WEBVTT - Ep 22: Future Islands 0:00:00.200 --> 0:00:02.320 Loud and Quiet Presents Midnight Chat. 0:00:21.600 --> 0:00:25.320 Welcome to another episode of the Loud and Quiet Interview podcast. 0:00:26.000 --> 0:00:28.920 Thank you for joining us once again and downloading taking 0:00:28.960 --> 0:00:33.600 the time to download this podcast or stream it however 0:00:33.640 --> 0:00:38.240 you're choosing to listen. It's appreciated by myself and Greg, 0:00:38.320 --> 0:00:41.360 who does the rest of these interviews when it's not me. 0:00:42.960 --> 0:00:45.240 So Future Island's have a new album coming out next 0:00:45.280 --> 0:00:49.519 month on the seventh of April. It's called The Far Field. 0:00:49.880 --> 0:00:53.640 It's released via the four AD label, a second album 0:00:53.640 --> 0:01:00.840 by them. And that's as much information as you'll get 0:01:00.960 --> 0:01:05.640 on that from this podcast, because we don't talk about 0:01:05.680 --> 0:01:09.319 the new album, even though my conversation this week is 0:01:09.319 --> 0:01:12.200 with Samuel t Herring, who's the lead singer a few trilents. 0:01:12.840 --> 0:01:16.000 We just we just don't talk about the album, and 0:01:16.040 --> 0:01:19.199 that's probably my fault. But we got sidetracked talking about 0:01:19.200 --> 0:01:23.280 other things and then time run out, and that was that. 0:01:23.319 --> 0:01:26.000 It got to the end, and I was like, oh, 0:01:26.120 --> 0:01:27.800 we didn't we didn't do the thing that you were 0:01:27.800 --> 0:01:30.840 probably here to do, which was pluggyr new album. But 0:01:30.880 --> 0:01:33.280 he didn't seem too too bothered by that, and we'd 0:01:33.280 --> 0:01:36.039 had a great conversation so I didn't I didn't mind 0:01:36.040 --> 0:01:39.679 too much. But it's out there, it's coming. It's coming 0:01:39.720 --> 0:01:42.319 on the on the seventh of April. And yet it's 0:01:42.319 --> 0:01:44.480 called The Far Field. It's the second one for four 0:01:44.560 --> 0:01:49.000 A d as I say, and it follows the band's 0:01:49.680 --> 0:01:54.320 fourth record, which was that breakout album called Singles, and 0:01:54.560 --> 0:01:58.360 that record took the band from a from a touring 0:01:58.480 --> 0:02:05.640 punk band essentially to national TV. They had this incredible 0:02:05.880 --> 0:02:09.000 kind of spike in reach when they went on the 0:02:09.080 --> 0:02:13.160 David Letterman Show and they performed Seasons and you probably 0:02:13.200 --> 0:02:15.519 all know this already because it was a viral thing. 0:02:15.960 --> 0:02:17.840 A lot of people got to see the band that 0:02:17.880 --> 0:02:20.440 had never seen the band befoil and even knew they existed, 0:02:21.080 --> 0:02:23.400 and it did wonderful things for them. And I was 0:02:23.440 --> 0:02:25.960 really happy for them because few Trilands are one of 0:02:25.960 --> 0:02:28.720 those bands who have toured and toured and put the 0:02:28.800 --> 0:02:31.280 graft in, they've put the hours in, and it was 0:02:31.400 --> 0:02:34.200 nice to see that last year and the year before 0:02:34.280 --> 0:02:37.760 they really kind of they got that Jews and they 0:02:37.840 --> 0:02:40.800 were playing bigger shows and they're all over the place. 0:02:40.840 --> 0:02:42.520 So this next record, I'm sure he's going to just 0:02:43.320 --> 0:02:45.800 keep them on that track. But we don't talk about 0:02:45.800 --> 0:02:49.720 the new record. What we talk about is Sam's love 0:02:49.760 --> 0:02:53.840 for rap music, growing up in North Carolina, a bit 0:02:53.880 --> 0:02:58.080 about Baltimore, and some other bits and pieces. We met 0:02:58.120 --> 0:03:00.400 just around the corner from our office in a hotel 0:03:00.480 --> 0:03:03.360 that Sam was staying in. It's a nice hotel anyway, 0:03:03.400 --> 0:03:05.280 but he had one of the posher rooms and he 0:03:05.360 --> 0:03:08.840 had a full working kitchen in his room, and we 0:03:08.919 --> 0:03:10.400 kind of hung out there for an hour or so, 0:03:10.639 --> 0:03:13.600 and he was great fun to talk to, very enthusiastic, 0:03:14.360 --> 0:03:21.640 very funny, and just very very likable guy. And yeah, 0:03:21.680 --> 0:03:25.079 this is the conversation I had with Samuel t Herry, 0:03:25.680 --> 0:03:30.040 not so much about the band's new music, but about 0:03:30.040 --> 0:03:33.400 some of his old music and what it's like to 0:03:33.480 --> 0:03:54.760 be in fewtrels. How are you doing, Sam? 0:03:55.160 --> 0:03:57.000 We were welcome to my lovely hotel room. 0:03:57.040 --> 0:04:00.640 This is nicer than my house. You've got your pre 0:04:00.720 --> 0:04:01.920 mixed cocktails. 0:04:02.240 --> 0:04:04.640 Oh man, they got They got me through the end 0:04:04.640 --> 0:04:05.480 of the night last night. 0:04:05.560 --> 0:04:07.840 Okay, you've seen to you've still got a few enough? 0:04:07.880 --> 0:04:08.960 Did you get? You got those four? 0:04:09.920 --> 0:04:12.240 Yeah? I got in late last night, so I have 0:04:12.320 --> 0:04:16.599 to drink the other three today, I believe tomorrow. Okay, 0:04:16.680 --> 0:04:19.839 so they said they it's eighteen dollars. I think that 0:04:19.920 --> 0:04:22.640 sign says it's eighteen dollars if I don't drink it. 0:04:23.120 --> 0:04:26.640 Okay, so you see, you have to it's gonna cost 0:04:26.640 --> 0:04:26.920 you if. 0:04:26.960 --> 0:04:29.200 It's gonna cost me if I don't all right to 0:04:29.200 --> 0:04:29.880 make this happen. 0:04:30.240 --> 0:04:32.520 So you arrived last night, you flew in last night. 0:04:32.880 --> 0:04:36.760 We yeah, we took the Eurostar from Brussels. And this 0:04:36.800 --> 0:04:39.280 has been crazy. So we've we've never actually done a 0:04:39.279 --> 0:04:41.920 proper press tour. We're on like a press tour, which 0:04:41.960 --> 0:04:44.400 means you you do ten interviews a day and you 0:04:44.440 --> 0:04:47.039 don't get to play. Usually it's four interviews a day 0:04:47.160 --> 0:04:49.839 and then you play and the and the playing is 0:04:49.920 --> 0:04:53.440 the ultimate release from all the like, from all the chat, 0:04:53.560 --> 0:04:57.919 the blathering. Sorry, no that's fine, You're like, well, at 0:04:58.000 --> 0:04:59.720 least we get to play. But this one's like this 0:04:59.839 --> 0:05:03.080 is it's crazy. So we've done like this this might 0:05:03.560 --> 0:05:06.000 uh yeah, we've done like at least ten interviews a day. 0:05:06.040 --> 0:05:09.320 We did fourteen in Madrid, which was the first day, 0:05:09.360 --> 0:05:13.760 which I've never even touched on. Fourteen interviews. It's pretty crazy. 0:05:14.040 --> 0:05:14.839 How's it been going. 0:05:15.080 --> 0:05:17.159 It's been going good. It's been going good. It's funny 0:05:17.160 --> 0:05:19.880 because like the questions that I would normally answer, now 0:05:19.920 --> 0:05:22.839 Garrett and William can answer them, and the questions that 0:05:22.839 --> 0:05:25.240 WAYM would answer me and Garrett can answer them right, 0:05:25.440 --> 0:05:29.000 Like we've we've figured out the answers a certain question, 0:05:29.520 --> 0:05:33.120 which is really funny because sometimes if Garrett's Garrett can 0:05:33.680 --> 0:05:38.039 can be the quietest at times, and now me and 0:05:38.040 --> 0:05:40.160 William will just look at him be like you're trying 0:05:40.200 --> 0:05:42.560 to answer this question. Yeah, and so he'll go through the. 0:05:42.480 --> 0:05:44.360 Script kind of like come on, pull you all white. 0:05:44.440 --> 0:05:47.120 This is you'll lie on man feeding him alone. 0:05:47.320 --> 0:05:49.440 But he's he's like secretly the funniest one. 0:05:49.520 --> 0:05:53.480 Okay, he's a secret weapon. Oh it always So you're 0:05:53.520 --> 0:05:55.719 still in Botimoy. 0:05:55.800 --> 0:05:57.960 There were still in Baltimore? Been there? I just I 0:05:58.040 --> 0:05:59.839 just have my ninth anniversary in the city. 0:06:00.000 --> 0:06:05.200 Okay, yeah, And what's Baltimore like because over here in 0:06:05.240 --> 0:06:07.960 the UK at least, most people kind of associate with 0:06:08.000 --> 0:06:10.640 the Wire. Yeah, that's our reference point is the Wire. 0:06:10.720 --> 0:06:13.880 Yeah, Baltimore is like Birmingham. Okay, yeah, it's like you know, 0:06:14.040 --> 0:06:17.400 but but really it is like a working class, working 0:06:17.400 --> 0:06:23.480 class city, post industrial It definitely has its own culture. 0:06:23.680 --> 0:06:26.800 It has its own accents. I mean, for for as 0:06:26.839 --> 0:06:28.640 far as American cities, you know, there were so many 0:06:28.640 --> 0:06:34.560 American cities that fell after you know, the assassination of 0:06:34.560 --> 0:06:39.719 Martin Luther King riding in the in in many cities 0:06:39.760 --> 0:06:42.520 across the United States like white flight, you know, white 0:06:42.520 --> 0:06:46.240 people being afraid and going out and starting in the suburbs. 0:06:46.279 --> 0:06:48.440 But there's you know what's happening in America now is 0:06:49.040 --> 0:06:52.000 those those same families that left the suburbs are now 0:06:52.000 --> 0:06:54.960 coming back into the cities and gentrifying where there was 0:06:54.960 --> 0:06:58.400 basically waste lands left. You know, all the a lot 0:06:58.400 --> 0:07:01.560 of a lot of money leaving, leaving urban centers with 0:07:01.760 --> 0:07:04.760 families tax dollars, and now they're coming back in and 0:07:04.760 --> 0:07:07.600 pushing people out who have been the people who are 0:07:07.640 --> 0:07:10.920 kind of left behind. And so Baltimore has has some 0:07:10.960 --> 0:07:13.920 of that. But in a place like Detroit, where it's 0:07:14.120 --> 0:07:18.440 just really an empty city for thirty forty years, it's 0:07:18.480 --> 0:07:22.960 just been an emptied out, is it still like Detroit? Well, 0:07:22.760 --> 0:07:27.040 what Detroit's Detroit's experience is experiencing its own turnaround. But 0:07:27.080 --> 0:07:29.720 the thing about is like for Detroit, when people left, 0:07:29.880 --> 0:07:32.280 you don't have to drive through Detroit like you to 0:07:32.720 --> 0:07:35.440 as far as the highway systems like, you don't have 0:07:35.680 --> 0:07:37.920 you have to go off the off the way to 0:07:38.360 --> 0:07:40.960 go through Detroit. Like if you're going from say Pittsburgh 0:07:41.000 --> 0:07:44.040 to Chicago, or in the in the long run, if 0:07:44.080 --> 0:07:46.360 things are going from Philadelphia, New York to Chicago, you 0:07:46.360 --> 0:07:48.800 don't have to go through Detroit, but Baltimore you have 0:07:48.920 --> 0:07:50.440 to drive through. Like if you're going to go from 0:07:50.520 --> 0:07:53.040 DC to Philly, or DC to New York, or New 0:07:53.160 --> 0:07:55.840 York south of d C to the south, you have 0:07:55.920 --> 0:07:57.560 to go through Baltimore. So I think in a way, 0:07:57.640 --> 0:08:01.520 like where some of the Rust Belt cities Buffalo, Buffalo, 0:08:01.640 --> 0:08:09.240 New York, Erie, Pennsylvania, Detroit, they experienced great losses in 0:08:09.320 --> 0:08:14.680 population and have kind of remained that way. Baltimore lost 0:08:14.720 --> 0:08:18.440 a great amount of its population, but it still remained 0:08:18.480 --> 0:08:20.640 relevant and still remained a place that was a middle 0:08:20.680 --> 0:08:23.480 ground that you had to go through, but has a 0:08:23.480 --> 0:08:26.320 lot of the characteristics of what Manchester had in the 0:08:26.640 --> 0:08:30.440 in the late seventies early eighties that kind of bred 0:08:30.640 --> 0:08:35.560 so much artistic creativity because of that kind of somewhat 0:08:35.559 --> 0:08:40.880 desolate atmosphere. You know, I've felt that way about about 0:08:40.920 --> 0:08:43.480 Baltimore for a while. There's that great book Rip It 0:08:43.559 --> 0:08:45.440 Up and Start Again that kind of speaks about these 0:08:45.480 --> 0:08:49.000 different the Manchester Akron, Ohio like place in New York 0:08:49.040 --> 0:08:51.800 City in the fifties, sixties, even the eighties, you know, 0:08:52.240 --> 0:08:57.320 like the way New York created hip hop from I 0:08:57.320 --> 0:09:01.280 don't know, burned down, burning buildings, and then this this 0:09:01.520 --> 0:09:04.160 art form that's kind of taken over all of music 0:09:04.280 --> 0:09:05.800 has emerged. You know. 0:09:06.360 --> 0:09:09.280 There can't be many major cities in the US that 0:09:09.360 --> 0:09:12.199 you guys haven't been through because you've took hot You've 0:09:12.559 --> 0:09:13.680 you've driven a lot. 0:09:14.000 --> 0:09:17.880 Yeah, well, we're really excited because this year I'm trying 0:09:17.880 --> 0:09:20.000 to think what month it is, We're we're going to 0:09:20.000 --> 0:09:23.440 Wyoming for the first time, the state of Wyoming, and 0:09:23.520 --> 0:09:26.960 that is the last state in the United States we 0:09:27.000 --> 0:09:29.440 have not played. Okay, we've played forty nine to fifty 0:09:29.480 --> 0:09:32.480 states and we've got one more to go, and we're 0:09:32.480 --> 0:09:35.839 doing Wyoming this year, and we're really excited. Yeah, I 0:09:35.920 --> 0:09:38.840 really want to make like a special T shirt just 0:09:38.880 --> 0:09:40.839 for that show. You know, the check it the check 0:09:40.880 --> 0:09:41.240 it off. 0:09:41.840 --> 0:09:44.280 I'm gonna love it. They've been waiting a long time 0:09:44.280 --> 0:09:44.880 for you to get there. 0:09:44.960 --> 0:09:46.880 Then I hope so the show. I mean, we may 0:09:46.920 --> 0:09:48.240 just go out there and it's just going to play 0:09:48.280 --> 0:09:51.800 to a couple of prairie dogs, some old some old bikers. 0:09:52.600 --> 0:09:55.600 Stuff like that behind like a grill fence, have a 0:09:55.600 --> 0:09:56.400 garill on the staite. 0:09:56.640 --> 0:09:58.920 But Wyoming is one of my favorite states to drive through. 0:09:58.960 --> 0:10:01.559 It's absolutely beautiful. It's like an Andrew Wyatt painting. I 0:10:01.600 --> 0:10:03.760 don't know if you're familiar Christina's world, It's just like 0:10:03.840 --> 0:10:08.840 these green pastel rolling hills and like like tornado trails 0:10:08.880 --> 0:10:11.080 like rolling over the top, like you'll I remember the 0:10:11.080 --> 0:10:13.240 first time drying through Wyoming. This would have been on 0:10:13.280 --> 0:10:16.760 our first US tour back in mid mid late two 0:10:16.760 --> 0:10:22.400 thousand and eight. Seeing cyclones just hanging out in the 0:10:22.440 --> 0:10:25.600 distance and you can see the trails like across the field. 0:10:25.679 --> 0:10:28.520 It's absolutely beautiful. I mean that's, you know, part of 0:10:28.520 --> 0:10:30.960 the beauty of America, which is also like part of 0:10:31.000 --> 0:10:34.400 what we don't see and also what it used to 0:10:34.480 --> 0:10:39.319 be like before we ruined it with our carbon footprints. 0:10:39.600 --> 0:10:42.719 What was I mean, you grew up in North Carolina, 0:10:42.920 --> 0:10:45.600 Yeah right, so what was what was that like before 0:10:45.640 --> 0:10:48.360 you you moved to Baltimore in two thousand and eight 0:10:48.400 --> 0:10:48.920 something like that. 0:10:49.320 --> 0:10:52.240 Yeah, I moved there. I moved to Baltimore in January 0:10:52.280 --> 0:10:54.760 of two thousand and eight. Okay, I grew up in 0:10:54.880 --> 0:10:58.040 I grew up in a small town called Newport, North Carolina. 0:10:58.200 --> 0:11:01.400 Like our house was actually in the slightly larger town 0:11:01.440 --> 0:11:04.880 called Morehead City next door, but our parents, me and 0:11:04.920 --> 0:11:08.200 my brother's parents worked two towns over, so they put 0:11:08.280 --> 0:11:11.040 us in the middle town, which I'm actually really happy 0:11:12.040 --> 0:11:15.360 about where I grew up because Morehead City where in 0:11:15.400 --> 0:11:17.720 my house where my parents still have a house. The 0:11:17.720 --> 0:11:21.800 house I grew up in was it's the state port 0:11:21.880 --> 0:11:26.480 of North Carolina. But it's only about maybe fifteen thousand people, 0:11:27.080 --> 0:11:31.319 so it's a small, very small city, and there is 0:11:31.360 --> 0:11:34.000 a lot of tourism. There's there's some of that kind 0:11:34.040 --> 0:11:36.800 of like there's a little bit of old money and 0:11:36.840 --> 0:11:39.120 like these kinds of things. Kids can be a little 0:11:39.320 --> 0:11:42.640 they're just a little bit, I don't know, a little 0:11:42.679 --> 0:11:45.520 bit more stuck up there. And we me and my brother, 0:11:45.720 --> 0:11:48.800 well they're stuck up because to where me and my 0:11:48.840 --> 0:11:51.000 brother grew up in the town of Newport, which was 0:11:51.000 --> 0:11:54.959 a town about four thousand and that's it was all 0:11:55.800 --> 0:11:59.400 basically like farmers people just didn't have as much, so 0:11:59.480 --> 0:12:02.040 everybody was kind of on the level. Everybody was on 0:12:02.120 --> 0:12:05.079 level with one another. Everybody knew each other, and there wasn't, 0:12:05.400 --> 0:12:07.360 I don't know, there just wasn't this kind of infighting. 0:12:07.440 --> 0:12:09.800 So we were always, you know, playing sports growing up, 0:12:10.080 --> 0:12:12.160 being on like all star teams, and we play against 0:12:12.160 --> 0:12:14.040 Morehead and they would just like look down on us 0:12:14.040 --> 0:12:15.840 and they would have their nice uniforms and we'd be 0:12:15.880 --> 0:12:19.360 like bad news bear style, like just like whatever our 0:12:19.400 --> 0:12:23.560 parents could afford. And but those kinds of things made it, 0:12:23.600 --> 0:12:25.720 you know, because my dad's the kind of guy that, know, 0:12:26.000 --> 0:12:28.640 like would talk to anybody, you know. And I remember 0:12:28.640 --> 0:12:31.160 walking to him to the post office every day after 0:12:31.200 --> 0:12:33.920 school to drop off mail or pick up and he'd 0:12:33.920 --> 0:12:36.520 be like he'd just talk to somebody for forty five minutes, 0:12:36.559 --> 0:12:38.800 and I'd be standing there like kicking my feet, like 0:12:38.800 --> 0:12:40.520 can we please go? And then we leave and I'd 0:12:40.559 --> 0:12:41.920 be like who was that and he'd be like I 0:12:41.920 --> 0:12:45.080 have no I'd be like, I can't believe you just 0:12:45.120 --> 0:12:47.240 wasted forty five minutes talk and he's like, I didn't 0:12:47.280 --> 0:12:50.440 want to be rude. So that's like kind of like 0:12:50.480 --> 0:12:53.360 these kinds of things. Also, I don't know, it's like, 0:12:53.520 --> 0:12:54.280 now I'm that guy. 0:12:54.360 --> 0:12:56.000 Yeah, I was gonna say, do you find yourself doing that? 0:12:56.200 --> 0:12:58.800 Yeah, I'm totally that person now. And but but the 0:12:58.840 --> 0:13:01.000 thing is, like my dad was the one attorney in 0:13:01.040 --> 0:13:05.240 this small town, so so uh and so I might 0:13:05.280 --> 0:13:08.520 get I might get some guff at school like you know, oh, 0:13:08.600 --> 0:13:11.280 well you're you're a rich kid because your dad's an attorney. 0:13:11.280 --> 0:13:14.160 I'd just be like, my dad works for your dad, Like, 0:13:14.880 --> 0:13:17.040 and you know, my dad did tons of pro bono 0:13:17.160 --> 0:13:20.720 work just because he's not the stereotypical attorney. You know, 0:13:20.880 --> 0:13:23.679 it's just like a really really good guy, really honest guy. 0:13:23.679 --> 0:13:25.120 I remember asking my dad when I was a kid, 0:13:25.160 --> 0:13:27.200 like are you a good attorney? And he was just like, wow, 0:13:27.400 --> 0:13:31.440 I'm an honest one. When I would find out later, 0:13:31.480 --> 0:13:33.800 he was just kind of being like, well, I do 0:13:33.960 --> 0:13:36.760 my best, but I don't lie, so I lose some 0:13:36.840 --> 0:13:40.320 cases to be honest, and that kind of stuff. Just 0:13:40.360 --> 0:13:43.680 like growing up with a really solid, a really solid 0:13:43.679 --> 0:13:46.839 moral foundation in a small town where my dad would 0:13:46.880 --> 0:13:51.920 treat the judge, you know, the judge of the county, 0:13:52.000 --> 0:13:54.079 like the head judge in the county, the same as 0:13:54.080 --> 0:13:56.880 he would treat the mechanic who fixed the car, maybe 0:13:56.920 --> 0:14:00.000 even treat the mechanic better. You know, really treating people 0:14:00.200 --> 0:14:02.840 all on the same level. I think is really important 0:14:02.840 --> 0:14:04.600 to how me and my brother grew up and how 0:14:05.080 --> 0:14:07.640 I don't know, just how I walk through life and 0:14:07.760 --> 0:14:10.079 kind of play. I mean, ever since I was a kid, 0:14:10.120 --> 0:14:13.839 you know, grew up educated my parents. I was really 0:14:13.880 --> 0:14:15.800 important to them. But you know, by the time it 0:14:15.840 --> 0:14:17.400 was going off to college, I would just like wear 0:14:17.400 --> 0:14:19.840 the most ripped up clothes that I that I had 0:14:19.880 --> 0:14:23.560 and walk into the bank. And you know, people people 0:14:23.640 --> 0:14:26.480 treat you differently if you look different, if you look 0:14:26.560 --> 0:14:29.320 like you don't have you can, people will at times 0:14:29.400 --> 0:14:31.440 treat you differently and look down upon you. And then 0:14:31.520 --> 0:14:33.720 you speak to them and they realize, oh, this is 0:14:33.720 --> 0:14:36.280 an intelligent person. And I would I did that as 0:14:36.320 --> 0:14:39.160 a kid on purpose or as a younger man, to 0:14:39.240 --> 0:14:41.360 be like, yeah, I know that you're looking at me 0:14:41.440 --> 0:14:43.520 a certain way, but I am an intelligent person and 0:14:43.560 --> 0:14:45.840 I can talk to you on your level, So talk 0:14:45.880 --> 0:14:47.720 to me on my level. You know. It's like it's 0:14:47.760 --> 0:14:49.800 like trying trying to play with that, and in a 0:14:49.800 --> 0:14:51.880 way that's that's kind of become a part of our 0:14:52.000 --> 0:14:57.640 art as well, you know, of just being regular, regular 0:14:57.680 --> 0:15:02.680 guys on stage and regular guys stage, but also pushing 0:15:02.800 --> 0:15:05.960 pushing the music and the emotions of the music out 0:15:06.040 --> 0:15:09.440 in a very visceral way, because that's that's the truth 0:15:09.480 --> 0:15:09.800 of it. 0:15:09.880 --> 0:15:13.000 You know, is that where your kind of interest for 0:15:13.280 --> 0:15:16.360 rap music came from when you were when you were 0:15:16.360 --> 0:15:18.320 younger as well, and you I know that you'd like 0:15:18.760 --> 0:15:21.440 rap and you do battle raps and against other kids 0:15:21.480 --> 0:15:23.440 in the neighborhood or different schools and stuff. 0:15:23.520 --> 0:15:24.480 Yeah, yeah, did. 0:15:24.360 --> 0:15:26.600 That come I mean, did that come from this idea 0:15:26.640 --> 0:15:29.560 of being cling with people's with that perception? You know? 0:15:29.880 --> 0:15:32.080 I don't know. I would say, you know, the thing 0:15:32.120 --> 0:15:34.400 that really attracted me to hip hop music when I 0:15:34.600 --> 0:15:39.560 discovered it was the fact of are like finding out 0:15:39.600 --> 0:15:43.320 about other people's stories. Like I'm I'm learning I'm in 0:15:43.400 --> 0:15:45.920 rural North Carolina and all all of a sudden, I'm 0:15:45.960 --> 0:15:50.080 listening to a keras Ones self titled album and he's 0:15:50.120 --> 0:15:52.040 talking about you know, when you were at home with 0:15:52.080 --> 0:15:53.960 your mother, afraid of the Dark, I was sleeping out 0:15:54.000 --> 0:15:56.720 in Prospect Park, eating one meal every forty eight hours, 0:15:56.760 --> 0:16:00.360 you know, and like like hearing a real story about 0:16:00.400 --> 0:16:02.560 an experience that I don't understand, you know, in a 0:16:02.600 --> 0:16:05.080 way that that because for me, I was like that 0:16:05.080 --> 0:16:07.960 gives me more perspective on how other people live and 0:16:08.000 --> 0:16:11.200 the struggles of other people that are far outside of 0:16:11.200 --> 0:16:13.440 my community, not only being a kid in the Royal South, 0:16:13.480 --> 0:16:16.320 but being a white kid, you know, Like I'm I'm 0:16:16.400 --> 0:16:20.600 learning about the struggle of blacks in America through music 0:16:21.880 --> 0:16:25.840 and uh and so that. But but the most important 0:16:25.880 --> 0:16:30.320 part of that is learning about someone's personal struggle. Like 0:16:30.360 --> 0:16:33.640 I feel like a lot of times in in music, 0:16:33.680 --> 0:16:38.400 you don't you aren't always given struggle like you're given, uh, 0:16:38.960 --> 0:16:42.240 Like a simple song about about I don't know, just 0:16:42.280 --> 0:16:45.000 like a pretty girl walking down the street, you know, 0:16:45.200 --> 0:16:47.720 or something like rock and roll can be very universal. 0:16:47.760 --> 0:16:51.960 It can be fun, but it doesn't always tell truths, 0:16:52.600 --> 0:16:54.240 you know. So when I'm when I'm when I was 0:16:54.240 --> 0:16:56.520 listening to hip hop and getting like a raw story, 0:16:56.600 --> 0:16:59.400 a story that wasn't good, you know, not not some 0:16:59.520 --> 0:17:04.680 sunshine story. I'm hearing about someone's trials and tribulations. That's 0:17:04.720 --> 0:17:07.959 what spoke to me because also even in that situation 0:17:08.040 --> 0:17:11.080 of growing up, I felt very isolated, like at the 0:17:11.119 --> 0:17:13.040 same time, you know, I don't know if I was 0:17:13.080 --> 0:17:16.080 isolated by my intellect or the way that I felt 0:17:16.119 --> 0:17:20.080 that I looked, you know, or you know, having my 0:17:20.160 --> 0:17:22.560 father being attorney in a small town of farmers, like like, 0:17:22.680 --> 0:17:26.000 not wanting to stand out or feel never wanting to 0:17:26.040 --> 0:17:30.000 be like seen as an elite or something, just wanting 0:17:30.000 --> 0:17:32.119 to be on the level, you know, just wanting to 0:17:32.160 --> 0:17:35.800 be like everybody else, but also knowing that I wasn't 0:17:35.880 --> 0:17:37.720 and I was my own person. Like, so when I 0:17:37.760 --> 0:17:41.879 discovered hip hop, that that allowed me that basically said 0:17:42.040 --> 0:17:44.360 I could write like I want to try to write. 0:17:44.440 --> 0:17:47.359 And so then when I started writing at thirteen, fourteen 0:17:47.400 --> 0:17:50.760 years old, then I was able to define myself and 0:17:51.840 --> 0:17:54.960 go into myself in a way I hadn't before, where 0:17:54.960 --> 0:17:58.360 instead of it being like, you know, I'm a kid 0:17:58.359 --> 0:18:01.520 and I sometimes I feel sad, like I can say 0:18:01.520 --> 0:18:05.359 that in a voice that that that has power, you know, 0:18:05.400 --> 0:18:09.760 Like hip hop was an empowering structure when it was created. 0:18:09.800 --> 0:18:12.119 It was created out of people that didn't have power 0:18:13.080 --> 0:18:15.600 looking for that power and looking for their voice, finding 0:18:15.600 --> 0:18:19.720 their voice through through their struggle. So and that's the 0:18:19.760 --> 0:18:21.600 interesting thing that I think a lot of people like 0:18:22.440 --> 0:18:25.240 they find out that you know, you know hip hop, 0:18:25.480 --> 0:18:27.800 you're a rapper, or like that's your first art form. 0:18:27.840 --> 0:18:30.200 I've heard like that doesn't make sense with Future Islands. 0:18:30.240 --> 0:18:32.400 But if you look at the way that I perform, 0:18:32.800 --> 0:18:34.680 if you if you listen to the way that I 0:18:35.720 --> 0:18:39.240 put my my story out there, you'll see that my 0:18:39.600 --> 0:18:43.679 art is about with with my best friends, my bandmates, 0:18:43.720 --> 0:18:47.440 like is about putting my struggle forward and how I feel. 0:18:47.520 --> 0:18:51.359 But the truth of that what happens is is you 0:18:51.400 --> 0:18:53.480 share those stories and then you connect with that kid 0:18:53.480 --> 0:18:55.119 who's alone in his room and doesn't know how to 0:18:55.160 --> 0:18:55.840 express himself. 0:18:56.000 --> 0:18:59.199 And truth is completely at the middle of Future Islands. 0:18:59.359 --> 0:19:03.200 It has been the very first record. When though, did 0:19:03.200 --> 0:19:06.040 it go from rapping? When did you turn your hand 0:19:06.080 --> 0:19:09.040 to singing as opposed to rapping? And how did you 0:19:09.080 --> 0:19:13.440 discover particularly your voice, your unique growl? If I can 0:19:13.480 --> 0:19:14.760 cool it a ground, well. 0:19:14.600 --> 0:19:17.520 I mean, you know, growing up, I always I could 0:19:17.520 --> 0:19:19.240 always sing, and you know, me and my brother would 0:19:19.240 --> 0:19:21.159 sing with my mom. My mom loved to sing, she 0:19:21.240 --> 0:19:24.800 played piano, so you know, as early as I could remember, 0:19:24.880 --> 0:19:27.000 me and my brother would be with my mom and 0:19:27.040 --> 0:19:29.480 her sheep music like you know, she'd have like Cat 0:19:29.480 --> 0:19:31.840 Steven's sheet music or out In John songs, but of 0:19:31.880 --> 0:19:34.320 course like Christmas songs you know, around Christmas time and 0:19:34.359 --> 0:19:37.439 these things. So that was always a part of our 0:19:37.520 --> 0:19:40.719 experience growing up. But more so for me is just 0:19:40.720 --> 0:19:44.680 like writing to and from school or to and from 0:19:44.720 --> 0:19:48.840 my parents' office, and and her listening to the Old 0:19:48.840 --> 0:19:52.000 East Station, old you know, R and B and soul 0:19:52.560 --> 0:19:55.720 do wop and these things, and singing along to like 0:19:55.800 --> 0:19:59.479 Diana Ross and the Supremes and the Temptations and Marvin 0:19:59.480 --> 0:20:03.240 Gay and Sam Cook and loving these songs, and you 0:20:03.280 --> 0:20:06.359 know it as far back as I can remember, like 0:20:06.840 --> 0:20:08.960 back then when I was that seven year old kid 0:20:08.960 --> 0:20:13.600 who felt like I was different and and wanted a voice, 0:20:13.680 --> 0:20:17.080 Like I used to have this crazy idea that I 0:20:17.160 --> 0:20:19.760 wish that I had been born in the in the 0:20:19.760 --> 0:20:21.560 forties so that I could have been a singer in 0:20:21.600 --> 0:20:24.000 the fifties and sixties. Even at that age, I was like, 0:20:24.040 --> 0:20:27.119 I wish I could sing these soul songs like that 0:20:27.240 --> 0:20:29.520 was the first. That was like the first music that 0:20:29.600 --> 0:20:33.359 really spoke to me, spoke to me in a real way, 0:20:33.560 --> 0:20:35.359 And and that was like closer to because you know, 0:20:35.359 --> 0:20:36.840 people say like where did you sing? And I was like, 0:20:36.880 --> 0:20:38.639 really just singing with my mom. My mom has a 0:20:38.680 --> 0:20:40.760 great voice, and you know, she will be the first 0:20:40.800 --> 0:20:42.720 person to tell me that I'm flat, you know, be 0:20:42.880 --> 0:20:44.960 like you need to work on that a little bit, 0:20:44.960 --> 0:20:46.440 Sam like, thanks mom. 0:20:47.760 --> 0:20:49.639 Even now now. 0:20:50.040 --> 0:20:53.439 Yeah, but I mean my my my mom has a 0:20:53.520 --> 0:20:55.840 five disc CD changer in her car. And I was 0:20:55.880 --> 0:20:58.320 really happy when I this Christmas when I was able 0:20:58.359 --> 0:21:00.160 to bring the Master's Home of the Far Few Old, 0:21:00.200 --> 0:21:02.480 because I was like, well, now you can complete the 0:21:02.520 --> 0:21:06.479 collection because it's it's the four Future Islands albums and 0:21:06.560 --> 0:21:09.840 the Chieftains. That's like the five CDs in her car. 0:21:10.119 --> 0:21:12.639 So I go, I go home, and I asked my 0:21:12.680 --> 0:21:14.639 mom to borrow the car something. I jump in and 0:21:14.680 --> 0:21:17.800 it's like Future Islands playing, Like I can't handle this 0:21:17.920 --> 0:21:18.360 right now? 0:21:18.520 --> 0:21:21.399 Does that feel weird when when you hear that? 0:21:21.960 --> 0:21:24.440 It also makes me proud? No? No, no, no, I love 0:21:24.480 --> 0:21:26.680 hearing that stuff. It's just like a funny thing because 0:21:26.680 --> 0:21:29.160 I know, I mean, my mom, My mom and dad 0:21:29.160 --> 0:21:32.200 are extremely supportive and they're like really proud of us, 0:21:33.600 --> 0:21:35.920 which is you know, I don't think that we could 0:21:35.920 --> 0:21:39.679 have gotten to where we are today or where we 0:21:39.680 --> 0:21:42.800 were four years ago without our parents. Like all four 0:21:42.800 --> 0:21:44.439 of us are really lucky to have parents who have 0:21:44.560 --> 0:21:47.400 supported us, even though at times they were really terrified 0:21:47.520 --> 0:21:49.800 of what the hell we were doing with our lives. Yeah, 0:21:49.920 --> 0:21:52.840 we continued forward, and you know, my parents bought the 0:21:52.880 --> 0:21:56.200 first van for Future Islands. You know, five hundred bucks, 0:21:56.320 --> 0:21:58.320 best five hundred bucks ever spent. If it wasn't for 0:21:58.359 --> 0:22:00.960 that van, who knows what would have happened. But we 0:22:01.000 --> 0:22:03.400 didn't have the money to do it. And our friend 0:22:03.480 --> 0:22:07.000 who who was in our first band, when he quit, 0:22:07.119 --> 0:22:08.399 he was the one who had the van. 0:22:08.640 --> 0:22:12.560 So he took the van with him, so he was right, okay, right, yeah. 0:22:12.440 --> 0:22:15.040 So he left town quit the man. And then shortly 0:22:15.040 --> 0:22:18.040 after we would start Future Islands. And I was talking 0:22:18.040 --> 0:22:20.280 to my parents, how we got this thing, but we 0:22:20.280 --> 0:22:22.560 don't have a vehicle, And then my dad said, you know, 0:22:22.760 --> 0:22:25.600 started without me knowing, started looking for vehicles, and then 0:22:25.680 --> 0:22:27.960 and then track one down for five hundred bucks from 0:22:27.960 --> 0:22:32.159 a local company, the office supply company that was selling 0:22:32.200 --> 0:22:35.200 their van. So for the first two years of Future Islands, 0:22:35.240 --> 0:22:37.960 we were touring in a in a van that said 0:22:38.280 --> 0:22:41.480 office pros Supply shop on the side, and we would 0:22:41.560 --> 0:22:45.240 roll into towns with our gear looking like a business 0:22:45.280 --> 0:22:47.600 on the road. I mean. The funny thing is the 0:22:47.680 --> 0:22:50.879 van after that was an old dog and cat grooming 0:22:50.920 --> 0:22:53.320 company and there were these decals on the side with 0:22:53.400 --> 0:22:56.119 like a cartoon dog and a cartoon cat running towards 0:22:56.119 --> 0:22:59.119 a heart and it said hugs and kisses grooming Palace, 0:22:59.520 --> 0:23:02.600 and that We took that van around the country a 0:23:02.640 --> 0:23:07.680 couple of times just to beat up old three window 0:23:07.840 --> 0:23:11.359 cargo van, you know with the sliding door. My dad 0:23:11.400 --> 0:23:14.520 put the seats in himself. Another like six hundred dollars van, 0:23:14.800 --> 0:23:18.840 you know, and uh yeah, those old vans carried us 0:23:18.880 --> 0:23:21.880 all over the place and helped us to create our foundation. 0:23:22.760 --> 0:23:25.120 But a lot of that, like yeah, without my folks, 0:23:25.840 --> 0:23:29.240 you know, put putting forth in the beginning and believing 0:23:29.240 --> 0:23:31.920 in it enough, then who knows what would have happened. 0:23:32.080 --> 0:23:33.560 You say that there was like a couple of times 0:23:33.600 --> 0:23:35.680 when they were as supportive as they were, they were 0:23:35.760 --> 0:23:38.320 naturally a bit terrified about what their sons were doing. 0:23:38.400 --> 0:23:41.840 Oh yeah, yeah, which is completely natural, did you for 0:23:42.240 --> 0:23:45.000 you guys, because like this new record is your fifth record, 0:23:45.600 --> 0:23:49.000 and obviously there was a huge kind of just changing 0:23:49.040 --> 0:23:51.439 everything from singles from the last record, which was your 0:23:51.440 --> 0:23:53.840 fourth record. Yeah, was there ever a time for you 0:23:53.880 --> 0:23:57.719 guys where you thought maybe this isn't gonna like happen, 0:23:57.960 --> 0:24:00.760 or like, yeah, when you were quest like what we're 0:24:00.760 --> 0:24:02.720 doing here? We're in we're in a dog and cat 0:24:02.760 --> 0:24:07.000 greaming van. We've released three records already, but we're still 0:24:07.000 --> 0:24:08.880 in the van, you know that kind of thing. Did 0:24:08.920 --> 0:24:10.080 you have those doubts? 0:24:10.320 --> 0:24:12.720 Yeah, yeah, I mean there were doubts even in I mean, 0:24:12.840 --> 0:24:16.080 hell in twenty fourteen, like after being on the road 0:24:16.160 --> 0:24:20.600 for the first six months of six seven months of 0:24:20.640 --> 0:24:23.280 the year, you know, we we kicked off the we 0:24:23.359 --> 0:24:26.000 kicked off the tour in March, so six months into that, 0:24:26.119 --> 0:24:32.800 by September October, most successful touring we'd ever done. I 0:24:32.960 --> 0:24:36.240 wanted to go home and I was tired because I mean, 0:24:37.000 --> 0:24:39.239 was it just fatigue just yeah, yeah, yeah, I mean 0:24:39.280 --> 0:24:42.040 it's hard, it's really it's really hard life. And of course, 0:24:42.080 --> 0:24:43.920 you know, I'll be on the road for six months 0:24:43.960 --> 0:24:45.399 and want to go home, but I'll be home for 0:24:45.440 --> 0:24:46.920 a week and I want to go on the road. 0:24:47.119 --> 0:24:51.159 You know. So there's and there's that understanding because of 0:24:51.400 --> 0:24:53.800 because of the longevity of this band because we've been 0:24:53.840 --> 0:24:56.960 through these steps, like you know, you you come to peace, 0:24:57.040 --> 0:24:59.119 like you hit that you hit that mark and you 0:24:59.160 --> 0:25:01.840 say I want to go, and you say, don't worry, 0:25:01.840 --> 0:25:04.560 you will. Yeah, it's gotta it's gonna keep going a 0:25:04.560 --> 0:25:07.760 little bit longer because you know, you know, I can say, well, 0:25:07.760 --> 0:25:09.240 you know you're gonna get home, You're not gonna know 0:25:09.240 --> 0:25:10.560 what the hell will do, and you're gonna want to 0:25:10.560 --> 0:25:13.320 go back on the road. And I actually had a 0:25:13.320 --> 0:25:15.320 lot of troubles with my voice in twenty fourteen because 0:25:15.320 --> 0:25:18.840 of the death growling, which is you know, I growl 0:25:18.880 --> 0:25:22.399 because I'm out of breath because I'm dancing so hard, 0:25:22.800 --> 0:25:25.240 and then I lose parts of my voice. So the 0:25:25.280 --> 0:25:27.280 next show, even if I'm not out of the breath, 0:25:27.280 --> 0:25:29.600 I'm growling because I can't hit the note. It's basically 0:25:29.680 --> 0:25:33.840 just a vicious cycle. You know. It's also a tool. 0:25:34.200 --> 0:25:36.639 You know, it's a tool to shake people out of 0:25:36.680 --> 0:25:37.280 their boots. 0:25:37.800 --> 0:25:39.320 Yeah, and it works. 0:25:39.600 --> 0:25:43.040 Yeah, but it's also but it was born out of 0:25:43.080 --> 0:25:48.720 a necessity or and or a a mistake, you know, 0:25:48.840 --> 0:25:51.600 because my voice has decayed so much over the years, 0:25:51.600 --> 0:25:55.399 and you know, it's it's more like you know, people's 0:25:55.480 --> 0:25:58.200 voices naturally change over time. But you know, single hundred 0:25:58.200 --> 0:26:01.800 shows a year and a vine you where your microphone 0:26:01.800 --> 0:26:04.600 feeds back if you get within two inches of it. Yeah, 0:26:04.680 --> 0:26:08.360 and so you so you or or so you turn 0:26:08.440 --> 0:26:10.960 down the volume and you have to scream louder so 0:26:11.000 --> 0:26:14.120 you can hear yourself. And like all those, all those 0:26:14.160 --> 0:26:17.600 things over the years, you know, drinking, you know, half 0:26:17.640 --> 0:26:20.000 a fifth a night for drink, a half a fifth 0:26:20.000 --> 0:26:23.960 of whiskey a night for six minks with thirty with 0:26:24.000 --> 0:26:26.520 thirty to forty cigarettes, and see if your voice doesn't 0:26:26.640 --> 0:26:29.800 change while screaming at people. But going back to the 0:26:29.840 --> 0:26:32.200 old days, you know, injured my voice many times because 0:26:32.200 --> 0:26:34.399 they just didn't know what I was doing. You know, 0:26:35.040 --> 0:26:37.440 I really learned how to sing. I'm putting that in 0:26:37.520 --> 0:26:40.880 quotes for the people at home. It has really been 0:26:41.680 --> 0:26:45.080 just through trial and error and just being out there 0:26:45.160 --> 0:26:48.600 and and uh mixed, you know, figuring it out. But 0:26:48.600 --> 0:26:52.600 but you know, that style, the style that's more akin 0:26:52.680 --> 0:26:55.760 to what we do now comes from when we started 0:26:55.760 --> 0:26:59.520 writing an Evening Air, and I was my voice was 0:26:59.760 --> 0:27:05.520 really damaged after those first years of touring and moving 0:27:05.520 --> 0:27:08.960 to Baltimore, and I was really concerned that I would 0:27:09.080 --> 0:27:12.760 never be able to really sing well again, that it 0:27:12.920 --> 0:27:16.240 was beyond repair. And I was actually really I was 0:27:16.280 --> 0:27:20.280 really sad because of because of this. I was just like, well, 0:27:20.320 --> 0:27:22.480 you ruined it, and you're so young, and you already 0:27:22.520 --> 0:27:24.959 ruined this thing that you wanted to make your life. 0:27:25.480 --> 0:27:29.119 But as we started writing songs again, I started to 0:27:29.119 --> 0:27:32.159 discover a new voice. And this is and this is 0:27:32.240 --> 0:27:35.320 kind of the way it's been ever since with every album, 0:27:36.080 --> 0:27:38.560 and especially with the Far Field once again being like 0:27:38.840 --> 0:27:41.680 I've damaged my voice, like all the touring, on singles, 0:27:41.720 --> 0:27:46.720 the extended sets, the long touring runs, I've developed something 0:27:46.800 --> 0:27:50.040 on my on my vocal cords called rinka sedema, which 0:27:50.119 --> 0:27:54.479 is uh, these abnormal growths. It's also called like shark fins. 0:27:54.960 --> 0:27:58.280 They grow. It's like that, it's what that buzzing is 0:27:58.359 --> 0:28:00.760 right on my throat. Like if you listen to old 0:28:00.800 --> 0:28:03.439 like seven year old men and women who have smoked 0:28:03.440 --> 0:28:06.120 their whole lives, they have that low thing. They sound 0:28:06.200 --> 0:28:09.320 like frogs. Yes, that's me. That's the same thing. It's 0:28:09.320 --> 0:28:11.520 a rink as edema. So I found out about that 0:28:11.560 --> 0:28:13.840 in twenty fourteen. So basically going into this writing, I 0:28:13.880 --> 0:28:17.480 was once again like I've ruined my voice again and 0:28:17.800 --> 0:28:20.359 I don't know what to do about it. I can't 0:28:20.359 --> 0:28:22.600 do anything about it, like this is this is un 0:28:22.920 --> 0:28:28.680 You can't you can't reverse what I have. So once again, 0:28:28.680 --> 0:28:30.840 as we started writing, I was like, well, I just 0:28:30.880 --> 0:28:33.440 write in my new voice, you know, and that that's 0:28:33.480 --> 0:28:35.480 cool too, because if you think about somebody like Tom Waits, 0:28:35.520 --> 0:28:38.520 who's really grows with his voice every record, you know, 0:28:38.560 --> 0:28:42.040 it's it's really cool, it's a signature. And the fact 0:28:42.160 --> 0:28:44.960 is like when we were in our first band and 0:28:45.040 --> 0:28:48.320 then into the beginning of Future Islands, like I had 0:28:48.360 --> 0:28:50.160 an all right, well, I had a really good voice 0:28:50.200 --> 0:28:52.920 to start when we were eighteen nine year old kids, 0:28:53.120 --> 0:28:55.360 and by Wave like Home like I had my I 0:28:55.400 --> 0:28:57.920 had a voice. But by the time we started doing 0:28:58.680 --> 0:29:01.600 an Evening Air and I'd really messed up and thought 0:29:01.600 --> 0:29:03.960 I messed up my voice. What happened with that record 0:29:04.120 --> 0:29:07.880 is I found my own voice. 0:29:08.040 --> 0:29:11.000 How about dancing? Has that always been because you're dancing 0:29:11.120 --> 0:29:17.080 is something special, it's something that's something else, that's something 0:29:17.320 --> 0:29:21.280 it's kind of something special. It's uh no, I mean, 0:29:21.280 --> 0:29:23.880 you're so known for it, and I think what people 0:29:23.920 --> 0:29:25.480 I think when people come and see a show of 0:29:25.560 --> 0:29:27.880 yours and they see you, see you dance for the 0:29:27.880 --> 0:29:31.440 first time. They what they love about and what bowls 0:29:31.440 --> 0:29:34.880 people away is just how kind of you have, kind 0:29:34.920 --> 0:29:37.280 of no inhibitions there. It's what most people would like 0:29:37.320 --> 0:29:39.120 to be like at the gig when they're just watching 0:29:39.200 --> 0:29:40.720 the gig and they're in the crowd of people that'd 0:29:40.760 --> 0:29:43.000 love to be able to just like let loose and 0:29:43.120 --> 0:29:45.800 just go for it. But there's something in us, most 0:29:45.840 --> 0:29:48.600 of us with two self conscious, especially like here in London. 0:29:48.600 --> 0:29:50.840 Like London crowds are notoriously quite static. 0:29:51.520 --> 0:29:54.160 Wait here right now, we're. 0:29:55.360 --> 0:29:57.680 I think, I don't think people watch you and they go, 0:29:58.400 --> 0:30:01.840 oh man, he's just going for it, like people love that. 0:30:02.080 --> 0:30:04.800 But have you always have you always gone for it? 0:30:05.360 --> 0:30:08.320 Uh? Well yeah, I mean, but you know the thing, 0:30:08.440 --> 0:30:11.080 the thing is like uh I think it was really 0:30:11.120 --> 0:30:16.200 showcased later on and with singles, not only because of 0:30:16.240 --> 0:30:20.520 the style of music, but and this thing is so windy, 0:30:20.880 --> 0:30:23.160 not only because of the style of the music, but 0:30:23.200 --> 0:30:25.560 because the stages were bigger. Like back in the days 0:30:25.560 --> 0:30:28.520 we would be shoved in a small corner of a 0:30:28.600 --> 0:30:32.120 room on the floor and I would be always more 0:30:32.320 --> 0:30:34.480 like it was more like an old school punk singer. 0:30:34.680 --> 0:30:37.160 Because I saw you play here at a venue that's 0:30:37.200 --> 0:30:39.239 gone now, it's been knocked down. It's called camp. It 0:30:39.280 --> 0:30:42.200 was just before an Evening Air came out. Yeah, yeah, 0:30:42.400 --> 0:30:44.400 which is a tiny stage. And then the last time 0:30:44.440 --> 0:30:46.320 I saw you was at the Roundhouse last year, which 0:30:46.320 --> 0:30:47.840 is a big view, which is like a mess. I 0:30:47.880 --> 0:30:48.600 loved those shows. 0:30:48.880 --> 0:30:50.680 Yeah, they were a lot of fun. Well, that's the thing, 0:30:50.800 --> 0:30:54.160 Like so back in the day, there wasn't room to 0:30:54.200 --> 0:30:57.680 even dance. There wasn't room to there wasn't room for 0:30:57.760 --> 0:31:02.080 grand gesture and uh and but but performance was still 0:31:02.120 --> 0:31:05.760 the big thing for me, like performing the songs, like. 0:31:05.240 --> 0:31:08.720 Like it was still even back then when you weren't dancing, 0:31:08.840 --> 0:31:11.880 there was still something about your performance that was like 0:31:11.960 --> 0:31:15.920 nothing art scene before. Yeah, and kind of to come 0:31:15.960 --> 0:31:17.920 back to that point of like truth in your music, 0:31:18.440 --> 0:31:20.440 like you were just kind of leaving it all out there, 0:31:20.560 --> 0:31:23.880 even in like this tiny basement club even more important. 0:31:24.000 --> 0:31:28.280 Yeah. Yeah, connecting with people, actually connecting people, going head 0:31:28.280 --> 0:31:31.440 to head with people, like forcing my head on there, 0:31:32.360 --> 0:31:35.680 grabbing people by their shirts, crying in people directly in 0:31:35.760 --> 0:31:39.520 people's faces. I mean, that's it's all about. For me, 0:31:39.560 --> 0:31:43.840 it's all about telling stories and sharing the ross emotions 0:31:43.880 --> 0:31:49.160 from the worst parts of our lives. I shouldn't say 0:31:49.160 --> 0:31:52.080 the worst parts, but those those things that inspire emotions. 0:31:52.280 --> 0:31:54.760 I've definitely met fans or I don't really like to 0:31:54.840 --> 0:31:59.160 use the term fans, supporters of our band who who 0:31:59.520 --> 0:32:02.640 are that I'm very like, just the chill, like nice 0:32:02.680 --> 0:32:05.600 guy off stage. They're like, how are you like this? 0:32:05.960 --> 0:32:07.760 And not like you are on stage, And I was like, 0:32:08.000 --> 0:32:10.160 do you want to meet a guy that's like me 0:32:10.840 --> 0:32:13.320 twenty four hours a day off stage? Like that sounds 0:32:13.360 --> 0:32:17.680 like a nightmare. It was like we were joking about 0:32:17.680 --> 0:32:20.080 an interview yesterday, just like, yeah, if I was like 0:32:20.120 --> 0:32:22.960 that at home, like making eggs, just like just like 0:32:23.360 --> 0:32:27.520 ripping across the kitchen, like like do a cartwheel into 0:32:27.520 --> 0:32:31.520 the bathroom, KI kick out of it. But yeah, these, 0:32:32.000 --> 0:32:35.520 you know, it's the dancing kind of came along as 0:32:35.600 --> 0:32:40.240 the stages got bigger. But I mean I've always you know, 0:32:40.280 --> 0:32:45.200 I was in like a in a improvisational dance group 0:32:45.240 --> 0:32:48.880 when I was just seventeen years old. It was me, 0:32:48.880 --> 0:32:53.600 me and four string instruments. And butsoon wow, and I 0:32:53.760 --> 0:32:56.360 was the element of the music like I created the 0:32:56.440 --> 0:32:58.560 music with my well I didn't actually create the music, 0:32:58.600 --> 0:33:01.640 but they were supposed to follow my movement. So this 0:33:01.680 --> 0:33:03.720 is it like an experimental art school that I was 0:33:03.720 --> 0:33:07.680 in when after my junior or at high school. And 0:33:08.120 --> 0:33:11.360 that was kind of my first foray into dance. So 0:33:11.480 --> 0:33:15.240 even that early, much more experimental dance. And because I 0:33:15.320 --> 0:33:17.480 was I was very driven by performance art. Like going 0:33:17.480 --> 0:33:20.440 into college, I wanted to I wanted to study conceptional 0:33:20.440 --> 0:33:24.320 and performance art, which is funny because I flunk terribly 0:33:24.360 --> 0:33:27.120 out of school though there weren't any programs like that, 0:33:27.200 --> 0:33:29.240 and you know, I was in a much more technical 0:33:29.280 --> 0:33:32.360 fine art school. They didn't really have what I wanted 0:33:32.360 --> 0:33:34.640 to study. But in a weird way, years later, I 0:33:34.640 --> 0:33:38.320 would find myself in a band that actually gave me 0:33:39.240 --> 0:33:41.400 all of that that I wanted, which was to be 0:33:41.440 --> 0:33:45.400 able to combine you know, my words that I believe 0:33:45.480 --> 0:33:50.240 deeply in with the my body as the sculpture, you know, 0:33:50.400 --> 0:33:54.600 like body as art and in my words that meant 0:33:54.600 --> 0:33:56.520 some wise I could never figure out how to mix 0:33:57.480 --> 0:34:02.360 my ability to be photo realistic artwork with a pencil 0:34:02.880 --> 0:34:10.240 against my rapping like you know, this crazy circuitous labyrinthine 0:34:11.239 --> 0:34:15.759 probably fucking archaic, full of itself rap shit I was 0:34:15.760 --> 0:34:20.800 making when I was eighteen, tongue Twisters with the ideas 0:34:20.800 --> 0:34:22.560 of performance art. I was like, how do you mix 0:34:22.600 --> 0:34:25.719 the two D with words with the three D and 0:34:25.880 --> 0:34:27.920 in living motion? And then years later I'd be like, 0:34:28.600 --> 0:34:31.000 I did it on accident. I'm in a cool band 0:34:31.040 --> 0:34:33.640 and I get to I get to perform my songs, 0:34:33.800 --> 0:34:36.839 and you know, it's about for me. I've always been 0:34:36.840 --> 0:34:40.640 in the performance for a few drownds is about telling 0:34:40.640 --> 0:34:43.120 a story to people that can't hear what the hell 0:34:43.120 --> 0:34:47.200 you're saying because you're you're stuffed into these noisy bars 0:34:47.280 --> 0:34:50.600 with drunk people, and in the days where you could 0:34:50.600 --> 0:34:53.160 still smoke inside, you may not even see the stance. 0:34:53.400 --> 0:34:56.839 Yeah you're lucky, or the band's playing. But it's like, well, 0:34:56.840 --> 0:34:58.919 how do you tell a story to people that can't 0:34:58.960 --> 0:35:01.000 understand what you're saying. You have to show them with 0:35:01.080 --> 0:35:03.839 your body and with your face, you know, like like 0:35:03.920 --> 0:35:05.960 and like I say, you know, I hit my chest, 0:35:06.600 --> 0:35:08.799 not so I feel it, but so you feel it. 0:35:09.120 --> 0:35:11.680 You know, when I hit my chest you say al. Yeah, 0:35:11.760 --> 0:35:14.000 I don't say al, because I hit that chest all 0:35:14.040 --> 0:35:17.080 the time. I hit it and you go, oh shit, 0:35:17.800 --> 0:35:19.440 So it's it's one of those but it's one of 0:35:19.480 --> 0:35:22.160 those things about telling a story that you can't hear 0:35:22.160 --> 0:35:24.120 the word because words are so important to me, They're 0:35:24.160 --> 0:35:26.239 everything to me. And then it kind of hurts your 0:35:26.239 --> 0:35:28.040 feelings when you're like, hey, these people don't know what 0:35:28.080 --> 0:35:29.600 the fun I say. Yeah. 0:35:29.680 --> 0:35:31.640 Now, when you play a show, because you're you know, 0:35:31.719 --> 0:35:34.160 kind of more established than things and people maybe know 0:35:34.239 --> 0:35:37.560 what to expect, it might be a bit different. But 0:35:37.600 --> 0:35:39.960 when you first started out and you were performing the 0:35:39.960 --> 0:35:41.680 way you were, and you were writing these songs that 0:35:41.719 --> 0:35:45.879 were extremely personable and true and honest and quite raw, 0:35:46.360 --> 0:35:48.920 how did that? Do people get it from the beginning? 0:35:49.120 --> 0:35:52.200 I think so? I think so. I mean there were 0:35:52.360 --> 0:35:56.960 there were snatches of that and the beginning of Future 0:35:57.160 --> 0:36:02.319 or Future Islands, you know. But you know, I'm still like, 0:36:03.200 --> 0:36:07.080 you know, our first EP is still not available because 0:36:07.120 --> 0:36:09.799 I'm kind of still hard on it there, but there 0:36:09.840 --> 0:36:12.319 are there are bits and pieces of that first that 0:36:12.360 --> 0:36:15.040 first record wave like Home, that that bear a lot 0:36:15.080 --> 0:36:20.120 of heart and performed live, we're really raw and visceral, 0:36:20.200 --> 0:36:22.200 but you know, we when we when we switched from 0:36:22.200 --> 0:36:24.160 our first band or Lord and Self Portress, which was 0:36:24.239 --> 0:36:28.520 much more like Craft Working and Joy Division but more 0:36:28.560 --> 0:36:32.560 like New Order inspired to Future Islands. Originally, we we 0:36:32.680 --> 0:36:35.359 kind of went from being a very like emotional dance band, 0:36:35.400 --> 0:36:37.719 kind of like we are now maybe a little bit 0:36:37.760 --> 0:36:40.640 more like europop in a sense, to being a very 0:36:40.960 --> 0:36:43.360 kind of like a synth punk band. You know, because 0:36:43.400 --> 0:36:46.360 our our first drummer we started the band with, he 0:36:46.360 --> 0:36:48.000 didn't know how to play the drums, but he always 0:36:48.000 --> 0:36:49.880 wanted to play the drums, and he was He was 0:36:49.920 --> 0:36:54.040 a really amazing technical metal bassist. But his favorite band 0:36:54.080 --> 0:36:57.560 was The Faint, and so he was he was like 0:36:57.600 --> 0:36:59.480 this big metal head in Greenville where we all went 0:36:59.520 --> 0:37:01.960 to college and started our first bands with, you know, 0:37:02.200 --> 0:37:04.840 art Lord in the Future Islands, and he was always 0:37:04.920 --> 0:37:06.640 front row center, and we thought it was so cool 0:37:06.680 --> 0:37:09.000 that this metal head was like getting down to our music. 0:37:09.200 --> 0:37:11.280 So eventually, when the band broke up, and he'd always 0:37:11.280 --> 0:37:13.400 wanted to play drums for art Lord, he loved art Lord, 0:37:13.960 --> 0:37:16.320 we started a band with him. So he he bought 0:37:16.320 --> 0:37:19.520 like a Simmons you know those hexagonal electronic kits, Yeah yeah, 0:37:20.160 --> 0:37:21.600 and learned to play. But the only way he could 0:37:21.680 --> 0:37:23.160 keep a beat was if he played like one hundred 0:37:23.160 --> 0:37:26.280 and sixty five minute, like he couldn't keep a slow beat. 0:37:26.640 --> 0:37:28.480 And even if you listen to Wave like Home, you like, 0:37:28.520 --> 0:37:31.400 if you listen to Beach Foam, that song definitely wavers 0:37:31.440 --> 0:37:34.160 between like eighty to one hundred and twenty bpm, like 0:37:34.200 --> 0:37:36.480 it speeds up and slows down in the weirds, which 0:37:36.520 --> 0:37:38.520 actually works for the song because it's about the sea, 0:37:38.640 --> 0:37:40.120 you know, so it feels like the ebb and flow 0:37:40.160 --> 0:37:42.400 of waves. But you're kind of like, dude, you gotta 0:37:42.600 --> 0:37:44.719 kind of okay, just get it together a little bit. 0:37:45.160 --> 0:37:47.960 But but Eric, Eric did bring this intensity that I 0:37:47.960 --> 0:37:51.480 think would carry on, you know. I think in a way, 0:37:51.960 --> 0:37:54.239 even with those early struggles with the band and like 0:37:54.280 --> 0:37:56.160 figuring out this new sound, I think he gave He 0:37:56.200 --> 0:37:58.840 definitely gave me something because I never performed with a 0:37:58.920 --> 0:38:01.560 drum kit behind me before. For even if it was electronic, kid, 0:38:01.560 --> 0:38:03.759 it was like I never performed with this other kind 0:38:03.800 --> 0:38:06.160 of propulsive thing. It was always like the guys were 0:38:06.280 --> 0:38:08.239 very chill on stage and I was kind of doing 0:38:08.280 --> 0:38:10.960 my thing. But it was electronic drum beats that were 0:38:11.040 --> 0:38:14.040 just like straightforward and simple, and then and then all 0:38:14.040 --> 0:38:16.240 of a sudden, we have this force of nature behind 0:38:16.520 --> 0:38:18.160 you don't know which way the winds are gonna blow, 0:38:18.160 --> 0:38:22.920 and you're like, oh shit, like he's gone crazy again, 0:38:23.239 --> 0:38:25.920 and then you know so then it kind of it 0:38:25.960 --> 0:38:29.040 added this whole extra propulsion to my dimension as a 0:38:29.080 --> 0:38:32.120 performer that I hadn't really seen before. And I was 0:38:32.120 --> 0:38:34.600 tapping into something very different because art Lord was more 0:38:34.600 --> 0:38:39.800 of a preening like like kind of a very narcissistic 0:38:39.880 --> 0:38:42.799 but but hurt fellow. You know that the character that 0:38:42.840 --> 0:38:44.960 I played, but I was and I was also got 0:38:45.000 --> 0:38:47.520 to be a character with future islands. I had to 0:38:47.560 --> 0:38:52.080 strip away this mask and this identity and be myself 0:38:52.680 --> 0:38:55.080 for the first time on stage, like other than rap 0:38:55.120 --> 0:38:57.200 battles and stuff like that back in the day. All 0:38:57.239 --> 0:38:59.520 of a sudden, I was because in art Lord, I 0:38:59.520 --> 0:39:01.920 would write these sad songs that were about me, but 0:39:02.000 --> 0:39:03.600 I could say it's not about me, it's about the 0:39:03.680 --> 0:39:07.200 art Lord, like I'm not the the isolated figure. I'm 0:39:07.200 --> 0:39:10.200 not the sad figure because to me, like pop and 0:39:10.320 --> 0:39:13.360 rock music was always kind of well, it just didn't 0:39:13.440 --> 0:39:15.600 it never really spoke to me because I didn't feel 0:39:15.600 --> 0:39:17.960 the heart in it, or maybe I thought like when 0:39:18.000 --> 0:39:20.000 I first heard like indie rock stuff my friends were 0:39:20.000 --> 0:39:21.560 listening to in high school when I was just like 0:39:21.680 --> 0:39:24.880 bumping of like hip hop beats and stuff like like 0:39:24.920 --> 0:39:27.400 I just found it to be like whining and crying, 0:39:27.440 --> 0:39:29.440 which is funny because of what I do now, but 0:39:30.160 --> 0:39:32.759 which is whining and crying on But but the thing 0:39:32.840 --> 0:39:36.439 is like I didn't I didn't connect to it because 0:39:36.440 --> 0:39:38.160 I felt that it was like kind of feeble in 0:39:38.239 --> 0:39:41.719 it's in its like emotional grasp, like it didn't touch 0:39:41.760 --> 0:39:45.080 on all the emotions. And I think with what we 0:39:45.120 --> 0:39:47.320 try to do, and what I've tried to do in particular, 0:39:47.360 --> 0:39:49.680 is like really play with the dimensions of like strength 0:39:49.760 --> 0:39:54.480 and vulnerability, like like how you can be I can 0:39:54.560 --> 0:39:58.160 be like a man monster on stage, but but show fragility, 0:39:58.520 --> 0:40:04.239 like like pulling apart oneself, you know, exposing oneself but 0:40:04.320 --> 0:40:07.080 still being whole and in between, and then the song 0:40:07.200 --> 0:40:10.279 ends and you smile to the audience that is this 0:40:10.360 --> 0:40:12.279 the show? Is this? Life is a show? 0:40:12.440 --> 0:40:15.799 The reaction. I don't think I'll ever get tired of 0:40:15.840 --> 0:40:19.600 watching the reaction of David Letterman at the end of 0:40:19.640 --> 0:40:23.360 your when you perform seasons on there, which obviously was 0:40:23.400 --> 0:40:27.200 a big point in the bands in success since. But 0:40:27.640 --> 0:40:30.400 that moment where he comes over and shakes your hand, 0:40:30.520 --> 0:40:32.319 that's the best part of the performance for me. He 0:40:32.360 --> 0:40:37.239 looks genuinely, he is loving it. He's just seen something 0:40:37.280 --> 0:40:39.600 that he's never seen before. And you can really tell, 0:40:39.719 --> 0:40:41.160 like sometimes. 0:40:40.800 --> 0:40:42.200 Well he's seen a million things, he's. 0:40:42.120 --> 0:40:44.360 Seen so many things, and sometimes he kind of he 0:40:44.400 --> 0:40:46.319 always shakes the band's hand, but you can tell when 0:40:46.320 --> 0:40:47.600 he loves them, and you can tell when he just 0:40:48.000 --> 0:40:50.319 is wrapping up the show. Yeah, and he loved it. 0:40:50.520 --> 0:40:53.839 Do you think, like, like watching that clip back the 0:40:55.400 --> 0:40:58.319 and it was your first TV performance, right, the very 0:40:58.320 --> 0:41:01.040 first time you've been on TV, do you think that 0:41:01.160 --> 0:41:04.399 helped you in the sense because you were performing it 0:41:04.800 --> 0:41:06.360 because it was the first time you've been on TV. 0:41:07.040 --> 0:41:09.040 It looked like you performed that track like you would 0:41:09.040 --> 0:41:11.360 have performed it in a club exactly as opposed to 0:41:11.480 --> 0:41:15.240 like in a studio where people once they've done loads 0:41:15.280 --> 0:41:17.320 of TV, you know, they know where all the cameras 0:41:17.320 --> 0:41:20.160 are and they adapt it for a TV show. Yeah, 0:41:20.160 --> 0:41:21.839 you know, but you didn't do that. You just kind 0:41:21.840 --> 0:41:23.200 of went, this is the song and this is how 0:41:23.239 --> 0:41:25.480 I do it. Do you think that was like that 0:41:25.880 --> 0:41:28.440 that's why it kind of had that the impact that 0:41:28.480 --> 0:41:30.920 it had was because you didn't. You weren't this polished 0:41:30.920 --> 0:41:34.399 band that were used to playing on TV. You were like, 0:41:34.800 --> 0:41:36.520 we're a touring band and we're just happening to be 0:41:36.520 --> 0:41:37.759 on TV right now, and this is it. 0:41:38.040 --> 0:41:40.400 Yeah. Yeah, well we treated it. I mean, we were nervous, 0:41:40.400 --> 0:41:43.520 but we treated like any other gig. And the thing 0:41:43.560 --> 0:41:46.680 you dnantcy on camera is that that studio is smaller 0:41:47.680 --> 0:41:50.279 then we thought it would be, which was good. Yeah. 0:41:50.600 --> 0:41:54.799 You know it's like a theater, right, yeah, so maybe 0:41:54.880 --> 0:41:57.960 fits like three or four hundred. So so the audience 0:41:58.080 --> 0:42:00.440 isn't actually they are far away from you, but it's 0:42:00.480 --> 0:42:02.600 not too far. But if you watch, you know, I'm 0:42:02.640 --> 0:42:05.280 walking past the monitors out towards the people. I'm actually 0:42:05.320 --> 0:42:08.800 like looking at grandmas who are are like what's happening. 0:42:08.920 --> 0:42:10.880 You know, they have they're not scared, but they have 0:42:10.960 --> 0:42:15.200 like kind of like really kind of amazed looks on 0:42:15.760 --> 0:42:18.080 like what's happening right now? And you know, our friends 0:42:18.080 --> 0:42:20.440 in the audience. You know, I'm looking out to the people. 0:42:20.480 --> 0:42:23.200 And I think that's the big thing about that performance 0:42:23.320 --> 0:42:26.759 was that it wasn't it wasn't insular to a band 0:42:26.880 --> 0:42:29.319 like you're watching a band on TV on the stage, Like, 0:42:29.760 --> 0:42:33.400 but it's it's the connection that we've always had with people, 0:42:33.560 --> 0:42:35.479 to try to connect with people and look at people 0:42:35.480 --> 0:42:38.120 in the eyes, like looking past the cameras, you know, 0:42:38.360 --> 0:42:42.200 because it's because it's not because there's something past behind 0:42:42.239 --> 0:42:45.040 the cameras, you know what I mean? Yeah, but but yeah, 0:42:45.080 --> 0:42:47.319 you know that performance would have been very different if 0:42:47.360 --> 0:42:52.240 it had been three years prior. Not that it wouldn't 0:42:52.280 --> 0:42:55.480 have had the same impact, there's no telling, but but 0:42:55.520 --> 0:42:58.400 the fact that you know, we had at that point, 0:42:58.400 --> 0:43:00.760 we'd played over seven hundred and fifty almost eight hundred 0:43:00.760 --> 0:43:04.239 shows like that shows in that performance, And also we 0:43:04.280 --> 0:43:07.360 aren't the band that was put together and played some 0:43:07.440 --> 0:43:09.720 shows and now is going to get their TV debut 0:43:09.800 --> 0:43:12.399 after putting out their first record. Like we were old 0:43:12.480 --> 0:43:17.480 road dogs who were getting a chance at at sharing 0:43:17.520 --> 0:43:20.040 what we what we do, and so you you know, 0:43:20.120 --> 0:43:23.000 I I mean I was reasoning with myself backstage, like 0:43:23.040 --> 0:43:24.840 am I going to do the things I do on stage? 0:43:24.840 --> 0:43:26.600 Are you going to go for the growl? Are you 0:43:26.640 --> 0:43:29.040 going to hit your chest? You know, like like how 0:43:29.080 --> 0:43:31.520 are you going to approach this? And and you know, 0:43:31.680 --> 0:43:34.120 so there were there were nerves involved and not really 0:43:34.120 --> 0:43:36.000 being sure and even in the you know, I kind 0:43:36.000 --> 0:43:38.920 of blacked out on stage and just was in the performance. 0:43:38.920 --> 0:43:40.200 And that's where you want to be, you know, you 0:43:40.239 --> 0:43:43.200 want to be. You want to be in a place 0:43:43.200 --> 0:43:46.840 where you're not really thinking about if your zipper is 0:43:46.880 --> 0:43:51.120 up or not you're gonna fall over, and that that 0:43:51.200 --> 0:43:54.000 was the beauty of his response was that the song 0:43:54.160 --> 0:43:57.040 ended and in my head, I said, we did it, 0:43:57.320 --> 0:44:02.400 like we got through it, nobody like and this and 0:44:02.440 --> 0:44:05.440 I heard that whoa from the side and that's when 0:44:05.440 --> 0:44:07.480 I was like, oh, like kind of snapped back into it, 0:44:07.520 --> 0:44:10.359 and he had his great response, which like, like I said, 0:44:10.400 --> 0:44:12.520 like even after that performance, we walked off and we're like, 0:44:12.560 --> 0:44:13.919 I think we did good. I think we did good. 0:44:14.480 --> 0:44:17.080 That felt pretty good and had no idea of the 0:44:17.120 --> 0:44:20.000 impact it would have because once again, we were just 0:44:20.040 --> 0:44:22.399 doing what we do every night. And that's been that's 0:44:22.440 --> 0:44:25.360 been the most the funniest thing to it about about 0:44:25.360 --> 0:44:29.680 how that performances has brought such a huge new audience 0:44:29.760 --> 0:44:33.600 to our band as which is good because it's not 0:44:33.640 --> 0:44:36.080 like people people found out about us and then come 0:44:36.120 --> 0:44:41.640 to a show. Even still expecting that that's actually gonna happen. Yeah, 0:44:41.719 --> 0:44:44.280 They're like they come to a show like was that real? 0:44:44.360 --> 0:44:45.680 And then they come to show and see that it's 0:44:45.719 --> 0:44:50.239 actually even more intense and continues to be intense, you know, 0:44:50.320 --> 0:44:53.560 like like that three and a half minutes is only 0:44:53.600 --> 0:44:56.880 a small piece of a larger puzzle, of a bigger 0:44:56.920 --> 0:45:00.120 show and a range of more emotions, you know, And 0:45:01.280 --> 0:45:04.040 so so that was cool. We didn't because it took 0:45:04.080 --> 0:45:07.239 that long to get that moment. We didn't take any 0:45:07.280 --> 0:45:11.800 of the any of the accolades for granted, or the 0:45:11.120 --> 0:45:14.359 the growth for you know. We were just like we 0:45:14.400 --> 0:45:20.640 felt like we earned it naturally instead of through studio tricks. 0:45:20.680 --> 0:45:23.799 You know, I didn't. I didn't wear my wig that night. 0:45:25.280 --> 0:45:28.320 My girdle and my wig is very much me. 0:45:41.000 --> 0:45:44.239 Midnight Chats is a Loud and Quiet podcast production by 0:45:44.280 --> 0:45:48.640 Emma Snook Music courtesy of gold Panda. Search Midnight Chats 0:45:48.680 --> 0:45:52.560 on iTunes for more episodes and to subscribe. For more information, 0:45:52.800 --> 0:45:57.040 visit Loud and Quiet dot com.