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Speaker 1: Hey, everybody, It's Jefferson White with you again, and I

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Speaker 1: want to welcome you back to the Official Yellowstone Podcast

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Speaker 1: presented by WIN Las Vegas. I really appreciate so much

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Speaker 1: all of you guys for tuning in and supporting this show.

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Speaker 1: This podcast is near and dear to my heart. It

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Speaker 1: gives me a chance to really connect with my fellow

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Speaker 1: cast members and the people behind the incredible world of Yellowstone.

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Speaker 1: It has been an incredible opportunity to ask some questions

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Speaker 1: that I've been thinking about for years now and that

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Speaker 1: I've seen our fans talking about for years now. I

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Speaker 1: am back here at the WIN Las Vegas, and what

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Speaker 1: a perfect spot to talk about music. The WIN has

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Speaker 1: tons of the best musical acts come through here every year,

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Speaker 1: and I'm hoping one day that I can see my

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Speaker 1: first guest here too, Ryan Bingham is here to talk

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Speaker 1: about his role walker, his music, and his past life

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Speaker 1: in Rodeo. So stand by and we're going to dive in.

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Speaker 2: Okay.

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Speaker 1: I feel incredibly fortunate, incredibly blessed today to have Ryan

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Speaker 1: Bingham in the studio. Ryan Bingham obviously a celebrated country

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Speaker 1: musician in his own right, an incredible actor.

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Speaker 2: A cowboy his entire life.

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Speaker 1: Who brings so so so much to the show. So, Ryan,

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Speaker 1: thank you so much for being here today.

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Speaker 2: Man, good to be here, Man, good to see you.

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Speaker 2: It's we I what intreat.

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Speaker 1: The best thing about this whole podcast is honestly just

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Speaker 1: an opportunity to like sit down with my friends who

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Speaker 1: have known for years now and sort of catch up

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Speaker 1: after having spent so much time hustling on the ranch.

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Speaker 2: Just sit down for a minute, breathe, catch up and

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Speaker 2: get a chance to actually talk about it.

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Speaker 1: Yeah.

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Speaker 3: And I was really excited that you're hosting this and uh,

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Speaker 3: and I've you know, seen a lot of things in

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Speaker 3: podcasts that you've done. You're so you're you're a good

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Speaker 3: host man, and you do a really good job of

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Speaker 3: these things. And so I was excited to be doing

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Speaker 3: this yere with you.

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Speaker 2: Thanks brother, that's incredibly incredibly generous.

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Speaker 1: So you, uh, for folks that don't know, will you

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Speaker 1: just start by telling us a little bit about your

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Speaker 1: life before Yellowstone? Do you mind just catching us up

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Speaker 1: on everything that happened to you before Yellowstone?

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Speaker 3: Oh boy, it's kind of a long story.

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Speaker 2: As long it can take us long as you want.

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Speaker 3: Yeah, Yeah, I'm originally I was born in Hobbes, New Mexico.

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Speaker 3: Grew up in West Texas, around Midland and Odessa and

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Speaker 3: kind of all over Texas. My family moved around quite

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Speaker 3: a bit. I got into rodeo at a really young age.

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Speaker 3: My uncle was a professional bull rider, and I got

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Speaker 3: into roping and riding steers when I was like ten

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Speaker 3: or eleven years old, and did that up into kind

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Speaker 3: of my early twenties, and got into playing guitar and

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Speaker 3: playing in honky tonks and you know, on the backs

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Speaker 3: of pickup trucks in the parking lots at the rodeos.

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Speaker 3: And one thing led to another, and met Taylor Sheridan

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Speaker 3: and played him some songs, and next thing I knew,

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Speaker 3: I was in this cowboys show in Montana. So just

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Speaker 3: to kind of wrap it up and keep it short

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Speaker 3: there so.

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Speaker 1: For you, Yeah, there's an incredible amount that happened in there.

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Speaker 1: So for you, music and rodeo and the lifestyle of

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Speaker 1: those two things has always sort of gone hand in hand.

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Speaker 1: You were traveling kind of for both at the same time.

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Speaker 3: Yeah, you know, it was mainly rodeo first, you know,

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Speaker 3: on the weekends with buddies going down the road to

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Speaker 3: the rodeos, and then when I started learning how to

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Speaker 3: play the guitar, that became part of it where I

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Speaker 3: would just sit in the back seat of the truck

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Speaker 3: with my guitar and we'd make up silly songs about

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Speaker 3: our adventures on the weekends and things like that, and

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Speaker 3: more often than not we'd find ourselves in a little

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Speaker 3: roadhouse bar after the rodeo or at a dance somewhere,

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Speaker 3: and you know, my friends would be like, man, get

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Speaker 3: to guitar out and play that song you were singing

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Speaker 3: in the truck while we were driving down the road,

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Speaker 3: and that turned into kind of the people at the

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Speaker 3: bars would hear me playing and invite me to come

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Speaker 3: actually play a gig in the bar. And so next

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Speaker 3: time the rodeo was in town, I'd go to the

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Speaker 3: rodeo and then have a gig in the bar afterwards.

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Speaker 3: And then kind of sooner or later I had more

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Speaker 3: gigs and I did rodeos, and I had to kind

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Speaker 3: of make a decision there, and I, you know, I

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Speaker 3: loved rodeo and and I loved writing bull and all that,

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Speaker 3: but always had to have some sort of day job

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Speaker 3: during the week to kind of make ends meet too,

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Speaker 3: and that usually consisted of some type of hard labor,

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Speaker 3: you know, So it didn't take me too long to

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Speaker 3: figure out that the you know, that guitar felt a

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Speaker 3: lot better in my hands than the shovel did. As

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Speaker 3: I kind of said before.

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Speaker 1: But let's talk a little bit about because you're obviously

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Speaker 1: an incredible musician, and that's a huge part of your

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Speaker 1: work on the show, you're also an incredibly talented and

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Speaker 1: skilled cowboy. So let's talk a little bit about how

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Speaker 1: your experience in the rodeo, your experience growing up working

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Speaker 1: on ranches, relates to the work you do on Yellowstone.

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Speaker 1: What it's been like to take those things you've been

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Speaker 1: doing your whole life and bring them to.

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Speaker 2: Set with you. Just talk a little bit about the

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Speaker 2: experience of you know, cowboying on the Yellowstone.

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Speaker 3: Yeah, it's really been, you know, a dream job. Yeah,

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Speaker 3: I know. It's like people asking no time what it's

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Speaker 3: like to work on the show, and it's like, man,

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Speaker 3: it's incredible. I get to go play cowboy in the

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Speaker 3: mountains and you know, in Montana, and even when I'm

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Speaker 3: not on set, you know, I get on my horse

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Speaker 3: and go ride through the mountains, and go fish and

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Speaker 3: do you know all those things. And so I feel

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Speaker 3: fortunate that, you know, I never really had high expectations

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Speaker 3: when I was that young of making a career out

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Speaker 3: of rodeo or even music, you know, and so to

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Speaker 3: have this opportunity out of being able to do both.

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Speaker 2: Yeah, you found the perfect job to make.

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Speaker 3: A living out of it. It's just like a dream

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Speaker 3: come true. And so I feel really fortunate and grateful

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Speaker 3: for the experience. I love working with horses and just

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Speaker 3: being around animals and like to be that connected to

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Speaker 3: kind of nature and just the energy, you know, and

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Speaker 3: the kind of spirit of livestock and horses and all that.

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Speaker 3: It just to me, it kind of really connects me

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Speaker 3: back to the earth, and it kind of roots me

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Speaker 3: and where I come from, and it just it's where

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Speaker 3: I feel most comfortable and kind of most you know,

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Speaker 3: in my own self, if that makes sense.

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Speaker 2: You know.

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Speaker 1: And I think that also really informs the way that

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Speaker 1: Walker sort of comes off on camera, because you have

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Speaker 1: this credible sort of ease to you in all of

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Speaker 1: those sequences. You know, me, denim Ian, the guys, you know,

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Speaker 1: we haven't spent our whole lives doing this. I feel

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Speaker 1: like I tense up the second we get into a

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Speaker 1: sequence involving horses. You know, anytime it's our job to

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Speaker 1: go grab a calf, to go do something that's new

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Speaker 1: to us, all this tension floods into my body, and

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Speaker 1: over and over again, I look over at you, and

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Speaker 1: you just have this kind of natural ease, and you

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Speaker 1: remind me. I've tried a few times to remember exactly

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Speaker 1: what it is that you say you had a sort

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Speaker 1: of incredible credo and stop me because I'm gonna butcher it.

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Speaker 1: But it's like something is slow.

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Speaker 3: Slow, slow as smooth, and smooth.

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Speaker 2: As fast, slow as smooth and smooth as fast.

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Speaker 1: I love that, and I try to remember that as I,

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Speaker 1: you know, get thrown into these circumstances that are very

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Speaker 1: new to me. I'm doing some some cutting recently, which

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Speaker 1: is something I know you have a lot of experience with.

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Speaker 1: I always my first instinct is to rush, My first

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Speaker 1: instinct is to hurry up. So I always have your

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Speaker 1: voice in the back of my mind, and I'm always

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Speaker 1: sort of picturing you, sort of trying to kind of

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Speaker 1: slow my heart rate down because the horse picks up

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Speaker 1: on that too, right.

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Speaker 3: Like yeah, and all of it you know, and like

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Speaker 3: it's not that I have, like I mean, I guess

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Speaker 3: the experience is just being around it since a young age.

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Speaker 3: Like I remember when I was young, my uncle had

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Speaker 3: some bucking bulls and things like that. And I've worked

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Speaker 3: for some stock contractors that had where I like my

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Speaker 3: job was going walking in a pan of like thirty

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Speaker 3: or forty big, massive bucking bulls and you know, feeding

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Speaker 3: them and late in the afternoon when you're kind of tired,

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Speaker 3: and all those bulls and it's like, you know, one thing

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Speaker 3: my uncle told me I was a kid, He's like, hey, man,

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Speaker 3: keep your head up when you're walking through the bullpen.

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Speaker 2: You know.

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Speaker 3: You don't want to walk through there looking at the ground,

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Speaker 3: you know there, keep your head up and watch them,

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Speaker 3: you know, and like every little movement you make, they're

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Speaker 3: watching too. And if you're scared or nervous, you're gonna

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Speaker 3: make them nervous, you know. And so I kind of

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Speaker 3: had to learn how to walk through there with confidence

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Speaker 3: and just be like and just talk to him like, hey, hey, here,

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Speaker 3: come on to seat, you know. In the same way

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Speaker 3: with horses or when I was young and riding bulls,

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Speaker 3: I was kind of like fell into the bull riding

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Speaker 3: thing at an interesting time, like when I was fourteen

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Speaker 3: or fifteen years old. It was kind of right when

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Speaker 3: the PBR was getting started, and you know, these guys

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Speaker 3: were really starting to breed bucking bulls, you know, to buck.

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Speaker 3: Like for a while, it seemed like you could go

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Speaker 3: to a rodeo and there might be one or two

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Speaker 3: bulls in the pen that would really buck or that

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Speaker 3: would be mean, you know, but the rest of them

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Speaker 3: would kind of be, you know, kind of jumping kick

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Speaker 3: around there. But now they all like they're like bread

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Speaker 3: to buck. They're all just you know, really good. And

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Speaker 3: so I was at the time where I was kind

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Speaker 3: of small and like these guys were breeding these young

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Speaker 3: bucking bulls, but they needed somebody to come ride them,

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Speaker 3: you know, to get on them. And I became like

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Speaker 3: the test pilot, you know, and so I just thought

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Speaker 3: I was like wanted to go practice, and these guys

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Speaker 3: like I want to get you, you know, go get

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Speaker 3: on some good practice bulls. And then I realized like

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Speaker 3: they were just I was getting on ten or fifteen,

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Speaker 3: like two year old bucket bulls a day, and these

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Speaker 3: bulls were, you know, they're young, and they'd never been

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Speaker 3: in a shoot before. They're flipping over backwards. They're wild,

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Speaker 3: and I had to really learn how to ease my

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Speaker 3: way around them in the bucking shoot and like kind

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Speaker 3: of speak their language in a way just to be

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Speaker 3: able to navigate them and be able to get out

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Speaker 3: of the gate and all of that stuff and then

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Speaker 3: ride them and get off and do it again. So

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Speaker 3: I just I spent a lot of time with them,

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Speaker 3: whether they're like feeding them, you know, taking care of them,

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Speaker 3: cleaning their pins, or like riding them and the bucketshoes,

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Speaker 3: saying or with horses. When I was in college, I

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Speaker 3: helped my roommate lot. He was a farrier, and we

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Speaker 3: shoot a lot of horses, a lot of big cutting

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Speaker 3: horse barns and things like that. And you know, we'd

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Speaker 3: shoot seven to ten horses a day, and every now

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Speaker 3: and then there would be one that was really bad

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Speaker 3: to shoot and would kick you and bite you and

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Speaker 3: hurt you. You know, if you didn't really learn how

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Speaker 3: to ease around them and be gentle around them and

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Speaker 3: kind of learn how to make them feel comfortable.

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Speaker 2: You know.

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Speaker 3: So I try to learn, you know, the more I

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Speaker 3: can make that animal feel comfortable, the better off we're all.

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Speaker 1: Going to be It's a perfect that's a perfect analogy

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Speaker 1: for Walker in the bunk House with Lloyd and Rip Right,

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Speaker 1: you're walking into a pole, You're walking into a pin

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Speaker 1: with a bunch of keyed up, angry bulls who want

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Speaker 1: to take a piece out of you. And it's amazing

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Speaker 1: walking watching you sort of move through those scenes like water.

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Speaker 1: You know, don't give them anything to grab onto, don't

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Speaker 1: give them anything to sort of get pissed at, try

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Speaker 1: to just kind of flow through those scenes. I so

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Speaker 1: admire the way you navigate that difficult space where everybody's

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Speaker 1: kind of competing for status. You're so good at coming

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Speaker 1: in slow and easy. It's such a cool sort of acting.

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Speaker 2: Don't stir the pot, you don't have to.

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Speaker 3: I think that's how I live my life too. You know,

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Speaker 3: I've moved around a lot as a kid, and it

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Speaker 3: was always the new kid in school, and you know,

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Speaker 3: it's always had to kind of face those you know,

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Speaker 3: bullies or whatever you want to call. There's always some

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Speaker 3: kid in town that wanted to beat up the new

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Speaker 3: kid or whatever. So and you just had to kind

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Speaker 3: of walk through like you're walking through the bullpen and

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Speaker 3: keep your head up and look out for the bad

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Speaker 3: ones that would actually run you over.

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Speaker 1: Yeah, something that I've so appreciated is you have such

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Speaker 1: a sort of comprehensive and wide knowledge of all these

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Speaker 1: different individual skills within the field of horsemanship. You know,

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Speaker 1: you have a background in rodeo, roping, working ranches, cutting.

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Speaker 1: You have such a sort of wide breadth of knowledge,

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Speaker 1: which is an incredible gift for us, for the rest

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Speaker 1: of us, at any given moment, we can turn to you,

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Speaker 1: and for four years now you've been helping guide us

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Speaker 1: in just a million little.

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Speaker 2: Ways because it takes a lifetime.

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Speaker 1: It takes a lifetime to learn this stuff, you know,

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Speaker 1: and a lot of us are coming to this, let's

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Speaker 1: be honest, too late in.

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Speaker 2: Our lives, so we're always trying to keep up.

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Speaker 1: And you have such a sort of comprehensive knowledge of

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Speaker 1: this stuff for just little things like where should my

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Speaker 1: hand go in this moment? What am I supposed to

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Speaker 1: do with my hat when I get off the horse here?

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Speaker 1: You know, there's just a million little rituals.

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Speaker 2: That's cool.

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Speaker 3: Like, I didn't really realize that, you know, that's pretty

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Speaker 3: I mean, I like I've kind of had a I'm

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Speaker 3: not like really good in one thing, but I've experienced

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Speaker 3: a lot of it in different you know, and been

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Speaker 3: around it and enough to where I feel comfortable, and

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Speaker 3: I think the same with you guys, Like I realized

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Speaker 3: that too, Like I have a lot of respect for

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Speaker 3: you guys for coming in and not some of you

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Speaker 3: guys have never even been on a horse, you know,

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Speaker 3: I know how intimidating that must be. And I talk

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Speaker 3: to people about it all the time, you know, when

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Speaker 3: people are they're like, well, how are all the other

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Speaker 3: casts on the show and with all the cowboy and stuff,

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Speaker 3: And I'm like, well, you know, it's pretty cool to

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Speaker 3: see everybody come in and like really work at it.

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Speaker 3: And it's it's intimidating to get on the back of

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Speaker 3: a twelve hundred pound animal and like be that vulnerable

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Speaker 3: with something that you've never done, and it takes a

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Speaker 3: lot of courage. And I've got a lot of respect

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Speaker 3: for you guys just to for getting up there and

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Speaker 3: doing it and seeing how hard you guys work at

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Speaker 3: it too. You know, really it's really cool to see

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Speaker 3: how you guys have all evolved. And I know you

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Speaker 3: and I started when we first met on there and

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Speaker 3: we were learning how to rope the dummy and doing

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Speaker 3: roping tricks, and next thing I know, I see you

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Speaker 3: at the end of the barn and you're doing all

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Speaker 3: these amazing rope tricks on your own, and I'm like, man,

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Speaker 3: that's really cool, you know, and it's it's cool to see,

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Speaker 3: uh see get something out of it too, you know.

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Speaker 2: Thanks, brother, I appreciate that. It's been.

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Speaker 1: The thing we're lucky is that basically for every actor

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Speaker 1: on the show, there's at least one real cowboy, right,

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Speaker 1: even if you look at the bunk house, right, you

301
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Speaker 1: got for every Jefferson White, Ian Bowen, Denim Richards, you

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Speaker 1: got an Ethan Lee, Jake Greame, Fory j Smith.

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Speaker 3: And then like the stunt like j Rod and Bobby Robert, yeah,

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Speaker 3: Mark All you know, like, yeah, those guys you need

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Speaker 3: to know anything, they got it.

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Speaker 2: You know, they're incredible.

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Speaker 1: I think Jordan Warwick has at one point or another

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Speaker 1: basically doubled for every actor on the show. I think

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Speaker 1: he's put on a lot of different whigs and a

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Speaker 1: lot of different hats and he's played pretty much every time.

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Speaker 3: Very thankful that they've been there, even helping me with stuff.

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Speaker 3: I'm like, man, I've done this before, but like I'm

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Speaker 3: not up for it today a Lifesavers.

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Speaker 1: There's been a number of times I think what's so

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Speaker 1: amazing is also some of the freedom. I think Taylor

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Speaker 1: is brilliant as a director, and he's brilliant at knowing

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Speaker 1: when to trust his collaborators. And there's been a number

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Speaker 1: of times when I've seen him turn to you and say,

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Speaker 1: you know, hey, Ryan, we want to have a song

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Speaker 1: in this scene. What do you want to play? What

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Speaker 1: do you think fits in this scene? And then I'll

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Speaker 1: see you take your guitar, wander off, mess around a little,

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Speaker 1: figure it out. So will you just talk about playing

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Speaker 1: on set times that you sort of maybe how being

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Speaker 1: on set has also informed your creative process and how

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Speaker 1: that goes back and forth.

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Speaker 2: You know.

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Speaker 3: Yeah, I think that, you know, really starts with Taylor too,

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Speaker 3: him like giving us the freedom to do that, you know,

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Speaker 3: and definitely with the music at the start of it,

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Speaker 3: you know, and he's like, well what do you He's like,

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Speaker 3: I got an idea, like I would like to have

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Speaker 3: this song in this place. But then that when like

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Speaker 3: it's a lot of time, even when I'm on stage

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Speaker 3: at a show, like I'll have like a set list

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Speaker 3: written out, and I think it's going to be this,

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Speaker 3: But as soon as you walk on the stage and

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Speaker 3: you feel the energy of the crowd, sometimes that whole

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Speaker 3: set list just goes out the window because it's like, man,

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Speaker 3: these people aren't in the mood for these songs that

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Speaker 3: I have written down there in the mood, it's time

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Speaker 3: to call in the audible.

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Speaker 2: Yeah.

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Speaker 3: Yeah, I don't want to kill the party here with

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Speaker 3: all these slow, sad songs. I've better place the upbeat

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Speaker 3: stuff and keep the party going, you know. And it's

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Speaker 3: kind of the It was the same way, like I'd

348
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Speaker 3: get on set and then like the reality would sink

349
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Speaker 3: in of what's going on and what it looked like,

350
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Speaker 3: and you know, the mood of what your guys' characters

351
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Speaker 3: were in and all that, and be like, man, well

352
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Speaker 3: this is kind of what I'm feeling right now. And

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Speaker 3: I could at least take that to Tailor and like

354
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Speaker 3: what do you think about this? You know, and and

355
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Speaker 3: he could either give it a thumbs up or thumbs down.

356
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Speaker 3: And the same way was like some of the lines,

357
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Speaker 3: you know, he'd like he'd have what he'd have written down,

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Speaker 3: and he's like, give me a couple more of just

359
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Speaker 3: maybe what you're doing, and you know, that way, he

360
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Speaker 3: had some options with it, and I always thought that

361
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Speaker 3: was that was interesting and it made it fun and

362
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Speaker 3: a little bit more creative too, where you could, like,

363
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Speaker 3: if you were feeling something, you could at least try it,

364
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Speaker 3: you know.

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Speaker 1: Yeah, I so appreciate the way that we shoot those

366
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Speaker 1: music sequences on the show, because a lot of shows

367
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Speaker 1: you do a playback, you play the music back over

368
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Speaker 1: speakers and you kind of mouth along to it.

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Speaker 3: And it's so hard.

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Speaker 2: It's so hard to do.

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Speaker 1: But on Yellowstone, I feel like, over and over again,

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Speaker 1: you sit there, you play the song, maybe you try

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Speaker 1: another song. It's like this incredible for us. I mean,

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Speaker 1: I've been a fan of her since the first time

375
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Speaker 1: I heard your music. For us, it's an incredible gift

376
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Speaker 1: to sit in this room with you. In the same

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Speaker 1: way that those guys in the bunk House are sitting

378
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Speaker 1: in the bunk house with Walker. We all get to

379
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Speaker 1: sit in the room with you and watch you sort

380
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Speaker 1: of work that stuff out, and it's like this incredibly

381
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Speaker 1: intimate little show. It's it's really such a gift.

382
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Speaker 3: It's really it's been interesting for me too, because when

383
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Speaker 3: I even from the very beginning, when I first started

384
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Speaker 3: writing songs, you know, a lot of I kept close

385
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Speaker 3: my eyes and I could visualize something, and writing a

386
00:16:36,240 --> 00:16:38,680
Speaker 3: song was really like kind of just describing what I

387
00:16:38,760 --> 00:16:41,400
Speaker 3: was seeing in my mind, you know. And so to have,

388
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Speaker 3: you know, a TV show where you like, I have

389
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Speaker 3: the visuals in front of me and I can see

390
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Speaker 3: it and I could like it just it makes it

391
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Speaker 3: kind of makes my mind go crazy with ideas and

392
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Speaker 3: things to write about and so and you know, not

393
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Speaker 3: even to speak of like the emotional part of as well,

394
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Speaker 3: you know, So it's pretty interesting.

395
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Speaker 1: That's what I think is amazing about the show too,

396
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Speaker 1: is how sort of immersive the environment is. You know,

397
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Speaker 1: it's an endlessly inspiring environment because we're out there in

398
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Speaker 1: the mountains, you know, like we're really the locations are

399
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Speaker 1: real practical locations, we're really surrounded by animals, We're really

400
00:17:16,200 --> 00:17:19,480
Speaker 1: surrounded by this world. And I think that's an incredibly

401
00:17:19,640 --> 00:17:25,080
Speaker 1: creatively inspiring space to occupy across every dimension of it.

402
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Speaker 1: For the technical you know, for our visual team, the

403
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Speaker 1: camera department, it gives them so much to play with

404
00:17:31,800 --> 00:17:34,000
Speaker 1: to really be in those environments. But then also for

405
00:17:34,119 --> 00:17:36,680
Speaker 1: us as actors. For you as a musician, it gives

406
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Speaker 1: us so much to respond to in real time.

407
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Speaker 3: Yeah, there's a there's a painting, there's a poem, there's

408
00:17:43,960 --> 00:17:46,359
Speaker 3: a song. There's like at every little moment, you know,

409
00:17:46,400 --> 00:17:49,760
Speaker 3: it's like that time when Bobby Roberts was riding that

410
00:17:49,800 --> 00:17:52,040
Speaker 3: bronc and it went through the fence and I'm just like, well,

411
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Speaker 3: there's a song right there, you know, just out of

412
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Speaker 3: that ten.

413
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Speaker 2: Seconds of that just went down.

414
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Speaker 3: You know, it's like.

415
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Speaker 2: That's the I mean, you you grew up in the rodeo.

416
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Speaker 2: You just still make you nervous.

417
00:18:04,720 --> 00:18:07,280
Speaker 3: Watching bull riding, does you know. I mean, I've still

418
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Speaker 3: got some friends that still ride and fight bulls and stuff,

419
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Speaker 3: and I'll go every now and then and get on

420
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Speaker 3: the back of the shoots and watch them, and I'm

421
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Speaker 3: just like, oh, it still gives me that same feeling,

422
00:18:16,440 --> 00:18:19,719
Speaker 3: you know, which I was kind of craved when I

423
00:18:19,760 --> 00:18:22,119
Speaker 3: was young and doing it. But yeah, it's it's intense,

424
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Speaker 3: you know.

425
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Speaker 1: Yeah, you really that's something you can't fake, no, you know,

426
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Speaker 1: getting on the back of a bucking horse.

427
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Speaker 3: And be prepared to die every time you do it. Yeah,

428
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Speaker 3: and then seeing your friends go through it.

429
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Speaker 2: You know.

430
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Speaker 3: It's like I had a you know, a good friend

431
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Speaker 3: who was a bullfighter and his brother was a bull rider,

432
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Speaker 3: and all of his friends and he was out there

433
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Speaker 3: there the one to protect them all if they got

434
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Speaker 3: in a bind, you know. And I was like talking

435
00:18:42,240 --> 00:18:43,840
Speaker 3: to him about it one time. He's like, oh, man,

436
00:18:43,880 --> 00:18:45,840
Speaker 3: the feeling I have to be responsible for not only

437
00:18:45,920 --> 00:18:47,720
Speaker 3: my brother but all of my friends that are here

438
00:18:47,800 --> 00:18:50,000
Speaker 3: doing it. It's a lot of a lot of weighting

439
00:18:50,080 --> 00:18:52,199
Speaker 3: and a lot of things to carry. It's a dangerous

440
00:18:52,240 --> 00:18:52,840
Speaker 3: for it, you know.

441
00:18:53,160 --> 00:18:56,920
Speaker 1: And it is the rodeo world, just like the experience

442
00:18:56,960 --> 00:18:59,199
Speaker 1: of making the show really feels like it's a family affair.

443
00:18:59,320 --> 00:19:00,639
Speaker 2: It's a community, you know.

444
00:19:00,720 --> 00:19:03,600
Speaker 1: And you described when you first started playing music, when

445
00:19:03,640 --> 00:19:06,080
Speaker 1: you were on the rodeo circuit. You're surrounded by your friends.

446
00:19:06,080 --> 00:19:08,480
Speaker 1: You're sort of surrounded by your kind of makeshift family.

447
00:19:08,880 --> 00:19:10,280
Speaker 2: Yeah, and it really is.

448
00:19:10,240 --> 00:19:12,200
Speaker 3: You know, I mean, the whole West, the idea of

449
00:19:12,240 --> 00:19:15,159
Speaker 3: like kind of the Western cowboys, and it's it's a

450
00:19:15,160 --> 00:19:16,840
Speaker 3: real way of life for a lot of people that

451
00:19:16,880 --> 00:19:19,680
Speaker 3: grow up on the land and farm and ranch, and

452
00:19:19,800 --> 00:19:22,359
Speaker 3: you know, there's a sort of set of values out there.

453
00:19:23,640 --> 00:19:25,920
Speaker 3: You know, it's just kind of like being a kid

454
00:19:25,960 --> 00:19:27,800
Speaker 3: and growing up and knowing what the dirt feels like

455
00:19:27,800 --> 00:19:29,560
Speaker 3: between your toes or what it's like to put your

456
00:19:29,560 --> 00:19:31,679
Speaker 3: foot on the back of a shovel, and you know,

457
00:19:32,320 --> 00:19:34,920
Speaker 3: kind of that feeling of pride after working all day

458
00:19:34,960 --> 00:19:38,400
Speaker 3: and all of that stuff. And I think this show

459
00:19:38,520 --> 00:19:41,120
Speaker 3: kind of it's it kind of recognizes that a lot

460
00:19:41,119 --> 00:19:43,040
Speaker 3: of people out there, you know, and I think a

461
00:19:43,080 --> 00:19:46,439
Speaker 3: lot of people appreciate that too, and kind of sheds

462
00:19:46,480 --> 00:19:48,280
Speaker 3: just a little bit of light on you know, what

463
00:19:48,800 --> 00:19:49,760
Speaker 3: some of that's all about.

464
00:19:50,080 --> 00:19:53,119
Speaker 1: Yeah, there's so much camaraderie. It feels like in that world,

465
00:19:53,160 --> 00:19:54,879
Speaker 1: the idea of the West, do you really rely on

466
00:19:54,920 --> 00:19:57,159
Speaker 1: your neighbor. You rely on your neighbor to help you

467
00:19:57,200 --> 00:20:00,000
Speaker 1: get you know, help you get your cows moved, help

468
00:20:00,080 --> 00:20:01,000
Speaker 1: you get the hardest at.

469
00:20:00,920 --> 00:20:03,920
Speaker 2: All of that. And it's the same way on the show.

470
00:20:04,000 --> 00:20:05,280
Speaker 1: You know, it's the same way on the show that

471
00:20:05,280 --> 00:20:07,440
Speaker 1: we've become this family and we all rely on each

472
00:20:07,480 --> 00:20:09,840
Speaker 1: other to a certain extent to get through our long days,

473
00:20:10,359 --> 00:20:11,359
Speaker 1: to stay safe and.

474
00:20:11,560 --> 00:20:13,439
Speaker 3: To god us pin up up there in the mountains,

475
00:20:13,480 --> 00:20:16,639
Speaker 3: isolated milanoa exactly. So.

476
00:20:16,800 --> 00:20:19,400
Speaker 1: One of the amazing sponsors of our podcast is Lone

477
00:20:19,480 --> 00:20:21,560
Speaker 1: River Ranchwater, and I know that you've worked with them

478
00:20:21,640 --> 00:20:22,000
Speaker 1: quite a bit.

479
00:20:22,040 --> 00:20:23,240
Speaker 2: Will you talk a little bit about that.

480
00:20:23,600 --> 00:20:25,879
Speaker 3: Yeah, you know, it's a new thing for me. I

481
00:20:25,960 --> 00:20:30,159
Speaker 3: recently Katie Bill Brown from Midland, Texas started this and

482
00:20:30,200 --> 00:20:34,199
Speaker 3: they approached me about getting involved with it. And you know,

483
00:20:34,359 --> 00:20:37,040
Speaker 3: I've been pretty picky about brands and things that I

484
00:20:37,040 --> 00:20:40,200
Speaker 3: associate myself with, but being from West Texas and where

485
00:20:40,240 --> 00:20:42,640
Speaker 3: this all started, it really kind of reminded me at home,

486
00:20:42,720 --> 00:20:45,639
Speaker 3: and it gave me the opportunity to work with something

487
00:20:45,680 --> 00:20:48,720
Speaker 3: that I felt was very much kind of a part

488
00:20:48,720 --> 00:20:51,359
Speaker 3: of where I come from and really kind of I

489
00:20:51,359 --> 00:20:54,679
Speaker 3: could identify with it and get a chance to go

490
00:20:54,720 --> 00:20:56,600
Speaker 3: back to Texas and work with them on it. So

491
00:20:56,600 --> 00:20:58,400
Speaker 3: I've been pretty excited to be a part of this.

492
00:20:58,560 --> 00:21:03,520
Speaker 3: And yeah, the Slane River Ranch Water and it's a

493
00:21:03,560 --> 00:21:06,119
Speaker 3: good little canned cocktail that we drink quite often down

494
00:21:06,160 --> 00:21:08,960
Speaker 3: in that part of the world. So yeah, I'm glad

495
00:21:09,000 --> 00:21:09,919
Speaker 3: it's all coming together.

496
00:21:10,359 --> 00:21:12,879
Speaker 1: And it's a family affair too, just like the Rodeo

497
00:21:12,920 --> 00:21:14,320
Speaker 1: lifestyle or making this show.

498
00:21:14,880 --> 00:21:16,840
Speaker 3: Yeah, you know, it's nice just to kind of meet

499
00:21:16,920 --> 00:21:19,359
Speaker 3: the folks that started it and know where they're from

500
00:21:19,480 --> 00:21:22,160
Speaker 3: and kind of hear their story and have it kind

501
00:21:22,160 --> 00:21:24,639
Speaker 3: of resonate and really kind of a line in a

502
00:21:24,640 --> 00:21:26,520
Speaker 3: lot of ways with my own and how I grew up.

503
00:21:26,560 --> 00:21:27,040
Speaker 2: So it's.

504
00:21:29,160 --> 00:21:31,520
Speaker 3: Something that I don't have to like try to be

505
00:21:31,600 --> 00:21:33,320
Speaker 3: something I'm not to be a part of. If that

506
00:21:33,400 --> 00:21:35,919
Speaker 3: makes sense, you know, I can. I'm comfortable with just

507
00:21:36,000 --> 00:21:38,800
Speaker 3: kind of being myself and let it representing kind of

508
00:21:38,920 --> 00:21:41,400
Speaker 3: me and where I'm from as well. And I'm excited

509
00:21:41,400 --> 00:21:43,640
Speaker 3: to be a part of it and partner with them

510
00:21:43,640 --> 00:21:47,320
Speaker 3: on that. If you're not familiar with it, it's a

511
00:21:47,359 --> 00:21:50,880
Speaker 3: hard seltzer inspired by tequila and lime cocktail from West Texas,

512
00:21:50,920 --> 00:21:52,320
Speaker 3: and it's damn good.

513
00:21:53,119 --> 00:21:54,840
Speaker 2: I just want to say, Ryan, So I'm not sure

514
00:21:54,840 --> 00:21:55,679
Speaker 2: if I've ever told you this.

515
00:21:56,600 --> 00:21:59,399
Speaker 1: The very first time I met Taylor, basically after I

516
00:21:59,440 --> 00:22:01,879
Speaker 1: got this part, I went out to his house and

517
00:22:02,080 --> 00:22:02,920
Speaker 1: I was riding around.

518
00:22:02,920 --> 00:22:04,600
Speaker 2: He was teaching me how to ride stuff like that.

519
00:22:04,840 --> 00:22:08,200
Speaker 1: And then afterwards, you know, we were talking about the show,

520
00:22:08,320 --> 00:22:10,840
Speaker 1: talking about his vision for the show. This was before

521
00:22:10,880 --> 00:22:13,560
Speaker 1: we started filming. It was his He was kind of

522
00:22:13,640 --> 00:22:16,520
Speaker 1: laying out his vision for the pilot and for the

523
00:22:16,520 --> 00:22:19,920
Speaker 1: whole first season, and he told me and that sort

524
00:22:19,920 --> 00:22:23,679
Speaker 1: of before anything else. The first thing he told me

525
00:22:23,680 --> 00:22:27,000
Speaker 1: about was you and that you were going to be

526
00:22:27,040 --> 00:22:28,560
Speaker 1: involved in the show. And he told me about your

527
00:22:28,600 --> 00:22:30,600
Speaker 1: song Hallelujah.

528
00:22:30,640 --> 00:22:32,920
Speaker 2: And this is it. This is where the story gets

529
00:22:32,960 --> 00:22:35,600
Speaker 2: a little silly. I left his house. I didn't know

530
00:22:35,640 --> 00:22:37,160
Speaker 2: how to ask him for a ride, and I didn't

531
00:22:37,200 --> 00:22:38,040
Speaker 2: know how to get a ride.

532
00:22:38,080 --> 00:22:40,719
Speaker 1: I was out in the middle of nowhere, Park City, Utah.

533
00:22:40,800 --> 00:22:44,080
Speaker 1: So I walked from Taylor's ranch back to the hotel.

534
00:22:44,119 --> 00:22:46,480
Speaker 1: It was like a four mile walk and I just

535
00:22:46,600 --> 00:22:50,160
Speaker 1: listened to your song Hallelujah on a loop for four miles.

536
00:22:50,200 --> 00:22:51,080
Speaker 3: Oh my gosh.

537
00:22:51,119 --> 00:22:53,000
Speaker 2: It was incredible and I'll never forget it.

538
00:22:53,040 --> 00:22:53,159
Speaker 3: Man.

539
00:22:53,200 --> 00:22:55,199
Speaker 1: It was like my first week out there. It was

540
00:22:55,200 --> 00:22:56,879
Speaker 1: my first week learning had a cowboy. It was the

541
00:22:56,880 --> 00:22:59,240
Speaker 1: first time I'd ever dug into any of this stuff.

542
00:22:59,480 --> 00:23:03,439
Speaker 1: And your song and your music has been such a

543
00:23:03,480 --> 00:23:06,480
Speaker 1: sort of integral part of this experience for me from

544
00:23:06,520 --> 00:23:09,320
Speaker 1: the very beginning, from before we started shooting, before any

545
00:23:09,359 --> 00:23:10,879
Speaker 1: of it, you've been a part of it for me.

546
00:23:11,000 --> 00:23:12,119
Speaker 1: So thank you so much for that.

547
00:23:12,440 --> 00:23:14,640
Speaker 3: Yeah, man, thank you. I'm glad that you get something

548
00:23:14,680 --> 00:23:16,439
Speaker 3: out of it, too. Man, that's what it's all about.

549
00:23:16,520 --> 00:23:18,720
Speaker 3: You know, It's like I feel like any more of

550
00:23:18,760 --> 00:23:21,480
Speaker 3: these days. That's what the music is for, and that's

551
00:23:21,480 --> 00:23:23,600
Speaker 3: why that inspires me to keep writing it.

552
00:23:23,600 --> 00:23:23,720
Speaker 1: You know.

553
00:23:23,760 --> 00:23:28,040
Speaker 2: I's if it can help other people or like inspire.

554
00:23:27,680 --> 00:23:30,000
Speaker 3: Them in some way, then I feel like I'm doing

555
00:23:30,040 --> 00:23:31,879
Speaker 3: a good job or doing what I'm supposed to do

556
00:23:31,960 --> 00:23:32,520
Speaker 3: with it. You know.

557
00:23:33,960 --> 00:23:37,440
Speaker 2: Man, Ryan bangham h that guy.

558
00:23:37,680 --> 00:23:41,359
Speaker 1: He just can't help but be cool all the time. Okay,

559
00:23:41,480 --> 00:23:43,600
Speaker 1: keeping on the music theme here. When we come back,

560
00:23:43,680 --> 00:23:47,040
Speaker 1: I am fortunate to have Andrea von Forrester calling in.

561
00:23:47,359 --> 00:23:49,320
Speaker 1: Let's take a quick break and I'm gonna be right back.

562
00:23:52,800 --> 00:23:55,560
Speaker 1: I feel so, so so lucky to be speaking to

563
00:23:55,600 --> 00:23:59,760
Speaker 1: Andrea von Forrester, who is the music supervisor for Yellowstone. Obviously,

564
00:24:00,119 --> 00:24:02,879
Speaker 1: music is a huge, huge part of the show and

565
00:24:03,040 --> 00:24:07,399
Speaker 1: has been from the beginning. Everybody, including me, respond so

566
00:24:07,480 --> 00:24:11,879
Speaker 1: much to this sort of authentic feel of this red

567
00:24:12,160 --> 00:24:17,440
Speaker 1: dirt country music that has come to define the world

568
00:24:17,520 --> 00:24:20,359
Speaker 1: of Yellowstone. So I'm so excited. I feel so lucky

569
00:24:20,359 --> 00:24:22,480
Speaker 1: to be speaking to you today. Thank you for being here, Andrea,

570
00:24:23,680 --> 00:24:27,680
Speaker 1: Thank you so just real quick for folks that don't

571
00:24:27,720 --> 00:24:30,920
Speaker 1: know you, will we talk a little bit about your background,

572
00:24:30,960 --> 00:24:34,800
Speaker 1: about how you got started in music supervision, a little

573
00:24:34,800 --> 00:24:36,520
Speaker 1: bit about what you do too, just so we have

574
00:24:37,200 --> 00:24:39,479
Speaker 1: a clearer understanding of what your job is and what

575
00:24:39,520 --> 00:24:40,240
Speaker 1: you do on the show.

576
00:24:40,480 --> 00:24:44,080
Speaker 4: Yeah, no one knows what I do. It's a music

577
00:24:44,119 --> 00:24:47,000
Speaker 4: supervision is sort of a weird, ever changing and ever

578
00:24:47,040 --> 00:24:50,040
Speaker 4: evolving job because depending on the project, it can be

579
00:24:50,200 --> 00:24:54,560
Speaker 4: entirely different. So I got my start. I was a

580
00:24:54,560 --> 00:24:57,560
Speaker 4: film production major and a double minor music business and

581
00:24:57,640 --> 00:25:02,160
Speaker 4: music recording at USC and then I kept getting jobs

582
00:25:02,480 --> 00:25:04,760
Speaker 4: in music, sort of by accident, even though I kept

583
00:25:04,760 --> 00:25:06,760
Speaker 4: trying to go to the film and TV route. And

584
00:25:06,840 --> 00:25:10,800
Speaker 4: so I worked at Disney and live action soundtracks for

585
00:25:10,880 --> 00:25:13,000
Speaker 4: the President of Music and the best President of Music.

586
00:25:13,560 --> 00:25:16,040
Speaker 4: And then I moved on from there and worked for

587
00:25:16,040 --> 00:25:19,680
Speaker 4: a supervisor named Ken Edelman and worked on a bunch

588
00:25:19,720 --> 00:25:23,840
Speaker 4: of shows there, VIP, Popular Conveinence, Roswell, and then I

589
00:25:23,880 --> 00:25:27,600
Speaker 4: worked for another supervisor doing indie films, and then another supervisor,

590
00:25:28,320 --> 00:25:31,800
Speaker 4: Alex Botsavas, doing VOC, Kris Anatomy, you know all those,

591
00:25:31,920 --> 00:25:33,879
Speaker 4: and then I went on my own. So I've been

592
00:25:33,880 --> 00:25:36,240
Speaker 4: on my own since two thousand and six, I think,

593
00:25:36,800 --> 00:25:40,880
Speaker 4: and I haven't looked back. And so I was lucky

594
00:25:41,000 --> 00:25:45,679
Speaker 4: enough to, you know, meet Taylor via phone thanks to

595
00:25:45,760 --> 00:25:49,080
Speaker 4: a series of people at Weinstein at the originally and

596
00:25:49,119 --> 00:25:53,960
Speaker 4: then our post production supervisor of season one, and then

597
00:25:54,520 --> 00:25:56,960
Speaker 4: we've kind of never taken a day off since then,

598
00:25:57,000 --> 00:26:00,280
Speaker 4: and it's been almost five years. And so for supervision,

599
00:26:00,640 --> 00:26:02,960
Speaker 4: I have my own company now, fire Starter Music, and

600
00:26:03,359 --> 00:26:07,280
Speaker 4: I do creave, So I pitch music, I do clearance

601
00:26:07,480 --> 00:26:09,480
Speaker 4: to make it legal and to fit our budget, because

602
00:26:09,480 --> 00:26:11,960
Speaker 4: that's the hardest part is seeing the budget. And then

603
00:26:12,560 --> 00:26:16,679
Speaker 4: I also organize on cameras or pre records for on

604
00:26:16,760 --> 00:26:22,679
Speaker 4: cameras on cameras, being the musical performances on camera and

605
00:26:22,760 --> 00:26:24,520
Speaker 4: all the sort of ancillary things that go with that.

606
00:26:25,200 --> 00:26:27,119
Speaker 4: In the past, I've had to get bands back together

607
00:26:27,240 --> 00:26:31,000
Speaker 4: to clear their songs because they were no longer in

608
00:26:31,160 --> 00:26:33,720
Speaker 4: talking to each other. So yeah, there's just a lot

609
00:26:33,720 --> 00:26:37,240
Speaker 4: of things that go into it that you kind of

610
00:26:37,240 --> 00:26:39,439
Speaker 4: forget about because there's just so many small things. But

611
00:26:39,480 --> 00:26:41,640
Speaker 4: the fun part is the creative part, and especially when

612
00:26:41,640 --> 00:26:43,480
Speaker 4: you get to work on a show like Yellowstone that

613
00:26:43,520 --> 00:26:47,200
Speaker 4: has such a just sort of defined sound and read

614
00:26:47,240 --> 00:26:49,280
Speaker 4: dirt country for anyone who doesn't know, because there seems

615
00:26:49,280 --> 00:26:50,800
Speaker 4: to be a lot of people that don't is typically

616
00:26:50,840 --> 00:26:57,240
Speaker 4: Texas and Oklahoma, Americana and country and songwriting in general,

617
00:26:57,280 --> 00:27:01,639
Speaker 4: and there's just such a strong storytelling kind of sense

618
00:27:01,760 --> 00:27:07,120
Speaker 4: in both states. And we tend not to use sort

619
00:27:07,160 --> 00:27:09,520
Speaker 4: of Deep South country because it's a little more name

620
00:27:09,600 --> 00:27:13,360
Speaker 4: Jeckie and more sort of party, and we don't want

621
00:27:13,359 --> 00:27:15,000
Speaker 4: to name a upch of cities that we're not in

622
00:27:15,160 --> 00:27:17,959
Speaker 4: when where we are sort of exists in a bubble.

623
00:27:19,560 --> 00:27:21,680
Speaker 1: Yeah, So Will you talked a little bit about working

624
00:27:21,760 --> 00:27:26,679
Speaker 1: with Taylor to make those decisions to sort of flesh

625
00:27:26,720 --> 00:27:30,560
Speaker 1: out the world, the sort of musical world of Yellowstone.

626
00:27:30,600 --> 00:27:33,840
Speaker 1: How you guys arrived at this specific sound that you're after.

627
00:27:35,560 --> 00:27:37,800
Speaker 4: I don't know that we ever actually had a proper

628
00:27:37,840 --> 00:27:40,760
Speaker 4: conversation about it. I think that we both immediately sort

629
00:27:40,760 --> 00:27:43,280
Speaker 4: of had the same taste. So it's pretty easy when

630
00:27:43,640 --> 00:27:46,040
Speaker 4: you just sort of say this artist and you're like, yeah,

631
00:27:46,280 --> 00:27:48,520
Speaker 4: this artist, Yeah, and then we just sid of ran

632
00:27:48,600 --> 00:27:51,920
Speaker 4: with it. So it was I don't know that was

633
00:27:51,960 --> 00:27:55,560
Speaker 4: ever like a really proper conversation. It's just that I

634
00:27:55,640 --> 00:27:57,639
Speaker 4: knew what he wanted, and kind of half of my

635
00:27:57,720 --> 00:27:59,720
Speaker 4: job is sort of reading the minds of anyone I

636
00:27:59,720 --> 00:28:02,439
Speaker 4: work and he's got great ears, you know, and he

637
00:28:02,520 --> 00:28:06,520
Speaker 4: created the perfect musical landscape to play on, so it's

638
00:28:06,800 --> 00:28:09,439
Speaker 4: been kind of easy finding the right thing. However, we

639
00:28:09,480 --> 00:28:11,719
Speaker 4: do have a pretty narrow lane of what kind of

640
00:28:11,840 --> 00:28:13,960
Speaker 4: music that we use because we don't have a lot

641
00:28:14,000 --> 00:28:17,040
Speaker 4: of celebratory music. You know, we have a lot of

642
00:28:17,480 --> 00:28:20,520
Speaker 4: the world is ending and does anyone care? You know,

643
00:28:21,280 --> 00:28:26,120
Speaker 4: we have some very depressing times, so there's a lot

644
00:28:26,119 --> 00:28:30,119
Speaker 4: of reflective songs. There's a lot of sort of redemption

645
00:28:30,440 --> 00:28:32,399
Speaker 4: or regret things like that.

646
00:28:32,520 --> 00:28:32,720
Speaker 1: You know.

647
00:28:32,880 --> 00:28:36,240
Speaker 4: We're not typically love songs. Sometimes we do use them,

648
00:28:36,240 --> 00:28:39,600
Speaker 4: but most of the time we don't. Not a lot

649
00:28:39,600 --> 00:28:42,320
Speaker 4: of relationshipy things in general, unless it's about family, like

650
00:28:42,320 --> 00:28:45,600
Speaker 4: when we use Mary Gautier's song Mercy Now and you know,

651
00:28:45,640 --> 00:28:50,280
Speaker 4: she talks about father and that was our season ender

652
00:28:50,480 --> 00:28:54,520
Speaker 4: for season one. So it's kind of interesting because a

653
00:28:54,560 --> 00:28:56,280
Speaker 4: lot of people send me things. If it says he

654
00:28:56,400 --> 00:28:59,880
Speaker 4: or she gets out, if it's about love, it's out.

655
00:29:00,080 --> 00:29:02,160
Speaker 4: If it's a route you know about past love, it's out.

656
00:29:02,320 --> 00:29:05,440
Speaker 4: You know. So the only times we really have love songs,

657
00:29:06,160 --> 00:29:09,040
Speaker 4: I think once or twice we've had Casey Amonica, and

658
00:29:09,080 --> 00:29:10,520
Speaker 4: then most of them are death.

659
00:29:10,320 --> 00:29:12,640
Speaker 1: That rep Yeah, So will you talk a little bit

660
00:29:12,680 --> 00:29:16,000
Speaker 1: about you said that part of what defines Red Dirt

661
00:29:16,000 --> 00:29:20,280
Speaker 1: Country for you is a sense of storytelling, is a

662
00:29:20,320 --> 00:29:25,760
Speaker 1: sense of sort of authentic lived experience reflected in music.

663
00:29:25,800 --> 00:29:28,040
Speaker 1: And I think that's something that the show, the content

664
00:29:28,120 --> 00:29:30,720
Speaker 1: of the show really shares with the musical world of

665
00:29:30,760 --> 00:29:36,040
Speaker 1: the show. Is this authenticity, this sort of lived in history,

666
00:29:36,720 --> 00:29:38,560
Speaker 1: you know, and so so many of these artists are

667
00:29:38,560 --> 00:29:39,800
Speaker 1: telling stories.

668
00:29:39,400 --> 00:29:42,160
Speaker 2: That are are very authentic to their lives.

669
00:29:42,200 --> 00:29:44,560
Speaker 1: So will you talk a little bit about what you

670
00:29:44,680 --> 00:29:48,200
Speaker 1: look for in or or what you see reflected in

671
00:29:48,240 --> 00:29:51,440
Speaker 1: these artists in this sort of authenticity of their music.

672
00:29:53,000 --> 00:29:55,480
Speaker 4: Yeah, I mean that we do look for people that

673
00:29:55,600 --> 00:29:59,479
Speaker 4: have backgrounds in rodeo roping, raining, you know, barrel racing,

674
00:29:59,640 --> 00:30:02,840
Speaker 4: like albums from a lot of barrel racers who reached

675
00:30:02,840 --> 00:30:05,320
Speaker 4: out to me over the years, And you know, people

676
00:30:05,320 --> 00:30:07,800
Speaker 4: find me and I'm fine with that because I can't

677
00:30:07,880 --> 00:30:09,840
Speaker 4: everything on my own, so if they reach out, it's

678
00:30:09,840 --> 00:30:13,240
Speaker 4: to one part of my job for me. And I

679
00:30:13,280 --> 00:30:16,600
Speaker 4: think the thing that comes with being in the Southwest

680
00:30:16,600 --> 00:30:18,880
Speaker 4: in general, or just the West in general, I guess

681
00:30:18,960 --> 00:30:22,719
Speaker 4: this Montana, but is space. There's something about having that

682
00:30:22,840 --> 00:30:25,440
Speaker 4: kind of sort of space and desolation and everything else.

683
00:30:25,480 --> 00:30:29,200
Speaker 4: That's sort of it. It matches the soundscape that we

684
00:30:29,240 --> 00:30:33,600
Speaker 4: have on the show of just the music is very insular,

685
00:30:33,920 --> 00:30:36,920
Speaker 4: and I feel like music from other places tends to

686
00:30:36,920 --> 00:30:39,760
Speaker 4: be a little more you know, external, whereas it's more

687
00:30:39,760 --> 00:30:42,280
Speaker 4: internal for what we use in the show. So it's

688
00:30:42,360 --> 00:30:45,440
Speaker 4: usually almost like, you know, your thoughts put to music

689
00:30:45,600 --> 00:30:49,360
Speaker 4: versus someone singing, do you it's your own thoughts. And

690
00:30:49,640 --> 00:30:51,560
Speaker 4: with Taylor, he has such great taste that you know,

691
00:30:51,560 --> 00:30:54,280
Speaker 4: Whiskey Myers was someone that he wanted on there, you know,

692
00:30:54,320 --> 00:30:56,040
Speaker 4: and he said along the way different artists, you know,

693
00:30:56,080 --> 00:31:00,480
Speaker 4: Ryan Thingham obviously was his as well, and that worked out,

694
00:31:01,120 --> 00:31:05,480
Speaker 4: so you know, and he does tend to cast people

695
00:31:05,520 --> 00:31:08,200
Speaker 4: who do have a you know, music background as well,

696
00:31:08,240 --> 00:31:12,680
Speaker 4: obviously Kevin Costner, and so you know, it's been a

697
00:31:12,800 --> 00:31:15,480
Speaker 4: joy trying to find the things that fit, you know,

698
00:31:15,600 --> 00:31:21,680
Speaker 4: within our lane of reflection and regret. And you know,

699
00:31:21,680 --> 00:31:23,560
Speaker 4: they don't have to be from Texas, Oklahoma, you know,

700
00:31:23,560 --> 00:31:25,640
Speaker 4: obviously you can have that sound without being from there,

701
00:31:25,720 --> 00:31:27,360
Speaker 4: but it seems to help.

702
00:31:28,360 --> 00:31:31,880
Speaker 2: Yeah, Ryan Bingham's from Texas, right, I.

703
00:31:31,640 --> 00:31:34,200
Speaker 4: Can't remember exactly where he's from. Originally, I know there

704
00:31:34,240 --> 00:31:37,200
Speaker 4: was New Mexico and Oklahoma in there too, but probably Texas. Yeah, yeah,

705
00:31:37,240 --> 00:31:39,200
Speaker 4: moved around a lot. He had a rodeo background as well.

706
00:31:39,720 --> 00:31:42,160
Speaker 1: We talk a little bit about another thing that another

707
00:31:42,160 --> 00:31:44,080
Speaker 1: one of the show's themes that I think is also

708
00:31:44,160 --> 00:31:48,200
Speaker 1: reflected in the music. In the music is a history

709
00:31:48,400 --> 00:31:52,800
Speaker 1: and sort of the classic West versus the contemporary West.

710
00:31:52,880 --> 00:31:57,960
Speaker 1: So the show's theme has this incredible kind of sweeping, cinematic,

711
00:31:58,120 --> 00:32:02,240
Speaker 1: classical feel. We talk a little bit about the you know,

712
00:32:02,360 --> 00:32:06,560
Speaker 1: that that juxtaposition or that sort of relationship between the

713
00:32:06,600 --> 00:32:09,440
Speaker 1: classic West and the modern West as it's reflected in music.

714
00:32:11,000 --> 00:32:14,200
Speaker 4: Yeah, when we were looking for a composer, originally, you know,

715
00:32:14,240 --> 00:32:15,960
Speaker 4: we met with a bunch of people, and then I'd

716
00:32:16,000 --> 00:32:19,959
Speaker 4: suggested Brian Tyler, who is amazing, and he was the

717
00:32:20,000 --> 00:32:22,920
Speaker 4: only one that didn't think of sort of a spaghetti

718
00:32:22,960 --> 00:32:25,760
Speaker 4: Western any or more Morcone kind of sound. You know,

719
00:32:25,840 --> 00:32:29,480
Speaker 4: he was like, you know, Eastern traveler music, you know,

720
00:32:29,560 --> 00:32:32,840
Speaker 4: romani music, that kind of thing, and it just immediately

721
00:32:32,880 --> 00:32:35,600
Speaker 4: sort of struck a chord and you know, obviously he

722
00:32:35,720 --> 00:32:37,200
Speaker 4: nailed it out of the park. And our theme is

723
00:32:37,320 --> 00:32:40,440
Speaker 4: beautiful and all this story is beautiful on our show,

724
00:32:40,560 --> 00:32:44,880
Speaker 4: and it just fits because it's got that same sort

725
00:32:44,920 --> 00:32:47,600
Speaker 4: of grandeur, you know, as being out in the open

726
00:32:47,640 --> 00:32:50,800
Speaker 4: in this beautiful landscape, but it also has the same

727
00:32:50,840 --> 00:32:54,080
Speaker 4: tension of knowing it's going to kill you. So there's

728
00:32:54,080 --> 00:32:56,880
Speaker 4: always this sort of beauty and tension at the same time.

729
00:32:57,560 --> 00:33:00,000
Speaker 4: And you know, we never to rest on our Laurel

730
00:33:00,160 --> 00:33:02,720
Speaker 4: in the show, you know, not the characters, not anything. Basically,

731
00:33:02,800 --> 00:33:04,600
Speaker 4: everything's going to kill you as a matter of how

732
00:33:04,640 --> 00:33:08,120
Speaker 4: it went. And knowing that, you know, it's sort of

733
00:33:08,120 --> 00:33:10,160
Speaker 4: like putting music to that is also interesting. So in

734
00:33:10,200 --> 00:33:14,040
Speaker 4: season one we had more music that kind of landscape

735
00:33:14,200 --> 00:33:16,600
Speaker 4: was a character, so we used like some Pusafer songs

736
00:33:16,640 --> 00:33:20,520
Speaker 4: and whatnot, and those really fit the landscape and had

737
00:33:20,520 --> 00:33:24,240
Speaker 4: this wonderful sort of warm but also distant sound, and

738
00:33:24,680 --> 00:33:26,080
Speaker 4: so it sort of pulled you in, but let you

739
00:33:26,120 --> 00:33:28,040
Speaker 4: know you you weren't really a part of it, and

740
00:33:28,160 --> 00:33:29,880
Speaker 4: I feel like that's kind of what the landscape does

741
00:33:29,880 --> 00:33:34,520
Speaker 4: as well. And then as we moved into later seasons,

742
00:33:34,560 --> 00:33:36,720
Speaker 4: I think we sort of started matching the characters a

743
00:33:36,760 --> 00:33:38,760
Speaker 4: little more and less of the landscape.

744
00:33:38,920 --> 00:33:42,840
Speaker 1: The second time I met Taylor, I went down to Utah,

745
00:33:42,840 --> 00:33:45,720
Speaker 1: and I was practicing horse riding at his house because

746
00:33:45,760 --> 00:33:48,000
Speaker 1: I did not know how to ride a horse and

747
00:33:48,080 --> 00:33:52,600
Speaker 1: that was important. Wow, I went to his house to practice.

748
00:33:52,600 --> 00:33:54,920
Speaker 1: He was always very gracious and very generous and letting

749
00:33:54,960 --> 00:33:57,080
Speaker 1: me use his arena and setting me up with beautiful

750
00:33:57,080 --> 00:33:59,840
Speaker 1: horses and incredible horse trainers. And then I was talking

751
00:33:59,880 --> 00:34:02,959
Speaker 1: to about the show, and from that very first conversation

752
00:34:03,080 --> 00:34:06,960
Speaker 1: with him, music was a huge part of how he

753
00:34:07,120 --> 00:34:09,960
Speaker 1: described the show. So he was describing the sequence to

754
00:34:10,000 --> 00:34:14,120
Speaker 1: me in the pilot of the I think it's the

755
00:34:14,160 --> 00:34:18,759
Speaker 1: BLM trucks and helicopters sort of riding out to go

756
00:34:18,800 --> 00:34:22,560
Speaker 1: and reclaim the cows that have wandered off the Dunton ranch.

757
00:34:22,880 --> 00:34:25,480
Speaker 1: And as he described it to me, he played a

758
00:34:25,560 --> 00:34:28,960
Speaker 1: song sort of alongside his description that felt like it

759
00:34:29,000 --> 00:34:32,640
Speaker 1: was intrinsic to his understanding of the world and the

760
00:34:32,640 --> 00:34:35,279
Speaker 1: tone of the piece, you know, which is just such

761
00:34:35,280 --> 00:34:37,800
Speaker 1: an amazing thing. So talk to me about the experience,

762
00:34:37,840 --> 00:34:41,600
Speaker 1: specifically of working with Taylor, with the creator who is

763
00:34:41,640 --> 00:34:45,200
Speaker 1: coming to this with such a sort of authentic understanding

764
00:34:45,280 --> 00:34:48,759
Speaker 1: of this world, with such a sort of lived understanding

765
00:34:48,800 --> 00:34:52,000
Speaker 1: of this world, and how he kind of over time

766
00:34:52,040 --> 00:34:53,600
Speaker 1: continues to relate that to music.

767
00:34:55,200 --> 00:34:58,760
Speaker 4: Well, that's the thing is that he he writes very musically.

768
00:34:58,880 --> 00:35:00,839
Speaker 4: You know, like a lot of times people write something

769
00:35:00,880 --> 00:35:02,640
Speaker 4: and then they try to shoehorn music in if they

770
00:35:02,640 --> 00:35:04,759
Speaker 4: didn't get it, you know, when they shot it, and

771
00:35:04,840 --> 00:35:06,400
Speaker 4: so then they're trying to fix it in post with

772
00:35:06,480 --> 00:35:10,160
Speaker 4: music not editorial. And with him, I mean, I've said

773
00:35:10,160 --> 00:35:13,040
Speaker 4: this before, but I've never experienced anyone in my twenty

774
00:35:13,160 --> 00:35:16,680
Speaker 4: some years of doing this where what you read is

775
00:35:16,719 --> 00:35:19,279
Speaker 4: exactly what goes to screen. Like ninety eight percent of

776
00:35:19,280 --> 00:35:20,959
Speaker 4: what's in the script goes to screen, and I feel

777
00:35:20,960 --> 00:35:22,480
Speaker 4: like I've seen it by the time I watch it

778
00:35:22,600 --> 00:35:26,200
Speaker 4: if I've just read the script. So he writes with space,

779
00:35:26,800 --> 00:35:30,840
Speaker 4: and you know, because there's it's not a dialogue heavy

780
00:35:30,920 --> 00:35:33,000
Speaker 4: show by comparison to a lot of other shows. It's

781
00:35:33,000 --> 00:35:38,560
Speaker 4: certainly not Soorking, and so you know, it's he leaves

782
00:35:38,800 --> 00:35:42,120
Speaker 4: space for you to sort of create more or add

783
00:35:42,200 --> 00:35:44,960
Speaker 4: nuanced with music or whatever you want. But it's not

784
00:35:45,200 --> 00:35:48,000
Speaker 4: ever forcing it. We've never once in the show forced

785
00:35:48,000 --> 00:35:50,600
Speaker 4: a song. It was either it flowed properly for that

786
00:35:51,239 --> 00:35:53,400
Speaker 4: or we went to score we had nothing. And silence

787
00:35:53,440 --> 00:35:57,000
Speaker 4: is as much you know, a sort of music for

788
00:35:57,160 --> 00:36:00,840
Speaker 4: us as that anything, because sometimes you need to be

789
00:36:00,920 --> 00:36:03,720
Speaker 4: left with the thoughts of somebody and not have anything

790
00:36:03,800 --> 00:36:06,600
Speaker 4: underscoring or not, you know, sort of adding to anything.

791
00:36:07,160 --> 00:36:10,680
Speaker 4: And I think we have a really good balance of

792
00:36:10,840 --> 00:36:15,280
Speaker 4: you know, when you're allowed these sort of moments of levity,

793
00:36:15,360 --> 00:36:17,280
Speaker 4: you know, like in the bunk house and when everyone's

794
00:36:17,320 --> 00:36:19,480
Speaker 4: like giving each other crap and and all that, or

795
00:36:20,000 --> 00:36:22,239
Speaker 4: if we're in an arena and they're you know, they're

796
00:36:22,400 --> 00:36:24,719
Speaker 4: ragining and they're sort of showing off with each other,

797
00:36:25,040 --> 00:36:27,799
Speaker 4: or you know the other times when it's just end

798
00:36:27,880 --> 00:36:32,600
Speaker 4: of the episode and you feel very unsettled and you

799
00:36:32,600 --> 00:36:35,400
Speaker 4: don't feel good for anyone. And the funny thing is

800
00:36:35,440 --> 00:36:37,360
Speaker 4: the whole show is anti heroes, you know what I mean. Like,

801
00:36:37,400 --> 00:36:39,279
Speaker 4: so who you root for is interesting because this is

802
00:36:39,320 --> 00:36:41,640
Speaker 4: a lot about you because technically no one's a.

803
00:36:41,600 --> 00:36:45,120
Speaker 1: Hero, well and everybody's one hero.

804
00:36:47,760 --> 00:36:51,240
Speaker 4: Would I be looking at it, listen, that's.

805
00:36:51,120 --> 00:36:52,919
Speaker 2: Not for me to say. That's not for me to say.

806
00:36:54,760 --> 00:36:57,200
Speaker 4: I think a certain ex girlfriend would feel differently on

807
00:36:57,239 --> 00:36:58,399
Speaker 4: the right.

808
00:37:00,040 --> 00:37:02,160
Speaker 1: So the point you made about silence is so true

809
00:37:02,200 --> 00:37:05,400
Speaker 1: that the show. You said this about space too, that

810
00:37:05,480 --> 00:37:08,839
Speaker 1: the West is in some ways defined by wide open spaces.

811
00:37:09,120 --> 00:37:12,359
Speaker 1: And I think the show so effectively and you so effectively,

812
00:37:13,280 --> 00:37:17,520
Speaker 1: you know, contrast silence with music to heighten the effect

813
00:37:17,640 --> 00:37:19,600
Speaker 1: of each of them. You know, the silence is that

814
00:37:19,719 --> 00:37:23,440
Speaker 1: much more effective after these moments of levity that have

815
00:37:23,520 --> 00:37:26,680
Speaker 1: been underscored by music in the same way. Yeah, I

816
00:37:26,719 --> 00:37:29,920
Speaker 1: just think that's an incredible How you describe the space

817
00:37:30,000 --> 00:37:31,520
Speaker 1: is also so true of the music, and the two

818
00:37:31,640 --> 00:37:33,880
Speaker 1: heighten each other so so effectively.

819
00:37:35,280 --> 00:37:37,960
Speaker 4: Well, and because Taylor is you know, there's a lot

820
00:37:37,960 --> 00:37:39,600
Speaker 4: of people that say they love music, but they don't

821
00:37:39,600 --> 00:37:42,320
Speaker 4: know how the sausage is made. And he actually bothers

822
00:37:42,440 --> 00:37:45,120
Speaker 4: to know. You know, he knows instruments. You know, he

823
00:37:45,120 --> 00:37:46,880
Speaker 4: can say that he wants this kind of thing, that

824
00:37:46,960 --> 00:37:49,200
Speaker 4: kind of thing. You know, he knows, he knows how

825
00:37:49,200 --> 00:37:51,719
Speaker 4: to break it down and hear things and you know,

826
00:37:52,000 --> 00:37:55,279
Speaker 4: doesn't take anything too literally. And so it's really nice

827
00:37:55,320 --> 00:37:57,239
Speaker 4: to be able to send over music. And you know,

828
00:37:57,280 --> 00:37:59,160
Speaker 4: at this point we have the palette down, so there's

829
00:37:59,160 --> 00:38:01,280
Speaker 4: not actually a lot of thescussion at this point about

830
00:38:01,280 --> 00:38:02,719
Speaker 4: what there is. It's like, you know, I'll send a

831
00:38:02,800 --> 00:38:05,840
Speaker 4: music year round when I find things, and he's writing

832
00:38:05,880 --> 00:38:08,280
Speaker 4: and you know, shooting, so we never have a day off.

833
00:38:08,320 --> 00:38:11,560
Speaker 4: We haven't had a day off since day one, and

834
00:38:12,040 --> 00:38:13,920
Speaker 4: you know, he'll send me music, I send him music,

835
00:38:14,080 --> 00:38:15,959
Speaker 4: and so we just kind of keep going from there.

836
00:38:16,440 --> 00:38:18,759
Speaker 4: And so you know, some of the Texas artists are

837
00:38:18,800 --> 00:38:21,960
Speaker 4: from him because obviously he's there and he'll hear him

838
00:38:21,960 --> 00:38:24,239
Speaker 4: before I do, or you know, I can kind of

839
00:38:24,320 --> 00:38:26,200
Speaker 4: key into what he likes based off of what he

840
00:38:26,320 --> 00:38:28,560
Speaker 4: said before, and so we kind of have just a

841
00:38:28,600 --> 00:38:33,920
Speaker 4: really a really good shorthand without actually having to communicate

842
00:38:33,960 --> 00:38:34,399
Speaker 4: too much.

843
00:38:35,719 --> 00:38:38,360
Speaker 1: That's amazing to think that sometimes you're sending him music

844
00:38:38,480 --> 00:38:42,120
Speaker 1: while he's writing, and thus that music can sort of

845
00:38:42,200 --> 00:38:44,120
Speaker 1: seep its way into the.

846
00:38:44,160 --> 00:38:46,320
Speaker 2: Creative process at early stages.

847
00:38:46,600 --> 00:38:48,359
Speaker 1: And it's exactly what you said about not just being

848
00:38:48,400 --> 00:38:50,600
Speaker 1: sort of tacked on top at the end, but rather

849
00:38:51,160 --> 00:38:54,839
Speaker 1: being a kind of intrinsic part of the world as

850
00:38:54,880 --> 00:38:56,040
Speaker 1: it's built.

851
00:38:57,080 --> 00:38:58,799
Speaker 4: A lot of things go into the show at the

852
00:38:58,800 --> 00:39:02,040
Speaker 4: script stage. So that's why they also work so well

853
00:39:02,080 --> 00:39:04,040
Speaker 4: because he can write around it, he can write to it,

854
00:39:04,520 --> 00:39:07,520
Speaker 4: and so that's why you know, sending music sort of

855
00:39:07,600 --> 00:39:10,520
Speaker 4: whenever I hear it, whenever there's anything new, that really

856
00:39:10,560 --> 00:39:14,760
Speaker 4: helps because then he can take his ridiculous talent already

857
00:39:14,840 --> 00:39:17,799
Speaker 4: and you know, and sort of elevate the songs and

858
00:39:17,880 --> 00:39:20,200
Speaker 4: elevate the scene because they're written for those songs.

859
00:39:21,000 --> 00:39:23,360
Speaker 1: Yeah, you described him as sort of knowing how the

860
00:39:23,400 --> 00:39:25,560
Speaker 1: sausage is made. When it comes to music, he has

861
00:39:25,560 --> 00:39:31,000
Speaker 1: an incredibly sort of deep understanding of basically every department

862
00:39:31,080 --> 00:39:33,200
Speaker 1: on set. He knows how the horses are trained, he

863
00:39:33,239 --> 00:39:36,120
Speaker 1: knows how the saddle is made. I bet I'm willing

864
00:39:36,120 --> 00:39:37,880
Speaker 1: to bet, and I'm in Las Vegas right now, so

865
00:39:37,920 --> 00:39:40,120
Speaker 1: I'll put a little money down that he literally knows

866
00:39:40,160 --> 00:39:41,440
Speaker 1: how the sausage is made.

867
00:39:41,520 --> 00:39:43,560
Speaker 2: I bet that dude knows it makes sausage.

868
00:39:43,600 --> 00:39:47,319
Speaker 1: You know, he's a food Yeah, I think so no

869
00:39:47,320 --> 00:39:50,480
Speaker 1: one's going to take that bet. Is there anything else

870
00:39:50,520 --> 00:39:52,399
Speaker 1: that you you you and either stories, any other sort

871
00:39:52,440 --> 00:39:55,120
Speaker 1: of fun anecdotes you'd like to share about your time

872
00:39:55,160 --> 00:39:55,640
Speaker 1: on the show.

873
00:39:57,920 --> 00:40:00,719
Speaker 4: There's so, so, so many things that have happened in

874
00:40:00,840 --> 00:40:04,919
Speaker 4: four seasons. I mean, I think that the most fun

875
00:40:05,160 --> 00:40:08,560
Speaker 4: is finding artists, and you know, I mean some of

876
00:40:08,560 --> 00:40:10,920
Speaker 4: the artists that he has told me to sort of

877
00:40:10,960 --> 00:40:13,160
Speaker 4: go after that he heard on you know, the radio

878
00:40:13,200 --> 00:40:16,200
Speaker 4: maybe or you know, just in town. You know, he's

879
00:40:16,480 --> 00:40:18,760
Speaker 4: it rained once in Texas and he ducked into a

880
00:40:18,920 --> 00:40:20,880
Speaker 4: you know, a bar slash venue, and it was like, hey,

881
00:40:20,920 --> 00:40:22,360
Speaker 4: check this guy out. You know who happened to be

882
00:40:22,440 --> 00:40:25,200
Speaker 4: performing things like that, you know, or sometimes we might

883
00:40:25,239 --> 00:40:27,759
Speaker 4: know that someone's a better writer than a performer or

884
00:40:27,800 --> 00:40:29,960
Speaker 4: vice versa. So we always think, how can we apply that,

885
00:40:30,040 --> 00:40:31,480
Speaker 4: you know, so how can we still give someone a

886
00:40:31,520 --> 00:40:34,160
Speaker 4: leg up even if maybe they're not good above things?

887
00:40:34,239 --> 00:40:41,279
Speaker 4: And for uh, I think in season for I have

888
00:40:41,320 --> 00:40:43,520
Speaker 4: all the seasons mixed up at this point because I've

889
00:40:43,560 --> 00:40:46,719
Speaker 4: done so much paperwork. But when we use Zach Bryan

890
00:40:46,800 --> 00:40:51,080
Speaker 4: Condemned that was season three. I had found him, you know,

891
00:40:51,120 --> 00:40:53,160
Speaker 4: on Twitter and YouTube because he'd been putting up videos

892
00:40:53,200 --> 00:40:55,640
Speaker 4: for ages and I loved it and I sent it

893
00:40:55,680 --> 00:40:57,440
Speaker 4: to Taylor and I was like, I'm obsessed with a

894
00:40:57,480 --> 00:40:59,600
Speaker 4: song Condemned and a couple other songs like you know,

895
00:40:59,640 --> 00:41:00,839
Speaker 4: what do you think think? And he was like, let's

896
00:41:00,840 --> 00:41:04,520
Speaker 4: do it. And the recordings were a little low five

897
00:41:04,520 --> 00:41:06,400
Speaker 4: because they were done like in an airbnb, you know,

898
00:41:06,480 --> 00:41:09,959
Speaker 4: and he was still like active military at the time.

899
00:41:10,480 --> 00:41:12,719
Speaker 4: And so then I said, listen, if you can get

900
00:41:12,760 --> 00:41:15,120
Speaker 4: yourself to Nashville, we can get you with Dave Cobb,

901
00:41:15,600 --> 00:41:18,520
Speaker 4: the legendary music producer, and you know, and we can

902
00:41:18,600 --> 00:41:21,239
Speaker 4: to pre record these and so sure enough he got

903
00:41:21,320 --> 00:41:23,920
Speaker 4: himsell there. I mean literally based off of a conversation

904
00:41:23,960 --> 00:41:25,680
Speaker 4: on Twitter, you know what I mean, Like he had

905
00:41:25,680 --> 00:41:28,000
Speaker 4: no reason to believe me, and I talked to his

906
00:41:28,000 --> 00:41:30,680
Speaker 4: manager and everything else, and they said sure, and then

907
00:41:30,680 --> 00:41:32,719
Speaker 4: they did and that worked out and they released those

908
00:41:32,719 --> 00:41:35,560
Speaker 4: two songs later. We actually used a stripped down version

909
00:41:35,560 --> 00:41:38,120
Speaker 4: of those songs when we use Condemned. We didn't use

910
00:41:38,160 --> 00:41:42,160
Speaker 4: the full beautiful recording that Dave cod did. But it

911
00:41:42,200 --> 00:41:44,520
Speaker 4: was great, you know. And now he's signed to a

912
00:41:44,560 --> 00:41:46,399
Speaker 4: label and all the rest of it, and obviously it's

913
00:41:46,440 --> 00:41:48,439
Speaker 4: from his talent, you know, not from us. But it's

914
00:41:48,480 --> 00:41:52,720
Speaker 4: just it's amazing to see what can happen when people

915
00:41:52,800 --> 00:41:55,080
Speaker 4: have their music out there and they actually answer their

916
00:41:55,080 --> 00:41:57,640
Speaker 4: emails or their Twitter or their Instagram or whatever else.

917
00:41:57,640 --> 00:41:59,920
Speaker 4: Because trying to find some of these people is hard

918
00:42:00,360 --> 00:42:02,240
Speaker 4: because some of them they just do music on the side,

919
00:42:02,280 --> 00:42:04,359
Speaker 4: put it out and they're you know, they work in

920
00:42:04,360 --> 00:42:06,279
Speaker 4: an office. So when I'm like, hey can we that,

921
00:42:06,400 --> 00:42:08,040
Speaker 4: they don't know what I'm talking about. I'm like, hey,

922
00:42:08,040 --> 00:42:10,400
Speaker 4: can you sign this paper and hey, can I get this?

923
00:42:10,560 --> 00:42:10,759
Speaker 2: You know?

924
00:42:10,920 --> 00:42:13,480
Speaker 4: Hi respile meaning a wave instead of an MP three

925
00:42:13,840 --> 00:42:15,160
Speaker 4: and they're like, I don't know what that means.

926
00:42:15,400 --> 00:42:17,799
Speaker 1: Well, and talk about authenticity, because a lot of times

927
00:42:17,880 --> 00:42:21,240
Speaker 1: you're dealing with artists who are themselves living and working

928
00:42:21,280 --> 00:42:22,840
Speaker 1: on ranches are hard to reach.

929
00:42:23,160 --> 00:42:24,440
Speaker 2: You're dealing with people who.

930
00:42:24,320 --> 00:42:27,240
Speaker 1: Really are are living the life that they're singing about,

931
00:42:27,880 --> 00:42:30,040
Speaker 1: and you're sort of discovering. It's amazing to think that

932
00:42:30,080 --> 00:42:36,719
Speaker 1: you're discovering these these incredibly authentic voices and giving them

933
00:42:36,760 --> 00:42:39,560
Speaker 1: this platform, you know, And I think it's then no

934
00:42:39,680 --> 00:42:42,040
Speaker 1: wonder that the show has that feeling because you are

935
00:42:42,080 --> 00:42:44,840
Speaker 1: you are finding and discovering these artists who are living

936
00:42:44,880 --> 00:42:48,560
Speaker 1: this life, who are living in Texas, Oklahoma, who are

937
00:42:48,600 --> 00:42:51,879
Speaker 1: working on ranches. It's amazing to think that you guys

938
00:42:51,920 --> 00:42:55,440
Speaker 1: are champions for them and giving them these opportunities, and

939
00:42:55,520 --> 00:43:00,200
Speaker 1: in doing so are bringing such authentic, raw voices to

940
00:43:00,280 --> 00:43:02,959
Speaker 1: the show. Something that I think Taylor is amazing at,

941
00:43:04,320 --> 00:43:07,880
Speaker 1: and yourself as well. Obviously, that kind of scouting to

942
00:43:08,000 --> 00:43:12,399
Speaker 1: see something raw, some potential in somebody and to give

943
00:43:12,440 --> 00:43:15,080
Speaker 1: them that opportunity. It can be so hard as a

944
00:43:15,360 --> 00:43:18,200
Speaker 1: young artist. As an emerging artist, you really need someone

945
00:43:18,239 --> 00:43:20,840
Speaker 1: to take a chance on you. You need someone to

946
00:43:20,920 --> 00:43:24,600
Speaker 1: sort of make a bed on you. And Taylor, I

947
00:43:24,600 --> 00:43:27,279
Speaker 1: think has an incredible gift and has given so many

948
00:43:27,280 --> 00:43:30,360
Speaker 1: opportunities to young artists. He's also he is an actor himself,

949
00:43:30,640 --> 00:43:34,200
Speaker 1: so I think he also has tremendous empathy for that struggle.

950
00:43:34,200 --> 00:43:37,719
Speaker 1: And I feel like somebody who really lucked into this

951
00:43:37,760 --> 00:43:40,560
Speaker 1: whole deal because you know, Taylor saw something in me

952
00:43:40,640 --> 00:43:43,040
Speaker 1: that I didn't really see in myself, in the same

953
00:43:43,080 --> 00:43:46,920
Speaker 1: way that Rip and John Dutton saw something in Jimmy

954
00:43:46,960 --> 00:43:48,200
Speaker 1: that he didn't see in himself.

955
00:43:48,560 --> 00:43:49,600
Speaker 2: So that's amazing.

956
00:43:49,800 --> 00:43:51,560
Speaker 1: How does it feel to sort of get the opportunity

957
00:43:51,560 --> 00:43:52,960
Speaker 1: to be a champion for these artists? And is there

958
00:43:53,000 --> 00:43:54,920
Speaker 1: anyone in particular you want to shout out? Is there

959
00:43:54,920 --> 00:43:58,520
Speaker 1: anyone you've felt you've sort of seen their career change

960
00:43:58,560 --> 00:44:01,680
Speaker 1: from before they were on Yellowstone To talk to me

961
00:44:01,719 --> 00:44:03,000
Speaker 1: a little bit about that experience.

962
00:44:04,680 --> 00:44:07,560
Speaker 4: Yeah, I mean, the talent is there. I'm just one

963
00:44:07,560 --> 00:44:09,799
Speaker 4: more person that's finding it as well as Taylor, And

964
00:44:09,840 --> 00:44:13,520
Speaker 4: so you know, we are helping elevate people who already

965
00:44:13,520 --> 00:44:16,799
Speaker 4: have that amazing talent. And Whiskey Myers is obviously the

966
00:44:16,880 --> 00:44:19,400
Speaker 4: number one, you know, artists that sort of wins the

967
00:44:19,480 --> 00:44:22,400
Speaker 4: day on our show because they had three old records

968
00:44:22,640 --> 00:44:25,920
Speaker 4: hit the top ten after appearing on our show, and

969
00:44:26,280 --> 00:44:29,239
Speaker 4: that just doesn't happen, you know, like that's insane. And

970
00:44:30,120 --> 00:44:32,880
Speaker 4: they have been amazing. You know, we continue to use

971
00:44:32,920 --> 00:44:35,440
Speaker 4: their music. We've used a ton of BlackBerry Smoke and

972
00:44:35,440 --> 00:44:38,920
Speaker 4: they've been amazing as well, you know, in the last

973
00:44:38,920 --> 00:44:42,040
Speaker 4: couple seasons, you know, getting to use Charlie Crockett is amazing.

974
00:44:42,080 --> 00:44:45,440
Speaker 4: I'd love to use more of his stuff, and we've

975
00:44:45,520 --> 00:44:49,080
Speaker 4: used quite a few Landy Wilson songs. And she's fantastic.

976
00:44:49,920 --> 00:44:52,720
Speaker 4: I'd actually heard about her when I did a scouting

977
00:44:52,719 --> 00:44:56,359
Speaker 4: trip in Nashville after season one, and I don't not

978
00:44:56,400 --> 00:44:58,399
Speaker 4: a lot of people knew what Paramount Network was yet,

979
00:44:58,440 --> 00:45:00,759
Speaker 4: so I had to explain to people what Yellowstone was.

980
00:45:00,800 --> 00:45:03,759
Speaker 4: They've kind of heard of that, and and so then

981
00:45:05,120 --> 00:45:09,080
Speaker 4: there was her agency, you know, just said listen, you know,

982
00:45:09,120 --> 00:45:11,520
Speaker 4: we've got this girl. I think you should hear. And

983
00:45:11,560 --> 00:45:15,239
Speaker 4: she's fantastic and she's been a part of a couple things,

984
00:45:15,280 --> 00:45:18,400
Speaker 4: but Taylor so far, Haley Witters has some music this

985
00:45:18,440 --> 00:45:22,920
Speaker 4: season and she's fantastic. We really like sort of a

986
00:45:24,200 --> 00:45:27,799
Speaker 4: bolder vocals when it comes to females, so you know,

987
00:45:27,880 --> 00:45:29,799
Speaker 4: we don't do love songs again, so we love it.

988
00:45:29,840 --> 00:45:35,319
Speaker 4: One of its songs about rodeo and bull writing or

989
00:45:35,400 --> 00:45:38,000
Speaker 4: you know, heavy drinking or you know, playing hard, whatever

990
00:45:38,080 --> 00:45:40,320
Speaker 4: it is. We like that kind of aspect to a

991
00:45:40,360 --> 00:45:42,640
Speaker 4: lot of our Bonk House songs as well. But and

992
00:45:42,640 --> 00:45:45,480
Speaker 4: then Culture Wall obviously is amazing. Nobody on Earth sounds

993
00:45:45,520 --> 00:45:47,680
Speaker 4: like him, and we've been lucky enough to use multiple

994
00:45:47,719 --> 00:45:52,200
Speaker 4: songs by him. Shane Smith and the Saints, I'm super

995
00:45:52,200 --> 00:45:55,960
Speaker 4: excited about using this season. We use i think one

996
00:45:56,000 --> 00:46:00,000
Speaker 4: song twice and then possibly another song. They're just ridiculously good,

997
00:46:00,080 --> 00:46:02,200
Speaker 4: and that was another tailor request we actually aimed dropped

998
00:46:02,200 --> 00:46:05,720
Speaker 4: them in the episode. And then you know, Zach Bryan

999
00:46:06,760 --> 00:46:09,160
Speaker 4: and Gethen Jenkins we've used a couple of times and

1000
00:46:09,200 --> 00:46:13,840
Speaker 4: he's fantastic. The Panhandlers we got to use this season.

1001
00:46:13,960 --> 00:46:17,520
Speaker 4: And then Ross Schifflett is another one who's totally independent artists,

1002
00:46:17,520 --> 00:46:20,920
Speaker 4: who's amazing that we've used multiple times. And I'm just

1003
00:46:21,000 --> 00:46:23,920
Speaker 4: thankful that independent Artists turned my emails.

1004
00:46:23,680 --> 00:46:27,399
Speaker 1: Andrea, thank you so much for joining us today. Thank

1005
00:46:27,400 --> 00:46:30,240
Speaker 1: you for taking the time to teach me about this stuff,

1006
00:46:30,280 --> 00:46:34,480
Speaker 1: because God knows, I'm a clueless actor and I'm incredibly

1007
00:46:34,520 --> 00:46:37,120
Speaker 1: grateful to have this opportunity to learn from you about

1008
00:46:37,120 --> 00:46:40,280
Speaker 1: what you do and everything that goes into the music

1009
00:46:40,320 --> 00:46:42,560
Speaker 1: of the show. So thank you, so so so much

1010
00:46:42,640 --> 00:46:49,799
Speaker 1: for joining us. Thank you, thank you again for tuning in.

1011
00:46:50,120 --> 00:46:53,040
Speaker 1: We wouldn't get to do this without you, the Yellowstone family.

1012
00:46:53,160 --> 00:46:56,080
Speaker 1: You guys are the reason that we're here, and I truly,

1013
00:46:56,600 --> 00:47:00,960
Speaker 1: truly can't thank you enough. We dropped new episode every Thursday,

1014
00:47:01,000 --> 00:47:03,319
Speaker 1: so make sure to subscribe and tune in to the

1015
00:47:03,360 --> 00:47:07,680
Speaker 1: Official Yellowstone Podcast on Apple Podcasts, Spotify.

1016
00:47:07,239 --> 00:47:08,600
Speaker 2: Wherever you get your podcasts.

1017
00:47:08,680 --> 00:47:11,760
Speaker 1: The Official Yellowstone Podcast is hosted by me Jefferson White

1018
00:47:11,760 --> 00:47:15,120
Speaker 1: and produced by one oh one Podcast Studios and Paramount Network.