1 00:00:00,560 --> 00:00:01,320 Speaker 1: Taking a Walk. 2 00:00:01,480 --> 00:00:04,800 Speaker 2: So I'm just really scratching the surface, you know, of 3 00:00:04,920 --> 00:00:08,639 Speaker 2: what is possible, and I'm never going to stop, you know, 4 00:00:08,880 --> 00:00:12,760 Speaker 2: looking for that new and wondrous realm that I can 5 00:00:12,760 --> 00:00:15,320 Speaker 2: step into. But it's not a genre. I don't believe 6 00:00:15,360 --> 00:00:17,680 Speaker 2: in time, and I don't believe in genres. Honestly, it's 7 00:00:17,760 --> 00:00:20,960 Speaker 2: just kind of like, I don't care when it came out. 8 00:00:21,320 --> 00:00:23,880 Speaker 2: I don't care what country it came from. If it 9 00:00:23,920 --> 00:00:26,840 Speaker 2: speaks to me, I'm going to chase it down and 10 00:00:27,480 --> 00:00:30,360 Speaker 2: find a way to interpret it and find my own 11 00:00:30,400 --> 00:00:30,880 Speaker 2: voice in it. 12 00:00:31,000 --> 00:00:34,080 Speaker 1: Welcome to another episode of the Taking a Walk podcast 13 00:00:34,360 --> 00:00:38,600 Speaker 1: hosted by Buzz Night, where we stroll through stories, music, 14 00:00:38,680 --> 00:00:42,440 Speaker 1: and the moments that shape our favorite artists today. Buzz 15 00:00:42,479 --> 00:00:45,960 Speaker 1: is joined by a true force of nature, singer, songwriter, 16 00:00:46,080 --> 00:00:50,320 Speaker 1: and multi instrumentalist Grace Potter. From her Vermont roots to 17 00:00:50,400 --> 00:00:54,319 Speaker 1: the world's biggest stages, Grace's journey is as dynamic as 18 00:00:54,320 --> 00:00:58,640 Speaker 1: your voice. She's the powerhouse behind Grace Potter and the Nocturnals. 19 00:00:58,840 --> 00:01:02,520 Speaker 1: A solo artist with fearless spirit and a storyteller who 20 00:01:02,600 --> 00:01:06,160 Speaker 1: finds inspiration on the open road and in the quiet 21 00:01:06,200 --> 00:01:09,320 Speaker 1: corners of home. She's here to talk also about her 22 00:01:09,360 --> 00:01:12,560 Speaker 1: new album Medicine and was produced by t Bone Burnett 23 00:01:12,760 --> 00:01:16,640 Speaker 1: and recorded eighteen years ago and it's just now being released. 24 00:01:17,080 --> 00:01:20,600 Speaker 1: Welcome Grace Potter to the Taking a Walk Podcast with 25 00:01:20,720 --> 00:01:22,000 Speaker 1: your host Buzznight. 26 00:01:23,520 --> 00:01:26,600 Speaker 3: Grace Potter, Welcome to the Taking a Walk Podcast. 27 00:01:26,880 --> 00:01:29,440 Speaker 2: Thank you for having me. It's lovely to be here. 28 00:01:30,040 --> 00:01:32,640 Speaker 3: So since we call the podcast taking a Walk, I 29 00:01:32,680 --> 00:01:35,600 Speaker 3: do have to ask you if you could take a 30 00:01:35,640 --> 00:01:40,720 Speaker 3: walk with somebody living or dead, who would you take 31 00:01:40,760 --> 00:01:43,120 Speaker 3: a walk with and where do you think you would 32 00:01:43,160 --> 00:01:45,319 Speaker 3: take the walk with them? 33 00:01:45,600 --> 00:01:52,360 Speaker 2: At My great grandmother, Charlotte, I would love to take 34 00:01:52,360 --> 00:01:55,320 Speaker 2: a walk with her. She was alive when I was 35 00:01:55,360 --> 00:01:57,840 Speaker 2: a very small baby, but I only have pictures of 36 00:01:57,880 --> 00:02:01,400 Speaker 2: me being held like this tiny little thing, and she 37 00:02:01,480 --> 00:02:04,160 Speaker 2: passed away before I was even a year old. And 38 00:02:04,240 --> 00:02:08,200 Speaker 2: I just I'm so curious about the wisdom and experiences 39 00:02:08,240 --> 00:02:11,480 Speaker 2: that she could share that I don't think anybody else 40 00:02:11,480 --> 00:02:15,480 Speaker 2: in my family would have thought to ask. And yeah, 41 00:02:15,520 --> 00:02:18,280 Speaker 2: she was also really musical, so I would love to 42 00:02:18,280 --> 00:02:21,240 Speaker 2: get her take on what she thought of her little 43 00:02:21,440 --> 00:02:26,080 Speaker 2: her brother Spiegel Wilcox, who was a trombone player. You 44 00:02:26,080 --> 00:02:29,440 Speaker 2: know what was the take from the family on that 45 00:02:29,600 --> 00:02:32,800 Speaker 2: charismatic guy. You know, it's just all all these things 46 00:02:32,800 --> 00:02:36,760 Speaker 2: about my family and my ancestry that I'm really curious about. 47 00:02:36,800 --> 00:02:39,000 Speaker 2: I think there's a lot of interesting skeletons in the 48 00:02:39,040 --> 00:02:42,120 Speaker 2: closet that she probably wouldn't want to tell me right away. 49 00:02:42,160 --> 00:02:44,000 Speaker 2: But that's what a walk is for, right It's to 50 00:02:44,080 --> 00:02:48,040 Speaker 2: sort of get those juices flowing, and suddenly you know, 51 00:02:48,320 --> 00:02:51,360 Speaker 2: the dopamine is hidden, and the serotonin and the vitamin 52 00:02:51,400 --> 00:02:53,560 Speaker 2: D is hitting your skin, and suddenly you're telling your 53 00:02:53,560 --> 00:02:56,079 Speaker 2: life story. And I think Charlotte and I would have 54 00:02:56,080 --> 00:02:56,920 Speaker 2: a lot to talk about. 55 00:02:57,240 --> 00:03:00,280 Speaker 3: Oh, I love it. I love it. That's so great. 56 00:03:00,400 --> 00:03:07,239 Speaker 3: You know, you exude such joy and performance. How does 57 00:03:07,280 --> 00:03:10,320 Speaker 3: it make you feel? You know, seeing that joy come 58 00:03:10,440 --> 00:03:14,720 Speaker 3: radiating back to you when you're performing, it. 59 00:03:14,680 --> 00:03:20,799 Speaker 2: Feels like love. I don't know if everybody listening has 60 00:03:20,840 --> 00:03:23,200 Speaker 2: had the experience of falling in love with someone where 61 00:03:23,240 --> 00:03:27,880 Speaker 2: you truly feel seen, But what you're really seeing is 62 00:03:28,240 --> 00:03:31,200 Speaker 2: your reflection coming out of their eyes and shining the 63 00:03:31,560 --> 00:03:36,040 Speaker 2: experience of experiencing you. And I think there's a feeling 64 00:03:36,080 --> 00:03:39,000 Speaker 2: of like, gosh, I must not be that bad. If 65 00:03:39,040 --> 00:03:44,280 Speaker 2: everybody's hanging out and they're not leaving, you know, And 66 00:03:44,520 --> 00:03:49,280 Speaker 2: I just I really understand that connection that's available to 67 00:03:49,360 --> 00:03:53,720 Speaker 2: all of us that comes especially from live music, but 68 00:03:53,760 --> 00:03:55,800 Speaker 2: I think it also happens in my daily life and 69 00:03:55,800 --> 00:04:02,000 Speaker 2: in conversations where you're finding your own truth through other 70 00:04:02,000 --> 00:04:06,279 Speaker 2: people's eyes and you're sharing joy. There's such a reciprocal 71 00:04:07,040 --> 00:04:10,240 Speaker 2: experience going on there. I live for that, honestly. I 72 00:04:10,240 --> 00:04:12,760 Speaker 2: think it's like my purpose on this planet. 73 00:04:12,840 --> 00:04:16,599 Speaker 3: So it's sider an interesting when you sort of people 74 00:04:16,720 --> 00:04:20,479 Speaker 3: watch and you see, you know, so many frowns out 75 00:04:20,520 --> 00:04:24,280 Speaker 3: there and so many scowls, and you just sort of think, 76 00:04:24,760 --> 00:04:28,200 Speaker 3: why a little bit of a different approach that some 77 00:04:28,279 --> 00:04:32,640 Speaker 3: people could take would really change a lot of worlds Totally. 78 00:04:32,880 --> 00:04:37,039 Speaker 2: It's hard for me to when I see people not 79 00:04:37,400 --> 00:04:40,280 Speaker 2: being in receptive mode, like when you're in the elevator 80 00:04:40,279 --> 00:04:43,960 Speaker 2: on the subway and people are shutting down. There's a 81 00:04:44,000 --> 00:04:46,359 Speaker 2: reason for that. I think it's actually biological. I was 82 00:04:46,440 --> 00:04:50,520 Speaker 2: just listening to an interesting book on why we shut 83 00:04:50,560 --> 00:04:52,560 Speaker 2: down and why we close off and the signals that 84 00:04:52,600 --> 00:04:56,760 Speaker 2: our bodies send out when we're not open. But I'm 85 00:04:56,800 --> 00:04:58,520 Speaker 2: just one of those people who moves through the world 86 00:04:58,520 --> 00:05:04,839 Speaker 2: with a lot of humility and wonder. I'm constantly in 87 00:05:04,880 --> 00:05:08,800 Speaker 2: search of my next experience of awe, and I find 88 00:05:08,800 --> 00:05:12,800 Speaker 2: it in people all the time, especially the ones you 89 00:05:12,880 --> 00:05:17,000 Speaker 2: don't expect, like even a TSA agent who's screaming at 90 00:05:17,000 --> 00:05:18,720 Speaker 2: the top of their lungs, and suddenly you just say, 91 00:05:18,760 --> 00:05:22,360 Speaker 2: how's your day gone? And they just break open like 92 00:05:22,400 --> 00:05:27,200 Speaker 2: the sunshine, and I just I love it. 93 00:05:25,800 --> 00:05:30,240 Speaker 3: It's a difference maker for sure, you know it really is. 94 00:05:30,720 --> 00:05:34,920 Speaker 3: We're going to talk about medicine, the fascinating story behind medicine, 95 00:05:35,120 --> 00:05:42,440 Speaker 3: that t Bone Burnette project that luckily has now reappeared. 96 00:05:42,520 --> 00:05:45,040 Speaker 3: Let's just say, but I do want to ask you 97 00:05:45,200 --> 00:05:48,680 Speaker 3: a question, and it's from a listener to the podcast 98 00:05:48,720 --> 00:05:54,120 Speaker 3: and also a musician. Her name is Emily Cavanaugh. Emily says, 99 00:05:54,839 --> 00:05:59,839 Speaker 3: your song release has always felt like the perfect example 100 00:05:59,880 --> 00:06:06,720 Speaker 3: of music as a means of catharsis. Did you find 101 00:06:06,960 --> 00:06:10,960 Speaker 3: that release helped you out of something in particular you 102 00:06:11,000 --> 00:06:11,719 Speaker 3: were going through? 103 00:06:13,080 --> 00:06:15,040 Speaker 2: I think the thing I hold on too with that 104 00:06:15,160 --> 00:06:17,720 Speaker 2: song when I was writing it, but also what remains 105 00:06:17,760 --> 00:06:20,880 Speaker 2: now is the hope for healing. It's not this like 106 00:06:21,000 --> 00:06:27,320 Speaker 2: definitive nicotine patch of you're going to be okay. It's 107 00:06:27,360 --> 00:06:32,719 Speaker 2: a question as opposed to a statement or declaration in 108 00:06:32,839 --> 00:06:37,280 Speaker 2: which and I really was ready to let go of 109 00:06:38,800 --> 00:06:42,839 Speaker 2: and bury the skeletons that were holding me back. But 110 00:06:42,960 --> 00:06:46,280 Speaker 2: I knew that the skeletons were holding on really tight 111 00:06:46,400 --> 00:06:49,400 Speaker 2: and they weren't really ready to let go. So it's 112 00:06:49,440 --> 00:06:53,680 Speaker 2: an invitation. That song is for me more of a 113 00:06:55,560 --> 00:06:58,880 Speaker 2: you hit me back when you're ready, you know, like 114 00:06:58,960 --> 00:07:02,560 Speaker 2: one of those really brilliant and voice memos or messages 115 00:07:02,560 --> 00:07:04,520 Speaker 2: that you get from a friend, and you listen to 116 00:07:04,560 --> 00:07:07,680 Speaker 2: it again and again because there's still a question in 117 00:07:07,720 --> 00:07:10,440 Speaker 2: the air and maybe you're not ready to answer that question. 118 00:07:11,280 --> 00:07:13,360 Speaker 2: That's really what that song captures for me. 119 00:07:14,920 --> 00:07:17,200 Speaker 3: Can you talk about the early days in Vermont? I 120 00:07:17,240 --> 00:07:21,360 Speaker 3: know you still spend time in Vermont, but those early days, 121 00:07:21,800 --> 00:07:26,000 Speaker 3: how did they shape you musically and with your sort 122 00:07:26,040 --> 00:07:27,400 Speaker 3: of worldview today? 123 00:07:29,080 --> 00:07:31,840 Speaker 2: I didn't understand eras I didn't know that there was 124 00:07:31,880 --> 00:07:34,560 Speaker 2: like dates in which records were made. In fact, I 125 00:07:34,600 --> 00:07:36,720 Speaker 2: think growing up with a bit of a sense of 126 00:07:36,760 --> 00:07:43,080 Speaker 2: timelessness in Vermont was very formative for me because I 127 00:07:43,280 --> 00:07:46,320 Speaker 2: spent time with and loved socializing with people of all ages. 128 00:07:46,360 --> 00:07:48,240 Speaker 2: I didn't have this understanding that there was like a 129 00:07:48,280 --> 00:07:50,960 Speaker 2: sector or age group I was supposed to be in, 130 00:07:52,320 --> 00:07:56,160 Speaker 2: and it served me really well because the more I 131 00:07:56,200 --> 00:08:02,400 Speaker 2: found access to different points of view and different natures 132 00:08:02,400 --> 00:08:06,239 Speaker 2: and different inclinations. And you know, Vermont is a place 133 00:08:06,280 --> 00:08:08,560 Speaker 2: where it can be a bit of an echo chamber 134 00:08:08,600 --> 00:08:12,040 Speaker 2: of I think. There's a lot of intellectuals and there's 135 00:08:12,080 --> 00:08:15,560 Speaker 2: a lot of farmers, so that mixed bag, I think 136 00:08:15,600 --> 00:08:19,240 Speaker 2: created a lot of curiosity for me as to how 137 00:08:19,600 --> 00:08:22,480 Speaker 2: this group of people all ended up together. You know, 138 00:08:22,600 --> 00:08:25,760 Speaker 2: the back to the Land boomers coming in from Ivy 139 00:08:25,840 --> 00:08:29,040 Speaker 2: League schools because they had done some ski vacation there 140 00:08:29,040 --> 00:08:33,160 Speaker 2: in the sixties. Suddenly they're coming and planting their roots 141 00:08:33,200 --> 00:08:37,240 Speaker 2: there among a large group of farmers who've been living 142 00:08:37,440 --> 00:08:40,880 Speaker 2: and taking cues from nature for their entire lives, and 143 00:08:40,920 --> 00:08:43,080 Speaker 2: living by the season and living by the harvest, living 144 00:08:43,080 --> 00:08:46,400 Speaker 2: by the hurricane or the flood that happened that year. 145 00:08:47,920 --> 00:08:51,959 Speaker 2: It definitely grounded me, but it also left me constantly 146 00:08:52,040 --> 00:08:56,960 Speaker 2: reaching outward and open to whatever the rest of the 147 00:08:56,960 --> 00:09:00,040 Speaker 2: world had to offer, mostly because I wanted to bring 148 00:09:00,080 --> 00:09:03,120 Speaker 2: it back to the land, just like my parents did. 149 00:09:04,200 --> 00:09:07,960 Speaker 2: Culture is a huge part of my life, and yet 150 00:09:08,000 --> 00:09:10,680 Speaker 2: if you think about Vermont. There's only a few. It's 151 00:09:10,679 --> 00:09:14,079 Speaker 2: it's sort of the people get that glazed overlooking their 152 00:09:14,080 --> 00:09:16,120 Speaker 2: eye and they picture cows in a field, they picture 153 00:09:16,120 --> 00:09:19,560 Speaker 2: Benajerry's ice cream. They picture, you know, tapping maple syrup, 154 00:09:19,679 --> 00:09:21,920 Speaker 2: or skiing down a mountain or riding a mountain bike. 155 00:09:22,320 --> 00:09:25,840 Speaker 2: But there's so much more, And from a very young age, 156 00:09:25,840 --> 00:09:28,800 Speaker 2: I wanted to dig into that more and I'm still 157 00:09:28,800 --> 00:09:29,760 Speaker 2: doing that to this day. 158 00:09:31,160 --> 00:09:33,920 Speaker 3: Not that there's anything wrong with just glazing off to 159 00:09:33,960 --> 00:09:37,000 Speaker 3: those things either, right, and just we love. 160 00:09:36,880 --> 00:09:39,320 Speaker 2: That that's a brand. That's what we call a brand. 161 00:09:39,440 --> 00:09:43,760 Speaker 2: Baby Vermont has a very strong brand, you know. And 162 00:09:43,760 --> 00:09:45,880 Speaker 2: and I didn't. I didn't. I wasn't aware of it 163 00:09:45,960 --> 00:09:47,960 Speaker 2: until I got out into the wider world that that 164 00:09:48,160 --> 00:09:51,679 Speaker 2: not everywhere is like this. And it was kind of 165 00:09:52,440 --> 00:09:56,680 Speaker 2: stunning to me, especially as I was heading west, especially 166 00:09:56,679 --> 00:10:01,000 Speaker 2: to the Midwest and out outward into the desert regions, 167 00:10:01,080 --> 00:10:06,080 Speaker 2: where life is so different and people's way of processing 168 00:10:06,120 --> 00:10:10,680 Speaker 2: and viewing things and just observing the world around them 169 00:10:11,440 --> 00:10:14,440 Speaker 2: seems so much less about the weather and more about 170 00:10:14,559 --> 00:10:16,320 Speaker 2: you know, what an exit are we going to take 171 00:10:16,360 --> 00:10:20,559 Speaker 2: to get gas? And where's the nearest movie theater or mall. 172 00:10:20,800 --> 00:10:21,120 Speaker 3: We don't. 173 00:10:21,240 --> 00:10:22,959 Speaker 2: I didn't go to the mall. There wasn't a mall. 174 00:10:23,160 --> 00:10:25,280 Speaker 2: You know. My dad is a sign maker, and I 175 00:10:25,320 --> 00:10:27,920 Speaker 2: remember when he got hired to do the signs for 176 00:10:28,000 --> 00:10:32,000 Speaker 2: the mall, and it was like it was a food 177 00:10:32,040 --> 00:10:39,160 Speaker 2: court and you know, basically an indoor farmer's market. And 178 00:10:39,200 --> 00:10:41,800 Speaker 2: then you know, but I'd watch movies like Clueless or whatever, 179 00:10:41,840 --> 00:10:43,839 Speaker 2: and I'd be like, Okay, so there's definitely like a 180 00:10:44,000 --> 00:10:48,520 Speaker 2: mall vibe. But I wanted to hear that mus act 181 00:10:48,760 --> 00:10:50,880 Speaker 2: like we didn't have that. There was no mus act playing, 182 00:10:50,880 --> 00:10:55,400 Speaker 2: there was no I think that the American dream version 183 00:10:56,120 --> 00:10:58,720 Speaker 2: of life was something I had to discover really in 184 00:10:58,760 --> 00:11:00,600 Speaker 2: my twenties when I when I got out of state 185 00:11:00,640 --> 00:11:03,920 Speaker 2: and started traveling around and playing music live. You know. 186 00:11:05,040 --> 00:11:08,600 Speaker 3: So take us back to two thousand and eight stepping 187 00:11:08,679 --> 00:11:13,280 Speaker 3: into the studio to record Medicine. What were you feeling then? 188 00:11:13,400 --> 00:11:18,160 Speaker 3: Do you remember, especially going to work with the iconic 189 00:11:18,720 --> 00:11:19,840 Speaker 3: T Bone Burnette. 190 00:11:20,080 --> 00:11:28,480 Speaker 2: Yeah, it was immensely exciting and world changing. I think 191 00:11:28,640 --> 00:11:35,680 Speaker 2: my openness to the collaboration started because he was so open. 192 00:11:36,160 --> 00:11:40,000 Speaker 2: You know, I was otherwise ready to take instruction, and 193 00:11:40,559 --> 00:11:44,800 Speaker 2: you know, I felt like I needed to behave myself. 194 00:11:44,840 --> 00:11:48,960 Speaker 2: You know, I think I'd been warned by executives and 195 00:11:49,400 --> 00:11:52,920 Speaker 2: people in the industry that not necessarily not to stand 196 00:11:53,000 --> 00:11:54,720 Speaker 2: up for myself, but to like just roll with the 197 00:11:54,760 --> 00:11:57,360 Speaker 2: punches like it's that I was told it would be hard, 198 00:11:57,440 --> 00:11:59,600 Speaker 2: like a wrestling match. Everything about being in the studio 199 00:11:59,640 --> 00:12:02,680 Speaker 2: felt a little bit like brain surgery to me. Up 200 00:12:02,760 --> 00:12:05,080 Speaker 2: until that point, there was a lot of opinions. There 201 00:12:05,160 --> 00:12:06,959 Speaker 2: was a lot of people that weren't the musicians in 202 00:12:07,000 --> 00:12:13,760 Speaker 2: the room who were immensely involved in the process. And 203 00:12:14,280 --> 00:12:16,800 Speaker 2: to me that as a young person, I was like 204 00:12:16,840 --> 00:12:19,320 Speaker 2: in my late teens early twenties getting into the studio, 205 00:12:20,000 --> 00:12:22,079 Speaker 2: I just felt like that must be how it is everywhere. 206 00:12:22,280 --> 00:12:25,080 Speaker 2: And I didn't understand that I could be a force 207 00:12:25,160 --> 00:12:30,120 Speaker 2: for change or even advocate for myself in the early days. 208 00:12:30,160 --> 00:12:33,720 Speaker 2: And it took a lot of experience, and specifically the 209 00:12:33,800 --> 00:12:36,360 Speaker 2: experience of working with t Bone to understand that he 210 00:12:36,440 --> 00:12:40,079 Speaker 2: cared about my opinion. He actually genuinely wanted to know 211 00:12:40,160 --> 00:12:44,280 Speaker 2: what was my natural reaction to something. He would want 212 00:12:44,320 --> 00:12:47,480 Speaker 2: to hear me just sing something down in the studio 213 00:12:47,920 --> 00:12:51,760 Speaker 2: and see where my instincts would take me. And there 214 00:12:51,840 --> 00:12:55,200 Speaker 2: was none of this sort of incision into my instincts 215 00:12:55,679 --> 00:13:01,720 Speaker 2: to insert himself into that sound was much more effortless 216 00:13:01,720 --> 00:13:06,800 Speaker 2: and organic, and it was a living, breathing experience of 217 00:13:06,880 --> 00:13:11,360 Speaker 2: watching four strangers, five strangers in a studio become an 218 00:13:11,520 --> 00:13:15,760 Speaker 2: organism that operated as one. And up until then, the 219 00:13:15,760 --> 00:13:18,520 Speaker 2: only experiences I'd had like that were with my band live. 220 00:13:19,200 --> 00:13:21,640 Speaker 2: And suddenly it felt more like I was in a 221 00:13:21,679 --> 00:13:26,320 Speaker 2: concert hall and almost like a Quaker ceremony all at once. 222 00:13:26,400 --> 00:13:29,679 Speaker 2: You know, there was a very spiritual experience happening. It's 223 00:13:29,880 --> 00:13:32,360 Speaker 2: because there was a reverence and a respect being not 224 00:13:32,520 --> 00:13:37,280 Speaker 2: only thrown out into the tape reels and into the microphones, 225 00:13:37,600 --> 00:13:41,400 Speaker 2: but shown towards me. And it was the beginning of 226 00:13:41,440 --> 00:13:48,240 Speaker 2: my understanding that that I had agency and creative importance 227 00:13:48,559 --> 00:13:51,640 Speaker 2: in the room, and I had not expected that. 228 00:13:52,240 --> 00:13:54,400 Speaker 1: We'll be right back with more of that Taken a 229 00:13:54,440 --> 00:14:02,679 Speaker 1: Walk podcast. Welcome back to the Taking a Walk Podcast. 230 00:14:03,960 --> 00:14:06,880 Speaker 3: So why was this, you know, not released? 231 00:14:07,920 --> 00:14:10,720 Speaker 2: Probably they may be I was. I think that the 232 00:14:10,760 --> 00:14:13,280 Speaker 2: people that were used to being in the room hadn't 233 00:14:13,280 --> 00:14:16,480 Speaker 2: been in the room, and so there was I think 234 00:14:16,520 --> 00:14:20,720 Speaker 2: there's a lot of pride and ownership over the process 235 00:14:20,760 --> 00:14:23,080 Speaker 2: and at the time. Like I said, there was a 236 00:14:23,080 --> 00:14:25,880 Speaker 2: lot of hands on me, There was a lot of 237 00:14:25,880 --> 00:14:27,400 Speaker 2: eyes on me. There was a lot of attention and 238 00:14:27,440 --> 00:14:33,120 Speaker 2: a lot of money being spent, and the room that 239 00:14:33,360 --> 00:14:37,040 Speaker 2: we were in was a very quiet, very still, very 240 00:14:37,040 --> 00:14:39,880 Speaker 2: peaceful place. But that also meant that it was not 241 00:14:40,000 --> 00:14:42,520 Speaker 2: a place of what do you think? And so there 242 00:14:42,600 --> 00:14:44,640 Speaker 2: was no what do you think? Until it was completed. 243 00:14:45,560 --> 00:14:48,360 Speaker 2: And I think they actually really liked the record. I 244 00:14:48,360 --> 00:14:51,400 Speaker 2: think that. I mean, I got some really amazing feedback 245 00:14:51,680 --> 00:14:54,080 Speaker 2: whenever there were little visits to the studio, there was 246 00:14:54,240 --> 00:14:56,320 Speaker 2: very little input being put in, but there was a 247 00:14:56,320 --> 00:15:00,280 Speaker 2: lot of like, just wow, this is a very different 248 00:15:00,360 --> 00:15:04,480 Speaker 2: pressure valve being pushed by your voice, and this music 249 00:15:04,520 --> 00:15:07,640 Speaker 2: sounds wildly different. And I think that it was a 250 00:15:07,680 --> 00:15:10,240 Speaker 2: concern that the investment that had been made in me 251 00:15:11,240 --> 00:15:15,760 Speaker 2: was one thing, and that this was a hard left 252 00:15:16,120 --> 00:15:20,360 Speaker 2: too soon in my career, and that it would put 253 00:15:20,360 --> 00:15:25,280 Speaker 2: me into a category of almost that legacy sound, that 254 00:15:25,480 --> 00:15:31,080 Speaker 2: timeless sound that, while heroic, doesn't necessarily need to or 255 00:15:31,120 --> 00:15:36,240 Speaker 2: belong in the career arc of a twenty five, twenty 256 00:15:36,280 --> 00:15:39,080 Speaker 2: six year old woman who's just at the beginning. I 257 00:15:39,080 --> 00:15:42,200 Speaker 2: think there was a lot at stake and they felt 258 00:15:42,200 --> 00:15:45,000 Speaker 2: like taking a second crack at it with a producer 259 00:15:45,040 --> 00:15:49,320 Speaker 2: who's more radio friendly, more aware of my age and 260 00:15:49,360 --> 00:15:53,520 Speaker 2: the vivacious nature of me, which I think for so 261 00:15:53,600 --> 00:15:57,640 Speaker 2: many female musicians it feels like there's a shelf life there. 262 00:15:57,680 --> 00:16:00,440 Speaker 2: But I think, you know, Tina Turner can a test 263 00:16:00,480 --> 00:16:03,360 Speaker 2: to the fact that that's not at all true. And 264 00:16:04,280 --> 00:16:06,600 Speaker 2: I'm certainly doing the same thing now, you know, twenty 265 00:16:06,680 --> 00:16:11,920 Speaker 2: years later, almost I've probably got more vivaciousness in me 266 00:16:12,000 --> 00:16:13,760 Speaker 2: now than I did even then, because I have more 267 00:16:13,760 --> 00:16:15,040 Speaker 2: of a command over it. You know. 268 00:16:16,000 --> 00:16:18,520 Speaker 3: Well, I think the work is amazing, so as I 269 00:16:18,600 --> 00:16:22,360 Speaker 3: hear you explaining the situation, it sounds like, you know, 270 00:16:22,800 --> 00:16:26,680 Speaker 3: from a far sort of typical business gobbledegoot that gets 271 00:16:26,720 --> 00:16:30,920 Speaker 3: in the way of creativity and great work by an artist. 272 00:16:30,960 --> 00:16:33,880 Speaker 3: That's my take. But yeah, you didn't say that, I 273 00:16:34,000 --> 00:16:34,360 Speaker 3: said it. 274 00:16:34,760 --> 00:16:37,360 Speaker 2: Well, I appreciate that, and I think that true music 275 00:16:37,400 --> 00:16:40,280 Speaker 2: fans are going to get a chance to judge for themselves. 276 00:16:40,840 --> 00:16:43,600 Speaker 2: And I think that anybody with any experience in the 277 00:16:43,600 --> 00:16:48,080 Speaker 2: industry can hear what's happening and appreciate it, even just 278 00:16:48,120 --> 00:16:52,240 Speaker 2: the little bits that we have drizzled out into the world. 279 00:16:52,280 --> 00:16:56,960 Speaker 2: So far there is a thunderclap of like, oh my god, 280 00:16:57,320 --> 00:17:00,560 Speaker 2: this is that, this is that voice, but it's it's 281 00:17:00,800 --> 00:17:04,960 Speaker 2: completely recontextualized. And I think, if I look at the 282 00:17:05,000 --> 00:17:07,920 Speaker 2: timeline and I look at how my career had been 283 00:17:07,960 --> 00:17:10,760 Speaker 2: going in the arc of what we were aiming for, 284 00:17:11,520 --> 00:17:15,480 Speaker 2: this was the plane just you know, tilting a little 285 00:17:15,480 --> 00:17:17,320 Speaker 2: bit to the left. It was just a little bit 286 00:17:17,359 --> 00:17:21,080 Speaker 2: of a subtle adjustment. And I always wonder what it 287 00:17:21,119 --> 00:17:23,800 Speaker 2: would have been like if it had come out, and 288 00:17:23,840 --> 00:17:28,320 Speaker 2: how my career would have how it would have adjusted things. 289 00:17:28,359 --> 00:17:31,080 Speaker 2: Not because I'm unhappy with how things turned out, but 290 00:17:31,200 --> 00:17:36,159 Speaker 2: because it was there all along, buried underneath, you know. 291 00:17:36,359 --> 00:17:41,440 Speaker 2: And it feels like I think timing is everything, and 292 00:17:42,119 --> 00:17:45,880 Speaker 2: for whatever reason, I love the word gobbledegook. By the way, 293 00:17:46,920 --> 00:17:49,000 Speaker 2: timing and gobbledygook may have gotten in the way a 294 00:17:49,040 --> 00:17:49,440 Speaker 2: little bit. 295 00:17:49,560 --> 00:17:52,160 Speaker 3: Yeah, yeah, Well, I mean the music is so great. 296 00:17:52,240 --> 00:17:58,159 Speaker 3: It's it's hypnotic, it's rich sounding, it's it's got that 297 00:17:58,320 --> 00:18:02,280 Speaker 3: amazing you know back up crew, which are sort of 298 00:18:02,880 --> 00:18:04,840 Speaker 3: legendary unto themselves. 299 00:18:05,240 --> 00:18:07,680 Speaker 2: Yes, they're the hit men of music. I mean, it's 300 00:18:07,720 --> 00:18:10,160 Speaker 2: just so. 301 00:18:09,040 --> 00:18:12,720 Speaker 3: So many, it's incredible. So it's so cool that it's out. 302 00:18:12,960 --> 00:18:16,159 Speaker 3: What are your some of your other favorites off of it? 303 00:18:16,840 --> 00:18:19,359 Speaker 2: I think the thing I'm the most excited about is 304 00:18:19,400 --> 00:18:22,480 Speaker 2: for people to hear the songs that they already know 305 00:18:23,280 --> 00:18:26,560 Speaker 2: that you know. For the people hearing it, it's going 306 00:18:26,600 --> 00:18:28,679 Speaker 2: to seem like it's a reimagining of that song. But 307 00:18:28,760 --> 00:18:32,840 Speaker 2: actually these songs were recorded before the song as they 308 00:18:32,880 --> 00:18:36,439 Speaker 2: know it now, because we made this record April May, 309 00:18:36,720 --> 00:18:39,879 Speaker 2: mastering in June, and then went back into the studio 310 00:18:39,960 --> 00:18:44,000 Speaker 2: July August, September to re record a large selection of 311 00:18:44,000 --> 00:18:48,080 Speaker 2: these songs. So a song like Oasis, which I wrote 312 00:18:48,080 --> 00:18:53,720 Speaker 2: with Mark Batson, who produced the eponymous record, I remember 313 00:18:53,760 --> 00:18:55,399 Speaker 2: being in the studio with him when I when we 314 00:18:55,440 --> 00:18:57,600 Speaker 2: wrote it and it was the first song we wrote, 315 00:18:57,720 --> 00:19:01,840 Speaker 2: and going into the studio with t Bone with this 316 00:19:02,000 --> 00:19:04,680 Speaker 2: demo from me and Batson, and then hearing t Bone 317 00:19:04,760 --> 00:19:06,960 Speaker 2: take it and go okay, but what if it was this, 318 00:19:07,960 --> 00:19:10,680 Speaker 2: and then going back to recording it with Bats and 319 00:19:10,920 --> 00:19:15,240 Speaker 2: it was a real masterclass in the subtlety but also 320 00:19:15,359 --> 00:19:19,200 Speaker 2: the broad sweeps, the brave choices that get made and 321 00:19:19,240 --> 00:19:22,360 Speaker 2: that one. I mean, it's an incredibly avant garde approach 322 00:19:22,440 --> 00:19:25,199 Speaker 2: to a song that otherwise people know as basically like 323 00:19:25,200 --> 00:19:33,399 Speaker 2: a reggaeton drum beat and an eclectic set of visuals 324 00:19:33,440 --> 00:19:35,879 Speaker 2: that still are there, but really the only thread that 325 00:19:36,000 --> 00:19:38,720 Speaker 2: remains is the key of the song and the lyrics, 326 00:19:39,080 --> 00:19:41,720 Speaker 2: but the rest of it has been completely reimagined. So 327 00:19:41,800 --> 00:19:45,119 Speaker 2: that's one of my favorites, as well as Colors. Another 328 00:19:45,160 --> 00:19:48,719 Speaker 2: one that was I think a paradigm shift from what 329 00:19:48,800 --> 00:19:51,080 Speaker 2: it was to what it you know, what it was 330 00:19:51,119 --> 00:19:52,840 Speaker 2: when I recorded it with T Bone to what it 331 00:19:53,000 --> 00:19:56,680 Speaker 2: was on the record with Mark. So those are those 332 00:19:56,680 --> 00:19:58,639 Speaker 2: are the studies, the case studies that I really like 333 00:19:58,680 --> 00:20:02,800 Speaker 2: to dive into a heart level. I just think Losing 334 00:20:02,840 --> 00:20:06,640 Speaker 2: You and Before the Sky Falls were just like, ah, 335 00:20:07,280 --> 00:20:09,680 Speaker 2: I just love them, you know, and no one's ever 336 00:20:09,680 --> 00:20:10,680 Speaker 2: heard them before. 337 00:20:10,480 --> 00:20:13,639 Speaker 3: So yeah, I love them too. It's just and I 338 00:20:13,680 --> 00:20:16,199 Speaker 3: love how excited you are to get these out to 339 00:20:16,280 --> 00:20:20,200 Speaker 3: the world. It's so important for it to be out. 340 00:20:20,520 --> 00:20:25,320 Speaker 3: So as you reflect now on your experience working with 341 00:20:25,840 --> 00:20:29,520 Speaker 3: T Bone, not the moment in time when it happened, 342 00:20:29,520 --> 00:20:32,800 Speaker 3: but kind of years later, how do you think he 343 00:20:32,960 --> 00:20:34,760 Speaker 3: made you a better artist? 344 00:20:35,720 --> 00:20:37,680 Speaker 2: I want to say the word trust, but that sort 345 00:20:37,720 --> 00:20:40,159 Speaker 2: of was broken when the record didn't come out. But 346 00:20:40,440 --> 00:20:43,960 Speaker 2: in the moment, it was trust. It was trust. He 347 00:20:44,040 --> 00:20:47,080 Speaker 2: trusted me, I trusted him. There was an implicit understanding 348 00:20:47,119 --> 00:20:50,320 Speaker 2: of what exactly what we were doing, and that faith 349 00:20:51,080 --> 00:20:56,400 Speaker 2: in one another and in the directive, like we had 350 00:20:56,400 --> 00:20:59,640 Speaker 2: sort of a prime directive of like a dream state, trancy, 351 00:21:00,480 --> 00:21:09,240 Speaker 2: elemental conjuring, and it was fearless. And I've never lost 352 00:21:09,240 --> 00:21:13,359 Speaker 2: that fearlessness, and I don't regret the fearlessness that was 353 00:21:14,240 --> 00:21:18,439 Speaker 2: implanted from that moment forward in my life. But I 354 00:21:18,480 --> 00:21:22,120 Speaker 2: wish that the trust had been there, you know, and 355 00:21:22,160 --> 00:21:25,960 Speaker 2: that it could continue through the thread of all the 356 00:21:26,000 --> 00:21:30,439 Speaker 2: different people I've been managed by and handled y you know, 357 00:21:30,480 --> 00:21:34,920 Speaker 2: I had different management at the time, and I think 358 00:21:34,960 --> 00:21:37,159 Speaker 2: there was a lot of thought and a lot of 359 00:21:37,280 --> 00:21:40,159 Speaker 2: energy put into what was going on here because it 360 00:21:40,200 --> 00:21:43,359 Speaker 2: was clear that I wasn't happy that the record wasn't 361 00:21:43,359 --> 00:21:45,800 Speaker 2: coming out, and so there was It was not so 362 00:21:45,880 --> 00:21:48,000 Speaker 2: much a breach of trust between me and t Bone 363 00:21:48,160 --> 00:21:51,040 Speaker 2: as it was with the greater wider world of just like, 364 00:21:51,080 --> 00:21:53,159 Speaker 2: what is going on here? Am I living in a 365 00:21:53,680 --> 00:21:54,760 Speaker 2: twilight zone? Like? 366 00:21:54,800 --> 00:21:54,919 Speaker 1: What? 367 00:21:55,960 --> 00:21:59,399 Speaker 2: How is this? Not absolutely what should be shared with 368 00:21:59,440 --> 00:22:01,760 Speaker 2: the world right now out? But in a way I 369 00:22:01,800 --> 00:22:04,400 Speaker 2: think that's what makes the record coming out now even 370 00:22:04,440 --> 00:22:07,160 Speaker 2: more compelling because it is such a curiosity and such 371 00:22:07,200 --> 00:22:08,200 Speaker 2: a treasure. 372 00:22:08,640 --> 00:22:11,879 Speaker 3: You know, it is a treasure. Well, speaking of a 373 00:22:11,920 --> 00:22:15,359 Speaker 3: treasure too, you have experienced this treasure before. You'll be 374 00:22:15,440 --> 00:22:19,399 Speaker 3: experiencing again going out on the road playing dates with 375 00:22:19,560 --> 00:22:23,359 Speaker 3: Chris Stapleton, in particular. I know there's a couple of 376 00:22:23,440 --> 00:22:26,639 Speaker 3: Madison Square Garden dates, but you've had other dates with 377 00:22:27,560 --> 00:22:31,439 Speaker 3: Chris Stapleton. Talk about what that experience is like. 378 00:22:32,119 --> 00:22:36,080 Speaker 2: No, I mean talk about a treasure. He's a truly 379 00:22:36,560 --> 00:22:40,000 Speaker 2: just salt of the earth human who seems like he 380 00:22:40,080 --> 00:22:43,800 Speaker 2: came from the primordial ooze of music. I've never met 381 00:22:43,880 --> 00:22:46,920 Speaker 2: anybody more musical in my life. He's just got it 382 00:22:47,359 --> 00:22:49,920 Speaker 2: and it comes at him the second he opens his mouth. 383 00:22:49,960 --> 00:22:55,040 Speaker 2: It's like, you know, he doesn't need to wind himself 384 00:22:55,119 --> 00:22:57,919 Speaker 2: up to get to that point. He's not precious about it. 385 00:22:57,920 --> 00:23:01,479 Speaker 2: It's just there. It's just always there, and it's a 386 00:23:01,520 --> 00:23:05,120 Speaker 2: stirring thing to be around. And you can really see 387 00:23:05,119 --> 00:23:07,280 Speaker 2: that respect in his band and his crew. I mean, 388 00:23:07,280 --> 00:23:10,280 Speaker 2: he's got such an amazing family of people that travel 389 00:23:10,280 --> 00:23:14,320 Speaker 2: with him, and I think he's developed that culture of 390 00:23:14,680 --> 00:23:19,439 Speaker 2: support within his group it's just it's an empire I 391 00:23:19,480 --> 00:23:22,520 Speaker 2: want to live in. You know, I certainly would love 392 00:23:22,560 --> 00:23:26,840 Speaker 2: to build that empire myself. But it's not bad to 393 00:23:26,920 --> 00:23:28,359 Speaker 2: be in the caravan, I'll tell you what. 394 00:23:29,119 --> 00:23:31,200 Speaker 3: Yeah, it's contagious. 395 00:23:30,680 --> 00:23:35,080 Speaker 2: Right, Yeah, it is. And it's like working with t bone. 396 00:23:35,680 --> 00:23:39,800 Speaker 2: I think there's there's there's a mastery to every craft. 397 00:23:40,440 --> 00:23:43,360 Speaker 2: And I've been on many many tours, you know, I've 398 00:23:43,359 --> 00:23:47,760 Speaker 2: seen it the same experience, similar obviously, different crew, different vibe. 399 00:23:47,760 --> 00:23:50,040 Speaker 2: But when I was out on tour with Kenny Chesney, 400 00:23:50,440 --> 00:23:53,919 Speaker 2: just watching that organism of his crew and of the 401 00:23:54,000 --> 00:23:56,679 Speaker 2: leap frogging of his gear and his set and his 402 00:23:56,760 --> 00:23:59,439 Speaker 2: backdrop from one venue to the next because they had 403 00:23:59,440 --> 00:24:02,600 Speaker 2: to travel with too. You know, these are systems that 404 00:24:03,000 --> 00:24:07,400 Speaker 2: work very much like nature does. There's a cyclical quality. 405 00:24:07,840 --> 00:24:11,240 Speaker 2: There's an ebb and a flow and acceleration and deceleration 406 00:24:11,400 --> 00:24:15,879 Speaker 2: to the process. But when you've perfected it to a 407 00:24:15,960 --> 00:24:19,480 Speaker 2: form where truly you know, there's a reason why these 408 00:24:19,480 --> 00:24:22,320 Speaker 2: are some of the highest selling tickets. You know, over 409 00:24:22,359 --> 00:24:24,679 Speaker 2: the course of any given summer, you look at numbers 410 00:24:24,680 --> 00:24:28,919 Speaker 2: and you just go, wow, I I have been exposed 411 00:24:29,119 --> 00:24:32,359 Speaker 2: to that level of mastery only a few times in 412 00:24:32,400 --> 00:24:34,520 Speaker 2: my life, but I never ever take it for granted. 413 00:24:34,640 --> 00:24:37,040 Speaker 2: And I think Stapleton is one of the best examples 414 00:24:37,080 --> 00:24:41,040 Speaker 2: of someone who's really He's cultivated it over a long 415 00:24:41,119 --> 00:24:43,160 Speaker 2: time and put a lot of experience, a lot of heart, 416 00:24:43,200 --> 00:24:46,440 Speaker 2: and a lot of intention into it, and it's it's 417 00:24:46,480 --> 00:24:47,880 Speaker 2: a good it's a good tool to have. 418 00:24:49,320 --> 00:24:53,199 Speaker 3: So in closing, are there are there any artists or 419 00:24:53,920 --> 00:24:57,960 Speaker 3: genres to this date that you have not explored that 420 00:24:58,240 --> 00:25:01,199 Speaker 3: you feel that you might like to explore at some 421 00:25:01,359 --> 00:25:02,400 Speaker 3: point down the road. 422 00:25:02,480 --> 00:25:02,920 Speaker 1: Yeah? 423 00:25:02,960 --> 00:25:05,480 Speaker 2: Oh well, I mean New Orleans is sort of my 424 00:25:05,560 --> 00:25:08,440 Speaker 2: heart home. That's where I belong when I'm not home 425 00:25:08,520 --> 00:25:11,239 Speaker 2: in California or a home in Vermont or home on 426 00:25:11,280 --> 00:25:16,600 Speaker 2: the tour bus. And it's exposed me to specifically jazz 427 00:25:16,640 --> 00:25:19,359 Speaker 2: and blues, but I think that funk, soul, R and B, 428 00:25:19,600 --> 00:25:23,880 Speaker 2: hip hop, gospel, every element that I pull from in 429 00:25:23,920 --> 00:25:27,159 Speaker 2: my music is something that I certainly don't belong to, 430 00:25:27,480 --> 00:25:31,560 Speaker 2: being a random, you know, farmer, mountain hippie from Vermont. 431 00:25:32,760 --> 00:25:35,199 Speaker 2: But I think it just opens the floodgates for me 432 00:25:35,320 --> 00:25:39,800 Speaker 2: creatively to want to explore deeper. And I've always wanted 433 00:25:39,800 --> 00:25:42,800 Speaker 2: to score movies, so the instrumental and working with orchestras 434 00:25:43,840 --> 00:25:46,240 Speaker 2: and working in this place where we go back in 435 00:25:46,359 --> 00:25:49,520 Speaker 2: time and you look at you know, Count Basie, or 436 00:25:49,560 --> 00:25:52,440 Speaker 2: you look at Billie Holliday, or you look at you know, 437 00:25:52,640 --> 00:25:57,440 Speaker 2: my my uncle Spiegel stuff. Bringing it back to Grandma Charlotte. 438 00:25:57,640 --> 00:26:00,119 Speaker 2: Uncle Spiegel, her little brother was a trombone player with 439 00:26:00,160 --> 00:26:04,640 Speaker 2: Tommy Dorsey. And the big band spirit and the orchestra 440 00:26:04,680 --> 00:26:08,240 Speaker 2: spirit are very similar. They all were pulling from New Orleans. 441 00:26:08,480 --> 00:26:12,920 Speaker 2: You know, They're all pulling from this incredible gumbo of 442 00:26:13,040 --> 00:26:18,600 Speaker 2: American music, and it's kind of an eternal well, you know, 443 00:26:18,720 --> 00:26:21,440 Speaker 2: especially when I listen to instrumental music, I'm like, well, okay, 444 00:26:21,480 --> 00:26:24,360 Speaker 2: just put some vocals to that, and we've got ourselves 445 00:26:24,440 --> 00:26:28,280 Speaker 2: a whole record, you know, Martin Denny and Les Baxter 446 00:26:28,440 --> 00:26:32,360 Speaker 2: and Escavel and you know, I love Hawaiian music so much. 447 00:26:32,440 --> 00:26:34,359 Speaker 2: I would love to make like a whole Hawaiian record. 448 00:26:34,359 --> 00:26:37,960 Speaker 2: I'd love to make an entire Spanish language record. I'm 449 00:26:38,040 --> 00:26:41,600 Speaker 2: so inspired by Bossa Nova and I've always wanted to 450 00:26:41,680 --> 00:26:44,840 Speaker 2: learn how to play Flamenco guitar, having gone to Spain 451 00:26:44,920 --> 00:26:47,359 Speaker 2: and spent time in a huge amount of time in Spain. 452 00:26:48,760 --> 00:26:52,119 Speaker 2: So I'm just really scratching the surface, you know, of 453 00:26:52,240 --> 00:26:55,919 Speaker 2: what is possible, and I'm never going to stop, you know, 454 00:26:56,200 --> 00:27:00,000 Speaker 2: looking for that new and wondrous realm that I could 455 00:27:00,080 --> 00:27:02,640 Speaker 2: step into. But it's not a genre. I don't believe 456 00:27:02,640 --> 00:27:05,000 Speaker 2: in time, and I don't believe in genres. Honestly, it's 457 00:27:05,040 --> 00:27:08,280 Speaker 2: just kind of like I don't care when it came out. 458 00:27:08,640 --> 00:27:11,159 Speaker 2: I don't care what country it came from. If it 459 00:27:11,200 --> 00:27:14,159 Speaker 2: speaks to me, I'm going to chase it down and 460 00:27:14,800 --> 00:27:17,640 Speaker 2: find a way to interpret it and find my own 461 00:27:17,720 --> 00:27:18,240 Speaker 2: voice in it. 462 00:27:19,040 --> 00:27:21,760 Speaker 3: From the Flying V to the Flamenco. 463 00:27:22,400 --> 00:27:23,720 Speaker 2: Yeah. 464 00:27:23,720 --> 00:27:26,440 Speaker 3: Wow, that is awesome. 465 00:27:26,640 --> 00:27:27,320 Speaker 1: I believe it. 466 00:27:27,920 --> 00:27:32,359 Speaker 3: Grace Potter. Thank you for the joy you continue to 467 00:27:32,400 --> 00:27:37,760 Speaker 3: give us. Thank you for letting us talk about medicine 468 00:27:38,000 --> 00:27:41,880 Speaker 3: and talk about your creative process. And thanks for being 469 00:27:41,920 --> 00:27:43,720 Speaker 3: on Taking a Walk. It's a pure joy. 470 00:27:44,080 --> 00:27:46,040 Speaker 2: I had so much fun talking to you, buzz I. 471 00:27:46,119 --> 00:27:47,600 Speaker 2: Hope we get to talk again soon. 472 00:27:49,359 --> 00:27:51,800 Speaker 1: Thanks for listening to this episode of the Taking a 473 00:27:51,840 --> 00:27:55,760 Speaker 1: Walk Podcast. Share this and other episodes with your friends 474 00:27:55,840 --> 00:27:59,320 Speaker 1: and follow us so you never miss an episode. Taking 475 00:27:59,359 --> 00:28:03,240 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 476 00:28:03,440 --> 00:28:05,720 Speaker 1: and wherever you get your podcasts,