you come and

884
00:40:21,160 --> 00:40:25,239
Speaker 2: fill in for Brian's day before the cod Yeah? Yeah

885
00:40:25,480 --> 00:40:28,040
Speaker 2: it was. It was Thursday and Nick and I were

886
00:40:28,040 --> 00:40:30,400
Speaker 2: going to the Bahamas and my manager calls me and

887
00:40:30,440 --> 00:40:32,080
Speaker 2: he goes, hey, can you come fill in for Brian?

888
00:40:32,120 --> 00:40:35,320
Speaker 2: And I'm like if we're going to the Bahamas on Friday?

889
00:40:35,600 --> 00:40:38,200
Speaker 2: He's like, you didn't hear what I said? And I

890
00:40:38,280 --> 00:40:40,719
Speaker 2: was like, no, I heard you. We're heading off to

891
00:40:40,760 --> 00:40:43,400
Speaker 2: the Bahamas and Nick's in the car and Nick's like, oh,

892
00:40:43,440 --> 00:40:46,080
Speaker 2: I think we should do that. That sounds fun, But

893
00:40:46,120 --> 00:40:48,759
Speaker 2: in my think, in my head, I'm like, this sounds overwhelming.

894
00:40:48,800 --> 00:40:50,920
Speaker 2: I've got to learn a song in record time, a

895
00:40:50,960 --> 00:40:54,080
Speaker 2: song I've never played. It's not really my kind of song.

896
00:40:54,800 --> 00:40:57,040
Speaker 2: It's not my vocal range, it's not in my key.

897
00:40:57,600 --> 00:41:01,000
Speaker 2: I'm sew in over my head. You know, I was terrified.

898
00:41:01,239 --> 00:41:06,440
Speaker 1: You still get terrified, yeah, wild dear, Yeah, you well

899
00:41:06,760 --> 00:41:09,880
Speaker 1: that anything musically would intimidate you.

900
00:41:09,960 --> 00:41:14,440
Speaker 2: Yeah, to be thrown into something that's not really my zone,

901
00:41:14,960 --> 00:41:17,120
Speaker 2: especially in that place. I'm like, maybe standing up on

902
00:41:17,120 --> 00:41:19,680
Speaker 2: stage in front of McCartney and the food Fighters and

903
00:41:19,719 --> 00:41:22,320
Speaker 2: they're all you know, I pictured them all like arms crossing, Okay,

904
00:41:22,320 --> 00:41:24,759
Speaker 2: what do you do? What's your thing? And I'm like, well,

905
00:41:24,760 --> 00:41:27,400
Speaker 2: it's not this, this is not it.

906
00:41:29,520 --> 00:41:31,560
Speaker 1: That's so I could picture in my head when it

907
00:41:31,560 --> 00:41:34,280
Speaker 1: comes to collaborations, as far as your career is concerned,

908
00:41:34,280 --> 00:41:37,600
Speaker 1: what do you look back at and go, Man, that

909
00:41:37,680 --> 00:41:38,879
Speaker 1: one right there, we nailed it.

910
00:41:39,400 --> 00:41:42,960
Speaker 3: You and who collaboration marks, Yeah, you and who?

911
00:41:43,360 --> 00:41:46,680
Speaker 2: So many? I mean John doing Crossroads with John Mayer

912
00:41:47,400 --> 00:41:50,920
Speaker 2: to this day, I just loved that whole experience with

913
00:41:51,000 --> 00:41:54,000
Speaker 2: him playing. I learned a lot from him. Really you

914
00:41:54,080 --> 00:41:54,680
Speaker 2: learned from him?

915
00:41:54,800 --> 00:41:57,560
Speaker 3: Hell yeah, yeah, yeah, what do you learn from John

916
00:41:57,600 --> 00:41:58,759
Speaker 3: Mayer to.

917
00:41:58,800 --> 00:42:01,440
Speaker 2: Make the song your own? You know? You gotta remember

918
00:42:01,440 --> 00:42:04,080
Speaker 2: I still came from cover band land, which John did not,

919
00:42:04,920 --> 00:42:08,239
Speaker 2: And so John approaches it as a pure artist and

920
00:42:08,320 --> 00:42:10,200
Speaker 2: makes a song his own. Because I remember saying to

921
00:42:10,239 --> 00:42:12,359
Speaker 2: him the rest didn't go like that. He's like, yeah,

922
00:42:12,360 --> 00:42:14,600
Speaker 2: but that's how I'm gonna sing it right on.

923
00:42:15,200 --> 00:42:28,480
Speaker 6: Of course the Bobby cast will be right back. This

924
00:42:28,880 --> 00:42:30,000
Speaker 6: is the Bobby Cast.

925
00:42:30,680 --> 00:42:33,200
Speaker 1: Is there a gamesmanship when you have two people that

926
00:42:33,239 --> 00:42:36,200
Speaker 1: are so again, I'll just talk about the instrument for

927
00:42:36,239 --> 00:42:38,480
Speaker 1: a second, So two people that are so proficient at

928
00:42:38,520 --> 00:42:40,560
Speaker 1: their instrument, or you, guys, do you feel each other

929
00:42:40,560 --> 00:42:41,120
Speaker 1: out at first?

930
00:42:41,120 --> 00:42:42,880
Speaker 3: Are you like, is he really as good as I've heard?

931
00:42:43,560 --> 00:42:46,719
Speaker 1: Or is it you know, because you've you've heard for yourself,

932
00:42:46,840 --> 00:42:52,880
Speaker 1: like on a record or on YouTube. I'm not John specifically,

933
00:42:52,920 --> 00:42:55,160
Speaker 1: but anyone. You know when you kind of cross path.

934
00:42:55,120 --> 00:42:57,000
Speaker 2: Because I had a room for squares and we played

935
00:42:57,000 --> 00:42:59,480
Speaker 2: that record to death on that two of us. So

936
00:42:59,680 --> 00:43:02,880
Speaker 2: I was right from the beginning. I love the conversation,

937
00:43:02,960 --> 00:43:06,040
Speaker 2: the musical conversation that happens, and the most important thing

938
00:43:06,080 --> 00:43:09,520
Speaker 2: for me is spontaneity. It's just you know, you can rehearse, yeah, yeah, yeah.

939
00:43:09,560 --> 00:43:12,280
Speaker 2: But being in the moment and having that musical conversation

940
00:43:12,360 --> 00:43:14,440
Speaker 2: with each other is everything.

941
00:43:14,920 --> 00:43:16,640
Speaker 1: You ever meet someone, you're like, man, it's gonna be awesome,

942
00:43:16,680 --> 00:43:19,160
Speaker 1: and then you're like, that's not really right, really as

943
00:43:19,160 --> 00:43:21,799
Speaker 1: good as that's hot or as you know, I don't want.

944
00:43:21,719 --> 00:43:23,760
Speaker 2: You to say. Some people don't have a collaborative hert.

945
00:43:24,000 --> 00:43:26,319
Speaker 2: That's what it is. They don't have a collaborative herd.

946
00:43:26,480 --> 00:43:31,359
Speaker 2: For whatever reason, they just don't collaborate. They kind of

947
00:43:32,239 --> 00:43:34,040
Speaker 2: they have that thing of well, this is what I do,

948
00:43:34,200 --> 00:43:35,920
Speaker 2: so you do your thing, I'll do my thing, and

949
00:43:35,920 --> 00:43:38,080
Speaker 2: I'm like, well, let's do how thing. That's what I'm

950
00:43:38,080 --> 00:43:38,400
Speaker 2: here for.

951
00:43:38,840 --> 00:43:40,760
Speaker 1: On the opposite side of that, who have you collaborated

952
00:43:40,800 --> 00:43:42,440
Speaker 1: with it? You were like, oh, I didn't expect it

953
00:43:42,480 --> 00:43:47,200
Speaker 1: to be as warm and as a just a friendly collaboration,

954
00:43:47,320 --> 00:43:49,800
Speaker 1: but holy crap, we're in it and it's rocking pink.

955
00:43:50,000 --> 00:43:52,279
Speaker 2: I think was that when we did one too many?

956
00:43:52,120 --> 00:43:53,520
Speaker 2: Why Why do you think you guys hit it off?

957
00:43:56,040 --> 00:43:59,160
Speaker 2: I think our voices go together really well, and I

958
00:43:59,200 --> 00:44:01,040
Speaker 2: hope they would, but you never know until you hear it.

959
00:44:01,480 --> 00:44:07,880
Speaker 2: But she was just unbelievably giving with that whole project,

960
00:44:08,600 --> 00:44:10,799
Speaker 2: you know, for a song that she didn't write, to

961
00:44:10,880 --> 00:44:13,719
Speaker 2: be giving so much of her time and her effort too.

962
00:44:13,840 --> 00:44:15,359
Speaker 2: You know, we shot a video as well, and then

963
00:44:15,400 --> 00:44:17,880
Speaker 2: we shot footage which we can use in concerts, so

964
00:44:17,920 --> 00:44:20,719
Speaker 2: we have her projected on the screen and concert. That's

965
00:44:20,800 --> 00:44:24,280
Speaker 2: all time consuming, and she was just amazing.

966
00:44:24,719 --> 00:44:27,680
Speaker 1: Is it an issue whenever you're with an artist like that,

967
00:44:27,719 --> 00:44:29,440
Speaker 1: because they also have their own music and their own

968
00:44:29,440 --> 00:44:32,239
Speaker 1: singles and calendars, and when they want to put out

969
00:44:32,239 --> 00:44:34,960
Speaker 1: their own to get Pink on a song, do you go, Okay, well,

970
00:44:34,960 --> 00:44:36,760
Speaker 1: maybe we can release it as single, maybe not, depending

971
00:44:36,800 --> 00:44:38,759
Speaker 1: on what your schedule is, right, I mean.

972
00:44:38,800 --> 00:44:40,839
Speaker 3: Is that something? Is that an issue that you deal

973
00:44:40,840 --> 00:44:41,680
Speaker 3: with other artists.

974
00:44:42,000 --> 00:44:44,720
Speaker 2: It's something you have to consider, Yeah, for sure, because

975
00:44:44,719 --> 00:44:47,879
Speaker 2: sometimes it's just the time's not going to work. You know. Yeah,

976
00:44:47,920 --> 00:44:50,400
Speaker 2: it's great, the single sounds really great, but we're not

977
00:44:50,400 --> 00:44:52,240
Speaker 2: going to be able to release it at the right time.

978
00:44:59,000 --> 00:45:00,680
Speaker 1: I was reading on the internet that you bowl. Are

979
00:45:00,680 --> 00:45:02,480
Speaker 1: you some of the stuff I didn't know and could

980
00:45:02,520 --> 00:45:03,040
Speaker 1: be crap.

981
00:45:03,239 --> 00:45:04,800
Speaker 2: Are you a bowler? Yeah?

982
00:45:04,920 --> 00:45:05,880
Speaker 3: Are you a good bowler?

983
00:45:06,000 --> 00:45:08,520
Speaker 2: I'm Okay, how do I not know that? I don't.

984
00:45:09,160 --> 00:45:12,120
Speaker 2: We've never talked about it exactly been bowling? True?

985
00:45:12,200 --> 00:45:12,719
Speaker 3: But where did?

986
00:45:12,840 --> 00:45:15,959
Speaker 2: Where do you? Where do you bowl? I haven't bowled

987
00:45:16,000 --> 00:45:17,439
Speaker 2: in a long time. It's just one of those things

988
00:45:17,440 --> 00:45:20,040
Speaker 2: that I happened to be not bad at, sort of

989
00:45:20,080 --> 00:45:23,080
Speaker 2: out of the gate. It's that I hand coordination that

990
00:45:23,120 --> 00:45:23,920
Speaker 2: guitar players have.

991
00:45:24,440 --> 00:45:26,360
Speaker 3: You know, your highest game is what you call it

992
00:45:26,400 --> 00:45:26,719
Speaker 3: a game?

993
00:45:26,880 --> 00:45:27,080
Speaker 4: Yeah?

994
00:45:27,160 --> 00:45:32,360
Speaker 2: No, I don't know. Uh, you know, to have an

995
00:45:32,400 --> 00:45:35,840
Speaker 2: average hundred and something? Really yeah, it's not grabbed me

996
00:45:35,840 --> 00:45:38,360
Speaker 2: at three hundreds? Perfect game, right that definitely could crack No,

997
00:45:38,520 --> 00:45:41,200
Speaker 2: but definitely could crack two hundred. Do you play pool? Yeah?

998
00:45:41,440 --> 00:45:43,239
Speaker 2: You go to that. I think this mandatory when you're

999
00:45:43,239 --> 00:45:45,839
Speaker 2: from Australia you go to play pool? Is that a thing? Yeah?

1000
00:45:46,160 --> 00:45:47,960
Speaker 2: Very much like all the pub up and they all

1001
00:45:48,000 --> 00:45:51,640
Speaker 2: had pool tables. Great sign of a misspent youth.

1002
00:45:51,680 --> 00:45:53,840
Speaker 1: Well think about that. Though you're you're good at bowling,

1003
00:45:53,880 --> 00:45:57,480
Speaker 1: you're good at pool. I mean is that you're obviously

1004
00:45:57,840 --> 00:46:00,600
Speaker 1: good at guitar. Which one made you good at which

1005
00:46:01,480 --> 00:46:03,759
Speaker 1: because you do have the hand eye coordination there. It's right,

1006
00:46:04,000 --> 00:46:07,440
Speaker 1: it's a coincidence. All those are very hand eye coordinated.

1007
00:46:07,680 --> 00:46:09,200
Speaker 1: Do you think being a good guitar player helped you

1008
00:46:09,239 --> 00:46:09,880
Speaker 1: be a good bowler?

1009
00:46:10,040 --> 00:46:13,080
Speaker 2: I suck at bass at basketball. I cannot get that

1010
00:46:13,120 --> 00:46:15,560
Speaker 2: thing in the hoop. So they guessed that theory.

1011
00:46:15,960 --> 00:46:18,960
Speaker 1: You true or false? You were once the road guitars

1012
00:46:19,000 --> 00:46:21,600
Speaker 1: for a bit for Brooks and Done. No, never one

1013
00:46:21,600 --> 00:46:22,760
Speaker 1: of the many things on Wikipedia.

1014
00:46:22,800 --> 00:46:23,319
Speaker 2: It's not true.

1015
00:46:23,360 --> 00:46:24,799
Speaker 1: I didn't think the bawling was true. I'll be honest

1016
00:46:24,800 --> 00:46:27,000
Speaker 1: with the eye got to be false, right, Okay, Yeah,

1017
00:46:27,400 --> 00:46:28,480
Speaker 1: so where does that story come from?

1018
00:46:28,560 --> 00:46:31,240
Speaker 2: Do you know? Yeah, we toured with Brooks and Done

1019
00:46:31,280 --> 00:46:35,200
Speaker 2: in two thousand and one and I came out and

1020
00:46:35,239 --> 00:46:40,200
Speaker 2: played one song with them as a guitarist, and I

1021
00:46:40,239 --> 00:46:43,080
Speaker 2: think that then from then on people were a backup. Yeah.

1022
00:46:43,080 --> 00:46:45,680
Speaker 2: I was like the guy in the band. Well, what

1023
00:46:45,800 --> 00:46:48,799
Speaker 2: happened was we were going to pull a prank on them,

1024
00:46:49,160 --> 00:46:51,920
Speaker 2: and they had a guitar player in the band, Charlieff

1025
00:46:51,920 --> 00:46:54,200
Speaker 2: got in his last name Charlie, and he had his

1026
00:46:54,280 --> 00:46:56,640
Speaker 2: hat down. Really, he had wore a hat wore down.

1027
00:46:56,760 --> 00:46:59,520
Speaker 2: Super Low had this like leopid print shirt and everything.

1028
00:46:59,800 --> 00:47:02,280
Speaker 2: And during the tour, I was thinking I could probably

1029
00:47:02,680 --> 00:47:05,080
Speaker 2: masquerade us. I could probably pretend to be him and

1030
00:47:05,120 --> 00:47:07,840
Speaker 2: the boys wouldn't even know. And so during one of

1031
00:47:07,840 --> 00:47:11,200
Speaker 2: the shows, Charlie slipped out the back while he was playing.

1032
00:47:11,840 --> 00:47:14,560
Speaker 2: I already had the same clothes on, slipped right out

1033
00:47:14,960 --> 00:47:19,000
Speaker 2: and reclaimed his spot on the stage and played an

1034
00:47:19,160 --> 00:47:21,759
Speaker 2: entire song, and then in the middle of the when

1035
00:47:21,800 --> 00:47:25,560
Speaker 2: the solo happened, kicks goes, Charlie and I ran down

1036
00:47:25,600 --> 00:47:28,280
Speaker 2: the front and was shredding right in between kicks and running,

1037
00:47:28,440 --> 00:47:30,720
Speaker 2: and it took a beat for them to realize I wasn't,

1038
00:47:30,840 --> 00:47:33,560
Speaker 2: but they did realize. So I think that was where

1039
00:47:33,600 --> 00:47:34,640
Speaker 2: this rumor got started.

1040
00:47:36,280 --> 00:47:38,440
Speaker 3: What's like a Tuesday at your house?

1041
00:47:38,600 --> 00:47:38,680
Speaker 2: Like?

1042
00:47:39,520 --> 00:47:44,360
Speaker 1: And I asked that because you and your wife exclusively

1043
00:47:44,440 --> 00:47:48,080
Speaker 1: are superstars. When you're together, I feel like you're kind

1044
00:47:48,080 --> 00:47:52,120
Speaker 1: of normal. Rights it's a weird situation. Yeah, Like when

1045
00:47:52,120 --> 00:47:54,520
Speaker 1: I see you two if were an event or something,

1046
00:47:54,800 --> 00:47:55,320
Speaker 1: I feel.

1047
00:47:55,160 --> 00:47:56,879
Speaker 3: Like as a couple you're quite approachable.

1048
00:47:57,280 --> 00:48:01,920
Speaker 1: Individually, it's different because I feel like I know you

1049
00:48:01,960 --> 00:48:04,160
Speaker 1: and I could just come up to you, but individually

1050
00:48:05,920 --> 00:48:09,000
Speaker 1: I would say you're superstar Keith Urban and she is

1051
00:48:09,040 --> 00:48:12,440
Speaker 1: superstar Nicole Kidman. But together it's almost like a normal

1052
00:48:12,520 --> 00:48:14,560
Speaker 1: husband and wife. And I've not seen that vibe with

1053
00:48:14,600 --> 00:48:17,759
Speaker 1: any other couple. Usually it's different. It's like they're much

1054
00:48:17,800 --> 00:48:21,960
Speaker 1: more they're much less approachable together because there's so much

1055
00:48:22,000 --> 00:48:22,839
Speaker 1: more power there.

1056
00:48:23,280 --> 00:48:26,120
Speaker 3: But it feels like you're a normal, normal married couple

1057
00:48:26,160 --> 00:48:26,480
Speaker 3: at home.

1058
00:48:27,200 --> 00:48:30,680
Speaker 2: Is that true? You'd be doing a house, it's like

1059
00:48:30,880 --> 00:48:31,520
Speaker 2: super normal.

1060
00:48:31,719 --> 00:48:33,839
Speaker 1: I saw her tell you once that she was gonna

1061
00:48:33,840 --> 00:48:35,880
Speaker 1: stop and get some milk, and I was like, you

1062
00:48:35,960 --> 00:48:36,239
Speaker 1: do that?

1063
00:48:37,239 --> 00:48:39,560
Speaker 2: What do you mean you're gonna get milk? Shouldn't someone

1064
00:48:39,640 --> 00:48:42,279
Speaker 2: be flying that in and like flying the cow in

1065
00:48:45,080 --> 00:48:45,600
Speaker 2: rock and roll?

1066
00:48:46,440 --> 00:48:50,720
Speaker 1: How how do you guys maintain what do you focus

1067
00:48:50,760 --> 00:48:53,160
Speaker 1: on to try to have normalcy in a life that

1068
00:48:53,280 --> 00:48:54,080
Speaker 1: is abnormal?

1069
00:48:55,560 --> 00:48:59,680
Speaker 2: I mean, look love, genuine love and genuine gratitude for

1070
00:48:59,719 --> 00:49:01,800
Speaker 2: what we get to do. Nick has it. I have it,

1071
00:49:02,080 --> 00:49:04,920
Speaker 2: and I think it's we were both raised in a

1072
00:49:04,920 --> 00:49:08,000
Speaker 2: similar thing to Australia's. Really, Australia has a thing called

1073
00:49:08,000 --> 00:49:11,480
Speaker 2: a tall poppy syndrome. Every Ozzie knows about this, and

1074
00:49:11,520 --> 00:49:14,080
Speaker 2: it's if you get too big in the in the South,

1075
00:49:14,160 --> 00:49:16,759
Speaker 2: they say when you get above you raisin right, they

1076
00:49:16,960 --> 00:49:19,239
Speaker 2: cut you down. You get cut down.

1077
00:49:19,320 --> 00:49:21,200
Speaker 3: The poppy seed plan is another one. The tall poppy

1078
00:49:21,239 --> 00:49:21,680
Speaker 3: gets got.

1079
00:49:21,600 --> 00:49:24,680
Speaker 2: There, you go, So that's it. So it's the it's

1080
00:49:24,719 --> 00:49:28,120
Speaker 2: the tall poppy syndrome where you don't last very long.

1081
00:49:28,160 --> 00:49:31,160
Speaker 2: If you're strutting around with this crazy ego in Australia,

1082
00:49:31,200 --> 00:49:33,239
Speaker 2: you could cut down so fast, so you just are

1083
00:49:33,280 --> 00:49:35,279
Speaker 2: always down to earth. You read it down to earth,

1084
00:49:35,280 --> 00:49:37,440
Speaker 2: you're out of work. It's one of the two, and

1085
00:49:38,160 --> 00:49:40,279
Speaker 2: it's it's put us in a really good place to

1086
00:49:40,640 --> 00:49:41,919
Speaker 2: have a good life because of it.

1087
00:49:42,040 --> 00:49:45,160
Speaker 1: What are you grateful for with her as a person?

1088
00:49:45,560 --> 00:49:47,840
Speaker 1: How does she make you better? And I asked this

1089
00:49:47,880 --> 00:49:51,360
Speaker 1: from a personal personal place because I've never been married.

1090
00:49:51,360 --> 00:49:54,200
Speaker 1: I've never even told anyone I hadn't either, right like

1091
00:49:54,280 --> 00:49:56,799
Speaker 1: I never there was no I didn't know how to

1092
00:49:56,840 --> 00:49:59,080
Speaker 1: love until now. No, because I think you know when

1093
00:49:59,080 --> 00:50:01,000
Speaker 1: you talk about the trauma for I struggle with a

1094
00:50:01,040 --> 00:50:02,920
Speaker 1: lot of that trauma until now and still am. But

1095
00:50:03,120 --> 00:50:05,440
Speaker 1: have found someone. But what is it about her as

1096
00:50:05,440 --> 00:50:07,360
Speaker 1: a human that you appreciate so much that brings a

1097
00:50:07,360 --> 00:50:12,040
Speaker 1: different side of you out that hadn't been exposed yet?

1098
00:50:13,760 --> 00:50:21,600
Speaker 2: She really loves, like genuinely loves and has real empathy, compassion,

1099
00:50:21,760 --> 00:50:25,680
Speaker 2: caring and love like I've never never experienced before.

1100
00:50:27,040 --> 00:50:29,120
Speaker 1: Do you ever watch her act and go, holy crap,

1101
00:50:29,200 --> 00:50:30,600
Speaker 1: that's so good or do you see it all the

1102
00:50:30,600 --> 00:50:31,959
Speaker 1: time where you just expect it to be great.

1103
00:50:32,040 --> 00:50:34,839
Speaker 2: No, she's so good.

1104
00:50:35,440 --> 00:50:37,760
Speaker 1: And I don't know anything about acting. Sometimes people say

1105
00:50:37,840 --> 00:50:39,640
Speaker 1: so says a bad actor. I'm like, I all looks

1106
00:50:39,680 --> 00:50:44,000
Speaker 1: the same to me. However, I was watching on Hulu

1107
00:50:44,360 --> 00:50:45,239
Speaker 1: nine Strangers.

1108
00:50:45,840 --> 00:50:47,560
Speaker 3: That's the whole thing. She's so good.

1109
00:50:47,400 --> 00:50:53,359
Speaker 1: In that that you then go, okay, that's good acting, Like,

1110
00:50:54,080 --> 00:50:55,920
Speaker 1: and she is nailing these serieses.

1111
00:50:56,320 --> 00:50:57,600
Speaker 3: If she's in a series, I'll watch it.

1112
00:50:57,920 --> 00:51:00,319
Speaker 1: It's just to that point now where if you're wife

1113
00:51:00,360 --> 00:51:02,960
Speaker 1: is in a series, even if I don't know what

1114
00:51:02,960 --> 00:51:04,200
Speaker 1: it's about, the history of poop.

1115
00:51:04,719 --> 00:51:06,719
Speaker 2: Right now, I'm going toward her next series, I'm going

1116
00:51:06,760 --> 00:51:07,480
Speaker 2: to watch.

1117
00:51:07,239 --> 00:51:09,960
Speaker 1: It because she has showed that she's awesome in these things.

1118
00:51:10,080 --> 00:51:11,799
Speaker 3: Do you do you talk about projects with her? Does

1119
00:51:11,840 --> 00:51:13,000
Speaker 3: she talk about projects with you.

1120
00:51:12,960 --> 00:51:15,640
Speaker 2: And you know them together and like should we do this? Yeah, yeah, souse.

1121
00:51:15,640 --> 00:51:17,839
Speaker 2: We have to talk about scheduling and where it is

1122
00:51:17,920 --> 00:51:20,120
Speaker 2: and how's this going to work? And then of course

1123
00:51:20,600 --> 00:51:22,719
Speaker 2: a lot of the times reading scripts with her, you know,

1124
00:51:22,760 --> 00:51:25,160
Speaker 2: this is the being the Ricado's, which is the Lacille

1125
00:51:25,200 --> 00:51:29,560
Speaker 2: Ball film that's coming out. Aaron Sulkin wrote most amazing scripts,

1126
00:51:29,600 --> 00:51:32,080
Speaker 2: and just getting to read these scripts is something that

1127
00:51:32,400 --> 00:51:37,240
Speaker 2: is God, it's surreal. You read with her sometimes, Yeah,

1128
00:51:37,360 --> 00:51:39,279
Speaker 2: do you ever want to do that? No? I have

1129
00:51:39,400 --> 00:51:43,000
Speaker 2: zero interest in acting, like none, zero. Does she ever

1130
00:51:43,040 --> 00:51:43,319
Speaker 2: hear a.

1131
00:51:43,280 --> 00:51:47,719
Speaker 3: Song of yours and go eh, it's okay, she.

1132
00:51:47,680 --> 00:51:52,239
Speaker 2: Doesn't have to. I can tell you here's the thing

1133
00:51:52,280 --> 00:51:54,319
Speaker 2: that's more important, and you may be able to relate

1134
00:51:54,360 --> 00:51:57,680
Speaker 2: to this. I realized that whoever I play a song

1135
00:51:57,760 --> 00:51:59,080
Speaker 2: for and I've had you at the house and I've

1136
00:51:59,080 --> 00:52:02,319
Speaker 2: played you things before, or how you react that song

1137
00:52:02,400 --> 00:52:04,759
Speaker 2: tells me a lot about the song, But what tells

1138
00:52:04,760 --> 00:52:06,480
Speaker 2: me more is how I feel playing it for you.

1139
00:52:07,920 --> 00:52:10,680
Speaker 2: I've learned so much about how I feel about playing

1140
00:52:10,719 --> 00:52:13,680
Speaker 2: somebody a song, whether it's you, whether it's Nick. Because

1141
00:52:13,840 --> 00:52:16,400
Speaker 2: you know, she may go I love that, and inside

1142
00:52:16,480 --> 00:52:19,080
Speaker 2: I'm thinking I did until I played it, and I'm

1143
00:52:19,120 --> 00:52:21,279
Speaker 2: not feeling so good about it now. So I want

1144
00:52:21,320 --> 00:52:22,399
Speaker 2: to figure out what's going on.

1145
00:52:22,520 --> 00:52:28,960
Speaker 1: What is your relationship with singles, EPs, albums, Because it's

1146
00:52:28,960 --> 00:52:29,839
Speaker 1: a new land out there.

1147
00:52:29,920 --> 00:52:33,320
Speaker 3: Yeah, it's tension, spans are different. Sorry what exactly?

1148
00:52:33,680 --> 00:52:35,520
Speaker 1: But it is getting that way, right, Yeah, So how

1149
00:52:35,520 --> 00:52:39,360
Speaker 1: are you feeling these days about twelve thirteen, fourteen track albums?

1150
00:52:39,520 --> 00:52:43,239
Speaker 1: Why do you see you changing how you're you know,

1151
00:52:43,719 --> 00:52:45,560
Speaker 1: doing Keith Urban distribution of music.

1152
00:52:46,080 --> 00:52:48,480
Speaker 2: I still like to think it comes down to quality,

1153
00:52:49,239 --> 00:52:51,759
Speaker 2: the quality of something, because people go, oh, people want

1154
00:52:51,800 --> 00:52:54,000
Speaker 2: shorter this, short of that, and I'm like, only because

1155
00:52:54,000 --> 00:52:56,480
Speaker 2: a lot of what's out there's just not great. It's okay,

1156
00:52:56,800 --> 00:52:59,520
Speaker 2: it's not great, and it's not great because it's having

1157
00:52:59,520 --> 00:53:01,879
Speaker 2: to be churned out at such a fast right now,

1158
00:53:01,880 --> 00:53:04,560
Speaker 2: because it's content content, content content quick. You have it

1159
00:53:04,840 --> 00:53:07,400
Speaker 2: with your show, and you're trying to maintain a level

1160
00:53:07,440 --> 00:53:12,280
Speaker 2: of excellence with this often unrealistic demand for the amount

1161
00:53:12,360 --> 00:53:12,560
Speaker 2: of it.

1162
00:53:12,719 --> 00:53:14,640
Speaker 1: You're trying to walk a line. How can I give

1163
00:53:14,680 --> 00:53:18,160
Speaker 1: you the best most exactly? That's exactly it? And I

1164
00:53:18,600 --> 00:53:21,600
Speaker 1: miss a lot because sometimes I do most and sometimes

1165
00:53:21,600 --> 00:53:23,960
Speaker 1: I do best, but I often don't get it right

1166
00:53:24,000 --> 00:53:24,719
Speaker 1: at the same time.

1167
00:53:24,960 --> 00:53:26,920
Speaker 2: And I think we're in this a lot in our

1168
00:53:26,960 --> 00:53:30,520
Speaker 2: society right now. The speed of everything and the demand

1169
00:53:30,640 --> 00:53:33,760
Speaker 2: for more and more and more and more quality takes time.

1170
00:53:34,480 --> 00:53:36,520
Speaker 2: Not always, but most of the time it takes. It

1171
00:53:36,560 --> 00:53:37,120
Speaker 2: takes a beat.

1172
00:53:43,560 --> 00:53:46,799
Speaker 1: Do you feel pressure from at the stage of your career,

1173
00:53:46,840 --> 00:53:49,360
Speaker 1: label as managers like hey, let's go, we need another

1174
00:53:49,400 --> 00:53:52,319
Speaker 1: something from you, or are you now like guys, you'll

1175
00:53:52,320 --> 00:53:53,000
Speaker 1: get it when you get it.

1176
00:53:53,239 --> 00:53:57,040
Speaker 2: Yeah, I've never felt that. I've never felt I will

1177
00:53:57,080 --> 00:53:59,200
Speaker 2: say my record company, Capital Records, so I've been with

1178
00:53:59,239 --> 00:54:02,880
Speaker 2: a long time. I've never ever felt anything but support

1179
00:54:03,200 --> 00:54:06,960
Speaker 2: for what I do. They've never given me like dragging

1180
00:54:06,960 --> 00:54:09,000
Speaker 2: the record out of my hand, demanding this song with

1181
00:54:09,120 --> 00:54:11,480
Speaker 2: that song. Ever, they've been amazingly supportive.

1182
00:54:11,920 --> 00:54:13,520
Speaker 3: Do you need a teleprompter?

1183
00:54:13,640 --> 00:54:13,799
Speaker 2: Ever?

1184
00:54:13,840 --> 00:54:16,840
Speaker 1: For lyrics? You've got so many number one songs? Do

1185
00:54:16,920 --> 00:54:20,000
Speaker 1: you ever need a reminder of words? Do you have

1186
00:54:20,040 --> 00:54:21,800
Speaker 1: to refresh or are.

1187
00:54:21,640 --> 00:54:24,000
Speaker 2: You just there? Yeah, refresh it if it's gonna be

1188
00:54:24,000 --> 00:54:26,320
Speaker 2: an old song. But it's I have a sick memory

1189
00:54:26,360 --> 00:54:29,880
Speaker 2: for lyrics of songs. It's crazy you bring up I

1190
00:54:30,239 --> 00:54:30,719
Speaker 2: brought it up.

1191
00:54:30,719 --> 00:54:33,439
Speaker 1: But we talked about it with Ronnie Dunn, who I've

1192
00:54:33,920 --> 00:54:36,560
Speaker 1: oddly become friends with and we're opposite in many ways.

1193
00:54:36,560 --> 00:54:39,000
Speaker 1: But I mean we were texting last night like that's

1194
00:54:39,160 --> 00:54:40,960
Speaker 1: he's there's a big picture. When you walked into this

1195
00:54:41,000 --> 00:54:42,719
Speaker 1: guest house he sent over to the house of like

1196
00:54:42,719 --> 00:54:44,280
Speaker 1: a bull or something that was laying on the counter.

1197
00:54:44,719 --> 00:54:46,440
Speaker 1: But Ronnie has and I don't think he would care

1198
00:54:46,440 --> 00:54:48,239
Speaker 1: if I shared this. He has someone in his ear

1199
00:54:48,239 --> 00:54:51,839
Speaker 1: the whole time, right on a microphone side stage, telling

1200
00:54:51,920 --> 00:54:53,640
Speaker 1: him every lyrics to every song. He's had it for

1201
00:54:53,680 --> 00:54:55,399
Speaker 1: a long time. He's just like, I don't want to forget,

1202
00:54:55,400 --> 00:54:56,720
Speaker 1: and I don't have I don't have a good memory.

1203
00:54:57,120 --> 00:54:59,680
Speaker 1: So they're like out in the country, out in the

1204
00:54:59,719 --> 00:55:01,279
Speaker 1: count I mean they're right in there.

1205
00:55:02,320 --> 00:55:03,040
Speaker 2: That's excellent.

1206
00:55:03,160 --> 00:55:05,719
Speaker 3: I mean voice of an angel, but holy crap, we

1207
00:55:05,800 --> 00:55:06,680
Speaker 3: can't remember word.

1208
00:55:06,840 --> 00:55:08,520
Speaker 2: High pressure gig for the guy in the ear.

1209
00:55:08,520 --> 00:55:13,200
Speaker 1: It's and it's a yeah, very much though, but you

1210
00:55:13,239 --> 00:55:14,000
Speaker 1: have it all there for.

1211
00:55:13,960 --> 00:55:16,440
Speaker 2: The most part. Boy, he'd want to be on good

1212
00:55:16,520 --> 00:55:21,600
Speaker 2: terms with that guy, wouldn't he. It's like ron Ron Ronnie,

1213
00:55:22,440 --> 00:55:24,560
Speaker 2: you could get Burgundy san Diego real quick.

1214
00:55:24,760 --> 00:55:28,440
Speaker 1: Prompted there, let's talk about the new single. Then I

1215
00:55:28,480 --> 00:55:30,239
Speaker 1: do want to get back to the tour. But the

1216
00:55:30,239 --> 00:55:32,759
Speaker 1: current single is Wild Hearts. Let me play a little

1217
00:55:32,760 --> 00:55:50,239
Speaker 1: bit of this for you. I kind of have a

1218
00:55:50,280 --> 00:55:52,680
Speaker 1: relationship with every songwriter on this song, which is pretty cool.

1219
00:55:53,200 --> 00:55:54,719
Speaker 2: Eric is a dear friend of.

1220
00:55:54,640 --> 00:55:59,800
Speaker 1: Mine, Jen Wayne same she's in now she's in a

1221
00:55:59,840 --> 00:56:01,080
Speaker 1: group herself.

1222
00:56:02,480 --> 00:56:02,960
Speaker 2: Away June.

1223
00:56:02,960 --> 00:56:05,759
Speaker 1: There it is brad Tercy from Old Dominion. How does

1224
00:56:05,840 --> 00:56:07,840
Speaker 1: this room come together? Or was it a room that

1225
00:56:07,880 --> 00:56:08,400
Speaker 1: came together?

1226
00:56:09,040 --> 00:56:11,080
Speaker 2: It didn't come together. I got sent this song as

1227
00:56:11,080 --> 00:56:19,000
Speaker 2: a finished song, two verses, chorus done, and I got

1228
00:56:19,040 --> 00:56:24,960
Speaker 2: pitched the song from Roxy King and I heard it

1229
00:56:25,040 --> 00:56:27,800
Speaker 2: and I was like, hm, it's just I like, the

1230
00:56:27,880 --> 00:56:31,160
Speaker 2: chorus aren't really the rest of us not pulling me in?

1231
00:56:31,320 --> 00:56:34,040
Speaker 2: And so I passed on the song. And then about

1232
00:56:34,080 --> 00:56:37,319
Speaker 2: two weeks later, I woke up one morning singing this

1233
00:56:37,560 --> 00:56:39,879
Speaker 2: chorus in my head and I'm like, what is that?

1234
00:56:39,880 --> 00:56:43,480
Speaker 2: That's that wild Heart song. It's really special chorus. I

1235
00:56:43,520 --> 00:56:45,600
Speaker 2: listened to the song again and I went, man, that

1236
00:56:45,719 --> 00:56:49,000
Speaker 2: chorus is so freaking good. But the verses don't say

1237
00:56:49,040 --> 00:56:51,640
Speaker 2: anything to me. And so I called the writers and

1238
00:56:51,680 --> 00:56:54,319
Speaker 2: I said would I said it, would you mind if

1239
00:56:54,360 --> 00:56:57,240
Speaker 2: I rewrote the verses just to make it more personal

1240
00:56:57,280 --> 00:57:00,000
Speaker 2: because it's such a personal song. It's, you know, following

1241
00:57:00,040 --> 00:57:02,000
Speaker 2: your dreams. I'm like, well, what about what? You know?

1242
00:57:02,320 --> 00:57:05,839
Speaker 2: What was my dream journey from Australia to hear And

1243
00:57:06,440 --> 00:57:08,640
Speaker 2: they sent me the track without anything in the verses,

1244
00:57:08,680 --> 00:57:10,120
Speaker 2: and I just rewrote the verses.

1245
00:57:11,800 --> 00:57:14,080
Speaker 3: That's pretty cool one that they would go yes.

1246
00:57:14,719 --> 00:57:16,200
Speaker 2: And I said to them, I said, I'm a writer,

1247
00:57:16,320 --> 00:57:18,040
Speaker 2: so I get this. First of all, I'm I'm not

1248
00:57:18,080 --> 00:57:19,720
Speaker 2: one of these guys that's going to be like I

1249
00:57:19,760 --> 00:57:22,400
Speaker 2: added the word the right, give me fifty percent right.

1250
00:57:22,400 --> 00:57:25,880
Speaker 2: I've never been that guy. And I said, you guys

1251
00:57:25,920 --> 00:57:28,720
Speaker 2: have written the top song. It's top to bottom, it's finished, right.

1252
00:57:28,800 --> 00:57:30,360
Speaker 2: If you can pitch it and someone wants to cut

1253
00:57:30,360 --> 00:57:32,600
Speaker 2: it as is, please do that. I'm not asking to

1254
00:57:32,640 --> 00:57:35,000
Speaker 2: dismantle your song if someone else wants to record it,

1255
00:57:35,280 --> 00:57:38,960
Speaker 2: but if you are okay and I can rewrite these

1256
00:57:39,040 --> 00:57:40,680
Speaker 2: verses and they come up the way I think they will,

1257
00:57:40,960 --> 00:57:44,120
Speaker 2: I'm definitely recording this song. And God bless them they

1258
00:57:44,200 --> 00:57:44,680
Speaker 2: let me do that.

1259
00:57:45,360 --> 00:57:47,960
Speaker 1: The North American Tour the Speed of Now World Tour

1260
00:57:48,000 --> 00:57:48,800
Speaker 1: twenty twenty two.

1261
00:57:49,400 --> 00:57:51,840
Speaker 3: The tickets are on so now Keith Urban dot com.

1262
00:57:52,040 --> 00:57:53,840
Speaker 1: How long do you think you have another ten years

1263
00:57:53,840 --> 00:57:55,680
Speaker 1: of doing these really high energy shows in you?

1264
00:57:57,440 --> 00:58:00,000
Speaker 2: I don't even think about that. I mean, just the next,

1265
00:58:00,280 --> 00:58:01,480
Speaker 2: it's just the next show, good next.

1266
00:58:01,760 --> 00:58:05,080
Speaker 1: I mean, I'm injured. My whole body's still injured from my.

1267
00:58:05,360 --> 00:58:07,160
Speaker 2: That geo show, right, Sha, how beat?

1268
00:58:07,360 --> 00:58:09,600
Speaker 1: So now I think about it things in terms like

1269
00:58:09,640 --> 00:58:11,320
Speaker 1: could I do another three seasons of that show?

1270
00:58:11,320 --> 00:58:11,800
Speaker 2: And I can't.

1271
00:58:11,960 --> 00:58:14,960
Speaker 3: I now understand I can't. Yeahs her wrist, her shoulder hurt.

1272
00:58:15,000 --> 00:58:17,240
Speaker 2: Everything. Tour is not that show, but your tour.

1273
00:58:17,280 --> 00:58:17,880
Speaker 3: I'm telling you.

1274
00:58:18,000 --> 00:58:20,800
Speaker 2: The thing is that you're mad man.

1275
00:58:21,040 --> 00:58:23,280
Speaker 3: Your tour is it again?

1276
00:58:23,440 --> 00:58:25,760
Speaker 1: Is the most energetic show I have ever seen from

1277
00:58:25,800 --> 00:58:28,880
Speaker 1: a superstar who doesn't have to be that energetic because

1278
00:58:28,920 --> 00:58:29,960
Speaker 1: he's already a superstar.

1279
00:58:30,120 --> 00:58:31,720
Speaker 3: And I mean that in the most complimentary way.

1280
00:58:31,880 --> 00:58:33,400
Speaker 1: Right, you could go out and just put on a

1281
00:58:33,440 --> 00:58:34,880
Speaker 1: solid show and be Keith Urban and people will be

1282
00:58:34,920 --> 00:58:37,840
Speaker 1: blown away, But you don't. Your hair is on fire

1283
00:58:37,920 --> 00:58:39,800
Speaker 1: for no other reason than you live that Your art

1284
00:58:40,240 --> 00:58:41,959
Speaker 1: is your hair being on fire during a show.

1285
00:58:42,760 --> 00:58:46,280
Speaker 2: Yeah, yeah, well I only know one volume to get

1286
00:58:46,280 --> 00:58:48,480
Speaker 2: out there and play at there is I mean, if

1287
00:58:48,520 --> 00:58:51,720
Speaker 2: it's real passion and the audience knows it, They're like,

1288
00:58:51,880 --> 00:58:54,280
Speaker 2: that's legit, that's a guy surfing on the wave not

1289
00:58:54,400 --> 00:58:56,520
Speaker 2: thinking about it, but it's really happening and I can

1290
00:58:56,600 --> 00:58:58,720
Speaker 2: feel it. It's it's true, it's in the moment.

1291
00:58:58,760 --> 00:58:59,960
Speaker 3: Do you lose yourself in show?

1292
00:59:00,440 --> 00:59:05,400
Speaker 2: Definitely? Yeah, It's a perfect balance of being completely present

1293
00:59:05,440 --> 00:59:08,240
Speaker 2: and completely lost in the moment all simultaneously.

1294
00:59:08,480 --> 00:59:11,160
Speaker 1: Do you ever Sometimes I'll drive and I'll get somewhere

1295
00:59:11,200 --> 00:59:12,360
Speaker 1: and I'll be like, holy crap, I don't know how

1296
00:59:12,400 --> 00:59:15,200
Speaker 1: I got here, right, Like subconscious has completely taken over,

1297
00:59:15,240 --> 00:59:17,000
Speaker 1: and then I feel unsafe, and I'm like, you're telling

1298
00:59:17,040 --> 00:59:18,520
Speaker 1: you people driving And then I start thinking about other

1299
00:59:18,560 --> 00:59:19,120
Speaker 1: idiots who are.

1300
00:59:19,040 --> 00:59:20,800
Speaker 3: Doing what I did, not thinking and driving places.

1301
00:59:21,080 --> 00:59:22,480
Speaker 1: But does that ever happen in the show where you're

1302
00:59:22,520 --> 00:59:24,200
Speaker 1: three songs later and you're like, dear god, how did

1303
00:59:24,240 --> 00:59:25,000
Speaker 1: I even get here?

1304
00:59:25,880 --> 00:59:29,760
Speaker 2: No? No, I mean maybe, no, not really, not even

1305
00:59:29,800 --> 00:59:33,040
Speaker 2: a moment I was thinking about a moment in a song. No,

1306
00:59:33,320 --> 00:59:39,600
Speaker 2: because I don't know. I'm just super present, But I'm

1307
00:59:39,640 --> 00:59:43,120
Speaker 2: also thinking. I'm taking a multi multiprocessing right, which I

1308
00:59:43,160 --> 00:59:46,080
Speaker 2: think you do extremely well on your show. You're listening

1309
00:59:46,120 --> 00:59:49,280
Speaker 2: to me, you're checking that out, you're thinking about other things,

1310
00:59:49,320 --> 00:59:51,240
Speaker 2: You're probably thinking about some other things you gotta do,

1311
00:59:51,360 --> 00:59:55,440
Speaker 2: and it's all multi processing all at once, and you

1312
00:59:55,720 --> 00:59:56,440
Speaker 2: totally hear as well.

1313
00:59:57,200 --> 00:59:59,040
Speaker 1: I feel like I'm completely present, but I think I'm

1314
00:59:59,040 --> 01:00:00,880
Speaker 1: good at being present while while also.

1315
01:00:03,160 --> 01:00:06,000
Speaker 3: Delegating my mind to do other things the same.

1316
01:00:06,040 --> 01:00:06,920
Speaker 2: It's a good way to put it.

1317
01:00:07,360 --> 01:00:09,920
Speaker 5: Let's take a quick pause for a message from our sponsor,

1318
01:00:18,800 --> 01:00:21,000
Speaker 5: and we're back on the Bobby Cast.

1319
01:00:21,680 --> 01:00:23,200
Speaker 1: What do you say on that microphone when you walk

1320
01:00:23,240 --> 01:00:25,439
Speaker 1: over that nobody hears you? Know the microphone? We're talking

1321
01:00:25,480 --> 01:00:27,160
Speaker 1: to it, all right? Yeah, you have one of those?

1322
01:00:27,280 --> 01:00:28,960
Speaker 2: Yeah, what do you? What do you when you walk back?

1323
01:00:29,120 --> 01:00:31,600
Speaker 1: That's four songs in and only here guys on stage

1324
01:00:31,640 --> 01:00:34,880
Speaker 1: can hear you. Because for those that don't know, some

1325
01:00:35,040 --> 01:00:37,040
Speaker 1: of my friends that have them call them, uh, we'll

1326
01:00:37,080 --> 01:00:39,800
Speaker 1: call it a b mic. Right, So the word rich, like,

1327
01:00:39,840 --> 01:00:42,120
Speaker 1: we're talking to the rich mic. Right, if you're going

1328
01:00:42,160 --> 01:00:44,000
Speaker 1: to that microphone, what are you saying in the middle

1329
01:00:44,000 --> 01:00:44,960
Speaker 1: of a show, Why would it, Mike?

1330
01:00:45,000 --> 01:00:45,360
Speaker 2: Be cool that.

1331
01:00:45,640 --> 01:00:47,800
Speaker 3: I don't have no idea, but that's what that's the

1332
01:00:47,800 --> 01:00:48,600
Speaker 3: only thing I know it as.

1333
01:00:48,800 --> 01:00:48,920
Speaker 7: Right.

1334
01:00:49,120 --> 01:00:53,240
Speaker 2: Oh, that's weird. I've never heard that expression. Oh you haven't. No, Oh, okay,

1335
01:00:53,280 --> 01:00:54,800
Speaker 2: I never heard that. Well I don't say it, but

1336
01:00:55,120 --> 01:00:58,240
Speaker 2: that's crazy. So we stole it from Kenny Chesney when

1337
01:00:58,280 --> 01:00:59,360
Speaker 2: I was on two with him and I saw he

1338
01:00:59,520 --> 01:01:01,560
Speaker 2: had one. I'm like, well, that's perfect because everyone's got

1339
01:01:01,600 --> 01:01:04,400
Speaker 2: in ears and you can actually talk to everyone.

1340
01:01:04,240 --> 01:01:06,440
Speaker 3: At you we're needing to get out over the top. No,

1341
01:01:06,720 --> 01:01:08,400
Speaker 3: you're not at all, not that, Mike.

1342
01:01:09,320 --> 01:01:11,800
Speaker 1: What do you say, is it like, hey guys, we're

1343
01:01:11,800 --> 01:01:13,760
Speaker 1: gonna switch songs or we're gonna play in a different

1344
01:01:13,840 --> 01:01:15,040
Speaker 1: or on my throat hurt or like what?

1345
01:01:15,480 --> 01:01:17,760
Speaker 2: It could be something to my guitar tech, could be

1346
01:01:17,840 --> 01:01:20,120
Speaker 2: something to the monitor guy, could be something to the band.

1347
01:01:20,280 --> 01:01:21,920
Speaker 2: It could be something to security.

1348
01:01:22,360 --> 01:01:24,680
Speaker 3: It could just be really like you see something out there.

1349
01:01:24,800 --> 01:01:26,800
Speaker 3: For sure, security has ears in and they can hear that.

1350
01:01:27,440 --> 01:01:29,720
Speaker 2: I know that it's going to get to where it's

1351
01:01:29,760 --> 01:01:31,760
Speaker 2: going to get to. If maybe not directly, someone will

1352
01:01:31,800 --> 01:01:34,560
Speaker 2: relay the message. But yeah, if I feel like there's

1353
01:01:34,640 --> 01:01:37,240
Speaker 2: just heavy handed security at a place, not letting people

1354
01:01:37,280 --> 01:01:39,760
Speaker 2: have fun or anything like that, I'll make sure it

1355
01:01:39,800 --> 01:01:41,640
Speaker 2: gets taken care of. Definitely.

1356
01:01:42,480 --> 01:01:43,320
Speaker 3: Of all the things that you do.

1357
01:01:43,400 --> 01:01:46,480
Speaker 1: As we wrap this up, one of my favorites is

1358
01:01:46,520 --> 01:01:48,320
Speaker 1: when you and I haven't seen it in a while

1359
01:01:48,440 --> 01:01:52,720
Speaker 1: because you haven't been on the road as normal. No

1360
01:01:52,800 --> 01:01:55,640
Speaker 1: one has right when you do those videos with the

1361
01:01:55,680 --> 01:01:57,760
Speaker 1: police escort behind you and you're like, thank you guys.

1362
01:01:58,000 --> 01:02:00,960
Speaker 1: Not great, Like I love the blue light video at

1363
01:02:00,960 --> 01:02:01,600
Speaker 1: the end of the show.

1364
01:02:01,760 --> 01:02:01,880
Speaker 5: Right.

1365
01:02:02,680 --> 01:02:05,560
Speaker 1: That's funny so much so that there have been a

1366
01:02:05,600 --> 01:02:09,320
Speaker 1: couple of times where you know, we did We've done

1367
01:02:09,320 --> 01:02:10,920
Speaker 1: a couple of shows. We did a festival, and I

1368
01:02:11,040 --> 01:02:12,520
Speaker 1: threw a festival in Texas and we had like four

1369
01:02:12,560 --> 01:02:14,160
Speaker 1: or five thousand people and we had to get out

1370
01:02:14,200 --> 01:02:15,120
Speaker 1: and I was like, Hey, I'm want to get that

1371
01:02:15,120 --> 01:02:16,880
Speaker 1: blue light like Keith e because I gotta get that shot.

1372
01:02:17,080 --> 01:02:17,160
Speaker 2: Right.

1373
01:02:17,320 --> 01:02:18,959
Speaker 3: So you're inspiring me in ways you had no idea.

1374
01:02:19,200 --> 01:02:21,040
Speaker 2: Its great. It's much better having in front of you

1375
01:02:21,120 --> 01:02:23,040
Speaker 2: than behind you. Let me tell you, I would agree

1376
01:02:23,080 --> 01:02:25,000
Speaker 2: with you. I've spent way more years with the opposite.

1377
01:02:25,080 --> 01:02:26,280
Speaker 2: So this is nice, Mike.

1378
01:02:26,360 --> 01:02:29,120
Speaker 3: Anything that I have missed that we need to address

1379
01:02:29,160 --> 01:02:31,040
Speaker 3: with Keith before he leaves, I think that's everything.

1380
01:02:31,280 --> 01:02:33,400
Speaker 1: It's the daylight savings time just about so it's getting

1381
01:02:33,440 --> 01:02:35,240
Speaker 1: darker now and so it feels like it's midnight. So

1382
01:02:35,280 --> 01:02:37,680
Speaker 1: I'm I'm a little tired, kind of run through it here.

1383
01:02:38,080 --> 01:02:40,200
Speaker 1: Anything you'd like to say, Read, you're a massive Keith fan.

1384
01:02:40,280 --> 01:02:42,360
Speaker 3: Read is my video guy. He's been looking for he

1385
01:02:42,480 --> 01:02:44,080
Speaker 3: been looking forward to this whole life.

1386
01:02:44,120 --> 01:02:46,560
Speaker 1: Oh my gosh, So Read, this is your one shot

1387
01:02:46,640 --> 01:02:49,600
Speaker 1: with Keith. Is there anything take a deep breath that

1388
01:02:49,680 --> 01:02:50,680
Speaker 1: you'd like to ask Keith?

1389
01:02:50,920 --> 01:02:54,560
Speaker 2: All right, Keith, I don't know.

1390
01:02:54,720 --> 01:02:59,200
Speaker 7: All I'm thinking about is when I first started learning guitar,

1391
01:02:59,440 --> 01:03:04,280
Speaker 7: my dad got me your Golden Road DVD that had

1392
01:03:04,320 --> 01:03:06,520
Speaker 7: all the music videos on it, and I would stand

1393
01:03:06,520 --> 01:03:07,720
Speaker 7: in front of the TV and I would try to

1394
01:03:07,760 --> 01:03:09,520
Speaker 7: mimic and try to learn learn.

1395
01:03:09,440 --> 01:03:10,680
Speaker 2: The songs, and it was got awful.

1396
01:03:11,120 --> 01:03:13,680
Speaker 7: But I remember that moment. And then I got the

1397
01:03:13,720 --> 01:03:16,120
Speaker 7: pleasure of going to your show. I think it was

1398
01:03:16,440 --> 01:03:20,680
Speaker 7: in Dallas like three no, maybe like two years ago,

1399
01:03:21,360 --> 01:03:24,000
Speaker 7: and my girlfriend got me the tickets and and of

1400
01:03:24,080 --> 01:03:27,840
Speaker 7: course you're out in the crowd running around and you

1401
01:03:27,960 --> 01:03:30,040
Speaker 7: came up to us, and I can just remember my uh,

1402
01:03:30,520 --> 01:03:33,600
Speaker 7: my girlfriend just going Keith, Keith. But that was probably

1403
01:03:33,720 --> 01:03:38,840
Speaker 7: me actually, But yeah, so those are just the moments

1404
01:03:38,880 --> 01:03:39,440
Speaker 7: that came up to me.

1405
01:03:39,520 --> 01:03:41,240
Speaker 2: But wow, I was a huge fan. Man, Thank you

1406
01:03:41,360 --> 01:03:45,760
Speaker 2: so much. How's the plane coming along? Oh it's it's good. Yeah, yeah,

1407
01:03:45,760 --> 01:03:49,760
Speaker 2: you're still playing? Yeah, yes, sir, I heye. I love songwriting.

1408
01:03:50,440 --> 01:03:52,640
Speaker 7: I don't do a lot of playing shows or anything,

1409
01:03:52,760 --> 01:03:55,600
Speaker 7: but I love to produce my music as well and

1410
01:03:56,160 --> 01:03:58,160
Speaker 7: write songs so yes, sir.

1411
01:03:58,360 --> 01:04:02,000
Speaker 1: Yeah, we have emotion an emotional moment here. I'll mention

1412
01:04:02,120 --> 01:04:04,400
Speaker 1: this before you go to I. As we were walking

1413
01:04:04,480 --> 01:04:07,600
Speaker 1: out of our wedding, we played God Whispered.

1414
01:04:07,240 --> 01:04:09,080
Speaker 2: Your Name Wow. Man.

1415
01:04:09,640 --> 01:04:13,160
Speaker 3: The writers or one of the writers saw me out.

1416
01:04:13,480 --> 01:04:14,960
Speaker 1: I was getting some ice cream with Kaitlin and he

1417
01:04:15,080 --> 01:04:17,600
Speaker 1: was like, you guys played got when God whispered your

1418
01:04:17,640 --> 01:04:19,040
Speaker 1: Name is your wedding and I was like, first time

1419
01:04:19,040 --> 01:04:19,880
Speaker 1: I keep singing that song.

1420
01:04:19,920 --> 01:04:20,560
Speaker 3: I was like, that's it.

1421
01:04:21,080 --> 01:04:22,959
Speaker 1: Like I felt that that's one of those rare songs

1422
01:04:23,000 --> 01:04:24,800
Speaker 1: in my life where I was like, because when I

1423
01:04:24,840 --> 01:04:27,560
Speaker 1: heard it the first time, I thought, if I can

1424
01:04:27,640 --> 01:04:30,680
Speaker 1: ever have this in my life, that's it. And then

1425
01:04:30,720 --> 01:04:33,560
Speaker 1: when I met my wife now, I went, this is

1426
01:04:33,640 --> 01:04:38,680
Speaker 1: that song like it was the songwriting, it was the delivery,

1427
01:04:38,840 --> 01:04:41,480
Speaker 1: it was the texture all of those things together in

1428
01:04:41,600 --> 01:04:43,560
Speaker 1: that song. I remember thinking, man, if I ever find

1429
01:04:43,600 --> 01:04:47,040
Speaker 1: this because I heard song before I knew her, But

1430
01:04:47,160 --> 01:04:49,080
Speaker 1: when I met her and I was like, oh, this

1431
01:04:49,240 --> 01:04:50,480
Speaker 1: is when God whispered.

1432
01:04:50,160 --> 01:04:51,560
Speaker 2: Your name wow.

1433
01:04:52,320 --> 01:04:53,960
Speaker 3: And it's one of those few moments where a song

1434
01:04:54,000 --> 01:04:59,959
Speaker 3: is you're punches you in the gut, are okay?

1435
01:05:01,400 --> 01:05:04,560
Speaker 2: Maybe you got you got married and you love that

1436
01:05:04,760 --> 01:05:09,439
Speaker 2: kind of song and yeah, yeah, Danni should played You're Winning. Yes. Cool.

1437
01:05:09,440 --> 01:05:13,040
Speaker 1: And the funny part about that was my wife and

1438
01:05:13,160 --> 01:05:15,640
Speaker 1: Abby Smiers are really close friends. Dan and I have

1439
01:05:15,680 --> 01:05:17,280
Speaker 1: been buddies for a long time, and.

1440
01:05:19,160 --> 01:05:21,880
Speaker 2: I was like, hey, look you.

1441
01:05:21,920 --> 01:05:23,720
Speaker 1: Get because they're like, whatever you want, we'll play. Like

1442
01:05:23,800 --> 01:05:25,520
Speaker 1: Dan was like, well you didn't even ask us, like,

1443
01:05:25,600 --> 01:05:27,400
Speaker 1: we'll play whatever you want. And I think they expected

1444
01:05:27,480 --> 01:05:28,800
Speaker 1: us to pick one of their songs because they have

1445
01:05:28,840 --> 01:05:31,120
Speaker 1: a hundred love songs, they have the best lie but

1446
01:05:31,240 --> 01:05:31,680
Speaker 1: I didn't.

1447
01:05:31,880 --> 01:05:33,880
Speaker 2: I picked the Beach Boys song, Oh what song did

1448
01:05:33,880 --> 01:05:37,080
Speaker 2: you pick? Forever? I don't know this and everyone I

1449
01:05:37,280 --> 01:05:39,880
Speaker 2: say will make you laugh at talk Forever.

1450
01:05:41,120 --> 01:05:43,520
Speaker 1: Dennis Wilson wrote it, I didn't know that song. Jesse

1451
01:05:43,560 --> 01:05:45,040
Speaker 1: and the Rippers later did it on Full House.

1452
01:05:45,160 --> 01:05:47,600
Speaker 2: Dennis Wilson wrote it and the drummer.

1453
01:05:48,040 --> 01:05:51,040
Speaker 1: Wow, and they crushed it in for it and they

1454
01:05:51,080 --> 01:05:53,080
Speaker 1: did checked that song. Yeah, they put it on a

1455
01:05:53,320 --> 01:05:54,720
Speaker 1: they give us a file. They recorded it as well

1456
01:05:54,760 --> 01:05:56,480
Speaker 1: as wedding gift to us and gave it to us.

1457
01:05:56,480 --> 01:05:57,760
Speaker 2: It was awesome, amazing, And.

1458
01:05:57,800 --> 01:06:00,160
Speaker 1: What was cool was even Ronnie was like, Hey, you

1459
01:06:00,160 --> 01:06:01,880
Speaker 1: don't want anything for your wedding, like, I can't get

1460
01:06:01,920 --> 01:06:02,320
Speaker 1: you anything?

1461
01:06:02,920 --> 01:06:03,680
Speaker 2: What do you mean to sing?

1462
01:06:03,800 --> 01:06:06,080
Speaker 3: I was like, that's the greatest gift ever. So he's saying,

1463
01:06:06,160 --> 01:06:06,680
Speaker 3: neon Moon.

1464
01:06:06,760 --> 01:06:09,000
Speaker 2: It was awesome. Oh my goodness, it was awesome. Wow.

1465
01:06:09,800 --> 01:06:11,160
Speaker 2: How did he remember all the words?

1466
01:06:11,800 --> 01:06:13,960
Speaker 3: I worried too, I said, do we need to get

1467
01:06:13,960 --> 01:06:15,320
Speaker 3: that mic for you over on the side.

1468
01:06:15,680 --> 01:06:16,160
Speaker 2: We didn't.

1469
01:06:16,200 --> 01:06:16,640
Speaker 4: He knew the.

1470
01:06:16,680 --> 01:06:18,560
Speaker 2: Words though, at the cell phone up his ear the

1471
01:06:18,600 --> 01:06:19,040
Speaker 2: whole time.

1472
01:06:19,120 --> 01:06:22,160
Speaker 1: All right, get tickets throw on sale today. Keith Urban

1473
01:06:22,440 --> 01:06:24,520
Speaker 1: The Speed of Now World Tour twenty twenty two.

1474
01:06:24,800 --> 01:06:25,200
Speaker 2: They're up.

1475
01:06:25,400 --> 01:06:26,800
Speaker 3: Go see him this podcast.

1476
01:06:26,880 --> 01:06:28,760
Speaker 1: This show is heard in all kinds of countries, so

1477
01:06:29,160 --> 01:06:31,280
Speaker 1: all obviously North America, but all over the world.

1478
01:06:31,960 --> 01:06:33,280
Speaker 3: I don't know how you do it. I don't know

1479
01:06:33,320 --> 01:06:34,560
Speaker 3: how you do it it maintain them as you.

1480
01:06:34,680 --> 01:06:36,280
Speaker 2: I love what I do. I love what I get

1481
01:06:36,320 --> 01:06:39,480
Speaker 2: to do. And truly it's a you know, people go, oh,

1482
01:06:39,560 --> 01:06:43,800
Speaker 2: it's a gift everyday, just it really is. And I'll

1483
01:06:44,200 --> 01:06:47,000
Speaker 2: finish with this because I think it's what is what

1484
01:06:47,120 --> 01:06:51,040
Speaker 2: it's all about is I went. I was born with

1485
01:06:51,080 --> 01:06:53,800
Speaker 2: the addictive gene. I went to three rehabs in the

1486
01:06:53,880 --> 01:06:56,480
Speaker 2: span of three in the span of eight years. The

1487
01:06:56,520 --> 01:06:58,640
Speaker 2: first rehab is nineteen ninety eight, my second one was

1488
01:06:58,680 --> 01:07:01,920
Speaker 2: two thousand and three, almost two thousand and six, and

1489
01:07:02,040 --> 01:07:05,080
Speaker 2: it took what it took for me to finally get sober,

1490
01:07:07,320 --> 01:07:13,120
Speaker 2: and that journey brought the deepest, deepest level of gratitude

1491
01:07:13,200 --> 01:07:15,560
Speaker 2: for what I get to do. Then. I don't know

1492
01:07:15,600 --> 01:07:17,800
Speaker 2: if I ever would have gotten that gratitude level without

1493
01:07:17,880 --> 01:07:20,880
Speaker 2: that journey. I think when you come close to losing

1494
01:07:20,960 --> 01:07:23,880
Speaker 2: all of that and then it gets given back to

1495
01:07:23,960 --> 01:07:26,960
Speaker 2: you through grace. In my case, getting back to me,

1496
01:07:27,640 --> 01:07:29,520
Speaker 2: I was like, I'm never going to take this for

1497
01:07:29,600 --> 01:07:30,479
Speaker 2: granted ever again.

1498
01:07:30,920 --> 01:07:34,320
Speaker 1: Does it make you a more giving person going through

1499
01:07:34,400 --> 01:07:36,600
Speaker 1: because for me, I have found that growing up a

1500
01:07:36,680 --> 01:07:39,440
Speaker 1: poverty kid and someone who's been through those struggles with

1501
01:07:39,480 --> 01:07:44,200
Speaker 1: addiction secondary that affects me and how I treat other people.

1502
01:07:45,160 --> 01:07:48,560
Speaker 1: Do you think you were two different people before and

1503
01:07:48,760 --> 01:07:51,920
Speaker 1: after your final run, your final time and rehab?

1504
01:07:52,280 --> 01:07:57,400
Speaker 2: Very much? Yeah, and yes, I separate the person from

1505
01:07:57,520 --> 01:08:00,160
Speaker 2: the addiction you own.

1506
01:08:00,240 --> 01:08:03,320
Speaker 1: Is one of the nicer guys in town, just generally

1507
01:08:03,400 --> 01:08:05,360
Speaker 1: by people like Keith urban is the nicest guy.

1508
01:08:06,080 --> 01:08:08,600
Speaker 3: Were you known early in your career as that guy?

1509
01:08:08,760 --> 01:08:11,760
Speaker 1: Were you always just completely dialed into the human aspect

1510
01:08:11,800 --> 01:08:14,080
Speaker 1: of people, because now you are and you're known for that.

1511
01:08:14,560 --> 01:08:18,240
Speaker 2: I like people, and I like collaborating. I love Yeah,

1512
01:08:18,400 --> 01:08:20,800
Speaker 2: I love people. I've always loved people. You've always been

1513
01:08:20,840 --> 01:08:23,200
Speaker 2: a nice guy. I've always I think I've always been

1514
01:08:24,240 --> 01:08:27,920
Speaker 2: bridge builder. I'm a bridge builder. I'm an entertaina. I

1515
01:08:28,160 --> 01:08:31,160
Speaker 2: you know, I think I was the I was the

1516
01:08:31,320 --> 01:08:34,200
Speaker 2: I was the peace person. You know, if you have

1517
01:08:34,280 --> 01:08:37,360
Speaker 2: an identity in your home. I was the bridge builder

1518
01:08:37,439 --> 01:08:39,880
Speaker 2: between my brother and my father, always trying to kill

1519
01:08:39,920 --> 01:08:42,599
Speaker 2: each other. I was like, interesting, I'm gonna I'm gonna

1520
01:08:42,600 --> 01:08:44,519
Speaker 2: be the one that keeps the peace here. And I

1521
01:08:44,600 --> 01:08:45,960
Speaker 2: think I've carried that into my life.

1522
01:08:46,000 --> 01:08:48,639
Speaker 1: All right, Go to a show, listen to the music.

1523
01:08:48,760 --> 01:08:52,080
Speaker 1: Keith Urban, thank you always good to talk you great

1524
01:08:52,080 --> 01:08:53,000
Speaker 1: to talk to you too, there is.

1525
01:08:53,040 --> 01:08:57,080
Speaker 2: Keith, thanks for listening to a Bobby Cast production.

1526
01:09:00,200 --> 01:09:00,320
Speaker 4: Uh