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Speaker 1: Welcome, Welcome, Welcome back to the Bob Left Sets podcast.

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Speaker 1: My guests today are Rebecca and Megan Level of Larkin Poe.

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Speaker 1: Good to have you on the podcast. I got to

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Speaker 1: ask the obvious question, the name Larkin Poe, where does

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Speaker 1: it come from?

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Speaker 2: So Larkin Poe is the name of our great great

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Speaker 2: great great grandfather, and since we're sisters, we wanted to

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Speaker 2: take on a name that has family significance, so we

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Speaker 2: thought his name was really cool. And he's also a

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Speaker 2: cousin of Edgar Allen Poe, so we'll take that distant connection.

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Speaker 1: Well, let's start at the beginning. Did you grow up

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Speaker 1: with this legend of Lark and Poe?

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Speaker 3: We did, actually, I think coming from a Southern family,

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Speaker 3: there's a lot of stories that are passed around, so

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Speaker 3: I remember as children hearing a lot of stories from

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Speaker 3: our aunts and uncles about their father, their grandfather, their

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Speaker 3: great grace all the way up. But to be honest

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Speaker 3: with you, we didn't actually know about the Edgar Allen

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Speaker 3: Poe connection until we were already in our teens and

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Speaker 3: had read a lot of Eggar Allan Poe, and so

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Speaker 3: we were especially titillated by the connection.

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Speaker 4: Based on the fact that we were fans.

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Speaker 1: So how did you find out the connection?

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Speaker 4: Yeah, through a cousin, Linda Sinka.

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Speaker 3: She's the family genealogist, and so she just sixth and

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Speaker 3: time and mapped out the family tree.

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Speaker 1: Okay, so you had a group with your sister, the

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Speaker 1: Lovell Sisters, and then you started your own act Blues Rock.

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Speaker 1: Was Larkin Poe like the first name or did you

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Speaker 1: go through like twenty five names and decided on Lark

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Speaker 1: and Poe?

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Speaker 4: You know, I think that we committed pretty quickly.

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Speaker 3: We knew we wanted to have like a family name,

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Speaker 3: so that definitely narrowed the herd. But we definitely didn't

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Speaker 3: premeditate the fact that it would be so hard for

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Speaker 3: people to pronounce. Like running joke is you know which

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Speaker 3: one's Larkin, which one's.

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Speaker 4: Poe or Larkin and Po.

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Speaker 3: We've actually rolled up to the theaters before and had

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Speaker 3: our name on the marquee as Larkin and Po. And

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Speaker 3: it's like, at what point did you or did you

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Speaker 3: not read the contract, mister promoter.

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Speaker 1: The other two members of the band on stage, are

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Speaker 1: they full fledged members of Larkin Poe?

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Speaker 2: No, Larkin Poe is Rebecca and I from the ground up,

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Speaker 2: and we have always hired members to come along with us,

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Speaker 2: and it's normally always been a pretty stripped back operation,

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Speaker 2: like on stage where lean mean rock and roll machine,

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Speaker 2: you know, just the four of us. So we've got

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Speaker 2: drums and bass that come along.

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Speaker 1: Okay, Well, how long has the members been with you

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Speaker 1: now and what's the turnover?

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Speaker 4: Like?

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Speaker 3: You know, up until this last year, we had a

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Speaker 3: six year stand of the same musicians. So our bass

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Speaker 3: player Arka Layman, he's been with us now for about

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Speaker 3: six years. And the drummer Ben Satterly, that was only

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Speaker 3: I guess the show that you came and saw us

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Speaker 3: perform in Los Angeles, that was his tenth or eleventh show.

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Speaker 3: So he's the newest member to the outfit and he

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Speaker 3: is just showing up like a powerhouse.

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Speaker 1: Yeah, he was great. It is great. How did you

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Speaker 1: find him?

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Speaker 4: We held some auditions.

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Speaker 3: Actually, we decided we wanted to make a change, and

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Speaker 3: being in Nashville, you know, there is such a community

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Speaker 3: of incredible musicians here in town. So we just sort

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Speaker 3: of sent out a call to some friends and friends

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Speaker 3: of friends and friends of friends of friends.

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Speaker 4: And he was actually the first guy.

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Speaker 3: We had two days set aside to run through with

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Speaker 3: a bunch of different musicians and just learned three songs,

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Speaker 3: and he was number one of day, number one, and

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Speaker 3: so he set the bar incredibly high for everybody else.

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Speaker 1: Okay, we had the carl She'll say that Brandy Carlyle

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Speaker 1: is basically herself in the Two Twins. So is this

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Speaker 1: a democracy amongst the four or the two of you?

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Speaker 1: Very definitely the bosses.

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Speaker 2: I gotta say we are the bosses. Yeah. The two

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Speaker 2: of us have a very strong idea of what we

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Speaker 2: want to do and what we want to say with

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Speaker 2: our music and where we want to get to. And

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Speaker 2: the way that we have accomplished that is by being

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Speaker 2: very set in ourselves, like we you know, produce ourselves

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Speaker 2: and we run our own record label, and that's worked

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Speaker 2: very well. It makes who we are very distilled.

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Speaker 3: Granted that that hasn't always been the case. I think,

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Speaker 3: you know, the fact that we do feel so self

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Speaker 3: reliant at this point and feel confidently self reliant is

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Speaker 3: the fact that we did go through periods of time

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Speaker 3: in our late teens, you know, early twenties where we

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Speaker 3: would get in the studio with producers and I think

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Speaker 3: being chameleon musicians, having grown up being side guys and

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Speaker 3: other artists endeavors, we know how to, yeah, we know

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Speaker 3: how to like puzzle piece ourselves creatively into situations. So

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Speaker 3: it really was a trial and error journey for us

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Speaker 3: over the years of learning how to say no to people,

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Speaker 3: of removing people from the inner sanctum, and having it

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Speaker 3: truly be just the two of us, so that we

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Speaker 3: knew that every creative decision that we were making was

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Speaker 3: coming from our hearts and from a very true part

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Speaker 3: of who we are.

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Speaker 1: Well, that raises the question, what is it like being

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Speaker 1: a woman in rock and roll music, which is very

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Speaker 1: heavily male dominated.

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Speaker 3: I don't think that we're alone in our experience of

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Speaker 3: certainly getting misjudged. I think we over the years would

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Speaker 3: oftentimes roll up and be the only female artist on

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Speaker 3: a festival bill, and so it was a little bit

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Speaker 3: isolating and a little bit exhausting sometimes to have to

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Speaker 3: explain yourself to people that you know, no, we're not

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Speaker 3: the girl friends where the front men, and it's okay,

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Speaker 3: we know how to tune our guitars and all of

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Speaker 3: that nonsense. But I do think incrementally we've seen shifts

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Speaker 3: and it's so wonderful now to roll up and see

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Speaker 3: so much incredible female talent finally getting I think, you know,

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Speaker 3: the just deserves like it's so much more interesting now

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Speaker 3: because I think the industry has shifted in allowing more

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Speaker 3: space for the female perspective.

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Speaker 1: Okay, but to what degree if you had me too moments?

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Speaker 3: You know, we've I think that we've been very fortunate,

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Speaker 3: and I actually I really love to hear your feedback

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Speaker 3: to this as well, But we have been incredibly fortunate

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Speaker 3: to work with a lot of really respectful and supportive men.

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Speaker 3: I mean, over the years, getting hired into bands, you know,

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Speaker 3: and having a lot of faith creatively placed in us,

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Speaker 3: and having everything feel very approbate, and so I think

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Speaker 3: that we we certainly have had a pretty positive experience

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Speaker 3: all told.

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Speaker 4: What do you think that?

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Speaker 2: Not that we haven't had moments, but I think that

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Speaker 2: we've always been of a mindset of moving forward. So

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Speaker 2: even if there have been moments that we could have

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Speaker 2: called people out, I think that we've tended to just

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Speaker 2: be like, you know what, we are not defined by

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Speaker 2: what the people around us think, and so therefore we're

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Speaker 2: just gonna just gonna kind of power on and whatever success.

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Speaker 2: We find it's kind of defined by by ourselves and

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Speaker 2: and yeah, just kind of moving through it.

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Speaker 4: Yeah, and strengthen numbers too.

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Speaker 3: I feel really lucky that my sister and I have

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Speaker 3: been able to move through this many years. I mean,

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Speaker 3: at this at this point, what we just talied up.

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Speaker 3: This is our eighteenth year of touring, and I haven't

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Speaker 3: never gone anywhere without you.

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Speaker 4: Like, we're definitely a package deal.

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Speaker 3: So I think to be able to have someone who

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Speaker 3: explicitly and implicitly has as you're back at every turn

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Speaker 3: that has that has really kept us in a great position.

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Speaker 4: So we're fortunate.

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Speaker 1: And what about fans. Have you had any rabid fans

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Speaker 1: who crossed the line?

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Speaker 3: Oh, definitely, and that I think again, as Megan said,

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Speaker 3: you know, you got to be willing to move forward

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Speaker 3: because one thing that we refuse to have happen is

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Speaker 3: to have our sense of faith and humanity removed. Because yeah,

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Speaker 3: you can have run ins with bad eggs, certainly, and

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Speaker 3: we've had stalkers, We've had people invade our privacy at

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Speaker 3: our homes. We had to get security systems, we have

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Speaker 3: to put up gates, and that can be demoralizing. But

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Speaker 3: also you know, it's funny. I find it a similar,

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Speaker 3: you know, comparison. When I'm on stage and singing, I

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Speaker 3: can get really caught up in the moment and mess up,

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Speaker 3: you know, like four or five words in a verse,

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Speaker 3: and I beat myself up about it, where I'm just like, oh,

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Speaker 3: I can't believe I forgot literally the first freakin' verse

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Speaker 3: of my own song that I wrote, like.

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Speaker 4: What is what is wrong with Me?

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Speaker 3: And one evening, Megan we were on the bus and

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Speaker 3: she came to me and she's like, you know, but

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Speaker 3: you're never keeping track of how many words.

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Speaker 4: You get right. Every night.

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Speaker 3: You get literally like ninety eight percent of the show

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Speaker 3: correct with your lyrics, So why are you focusing Why

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Speaker 3: are you dwelling on that small percentage that didn't fire correctly?

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Speaker 3: And I think that for us, we've chosen to dwell

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Speaker 3: on the fans that we do have, that are so

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Speaker 3: wholesome and so pure and so supportive, and that I

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Speaker 3: think again has served us as well. You know, we're

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Speaker 3: eighteen years in and still a little like, I don't

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Speaker 3: think we're quite jaded.

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Speaker 4: So that's great.

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Speaker 1: Okay, let's go back to the beginning. You grow up

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Speaker 1: in Georgia, in Calhoun or a smaller birg where in Georgia.

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Speaker 2: We grew up in Calhoun, Georgia, and we grew up

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Speaker 2: out in the sticks on seventy acres of land. Our

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Speaker 2: parents real do it yourselfers. They built their own house

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Speaker 2: out in the country. So we had a pretty idyllic

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Speaker 2: childhood and that we were. We were definitely tomboys and

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Speaker 2: had a lot of space and time to follow our passions,

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Speaker 2: which was music from the ground up. Like we you know,

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Speaker 2: we were classically trained violinists and pianists, but in our

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Speaker 2: early teens that's when we really discovered the joy of music,

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Speaker 2: and that kind of came in the form of bluegrass

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Speaker 2: music and folk music and roots music.

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Speaker 1: Okay, yeah, okay, let's not Let's slow down a little bit.

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Speaker 1: So were your parents hippies? Why did they live on

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Speaker 1: seventy acres of land or what kind of background did

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Speaker 1: they come from?

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Speaker 4: There? They are very unique. Our parents are actually both

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Speaker 4: in the.

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Speaker 3: Medical field, but they were very counterculture, very hippy ast hip.

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Speaker 3: Oh actually, I don't think this is a word, but

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Speaker 3: I'm excited to say it if I can get it

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Speaker 3: out right.

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Speaker 4: Hippy ish stick, hippie ish tick.

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Speaker 1: I don't think you'd have the I think just hippiistic

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Speaker 1: would be good enough.

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Speaker 4: The hippiistic dig it.

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Speaker 3: So they actually, yeah, they lived on seventy acres.

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Speaker 4: They even before YouTube.

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Speaker 3: They would go to the library and like borrow friggin

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Speaker 3: books on how to build a home.

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Speaker 4: And they homeschooled us as well.

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Speaker 3: So they had some really out there ideas for the

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Speaker 3: early nineties, that's for sure.

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Speaker 1: And how did they meet.

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Speaker 3: They met on the campus of their college in Chattanooga, Tennessee.

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Speaker 1: And were they from Georgia? Were they from Tennessee? Where

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Speaker 1: were their roots?

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Speaker 4: Yeah, our mothers from East Tennessee.

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Speaker 3: So she's right kind of at the in the foothills

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Speaker 3: of the Smoky Mountains, the stomping grounds of Dolly Parton.

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Speaker 3: And her name, honest to God, is Teresa Joe Lean,

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Speaker 3: which is like the most classic Southern bell name. Love

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Speaker 3: it East Tennessee girl. And our dad is originally from Atlanta.

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Speaker 3: And so they were both sent to school by their

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Speaker 3: families on a conservative college campus just outside Chattanooga. And yeah,

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Speaker 3: they they hit it off and and and we're lucky

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Speaker 3: that they did.

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Speaker 1: When you say conservative college, is that something you grew

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Speaker 1: up with? Some sort of conservative background.

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Speaker 2: They both came from a conservative background, but they did

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Speaker 2: not raise us that way. I think at the time

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Speaker 2: they were kind of coming to terms with the idea

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Speaker 2: of religion and where they're where they would sit in

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Speaker 2: their own faith, and so they gave us the option

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Speaker 2: to go to church, to be involved if we wanted to,

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Speaker 2: But it was never something that that that we were

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Speaker 2: forced into and it was never really a part of

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Speaker 2: our childhood.

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Speaker 1: Okay, how many kids in the family.

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Speaker 3: Three of us girls at the outset, and then like

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Speaker 3: eleven twelve years behind was our little brother.

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Speaker 1: So what's up with your little brother?

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Speaker 3: That is a very good question, Bob, That is a

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Speaker 3: very good question.

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Speaker 4: I think that he's finding his way.

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Speaker 3: And as you can imagine, you know, having such a

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Speaker 3: young sibling with three elder sisters, because it's Megan and

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Speaker 3: myself and our eldest sister, Jessica, So he had three

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Speaker 3: little mothers in addition to his mother that are always

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Speaker 3: in orbit around this young man. And we're definitely we're

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Speaker 3: trying to coach ourselves on how to be gloves off,

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Speaker 3: you know, let him figure out his own way.

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Speaker 4: We can't solve his problems for him. As much as

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Speaker 4: we wish that we could.

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Speaker 1: Okay, do you take him on the road.

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Speaker 3: You know, it's funny. He actually toured with us way back.

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Speaker 2: When when he was a baby.

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Speaker 3: Yeah, like strapped into the car seat and we'd be

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Speaker 3: out in the fifteen passenger van, which is the vehicle

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Speaker 3: that we learned to drive in. We as a band,

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Speaker 3: we bought a fIF We put some money away and

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Speaker 3: we bought a fifteen passenger van and he would go

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Speaker 3: into the car seat. And I think he was about

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Speaker 3: four years old, and he came to the family and

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Speaker 3: he informed our mother that he was in fact allergic

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Speaker 3: to Level Sisters tours and he couldn't participate anymore.

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Speaker 4: So he's a real homebody. I think we kind of

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Speaker 4: burn him out as a baby.

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Speaker 2: I feel bad about that.

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Speaker 1: Okay, you say your parents are in the medical field,

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Speaker 1: a little bit more specifically, what do they do?

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Speaker 2: So our father was a pathologist and our mother was

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Speaker 2: a physical therapist.

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Speaker 1: And so your father was an MD. Okay, so you're

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Speaker 1: growing up on seventy acres, how far from civilization.

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Speaker 2: We could drive about fifteen minutes and get to a Walmart,

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Speaker 2: so not too Yeah.

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Speaker 1: But you didn't drive when you were a little kid,

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Speaker 1: So how far are your neighbor's house to the et cetera.

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Speaker 3: Yeah, it was a mile down the driveway to get

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Speaker 3: to the double wide across the street. And we didn't

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Speaker 3: have any neighbors really, not especially not any neighbors with kids.

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Speaker 4: So that's I think.

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Speaker 3: Also an interesting dynamic is the fact that not only

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Speaker 3: are we sisters and creative.

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Speaker 4: Collaborators, but we really are each other's best friends. Like

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Speaker 4: since the.

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Speaker 1: Jump, Okay, so you're growing up, I mean, are you

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Speaker 1: having friends over or is it just the three of you?

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Speaker 3: Interestingly enough, I think it's I think it's safe to

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Speaker 3: say it was fairly isolated, and whenever we started to

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Speaker 3: to get heavier into the music, I think that that

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Speaker 3: was always the big basis for our relationships. So we

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Speaker 3: would go out and have homeschool harmony groups that we

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Speaker 3: took part in and had some really incredible experiences in

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Speaker 3: learning to stay harmonies through that. And and then, of course,

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Speaker 3: as Megan mentioned earlier, our classical training allowed us, you know,

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Speaker 3: the opportunity to which bless our mom for driving us

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Speaker 3: like to ten buck to and back multiple times a

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Speaker 3: week to take part in orchestra and symphony.

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Speaker 4: The performances.

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Speaker 1: Okay, so you were homeschooled. Now you're old enough to

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Speaker 1: look back. Thumbs up or thumbs down on homeschooling.

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Speaker 2: In our case, thumbs up because we had a very

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Speaker 2: special situation I think where we were in a rural

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Speaker 2: county where there weren't many options for good schools, and

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Speaker 2: so our parents just they just wanted us to have

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Speaker 2: the opportunity to be able to move at our own pace,

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Speaker 2: and we were able to move through our school school

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Speaker 2: work fairly, click quickly, and that allowed us to be

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Speaker 2: able to do something like music, and then allowed us

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Speaker 2: the space to be able to tour and take our

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Speaker 2: schooling on the road. So for us it was really

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Speaker 2: really great, and we also were able to interact with

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Speaker 2: a lot of different kinds of people and got socialization

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Speaker 2: that way. I think it can be very isolating in

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Speaker 2: certain circumstances homeschooling.

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Speaker 1: Okay, your parents are highly educated. What they say about

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Speaker 1: the three of you in.

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Speaker 4: College, I think they never would have anticipated.

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Speaker 3: I think, especially from our dad's perspective, since he was

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Speaker 3: one of the first in his family to ever go

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Speaker 3: to college and to have higher education.

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Speaker 4: The fact that we took a little bit.

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Speaker 3: Of a regressionary move backwards and not going to college.

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Speaker 4: I think that was disappointing.

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Speaker 3: But also I think he sees our passion for what

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Speaker 3: we do, and he's incredibly proud, so both of our parents,

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Speaker 3: I think, even though it took them a while to

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Speaker 3: fully get on board. I mean, I think the biggest

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Speaker 3: mantra that we heard in our childhood and teens whenever

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Speaker 3: we were like starting to tour more aggressively, was don't

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Speaker 3: put all your eggs in one basket.

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Speaker 4: This is not your job. This is your hobby.

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Speaker 3: This is your hobby, like underlined, italicized and boldened.

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Speaker 4: This is your hobby.

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Speaker 3: But then I think, you know, with time, they saw

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Speaker 3: the flexibility, they saw our dedication and the fact that

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Speaker 3: you know, we've been crafty, we've been what is it

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Speaker 3: gentle as doves, but you know, wise as boxes when

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Speaker 3: it relates to our business and to being able to

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Speaker 3: build a situation that is fulfilling to us, to really

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Speaker 3: have our passion be our work.

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Speaker 1: Okay, so you talk about this classical training, what was

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Speaker 1: it exactly?

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Speaker 4: Suzuki method?

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Speaker 1: Okay for violin, give me a little bit more.

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Speaker 4: Yeah, we went to lessons once a week.

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Speaker 3: Well, I guess technically twice a week, once to piano

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Speaker 3: and one once to violin every week.

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Speaker 4: And we didn't love it.

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Speaker 3: I mean I remember, yeah, Mom having to like chase

356
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Speaker 3: us around the piano to get assist at that in practice,

357
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Speaker 3: So we certainly didn't didn't love it.

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Speaker 2: So we started ages three and four years old, and

359
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Speaker 2: you know, we took took lessons for many years, and

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Speaker 2: then once we were proficient enough, we were able to

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Speaker 2: take part in symphonies, which you know, some some colleges

362
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Speaker 2: will allow younger folks to come in and join and

363
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Speaker 2: as long as you can pass an audition process, and

364
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Speaker 2: we did so we were a part of part of

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Speaker 2: their like junior symphonies.

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Speaker 1: M hm, at what age.

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Speaker 2: That was probably age.

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Speaker 3: Ten, yeah, ten, eleven, twelve, Yeah, they'reabouts.

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Speaker 1: And how much performance was there with a junior symphony?

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Speaker 4: You know, there was actually quite a bit.

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Speaker 3: I mean it kept us really busy, you know, in

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Speaker 3: terms of lessons in orchestra and performances, probably what two

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Speaker 3: to three days, three days a week on average.

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Speaker 1: Okay, you're both very proficient with the guitar. When did

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Speaker 1: you start playing the guitar?

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Speaker 3: That would have been right about fourteen fifteen years old.

377
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Speaker 3: So of course, like you know, we really we defined

378
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Speaker 3: ourselves as musicians because of our love of our involvement

379
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Speaker 3: in the whole classical scene. But it wasn't really like

380
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Speaker 3: a joy I remember getting like like throw up sick

381
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Speaker 3: for recitals and stuff like that.

382
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Speaker 4: It just yeah, it was.

383
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Speaker 3: It was definitely something that like we were doing because

384
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Speaker 3: our parents told us to. But then we went to

385
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Speaker 3: a bluegrass festival with some family friends when we were

386
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Speaker 3: right there at the cuss fourteen fifteen years old, and

387
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Speaker 3: we were mind blown. We thought it was so interesting

388
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Speaker 3: that there were people up on stage that were jamming,

389
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Speaker 3: that they didn't have sheet music on stage, and the

390
00:20:58,880 --> 00:21:02,200
Speaker 3: authenticity and the and the spontaneity and like the cross

391
00:21:02,240 --> 00:21:05,520
Speaker 3: section of singing and playing it just I think, really

392
00:21:05,680 --> 00:21:09,520
Speaker 3: yeah really captured our imagination. And so that's when we

393
00:21:09,520 --> 00:21:13,480
Speaker 3: started to make a transition into picking up other instruments.

394
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Speaker 3: Megan went to the doughbro when you were about fifteen,

395
00:21:16,760 --> 00:21:20,800
Speaker 3: and I picked up thirteen probably, but yeah, yeah, okay, yeah,

396
00:21:21,119 --> 00:21:24,160
Speaker 3: we you know, our parents were also always playing all

397
00:21:24,160 --> 00:21:29,320
Speaker 3: different kinds of music growing up, like classic rock records,

398
00:21:29,440 --> 00:21:32,760
Speaker 3: you know, along with the classical you know, Bach and

399
00:21:32,800 --> 00:21:36,200
Speaker 3: Beethoven and folk music, and you know a lot of

400
00:21:36,240 --> 00:21:39,080
Speaker 3: like roots music, Alison Kraus and Union Stations. So we

401
00:21:39,080 --> 00:21:43,399
Speaker 3: were growing up with the sounds of Southern music in

402
00:21:43,440 --> 00:21:46,440
Speaker 3: our heads and being able to play some of those

403
00:21:46,480 --> 00:21:49,119
Speaker 3: sounds with the actual instruments that were creating that. Like

404
00:21:49,200 --> 00:21:51,280
Speaker 3: hearing us slide guitar and then actually seeing us like

405
00:21:51,359 --> 00:21:55,480
Speaker 3: guitar being played was just incredible, and I kind of

406
00:21:55,560 --> 00:21:58,560
Speaker 3: knew immediately I really really wanted to pick up pick

407
00:21:58,640 --> 00:21:59,200
Speaker 3: up the doughbro.

408
00:22:06,400 --> 00:22:10,639
Speaker 1: Okay, so you pick up guitar and doughbro. How long

409
00:22:10,960 --> 00:22:14,560
Speaker 1: after that does it become an act? We were performing live.

410
00:22:16,920 --> 00:22:17,760
Speaker 2: Really pretty quick.

411
00:22:18,000 --> 00:22:20,360
Speaker 4: Yeah, yeah, within a matter of months.

412
00:22:22,880 --> 00:22:26,959
Speaker 3: There's actually some really crappy vhs of our first performance

413
00:22:27,040 --> 00:22:31,240
Speaker 3: ever as the Level sisters and so Jessica, our eldest sister,

414
00:22:31,400 --> 00:22:34,680
Speaker 3: was still on violin. Megan, you were playing the doughbro

415
00:22:35,359 --> 00:22:38,960
Speaker 3: and I was playing mandolin and banjo, and we had

416
00:22:38,960 --> 00:22:41,439
Speaker 3: to sheet music on stage because we still were like

417
00:22:41,480 --> 00:22:45,360
Speaker 3: struggling to make that leap. And really, I think that

418
00:22:45,040 --> 00:22:50,400
Speaker 3: that leap from the classical methodology of reading everything off

419
00:22:50,400 --> 00:22:56,159
Speaker 3: the page and then transitioning into a completely different perspective

420
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Speaker 3: of playing by ear of improvising. That has taken us

421
00:23:01,119 --> 00:23:07,080
Speaker 3: so many years to really like move territories. But yeah,

422
00:23:07,200 --> 00:23:09,359
Speaker 3: the very first gig we ever played, we were like

423
00:23:10,359 --> 00:23:12,520
Speaker 3: reading it off the page, bless our little Hearts. But

424
00:23:12,520 --> 00:23:14,640
Speaker 3: we were bound and determined we wanted to do it,

425
00:23:14,720 --> 00:23:21,120
Speaker 3: and surprisingly, I think, given how fresh we were, it was,

426
00:23:21,640 --> 00:23:27,200
Speaker 3: it's surprisingly entertaining, like we were actually executing pretty well.

427
00:23:27,400 --> 00:23:29,159
Speaker 3: So I look back and I'm like, oh, bless our

428
00:23:29,160 --> 00:23:30,840
Speaker 3: sweet little baby hearts, we were doing it.

429
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Speaker 2: Two thousand and five was the first year we toured.

430
00:23:34,080 --> 00:23:39,800
Speaker 1: Okay, so you go on the road, how does that

431
00:23:39,880 --> 00:23:43,000
Speaker 1: even come together? You decide you want to play live

432
00:23:43,040 --> 00:23:45,040
Speaker 1: and it's a thing. I mean, that's not what your

433
00:23:45,080 --> 00:23:47,520
Speaker 1: parents did. Where did the drive come from? And how

434
00:23:47,520 --> 00:23:48,760
Speaker 1: did you put the steps together?

435
00:23:51,200 --> 00:23:55,119
Speaker 2: So probably the same family friends that took us to

436
00:23:55,160 --> 00:24:01,200
Speaker 2: morrole fests suggested that we submit a demo to Garrison

437
00:24:01,240 --> 00:24:05,240
Speaker 2: Keeler's A Prairie Home Companion teen talent competition that he

438
00:24:05,320 --> 00:24:09,440
Speaker 2: had going on air, and so we did. We kind

439
00:24:09,440 --> 00:24:12,840
Speaker 2: of put together some some music and sent it in

440
00:24:12,880 --> 00:24:17,800
Speaker 2: and we were selected as one of the competitors for

441
00:24:17,880 --> 00:24:21,439
Speaker 2: the show. And because we played on that show and

442
00:24:21,480 --> 00:24:25,360
Speaker 2: this was one of our first gigs ever and there

443
00:24:25,359 --> 00:24:29,080
Speaker 2: were four million people listening. Suddenly we were just inundated

444
00:24:29,119 --> 00:24:33,960
Speaker 2: with touring opportunities right off the bat, and so that's

445
00:24:33,960 --> 00:24:37,359
Speaker 2: how we were able to basically tour full time just

446
00:24:37,400 --> 00:24:41,639
Speaker 2: from the jump from our first year, which is looking

447
00:24:41,680 --> 00:24:44,560
Speaker 2: back knowing what we know now, very unusual.

448
00:24:45,800 --> 00:24:48,119
Speaker 1: And how did you get an agent? Did you your parents?

449
00:24:48,160 --> 00:24:50,439
Speaker 1: The managers? What was your organization? Like?

450
00:24:51,720 --> 00:24:54,920
Speaker 3: You know, we had we had folks approach us, and

451
00:24:54,960 --> 00:24:57,879
Speaker 3: we were so green, we didn't we didn't we didn't

452
00:24:57,920 --> 00:25:04,080
Speaker 3: know anything about anything. So we actually, you know, after

453
00:25:04,160 --> 00:25:09,520
Speaker 3: our performance on the Talent Competition and winning, we actually

454
00:25:09,600 --> 00:25:14,480
Speaker 3: had some agents approach us and present us with you know,

455
00:25:14,520 --> 00:25:19,000
Speaker 3: a really beautiful, cushy performing arts center tour. And so

456
00:25:19,119 --> 00:25:22,240
Speaker 3: we would, you know, we'd get in the family suburban

457
00:25:22,400 --> 00:25:26,359
Speaker 3: and you know, we take our instruments and we'd roll

458
00:25:26,440 --> 00:25:28,680
Speaker 3: up and there'd be flowers in the dressing room and

459
00:25:28,840 --> 00:25:32,879
Speaker 3: you know, snacks and it's soft ticketed events, and we

460
00:25:32,960 --> 00:25:36,040
Speaker 3: get on stage and do our thing and carry on,

461
00:25:36,440 --> 00:25:40,480
Speaker 3: not having any idea that it was like really atypical.

462
00:25:40,560 --> 00:25:42,240
Speaker 4: We just sort of were rolling with it, and a

463
00:25:42,240 --> 00:25:43,680
Speaker 4: lot less our parents.

464
00:25:43,359 --> 00:25:45,960
Speaker 2: I know, they were they were very supportive in those

465
00:25:46,000 --> 00:25:48,399
Speaker 2: early days, and a lot of this we have to

466
00:25:48,720 --> 00:25:52,600
Speaker 2: lay at the feet of our older sister, who is

467
00:25:52,760 --> 00:25:57,120
Speaker 2: very driven in and smart, and she at the time

468
00:25:57,160 --> 00:26:02,400
Speaker 2: would have been eighteen or nineteen and just very precocious

469
00:26:02,840 --> 00:26:06,800
Speaker 2: and able to guide us through making the decision on

470
00:26:06,880 --> 00:26:10,240
Speaker 2: some of these things like getting a manager, getting a

471
00:26:10,240 --> 00:26:13,720
Speaker 2: booking agent, and putting tours together, and she would do

472
00:26:13,760 --> 00:26:17,040
Speaker 2: the accounting for it. So she really was the one

473
00:26:17,040 --> 00:26:19,520
Speaker 2: who was acting as our manager in the beginning, and

474
00:26:19,560 --> 00:26:22,399
Speaker 2: our parents were supporting and they came along when we

475
00:26:22,400 --> 00:26:25,760
Speaker 2: were when we were too young to be touring alone.

476
00:26:26,800 --> 00:26:28,720
Speaker 1: At what point did your parents stop coming?

477
00:26:30,840 --> 00:26:35,320
Speaker 4: Probably what after the first year or two? Yeah, that's

478
00:26:35,359 --> 00:26:35,920
Speaker 4: fair to say.

479
00:26:36,080 --> 00:26:39,439
Speaker 2: I think, yeah, you know, Anna's blurry on it, on

480
00:26:39,560 --> 00:26:39,840
Speaker 2: it all.

481
00:26:40,160 --> 00:26:44,080
Speaker 3: Yeah, it's a little challenging to remember. But certainly by

482
00:26:44,119 --> 00:26:46,439
Speaker 3: the time that we were doing Larkin Post stuff and

483
00:26:46,480 --> 00:26:49,760
Speaker 3: we started Larkin Poe in twenty ten, they had completely

484
00:26:49,840 --> 00:26:50,400
Speaker 3: phased out.

485
00:26:51,320 --> 00:26:54,000
Speaker 2: Yeah, because because little brother was allergic to it.

486
00:26:55,600 --> 00:26:58,720
Speaker 1: Okay, So for those who don't know, and you're so young,

487
00:26:58,840 --> 00:27:01,160
Speaker 1: how old were you when you started Larkin poem?

488
00:27:02,400 --> 00:27:05,480
Speaker 3: Oh god, what would that make us? Let's see thirteen

489
00:27:05,520 --> 00:27:11,080
Speaker 3: years ago. We're right about eighteen nineteen twenty thereabouts.

490
00:27:11,359 --> 00:27:15,359
Speaker 1: Okay, teenagers rebell. So what was it like being on

491
00:27:15,400 --> 00:27:17,200
Speaker 1: the road without your parents?

492
00:27:18,280 --> 00:27:22,040
Speaker 3: We were very I mean you may not be able

493
00:27:22,080 --> 00:27:27,480
Speaker 3: to tell in speaking to us, but uh, we're pretty like,

494
00:27:30,080 --> 00:27:32,760
Speaker 3: I don't know, workman like. I think that we've always

495
00:27:32,800 --> 00:27:39,320
Speaker 3: had a passion for getting on stage and delivering good shows.

496
00:27:40,320 --> 00:27:43,640
Speaker 3: So like, we never have had any shows where we

497
00:27:43,720 --> 00:27:48,239
Speaker 3: have been compromised or like drunk or anything like that

498
00:27:48,280 --> 00:27:51,120
Speaker 3: because the music has always been at the center. Oh

499
00:27:51,160 --> 00:27:53,920
Speaker 3: so I think especially for me as well, like being

500
00:27:53,920 --> 00:27:56,640
Speaker 3: a vocalist and losing my voice somewhat easily.

501
00:27:56,680 --> 00:27:57,920
Speaker 4: I've never been a partier.

502
00:27:58,480 --> 00:28:03,479
Speaker 1: Okay, only one hour on stage and they're certain about it. Travel.

503
00:28:03,520 --> 00:28:05,120
Speaker 1: What are you doing with all the other hours?

504
00:28:06,000 --> 00:28:10,320
Speaker 3: We're sight seeing, we're reading, we're doing yoga in the

505
00:28:10,400 --> 00:28:14,000
Speaker 3: dressing room. Like Megan's doing her crosswords, just memo and

506
00:28:14,040 --> 00:28:15,160
Speaker 3: mema out on the road.

507
00:28:15,000 --> 00:28:18,879
Speaker 1: Eh, her prop work? What is that?

508
00:28:19,640 --> 00:28:23,080
Speaker 2: Oh? Crosswords? I love the New York Times crossword puzzle.

509
00:28:23,160 --> 00:28:25,840
Speaker 1: Oh the crossword? So how good are you? Can you

510
00:28:25,840 --> 00:28:27,880
Speaker 1: complete the Saturday Crossword? No problem?

511
00:28:29,359 --> 00:28:33,159
Speaker 2: You know I can complete the Saturday with effort. But

512
00:28:33,280 --> 00:28:35,720
Speaker 2: I can certainly get through Thursday, no problem.

513
00:28:36,920 --> 00:28:39,600
Speaker 1: And then what about wordle? Are you addicted to that too?

514
00:28:39,760 --> 00:28:40,680
Speaker 2: Oh? I love it?

515
00:28:40,920 --> 00:28:42,280
Speaker 4: Megan's a freaking wordle.

516
00:28:42,360 --> 00:28:44,000
Speaker 2: I really love wordle too. Yeah.

517
00:28:44,040 --> 00:28:45,840
Speaker 3: Which, actually, let me ask you a question, did you

518
00:28:46,320 --> 00:28:47,720
Speaker 3: this is going to air, so we're not going to

519
00:28:47,760 --> 00:28:49,200
Speaker 3: spoil anyone's day later?

520
00:28:50,560 --> 00:28:53,479
Speaker 4: Did you do today's crossword or wordle? Excuse me?

521
00:28:53,680 --> 00:28:56,480
Speaker 2: I haven't at least the word Oh, I'd have to look.

522
00:28:56,920 --> 00:29:01,160
Speaker 3: I believe it was pinky. Pinky, which is actually the name.

523
00:29:01,240 --> 00:29:03,239
Speaker 3: I know what this is not. This is not you

524
00:29:03,240 --> 00:29:06,640
Speaker 3: know a lot of people refer to their instruments as

525
00:29:06,680 --> 00:29:08,520
Speaker 3: the color of their instrument with a y on the end.

526
00:29:08,560 --> 00:29:12,880
Speaker 3: But my husband actually has a signature custom shop with

527
00:29:12,960 --> 00:29:15,240
Speaker 3: Fender that is called Pinky, and someone sent him a

528
00:29:15,240 --> 00:29:17,400
Speaker 3: screenshot of today's wordle and it was pinky.

529
00:29:18,000 --> 00:29:19,920
Speaker 4: Anyway, Sorry, quick aside.

530
00:29:19,760 --> 00:29:23,520
Speaker 1: Okay, but the dynamic, you know, I have a sister,

531
00:29:24,160 --> 00:29:27,160
Speaker 1: I'm the middle between two sisters, and one of my

532
00:29:27,280 --> 00:29:34,040
Speaker 1: sisters is very into birth order. So Rebecca, you're the baby.

533
00:29:34,280 --> 00:29:38,520
Speaker 1: Jessica was the oldest meggat's in between. How did it

534
00:29:38,560 --> 00:29:39,360
Speaker 1: all play out?

535
00:29:43,400 --> 00:29:45,960
Speaker 2: Huh?

536
00:29:46,440 --> 00:29:47,160
Speaker 4: I think.

537
00:29:48,960 --> 00:29:52,600
Speaker 2: Those dynamics, those sibling dynamics came into a play a

538
00:29:52,640 --> 00:29:57,800
Speaker 2: lot more when we were the level sisters because it

539
00:29:57,880 --> 00:30:01,240
Speaker 2: was the trio of sisters and that was that could

540
00:30:01,240 --> 00:30:05,560
Speaker 2: be fraught at times and the birth order thing it

541
00:30:05,600 --> 00:30:07,040
Speaker 2: played out for us for sure.

542
00:30:07,440 --> 00:30:08,680
Speaker 4: Yeah, she's being really polite.

543
00:30:09,080 --> 00:30:11,000
Speaker 3: We used to have some knockdown drag outs when it

544
00:30:11,040 --> 00:30:12,600
Speaker 3: was the three of us because there definitely was a

545
00:30:12,640 --> 00:30:15,600
Speaker 3: lot of ganging up and that wasn't healthy, And that

546
00:30:15,680 --> 00:30:18,040
Speaker 3: is ultimately why we decided to part ways, because we

547
00:30:18,120 --> 00:30:20,840
Speaker 3: do I think, above all else, we cherish our relationships

548
00:30:21,200 --> 00:30:25,560
Speaker 3: as sisters, and we were destroying our relationships between the

549
00:30:25,600 --> 00:30:28,880
Speaker 3: three of us. So ultimately, the fact that Jessica decided

550
00:30:28,880 --> 00:30:34,120
Speaker 3: to step back was incredibly courageous on her part. One.

551
00:30:34,480 --> 00:30:36,280
Speaker 3: I think that she knew that her heart wasn't in it,

552
00:30:36,840 --> 00:30:40,160
Speaker 3: and that's fair. She was like, you know, it's a lifestyle.

553
00:30:40,640 --> 00:30:42,880
Speaker 3: I don't like being gone all the time. It's just

554
00:30:42,920 --> 00:30:46,640
Speaker 3: not my bag. I'm stepping I'm stepping back, and that

555
00:30:46,920 --> 00:30:50,280
Speaker 3: ultimately allowed us to all to this day, like we're

556
00:30:50,400 --> 00:30:53,440
Speaker 3: very very close, we're very close friends. We talk every day.

557
00:30:53,800 --> 00:30:56,000
Speaker 2: But I think it was always clear that Rebecca and

558
00:30:56,040 --> 00:30:58,680
Speaker 2: I were going to do something together because from the

559
00:30:58,720 --> 00:31:01,080
Speaker 2: ground up it's always been and the two of us

560
00:31:02,440 --> 00:31:07,240
Speaker 2: always projecting together and running off in the woods together,

561
00:31:07,480 --> 00:31:09,960
Speaker 2: and there would just never be a moment we weren't together.

562
00:31:10,200 --> 00:31:13,160
Speaker 2: So I think that that was it was just very

563
00:31:13,200 --> 00:31:15,520
Speaker 2: clear who the package deal was.

564
00:31:16,560 --> 00:31:20,800
Speaker 1: Okay, Jessica says, she's out. What do you feel? How

565
00:31:20,800 --> 00:31:21,680
Speaker 1: do you take that?

566
00:31:23,720 --> 00:31:23,920
Speaker 4: You know?

567
00:31:24,040 --> 00:31:26,080
Speaker 3: I chalk it up a lot to the fact that

568
00:31:26,120 --> 00:31:31,080
Speaker 3: we were so so preciously young and ignorant, and we

569
00:31:31,120 --> 00:31:36,400
Speaker 3: took maybe maybe like twenty days, and really we searched

570
00:31:36,400 --> 00:31:39,480
Speaker 3: our souls and we dug deep, and we asked the

571
00:31:39,520 --> 00:31:43,040
Speaker 3: real questions, and we decided that we were going to

572
00:31:43,200 --> 00:31:44,400
Speaker 3: soldier on man.

573
00:31:44,600 --> 00:31:45,800
Speaker 4: We were going to start again.

574
00:31:46,040 --> 00:31:52,000
Speaker 2: But it was like losing the third leg of a chair,

575
00:31:52,080 --> 00:31:54,400
Speaker 2: and you know, are we going to fall over? I mean,

576
00:31:54,840 --> 00:31:57,360
Speaker 2: like I mentioned before, she was handling a lot at

577
00:31:57,360 --> 00:32:01,400
Speaker 2: the business side of our venture, and so it was

578
00:32:01,520 --> 00:32:06,400
Speaker 2: very scary for us to as teenagers suddenly this whole

579
00:32:06,960 --> 00:32:08,960
Speaker 2: business was kind of dropped in our laps, and we

580
00:32:09,000 --> 00:32:10,960
Speaker 2: didn't quite know what to do with it at first,

581
00:32:12,240 --> 00:32:15,440
Speaker 2: but we did. We've really loved to play music together,

582
00:32:15,880 --> 00:32:18,760
Speaker 2: and so it seemed it seemed right to us to

583
00:32:19,040 --> 00:32:21,520
Speaker 2: continue on. But at that point in time, we were

584
00:32:21,640 --> 00:32:24,480
Speaker 2: kind of walking into Lark and Poe with our eyes open,

585
00:32:24,560 --> 00:32:25,880
Speaker 2: knowing what we were getting into.

586
00:32:26,240 --> 00:32:27,920
Speaker 4: Sort of bless us.

587
00:32:28,440 --> 00:32:32,479
Speaker 1: Okay, but Lark and Pull was a change in musical style.

588
00:32:32,640 --> 00:32:33,640
Speaker 1: How did that come about?

589
00:32:34,720 --> 00:32:37,400
Speaker 3: Well, again, I think, like Megan says, you know, there

590
00:32:37,440 --> 00:32:39,720
Speaker 3: was a lot of fear I think at the outset,

591
00:32:39,800 --> 00:32:42,840
Speaker 3: because we were feeling like, okay, we're either going to

592
00:32:42,920 --> 00:32:46,400
Speaker 3: think or we're going to swim. But instinctually, we've always,

593
00:32:46,440 --> 00:32:49,320
Speaker 3: I think had a really strong sense of gut, whether

594
00:32:49,400 --> 00:32:52,040
Speaker 3: or not we've paid attention to it. But early on

595
00:32:52,560 --> 00:32:55,720
Speaker 3: we instinctually knew that we wanted to have a big

596
00:32:55,760 --> 00:32:59,880
Speaker 3: creative turnover. So in our first year of being a band,

597
00:33:00,120 --> 00:33:04,920
Speaker 3: we actually ended up deciding and committing and executing a

598
00:33:04,960 --> 00:33:08,719
Speaker 3: plan of releasing four EPs of original material. So we

599
00:33:08,760 --> 00:33:13,080
Speaker 3: wanted to do spring, Summer, Fall, and winter, and we

600
00:33:13,160 --> 00:33:16,440
Speaker 3: found an engineer. We set up in our parents' basement

601
00:33:16,760 --> 00:33:20,600
Speaker 3: and we wrote and recorded in and amongst a bunch

602
00:33:20,640 --> 00:33:23,880
Speaker 3: of tour dates that were still outstanding from the level sisters,

603
00:33:24,560 --> 00:33:26,680
Speaker 3: you know, roster of work that we still had to

604
00:33:27,120 --> 00:33:27,880
Speaker 3: complete on.

605
00:33:29,760 --> 00:33:30,040
Speaker 4: We had.

606
00:33:30,040 --> 00:33:32,600
Speaker 3: We just made so much music and that really gave

607
00:33:32,680 --> 00:33:36,480
Speaker 3: us the opportunity to experiment and to try to channel

608
00:33:37,040 --> 00:33:39,120
Speaker 3: some of the sounds that we had grew up listening to,

609
00:33:39,320 --> 00:33:41,920
Speaker 3: like we we love the Allman Brothers, we love the blues,

610
00:33:41,960 --> 00:33:45,280
Speaker 3: we love you know, the source music of America. But

611
00:33:45,400 --> 00:33:49,760
Speaker 3: we didn't know how to how to make it happen

612
00:33:50,200 --> 00:33:55,200
Speaker 3: because we were so you know, intertwined with the acoustic

613
00:33:55,320 --> 00:33:57,880
Speaker 3: elements we had. We had previously as the Level Sister

614
00:33:58,040 --> 00:34:00,760
Speaker 3: toured with no drums, no electrified in struments. We were

615
00:34:01,000 --> 00:34:04,480
Speaker 3: an all American string band, and we were very bluegrass.

616
00:34:04,880 --> 00:34:07,680
Speaker 3: So I think it it really took us a few

617
00:34:07,760 --> 00:34:11,759
Speaker 3: years of really challenging ourselves and really making also a

618
00:34:11,760 --> 00:34:15,480
Speaker 3: lot of crappy music in order to learn how to

619
00:34:15,600 --> 00:34:17,920
Speaker 3: change our approach to songwriting, how to change our approach

620
00:34:17,960 --> 00:34:20,880
Speaker 3: to melody, how to honestly go from playing acoustic instruments

621
00:34:20,920 --> 00:34:22,640
Speaker 3: to plugging in and learning how to play in front

622
00:34:22,640 --> 00:34:22,879
Speaker 3: of an.

623
00:34:22,800 --> 00:34:26,320
Speaker 1: Amplifier, begging you were going to say something.

624
00:34:27,520 --> 00:34:29,520
Speaker 2: I think that we knew there was more to us

625
00:34:29,560 --> 00:34:33,480
Speaker 2: than just the bluegrass side of our hearts, even though

626
00:34:33,480 --> 00:34:36,719
Speaker 2: we loved it, we were hearing so much more in

627
00:34:36,760 --> 00:34:38,960
Speaker 2: our heads that we that we wanted to accomplish, and

628
00:34:38,960 --> 00:34:41,200
Speaker 2: I think that we wanted to be able to move people.

629
00:34:41,480 --> 00:34:44,040
Speaker 2: We wanted to be louder and fill more space.

630
00:34:45,239 --> 00:34:47,840
Speaker 1: Okay, when you were the Level Sisters, were you making

631
00:34:47,880 --> 00:34:49,040
Speaker 1: any money?

632
00:34:49,680 --> 00:34:53,279
Speaker 2: Mm hmm. We did. We did a lot as the

633
00:34:53,440 --> 00:34:56,240
Speaker 2: as the Level Sisters. We played on the Grand Ole Lobbry,

634
00:34:56,320 --> 00:34:59,160
Speaker 2: we played at Bonaru, we did a lot of touring

635
00:34:59,200 --> 00:35:02,239
Speaker 2: and yeah, in theaters and.

636
00:35:02,920 --> 00:35:06,680
Speaker 3: With solid guarantees, which and that I think is the

637
00:35:06,680 --> 00:35:12,160
Speaker 3: defining factor for where we currently sit is by you know,

638
00:35:12,480 --> 00:35:16,000
Speaker 3: the fortuitous nature of our introduction into the music scene.

639
00:35:16,360 --> 00:35:19,000
Speaker 3: We honestly were able to sock aside some money in

640
00:35:19,160 --> 00:35:20,920
Speaker 3: order to start playing with.

641
00:35:20,960 --> 00:35:21,840
Speaker 4: The idea of.

642
00:35:23,520 --> 00:35:30,320
Speaker 3: Independently financing our recording process. And it's so funny because

643
00:35:30,320 --> 00:35:34,160
Speaker 3: I think at the time we didn't understand the ramification.

644
00:35:35,160 --> 00:35:36,680
Speaker 4: You know, as the Level Sisters.

645
00:35:36,360 --> 00:35:39,760
Speaker 3: We were approached by a bunch of major record labels

646
00:35:40,400 --> 00:35:42,920
Speaker 3: who were very excited, you know, that we were going

647
00:35:42,960 --> 00:35:44,719
Speaker 3: to be the next chicks. We were going to be

648
00:35:44,760 --> 00:35:48,759
Speaker 3: the next Sha Daisy, and that never sat well with

649
00:35:48,800 --> 00:35:50,640
Speaker 3: the three of us girls. You know, we spent a

650
00:35:50,680 --> 00:35:53,560
Speaker 3: lot of time in Nashville, probably like two and a

651
00:35:53,600 --> 00:35:57,560
Speaker 3: half years into the Level Sisters just toying with the

652
00:35:57,640 --> 00:36:01,440
Speaker 3: idea of going more the mainstream route.

653
00:36:01,560 --> 00:36:05,000
Speaker 2: And we did sign to to Lyric Street Records in

654
00:36:05,080 --> 00:36:09,319
Speaker 2: the beginning and got a little bit down the road

655
00:36:09,440 --> 00:36:12,640
Speaker 2: with them towards writing for a record, and very clear

656
00:36:12,800 --> 00:36:17,000
Speaker 2: they didn't want to They wanted to have songwriters write

657
00:36:17,040 --> 00:36:19,600
Speaker 2: for us instead of us writing our own music, and

658
00:36:19,640 --> 00:36:21,759
Speaker 2: that didn't sit well with us, and so they very

659
00:36:21,760 --> 00:36:23,680
Speaker 2: graciously let us out of the deal. They were like,

660
00:36:23,719 --> 00:36:27,000
Speaker 2: we understand this is you know, you guys are understanding

661
00:36:27,040 --> 00:36:29,080
Speaker 2: now that that this is maybe not the path you're

662
00:36:29,080 --> 00:36:30,719
Speaker 2: wanting to go down, and so they let us. They

663
00:36:30,800 --> 00:36:31,200
Speaker 2: let us go.

664
00:36:31,640 --> 00:36:37,160
Speaker 1: Mm hmm, okay. So you're touring as the Level Sisters,

665
00:36:37,719 --> 00:36:39,560
Speaker 1: You're doing a lot of dates. What are you doing

666
00:36:39,600 --> 00:36:40,439
Speaker 1: with the money you make?

667
00:36:41,920 --> 00:36:42,960
Speaker 4: We're putting it away.

668
00:36:43,320 --> 00:36:46,239
Speaker 3: And also we're again I just have to tip my

669
00:36:46,280 --> 00:36:49,880
Speaker 3: hat to our big siss because she's she's such a

670
00:36:49,960 --> 00:36:57,680
Speaker 3: visionary individual and she was, you know, she was figuring

671
00:36:57,680 --> 00:37:00,640
Speaker 3: out how to rent venues, sort of the whole Joe

672
00:37:00,680 --> 00:37:04,080
Speaker 3: Bonamasa model of like sort of being your own promoter.

673
00:37:04,239 --> 00:37:06,840
Speaker 3: And so there were times when we go to cities

674
00:37:06,880 --> 00:37:09,399
Speaker 3: that we knew, like Charleston, for instance, where we had

675
00:37:09,440 --> 00:37:13,800
Speaker 3: a strong brand, I'm using air quotes for the listeners,

676
00:37:14,680 --> 00:37:17,320
Speaker 3: and she would, you know, say, hey, let's go ahead

677
00:37:17,360 --> 00:37:20,320
Speaker 3: and like pay for concessions and pay for the promo,

678
00:37:20,400 --> 00:37:21,960
Speaker 3: and let's rent this venue out and we know we

679
00:37:22,000 --> 00:37:23,400
Speaker 3: can sell x amount of tickets.

680
00:37:24,040 --> 00:37:25,840
Speaker 4: Let's just try it. Let's see what happens.

681
00:37:26,040 --> 00:37:29,840
Speaker 3: So we were using our money to further you know,

682
00:37:29,880 --> 00:37:33,160
Speaker 3: in ways that felt authentic to us, like what we

683
00:37:33,280 --> 00:37:36,600
Speaker 3: believed in really trying to bet on ourselves and putting

684
00:37:36,600 --> 00:37:39,480
Speaker 3: the money into buying more merch and like you know,

685
00:37:39,600 --> 00:37:42,040
Speaker 3: drawing out our own T shirt designs and putting it

686
00:37:42,080 --> 00:37:44,040
Speaker 3: on a T shirt like hey, you know, we see

687
00:37:44,040 --> 00:37:46,280
Speaker 3: a lot of children at the shows, Let's get children's

688
00:37:46,320 --> 00:37:49,239
Speaker 3: merch rock And we had baby onesies like you know,

689
00:37:49,440 --> 00:37:53,640
Speaker 3: just just having fun with with sort of embodying the

690
00:37:53,680 --> 00:37:55,799
Speaker 3: whole small business mentality.

691
00:37:57,239 --> 00:38:01,000
Speaker 1: Okay, when it becomes Lark and Poe, do you throw

692
00:38:01,040 --> 00:38:03,160
Speaker 1: all that aside? And is it more traditional?

693
00:38:04,680 --> 00:38:07,880
Speaker 4: No? We we we continued with the model. And and

694
00:38:07,960 --> 00:38:11,000
Speaker 4: also I think that that's one.

695
00:38:10,880 --> 00:38:15,080
Speaker 3: Thing that I can find, you know, very refreshing about

696
00:38:15,080 --> 00:38:17,360
Speaker 3: our experience is that once you get a taste for

697
00:38:17,480 --> 00:38:21,040
Speaker 3: freedom as an artist, Once you're able to honestly do

698
00:38:21,080 --> 00:38:25,080
Speaker 3: whatever you want to do and and be able to

699
00:38:25,160 --> 00:38:29,279
Speaker 3: seek and feel connection to people, it's really hard to

700
00:38:29,360 --> 00:38:32,400
Speaker 3: give that up. So even though you know, we're not

701
00:38:32,480 --> 00:38:37,080
Speaker 3: the biggest band in the world, we are free to

702
00:38:37,080 --> 00:38:38,959
Speaker 3: do what we want to do. We have a very

703
00:38:39,440 --> 00:38:42,520
Speaker 3: small and loyal contingency of fans that will support us,

704
00:38:43,040 --> 00:38:46,479
Speaker 3: and from the beginning, that's that's what's motivated us. That's

705
00:38:46,560 --> 00:38:50,799
Speaker 3: what we've stuck to and and and it's been it's

706
00:38:50,840 --> 00:38:52,600
Speaker 3: been so much more interesting that way. So, yeah, like

707
00:38:52,680 --> 00:38:54,719
Speaker 3: the first year of being Lark and Poe, we we

708
00:38:55,280 --> 00:38:58,200
Speaker 3: had some money set aside to do those sporyps and

709
00:38:58,239 --> 00:39:02,720
Speaker 3: then you know that that led to two more touring,

710
00:39:02,800 --> 00:39:05,000
Speaker 3: that led to different touring for us, that led to

711
00:39:05,120 --> 00:39:07,719
Speaker 3: more projects that we were working on, and then we

712
00:39:07,760 --> 00:39:11,440
Speaker 3: definitely hit a dry season where I think because we

713
00:39:11,440 --> 00:39:16,600
Speaker 3: were so young and inexperienced, and you know, people were

714
00:39:16,640 --> 00:39:19,600
Speaker 3: expecting the level Sisters, people were expecting us to be

715
00:39:19,680 --> 00:39:22,520
Speaker 3: a bluegrass group and then we would show up as

716
00:39:22,600 --> 00:39:26,319
Speaker 3: Lark and Poe and be delivering something different that I

717
00:39:26,320 --> 00:39:29,920
Speaker 3: think we had like a mismatched of expectation where we

718
00:39:29,920 --> 00:39:32,480
Speaker 3: were really trying to change the story, but people weren't

719
00:39:32,520 --> 00:39:36,480
Speaker 3: catching the shift with us, so that so we kind

720
00:39:36,480 --> 00:39:39,240
Speaker 3: of hit a point in time, I think probably about

721
00:39:39,280 --> 00:39:42,680
Speaker 3: four or five years into you know, the band that

722
00:39:42,760 --> 00:39:45,600
Speaker 3: we were, we really weren't sure what to do. And

723
00:39:45,640 --> 00:39:49,040
Speaker 3: then a different angle of business sort of presented itself

724
00:39:49,080 --> 00:39:52,560
Speaker 3: to us, which is to be side guys, and we

725
00:39:52,640 --> 00:39:55,600
Speaker 3: had some some really big believers offer us some incredible

726
00:39:55,640 --> 00:39:58,640
Speaker 3: gigs as side guys, which actually saved our bank in

727
00:39:58,760 --> 00:39:59,319
Speaker 3: big time.

728
00:40:00,840 --> 00:40:04,400
Speaker 1: Okay, you know, this is a very interesting question. Even

729
00:40:04,400 --> 00:40:07,320
Speaker 1: at this late date where your direction is more defined,

730
00:40:08,160 --> 00:40:12,080
Speaker 1: one could be a prisoner of one's fans and as

731
00:40:12,120 --> 00:40:15,120
Speaker 1: you're changing, people don't like change. How did you cope

732
00:40:15,160 --> 00:40:15,360
Speaker 1: with that?

733
00:40:19,040 --> 00:40:22,160
Speaker 2: I think that we are very lucky in our fan

734
00:40:22,239 --> 00:40:25,919
Speaker 2: base now because we have forced them to change with us,

735
00:40:26,080 --> 00:40:29,280
Speaker 2: and the people who didn't like what we were changing

736
00:40:29,320 --> 00:40:32,239
Speaker 2: into fell by the wayside, And what we're left with

737
00:40:32,520 --> 00:40:36,080
Speaker 2: are people who are saying, we believe in you and

738
00:40:36,120 --> 00:40:38,279
Speaker 2: what you want to put forward, and as long as

739
00:40:38,320 --> 00:40:42,560
Speaker 2: you are authentic, I'm along for the ride. So I

740
00:40:42,600 --> 00:40:45,600
Speaker 2: think that we just power powered on through no matter

741
00:40:45,680 --> 00:40:49,480
Speaker 2: what people thought. And so now we have a we

742
00:40:49,560 --> 00:40:51,680
Speaker 2: have a lot of people who are like, do whatever

743
00:40:51,719 --> 00:40:54,000
Speaker 2: if you want to make a emo record where we're

744
00:40:54,000 --> 00:40:54,440
Speaker 2: on board.

745
00:41:01,920 --> 00:41:05,200
Speaker 1: Okay, let's talk about learning and playing the instruments. So

746
00:41:05,360 --> 00:41:10,240
Speaker 1: you go to Merlefest, Megan, and you want to play doughbro?

747
00:41:10,920 --> 00:41:13,000
Speaker 1: Is that there's no other choice? You go right to

748
00:41:13,000 --> 00:41:14,520
Speaker 1: the dough bro And how do you learn?

749
00:41:17,800 --> 00:41:20,600
Speaker 2: So I, at the same time as picking up doughbro,

750
00:41:20,760 --> 00:41:23,840
Speaker 2: I tried to play guitar and mandolin and banjo. And

751
00:41:23,960 --> 00:41:27,120
Speaker 2: me and Fretz we don't really we don't really go together.

752
00:41:28,840 --> 00:41:32,040
Speaker 2: And I was very lucky to have found a doughbro

753
00:41:32,160 --> 00:41:36,000
Speaker 2: player in Chattanooga, because really they are very far few

754
00:41:36,040 --> 00:41:39,520
Speaker 2: and far between, and especially teachers of the doughbro. And

755
00:41:39,840 --> 00:41:43,479
Speaker 2: there was a dobro player, Lou Womp in Chattanooga, who's

756
00:41:43,520 --> 00:41:46,120
Speaker 2: a fantastic player, and he kind of got me started

757
00:41:46,120 --> 00:41:48,560
Speaker 2: down the road. I didn't I didn't take lessons from

758
00:41:48,600 --> 00:41:51,399
Speaker 2: him for very long, but it got me started down

759
00:41:51,440 --> 00:41:55,560
Speaker 2: the path. And then from from there, I mean, I

760
00:41:55,640 --> 00:41:59,400
Speaker 2: listened to everything that Jerry Douglas ever played. It was

761
00:41:59,400 --> 00:42:02,720
Speaker 2: a huge Jearry Douglas fan, and I just learned every

762
00:42:02,840 --> 00:42:04,920
Speaker 2: solo that he ever played.

763
00:42:06,880 --> 00:42:10,600
Speaker 1: Okay, you know, it looks like an impossible instrument from

764
00:42:10,640 --> 00:42:13,520
Speaker 1: one who doesn't play it. You know, how hard is

765
00:42:13,560 --> 00:42:15,760
Speaker 1: it to play the dobro to learn, et cetera.

766
00:42:19,640 --> 00:42:21,239
Speaker 2: I would say it's one of those instrument where you

767
00:42:21,239 --> 00:42:23,920
Speaker 2: can kind of sit down in front of it and

768
00:42:23,960 --> 00:42:27,440
Speaker 2: you can you can make sounds, but very difficult to

769
00:42:27,600 --> 00:42:37,000
Speaker 2: master the instrument, very very awkward to get past that

770
00:42:37,640 --> 00:42:39,920
Speaker 2: original hump of learning.

771
00:42:41,239 --> 00:42:44,520
Speaker 3: And this is Rebecca cutting in as a failed dobro player.

772
00:42:44,560 --> 00:42:47,960
Speaker 3: I can attest it is she is under selling it.

773
00:42:47,960 --> 00:42:51,160
Speaker 3: It is so awful. The dobro is like I mean,

774
00:42:51,200 --> 00:42:53,120
Speaker 3: I don't say that I want more people to pick

775
00:42:53,160 --> 00:42:55,000
Speaker 3: it up, No, but there is a difference. Like I

776
00:42:55,000 --> 00:42:58,560
Speaker 3: can play, you know, I play guitar, and so playing

777
00:42:58,680 --> 00:43:04,360
Speaker 3: slide even on like a traditionally held guitar, it's uncomfortable,

778
00:43:04,719 --> 00:43:09,399
Speaker 3: but there is like a sense of familiarity when you're

779
00:43:09,440 --> 00:43:11,560
Speaker 3: even when you're just messing around. Anybody can like tune

780
00:43:11,600 --> 00:43:13,440
Speaker 3: their guitar to an open g or D and like

781
00:43:13,520 --> 00:43:17,120
Speaker 3: slide around and you can kind of make some cool sounds. Mechanically,

782
00:43:17,160 --> 00:43:19,480
Speaker 3: the dobro being in the lap and you're holding this

783
00:43:19,600 --> 00:43:22,400
Speaker 3: heavy hunk of steel, there isn't a place to like

784
00:43:22,480 --> 00:43:25,799
Speaker 3: slide your finger into the slide, like because you still

785
00:43:25,840 --> 00:43:31,000
Speaker 3: play using a doughbro slide, which is a very different situation,

786
00:43:31,200 --> 00:43:33,520
Speaker 3: and it's and you play with banjo picks, so you're

787
00:43:33,560 --> 00:43:36,040
Speaker 3: not even like really touching the instrument.

788
00:43:36,080 --> 00:43:40,719
Speaker 4: It's all through. It's awful. I'm to be honest with you.

789
00:43:40,760 --> 00:43:45,000
Speaker 3: I watch her every night on stage, and I'm sort

790
00:43:45,040 --> 00:43:47,279
Speaker 3: of baffled by the fact that you make it look

791
00:43:47,400 --> 00:43:50,919
Speaker 3: so easy and that you really persevered and for whatever reason,

792
00:43:50,960 --> 00:43:54,600
Speaker 3: it was in your genetic makeup to like get into

793
00:43:54,640 --> 00:43:55,640
Speaker 3: it and stick with it.

794
00:43:55,680 --> 00:43:58,840
Speaker 4: But it's so awkward, so terrible.

795
00:43:59,400 --> 00:44:01,920
Speaker 1: So when did you and how did you decide to

796
00:44:01,960 --> 00:44:04,200
Speaker 1: play standing up as opposed to sitting down.

797
00:44:06,360 --> 00:44:08,840
Speaker 2: Well, I watched Jerry Douglas stand and play with the doughbro,

798
00:44:09,280 --> 00:44:11,920
Speaker 2: and so I did learn standing up for the dough bro.

799
00:44:12,160 --> 00:44:17,319
Speaker 2: But what was instrument interesting transferring from the doughbro to

800
00:44:17,400 --> 00:44:19,359
Speaker 2: the lap steel, which I guess you could really say

801
00:44:19,360 --> 00:44:22,080
Speaker 2: the lap steel is the electrified version of the dobro,

802
00:44:23,200 --> 00:44:27,200
Speaker 2: and I when we became Lark and Poe and plugged in,

803
00:44:27,400 --> 00:44:30,440
Speaker 2: I really wanted to be electrified and I wanted to

804
00:44:30,440 --> 00:44:32,640
Speaker 2: be just as loud as Rebecca on the electric guitar.

805
00:44:33,520 --> 00:44:35,840
Speaker 2: So the lap steel was just an obvious choice for me.

806
00:44:36,320 --> 00:44:38,840
Speaker 2: And the problem with the lap steel is, as you

807
00:44:38,880 --> 00:44:41,640
Speaker 2: can tell by its name, it really traditionally is just

808
00:44:41,680 --> 00:44:45,479
Speaker 2: played in the lap like no nobody. I didn't see

809
00:44:45,520 --> 00:44:49,759
Speaker 2: anybody standing and playing it. So I went to a

810
00:44:49,800 --> 00:44:52,479
Speaker 2: family friend who owned a steel company at the time,

811
00:44:52,560 --> 00:44:58,120
Speaker 2: and he helped me fabricate a part that would slide

812
00:44:58,120 --> 00:45:00,480
Speaker 2: onto my lap steel so that I could stand and play.

813
00:45:00,520 --> 00:45:02,640
Speaker 2: And it was in the shape of a doughbro so

814
00:45:02,880 --> 00:45:05,560
Speaker 2: it felt comfortable to me to be able to stand

815
00:45:05,640 --> 00:45:07,719
Speaker 2: and play and I could could run around because I

816
00:45:07,760 --> 00:45:11,360
Speaker 2: just couldn't imagine sitting on stage like I had to

817
00:45:11,360 --> 00:45:11,799
Speaker 2: get up.

818
00:45:13,080 --> 00:45:16,200
Speaker 1: So how hard is it? I mean, because not only

819
00:45:16,280 --> 00:45:18,640
Speaker 1: is it around your neck, it has to balance at

820
00:45:18,680 --> 00:45:19,520
Speaker 1: a certain angle.

821
00:45:21,680 --> 00:45:24,600
Speaker 2: I think it's taken many years for me to get

822
00:45:24,640 --> 00:45:29,279
Speaker 2: to the place where I am, but I think that

823
00:45:31,960 --> 00:45:34,560
Speaker 2: especially now that I that I have the rig where

824
00:45:34,560 --> 00:45:38,120
Speaker 2: I'm comfortable standing, I think that more people could stand

825
00:45:38,160 --> 00:45:42,319
Speaker 2: and play it because there's now equipment to be able

826
00:45:42,360 --> 00:45:44,759
Speaker 2: to stand and play. It's just simply because the equipment

827
00:45:44,880 --> 00:45:48,640
Speaker 2: wasn't around at the time for me to be able

828
00:45:48,680 --> 00:45:49,560
Speaker 2: to stand and play.

829
00:45:49,719 --> 00:45:51,759
Speaker 3: But that's like a little bit ridiculous for you to say,

830
00:45:51,800 --> 00:45:55,000
Speaker 3: because the equipment's not around. The equipment is now here.

831
00:45:55,040 --> 00:45:58,239
Speaker 3: Also because like you literally built I don't know if

832
00:45:58,280 --> 00:46:01,600
Speaker 3: you know this, Bob, but she has her own signature

833
00:46:01,680 --> 00:46:05,240
Speaker 3: guitar that she has funded herself, that she creatively figured

834
00:46:05,239 --> 00:46:06,080
Speaker 3: out how.

835
00:46:05,880 --> 00:46:07,040
Speaker 4: To make it.

836
00:46:07,160 --> 00:46:10,319
Speaker 3: She worked with an incredible luth or, Paul Beard, to

837
00:46:10,360 --> 00:46:14,000
Speaker 3: bring it into the world and to work with Jason

838
00:46:14,000 --> 00:46:17,200
Speaker 3: with Jason is it Jason Lawler with Lawler Pickups to

839
00:46:17,360 --> 00:46:21,520
Speaker 3: like bring to Now they're actually making lap stials that

840
00:46:21,640 --> 00:46:24,239
Speaker 3: are more akin to the Rickenbacker, but in a new

841
00:46:24,280 --> 00:46:26,280
Speaker 3: shape that is that is engineered for standing.

842
00:46:26,320 --> 00:46:28,360
Speaker 2: Well, that's what I mean. At the time, there wasn't

843
00:46:28,680 --> 00:46:31,280
Speaker 2: any equipment for me to be able to stand in place,

844
00:46:31,320 --> 00:46:33,840
Speaker 2: so it wasn't a comfortable thing to do at first.

845
00:46:33,920 --> 00:46:37,439
Speaker 2: But now there's a lot more talk about it, and

846
00:46:38,440 --> 00:46:43,719
Speaker 2: there's instruments now available, my mind being the one that's available,

847
00:46:43,960 --> 00:46:45,960
Speaker 2: but it's now available for people to be able to

848
00:46:46,000 --> 00:46:46,840
Speaker 2: do it more comfortably.

849
00:46:46,920 --> 00:46:47,919
Speaker 4: Necessity is the level.

850
00:46:47,960 --> 00:46:51,239
Speaker 1: Okay, is this a business or a hobby your.

851
00:46:52,840 --> 00:46:56,320
Speaker 2: Yeah, it's it's out there. It's an electro liege is

852
00:46:56,440 --> 00:47:01,279
Speaker 2: the name of the instrument. It's available for people to purchase. Yeah,

853
00:47:01,320 --> 00:47:04,040
Speaker 2: I'm very very proud. Me and Paul Beard, who's an

854
00:47:04,080 --> 00:47:07,600
Speaker 2: incredible luthier. We put a lot of time and energy

855
00:47:07,640 --> 00:47:12,720
Speaker 2: into designing a really incredible lap steal that's meant for touring.

856
00:47:13,480 --> 00:47:15,200
Speaker 1: And how many can you sell it a year?

857
00:47:16,960 --> 00:47:18,840
Speaker 2: I have, It hasn't been out a year yet, so

858
00:47:18,960 --> 00:47:20,600
Speaker 2: I will. I'll have to let you know when a

859
00:47:20,680 --> 00:47:23,320
Speaker 2: year comes. It's it's been around since November.

860
00:47:24,800 --> 00:47:28,480
Speaker 1: Okay. And do you buy it online? Do you buy

861
00:47:28,520 --> 00:47:30,879
Speaker 1: the retail stories, you buy the guitar center? You buy

862
00:47:30,920 --> 00:47:31,560
Speaker 1: it everywhere?

863
00:47:32,320 --> 00:47:37,400
Speaker 2: Right now, it's just available on our website electroligh dot com.

864
00:47:37,400 --> 00:47:40,600
Speaker 2: And I mean, I hope at some point we could

865
00:47:40,600 --> 00:47:43,799
Speaker 2: partner with like a guitar center to get it out

866
00:47:43,840 --> 00:47:46,399
Speaker 2: there and more available to people to pick up.

867
00:47:47,200 --> 00:47:49,600
Speaker 1: Let's say I buy it since it's online and I

868
00:47:49,640 --> 00:47:51,040
Speaker 1: don't like it, can I return it?

869
00:47:53,520 --> 00:47:57,000
Speaker 2: I've never had anyone ask, so yeah, I'd probably take

870
00:47:57,040 --> 00:47:58,719
Speaker 2: it back if you didn't like it. I want, I

871
00:47:58,719 --> 00:48:01,040
Speaker 2: want people to be happy with what they've what they've bought,

872
00:48:01,880 --> 00:48:05,279
Speaker 2: but I have not had any dissatisfied customers as of yet.

873
00:48:06,320 --> 00:48:09,600
Speaker 1: Okay, now, Rebecca, you know, tell us a little bit

874
00:48:09,640 --> 00:48:12,360
Speaker 1: more what your first guitar is and how much practice

875
00:48:12,400 --> 00:48:14,799
Speaker 1: you had to put in to become proficient.

876
00:48:16,640 --> 00:48:21,279
Speaker 3: Yeah, so transitioning from the violin, I actually picked up

877
00:48:21,320 --> 00:48:24,360
Speaker 3: the mandolin first, which was a little bit of like

878
00:48:24,400 --> 00:48:27,120
Speaker 3: a cheapskate because the mandolin is tuned the same as

879
00:48:27,160 --> 00:48:29,920
Speaker 3: the violin, so very quickly I was able to get

880
00:48:29,920 --> 00:48:34,440
Speaker 3: proficient on the mandolin and selfless plug. I guess it

881
00:48:34,520 --> 00:48:38,560
Speaker 3: was like what twenty fifteen or something. We went to

882
00:48:38,600 --> 00:48:40,479
Speaker 3: meal Fest and I was the first and only girl

883
00:48:40,520 --> 00:48:43,680
Speaker 3: at that point in time to have won the mandolin competition,

884
00:48:43,800 --> 00:48:45,640
Speaker 3: which was like an international thing.

885
00:48:45,560 --> 00:48:51,080
Speaker 2: Because it was judged blind. So that was really a

886
00:48:51,120 --> 00:48:54,279
Speaker 2: really cool moment for that competition.

887
00:48:54,880 --> 00:48:57,719
Speaker 3: Yeah, to finally have a girl get up there, which

888
00:48:57,840 --> 00:48:59,759
Speaker 3: now it's like, man, there's so many women out there

889
00:48:59,760 --> 00:49:02,960
Speaker 3: who kick my ass. But so I think playing the

890
00:49:02,960 --> 00:49:08,960
Speaker 3: mandolin got me more comfortable with playing a pick, but

891
00:49:09,400 --> 00:49:13,239
Speaker 3: it still cemented me in the mentality of like being

892
00:49:13,320 --> 00:49:16,640
Speaker 3: tuned in fifths since it's just like a violin. So

893
00:49:16,840 --> 00:49:20,040
Speaker 3: I always played acoustic guitar, but I was very limited

894
00:49:20,080 --> 00:49:23,800
Speaker 3: to you know, just GC and D like bluegrass rhythm guitar,

895
00:49:24,000 --> 00:49:27,200
Speaker 3: and I never really had aspirations to play lead.

896
00:49:29,160 --> 00:49:30,200
Speaker 4: But the deeper that we.

897
00:49:30,120 --> 00:49:34,720
Speaker 3: Got into the level Sisters and especially early Lark and Poe,

898
00:49:35,200 --> 00:49:38,440
Speaker 3: when I was having a call to write songs, I

899
00:49:38,480 --> 00:49:41,560
Speaker 3: really couldn't effectively write on the mandolin. So I started

900
00:49:41,560 --> 00:49:45,400
Speaker 3: to lean more under the guitar because I guess I

901
00:49:45,480 --> 00:49:47,680
Speaker 3: knew less about it, and so it was more of

902
00:49:47,719 --> 00:49:51,000
Speaker 3: an impersonal experience where I wasn't focused about like playing

903
00:49:51,000 --> 00:49:53,520
Speaker 3: a hot lick or something on the guitar. It was

904
00:49:53,560 --> 00:49:56,160
Speaker 3: more about letting it facilitate me bringing a song.

905
00:49:56,360 --> 00:49:57,080
Speaker 4: Into the world.

906
00:49:59,320 --> 00:50:01,839
Speaker 3: And honestly, at the the guitar just kind of sat

907
00:50:01,880 --> 00:50:05,799
Speaker 3: there as like a songwriting tool for me for five

908
00:50:05,880 --> 00:50:09,920
Speaker 3: or six years, and it wasn't until honestly, probably about

909
00:50:11,120 --> 00:50:13,600
Speaker 3: they five or six years ago, six or seven years

910
00:50:13,640 --> 00:50:17,239
Speaker 3: ago tops, where I really wanted to become a good

911
00:50:17,360 --> 00:50:24,800
Speaker 3: guitar player. And that was really challenging because when I think,

912
00:50:24,920 --> 00:50:26,719
Speaker 3: the older that you get, it's like hard to be

913
00:50:26,800 --> 00:50:31,400
Speaker 3: bad at things. So especially given that we were already touring,

914
00:50:32,560 --> 00:50:35,200
Speaker 3: you know, at a relatively high level where people like

915
00:50:35,320 --> 00:50:38,320
Speaker 3: especially internationally, who would buy tickets to come and see

916
00:50:38,880 --> 00:50:43,640
Speaker 3: you know, Lark and Poe do their thing, to get

917
00:50:43,640 --> 00:50:49,000
Speaker 3: on stage and to be like kind of like muddling

918
00:50:49,080 --> 00:50:51,840
Speaker 3: through an instrument trying to like push for stuff on

919
00:50:51,920 --> 00:50:57,920
Speaker 3: stage was really humbling, and I think as a result,

920
00:50:57,040 --> 00:51:00,960
Speaker 3: I was very shy to like really apply myself. I

921
00:51:01,000 --> 00:51:03,840
Speaker 3: would just sort of like leave all the soloing to Megan.

922
00:51:06,320 --> 00:51:09,719
Speaker 3: But honestly, I think five six years ago I buckled down.

923
00:51:09,760 --> 00:51:12,440
Speaker 3: I was like this, it's time, and so I just

924
00:51:13,320 --> 00:51:16,680
Speaker 3: I got a jazz master like Elvis Costello, who's one

925
00:51:16,680 --> 00:51:19,480
Speaker 3: of my biggest heroes, and just started writing riffs and

926
00:51:19,800 --> 00:51:22,200
Speaker 3: really started writing riffs for the band that would push

927
00:51:22,239 --> 00:51:24,520
Speaker 3: me to learn how to play the guitar. So even

928
00:51:24,560 --> 00:51:27,440
Speaker 3: outside of like going back and like learning Stevie ray

929
00:51:27,480 --> 00:51:30,480
Speaker 3: Vaughn or you know, learning slash solos, I was just

930
00:51:30,520 --> 00:51:33,800
Speaker 3: writing my own riffs to find my voice on the guitar,

931
00:51:33,920 --> 00:51:36,960
Speaker 3: and that really facilitated me building competence to be able

932
00:51:37,040 --> 00:51:39,760
Speaker 3: to start stepping out as a player.

933
00:51:41,560 --> 00:51:42,560
Speaker 4: And it's been really gratifying.

934
00:51:42,600 --> 00:51:44,920
Speaker 3: It's it's been a slow burn, but a very gratifying

935
00:51:44,920 --> 00:51:46,200
Speaker 3: burn for me as a guitarist.

936
00:51:46,600 --> 00:51:48,399
Speaker 1: So you're totally self taught.

937
00:51:49,280 --> 00:51:52,160
Speaker 3: On the guitar, yes, I mean, I mean I'm a

938
00:51:52,200 --> 00:51:54,759
Speaker 3: YouTube baby as well, though, So I do feel like

939
00:51:55,480 --> 00:51:58,640
Speaker 3: you know the amount of content that is available for free,

940
00:51:58,680 --> 00:52:02,520
Speaker 3: that so many incredible music since release. Yeah, like sitting

941
00:52:02,520 --> 00:52:05,440
Speaker 3: and watching so much on YouTube has been super helpful

942
00:52:05,440 --> 00:52:05,640
Speaker 3: for me.

943
00:52:06,400 --> 00:52:07,799
Speaker 1: And how many guitars do you own?

944
00:52:09,080 --> 00:52:12,439
Speaker 3: I own in my touring rotation, I tour with about

945
00:52:12,440 --> 00:52:16,799
Speaker 3: three or four, but all told, I have maybe six

946
00:52:16,880 --> 00:52:19,520
Speaker 3: or seven lectric guitars. But I live in a house

947
00:52:19,719 --> 00:52:23,320
Speaker 3: where because my husband is also a guitarist and he

948
00:52:23,719 --> 00:52:27,160
Speaker 3: is a materialist in every sense of the word. There

949
00:52:27,480 --> 00:52:30,080
Speaker 3: we are now at about ninety seven guitars in this house.

950
00:52:30,680 --> 00:52:33,239
Speaker 1: Okay, since you keep bringing him up, tell us who

951
00:52:33,280 --> 00:52:35,439
Speaker 1: your husband is and how you met him.

952
00:52:36,080 --> 00:52:40,080
Speaker 3: His name's Tyler Bryant and he is a Texas musician.

953
00:52:40,160 --> 00:52:42,640
Speaker 3: He has a band called The Shakedown and we were

954
00:52:42,680 --> 00:52:45,440
Speaker 3: introduced through a producer in town. Yeah, it's hard not

955
00:52:45,520 --> 00:52:47,520
Speaker 3: to bring him up because I do feel like a

956
00:52:47,520 --> 00:52:52,360
Speaker 3: lot of my interest in becoming a good guitar player

957
00:52:52,360 --> 00:52:55,120
Speaker 3: is also bright proximity because he's such an effortless player

958
00:52:55,920 --> 00:52:59,640
Speaker 3: and to be around like everybody in the family, and

959
00:52:59,680 --> 00:53:02,360
Speaker 3: to be the only player that's not like up to

960
00:53:02,400 --> 00:53:07,400
Speaker 3: snuff because Megan is an exceptional improviser, Like you're definitely

961
00:53:07,840 --> 00:53:11,160
Speaker 3: mind melded to your fingers, and your husband. Meghan is

962
00:53:11,160 --> 00:53:13,040
Speaker 3: married to an exceptional musician by the name of Mike

963
00:53:13,080 --> 00:53:16,920
Speaker 3: Seal mind melded his fingers and Tyler as well. So

964
00:53:17,000 --> 00:53:19,040
Speaker 3: I was like, you know what, I'm not going to

965
00:53:19,080 --> 00:53:21,279
Speaker 3: be that guy in the family. We're stepping up the game.

966
00:53:22,840 --> 00:53:25,080
Speaker 1: Okay, So how did you meet your husband, Megan?

967
00:53:27,000 --> 00:53:32,160
Speaker 2: So, Mike Seal played in Larkin Poe in our first

968
00:53:32,239 --> 00:53:35,160
Speaker 2: year of touring. So he he was a guitar player

969
00:53:35,320 --> 00:53:38,319
Speaker 2: who joined joined us for the first eight months or so,

970
00:53:39,320 --> 00:53:41,919
Speaker 2: mm hmm, yeah, okay.

971
00:53:42,239 --> 00:53:45,560
Speaker 1: You know you're touring musicians. I think it was Metallica

972
00:53:45,719 --> 00:53:47,759
Speaker 1: was on the road for a long time. They came home,

973
00:53:48,440 --> 00:53:51,520
Speaker 1: all of them got divorced. This is decades ago. Okay.

974
00:53:51,800 --> 00:53:55,000
Speaker 1: How do you keep a relationship going when you're on

975
00:53:55,040 --> 00:53:57,120
Speaker 1: the road and they're on the road, et cetera.

976
00:54:00,880 --> 00:54:08,200
Speaker 2: A lot of dedication and communication. It's it's not easy,

977
00:54:08,320 --> 00:54:13,799
Speaker 2: for sure, and there have been years when we just

978
00:54:13,840 --> 00:54:16,879
Speaker 2: haven't seen each other a whole lot. Like the it's

979
00:54:17,000 --> 00:54:20,520
Speaker 2: it's the worst when the tours don't line up. If

980
00:54:20,560 --> 00:54:23,400
Speaker 2: you're home and then they're gone and then you reverse.

981
00:54:24,480 --> 00:54:28,520
Speaker 2: It can be really really heartbreaking. But we always, you know,

982
00:54:28,560 --> 00:54:32,120
Speaker 2: we always just have been super committed to making it work.

983
00:54:32,200 --> 00:54:35,520
Speaker 2: And there is a great comfort in your partner knowing

984
00:54:35,600 --> 00:54:39,720
Speaker 2: exactly what you're going through, because it is a very

985
00:54:39,760 --> 00:54:43,239
Speaker 2: strange way to spend your life, and it can help

986
00:54:43,280 --> 00:54:46,160
Speaker 2: to have somebody who really knows what you're going through.

987
00:54:46,520 --> 00:54:47,360
Speaker 4: Yeah.

988
00:54:47,400 --> 00:54:51,120
Speaker 3: I do think it's actually, somewhat unexpectedly been a great

989
00:54:51,160 --> 00:54:53,440
Speaker 3: saving grace to be able to have so much of

990
00:54:53,440 --> 00:54:56,560
Speaker 3: a shared experience, because I do think it's very easy

991
00:54:57,080 --> 00:55:00,640
Speaker 3: to have a highly romanticized mental image of what touring

992
00:55:01,239 --> 00:55:05,200
Speaker 3: is like. Only in the last two years have we

993
00:55:05,280 --> 00:55:08,120
Speaker 3: actually been able to finally go out on bus tours.

994
00:55:08,600 --> 00:55:11,920
Speaker 3: Previously we were, you know, fifteen people in a fifteen

995
00:55:11,960 --> 00:55:15,000
Speaker 3: passenger van with the van and trailer and you're waking

996
00:55:15,080 --> 00:55:18,080
Speaker 3: up at six am and driving until three am, and

997
00:55:18,160 --> 00:55:20,120
Speaker 3: you're you're eating shit out on the road. You're not

998
00:55:20,200 --> 00:55:23,360
Speaker 3: making money like you know, like all this sort of

999
00:55:23,440 --> 00:55:25,200
Speaker 3: like the residual stress of touring.

1000
00:55:27,560 --> 00:55:29,480
Speaker 4: It's not what people anticipate.

1001
00:55:29,560 --> 00:55:31,840
Speaker 3: So I think the fact that you know, Meghan and

1002
00:55:32,040 --> 00:55:34,920
Speaker 3: Tyler and Mike and I, that we all have that

1003
00:55:35,080 --> 00:55:37,960
Speaker 3: shared sense of okay, like you're not out there like

1004
00:55:38,600 --> 00:55:41,400
Speaker 3: snorting cocaine off someone's hu haas Like, no, you're just

1005
00:55:41,440 --> 00:55:42,840
Speaker 3: you're out there counting merchandise.

1006
00:55:42,960 --> 00:55:44,760
Speaker 4: Like I understand, and I trust what you're.

1007
00:55:44,600 --> 00:55:47,240
Speaker 3: Doing, and and hey, I get what you're going through.

1008
00:55:47,760 --> 00:55:50,279
Speaker 4: That that really does help you, like stay.

1009
00:55:49,960 --> 00:55:52,359
Speaker 3: In sync with somebody, stay step to step even when

1010
00:55:52,360 --> 00:55:53,560
Speaker 3: you're miles apart.

1011
00:55:55,360 --> 00:55:58,359
Speaker 1: How about the temptations of the road. You can talk

1012
00:55:58,440 --> 00:56:03,160
Speaker 1: about drugs, there's article, there's women, and you ever, in

1013
00:56:03,200 --> 00:56:04,959
Speaker 1: the back of your mind say well, I'm not seeing

1014
00:56:05,040 --> 00:56:07,279
Speaker 1: and most people live in all the time with their

1015
00:56:07,320 --> 00:56:11,600
Speaker 1: spouse and just just let your mind run wild.

1016
00:56:15,280 --> 00:56:18,040
Speaker 3: Well, Tyler and I've been we've been together now since

1017
00:56:18,080 --> 00:56:22,160
Speaker 3: what twenty fifteen, and we met when we were both

1018
00:56:22,200 --> 00:56:24,400
Speaker 3: twenty I guess we were twenty five when we met,

1019
00:56:24,520 --> 00:56:25,279
Speaker 3: something like that.

1020
00:56:25,840 --> 00:56:26,520
Speaker 4: And I think.

1021
00:56:26,440 --> 00:56:29,400
Speaker 3: Especially early on, there there was a lot of concern.

1022
00:56:30,719 --> 00:56:34,160
Speaker 3: I think a lot of insecurity that existed that would

1023
00:56:34,200 --> 00:56:36,160
Speaker 3: that would allow your.

1024
00:56:36,800 --> 00:56:39,520
Speaker 4: Your insecurities to run away with you, for sure.

1025
00:56:40,320 --> 00:56:45,319
Speaker 3: But also I think acceptance is key too, Like, you know,

1026
00:56:45,440 --> 00:56:47,720
Speaker 3: I know my values and I know that I married

1027
00:56:47,760 --> 00:56:51,319
Speaker 3: Tyler for his values. So you know, if ever he

1028
00:56:51,440 --> 00:56:53,960
Speaker 3: wanted to make a change, I think I'm pretty sure

1029
00:56:54,000 --> 00:56:56,120
Speaker 3: we'd both be man enough to like come to each

1030
00:56:56,160 --> 00:56:58,920
Speaker 3: other and end things appropriately. I just I just don't

1031
00:56:58,920 --> 00:57:01,480
Speaker 3: really sense that there's ever been a thread in our

1032
00:57:01,520 --> 00:57:05,480
Speaker 3: relationship that would want to create drama and or betrayal.

1033
00:57:05,000 --> 00:57:05,560
Speaker 4: In that way.

1034
00:57:05,680 --> 00:57:08,279
Speaker 3: I think we've both had people step out and be

1035
00:57:08,360 --> 00:57:10,160
Speaker 3: shitty to us such that we would never want to

1036
00:57:10,200 --> 00:57:12,200
Speaker 3: do that, that we care enough and respect each other

1037
00:57:12,280 --> 00:57:14,640
Speaker 3: enough to not want to do that. But again, Bob,

1038
00:57:14,719 --> 00:57:17,040
Speaker 3: like hey, never say never.

1039
00:57:17,960 --> 00:57:21,840
Speaker 2: But also I think that we throughout the years have

1040
00:57:21,960 --> 00:57:27,600
Speaker 2: come to really value the feeling of having your family

1041
00:57:27,640 --> 00:57:32,760
Speaker 2: on the road, and it's the kind of atmosphere you

1042
00:57:32,840 --> 00:57:37,120
Speaker 2: can manifest. And we are the leaders of our organization

1043
00:57:37,320 --> 00:57:40,680
Speaker 2: and we can set the tone for what it's going

1044
00:57:40,760 --> 00:57:43,160
Speaker 2: to be like for the people who are working for

1045
00:57:43,280 --> 00:57:45,880
Speaker 2: us and touring with us, and what we want that

1046
00:57:46,000 --> 00:57:51,120
Speaker 2: environment to be is kind. And you can really struggle

1047
00:57:51,120 --> 00:57:53,040
Speaker 2: with mental health on the road. I think being an

1048
00:57:53,120 --> 00:57:57,600
Speaker 2: artist is it's challenging for that aspect, and you can

1049
00:57:57,640 --> 00:58:01,600
Speaker 2: struggle with addiction, and there's all always things available to you,

1050
00:58:01,680 --> 00:58:05,280
Speaker 2: like like like what you mentioned, and we want people

1051
00:58:05,320 --> 00:58:07,120
Speaker 2: to be in a in a in a safe space

1052
00:58:07,200 --> 00:58:11,000
Speaker 2: where we can mitigate some of those risks for people,

1053
00:58:11,600 --> 00:58:16,040
Speaker 2: and that's always been especially in the last what seven

1054
00:58:16,160 --> 00:58:20,680
Speaker 2: years of lur Campo, We've really wanted to create a

1055
00:58:22,440 --> 00:58:27,720
Speaker 2: great touring atmosphere for for our people, like we really

1056
00:58:27,800 --> 00:58:30,920
Speaker 2: value the people who are putting their lives in our

1057
00:58:30,960 --> 00:58:34,760
Speaker 2: hands and sometimes quite literally when you're driving the van,

1058
00:58:36,320 --> 00:58:38,640
Speaker 2: and we want to we want to, you know, make

1059
00:58:38,680 --> 00:58:40,560
Speaker 2: it special as special as we can.

1060
00:58:41,120 --> 00:58:45,120
Speaker 1: Okay, you mentioned mental health. To what degree has you

1061
00:58:45,240 --> 00:58:46,120
Speaker 1: had challenges?

1062
00:58:49,400 --> 00:58:52,480
Speaker 2: I have had quite a lot of challenges over the

1063
00:58:52,480 --> 00:58:55,120
Speaker 2: past couple of years, and I think the pandemic has

1064
00:58:55,280 --> 00:58:57,440
Speaker 2: had has brought it on for a lot of artists.

1065
00:58:57,560 --> 00:59:01,560
Speaker 2: And I think it's because people are constantly grinding. And

1066
00:59:01,600 --> 00:59:05,280
Speaker 2: I can say that for us for sure, grinding and

1067
00:59:05,320 --> 00:59:08,760
Speaker 2: grinding and grinding for many years, and you don't sometimes

1068
00:59:08,760 --> 00:59:12,760
Speaker 2: have a moment to stop and reflect. And the pandemic

1069
00:59:12,800 --> 00:59:15,960
Speaker 2: I think, really forced a lot of us to stop

1070
00:59:16,000 --> 00:59:20,480
Speaker 2: and reflect. And I think that that was challenging in

1071
00:59:20,520 --> 00:59:24,720
Speaker 2: a lot of different ways. And I certainly experienced a

1072
00:59:24,760 --> 00:59:28,680
Speaker 2: lot of I guess you could call it a mental breakdown,

1073
00:59:28,760 --> 00:59:32,160
Speaker 2: but where I really experienced what an anxiety disorder is

1074
00:59:32,320 --> 00:59:38,120
Speaker 2: like and suddenly had such an appreciation for some of

1075
00:59:38,160 --> 00:59:43,120
Speaker 2: these terms that fly around that I've spoken to and

1076
00:59:43,280 --> 00:59:48,400
Speaker 2: not really known intimately what they what they feel like

1077
00:59:49,120 --> 00:59:53,480
Speaker 2: is like now I do, And I think that that

1078
00:59:54,160 --> 00:59:57,680
Speaker 2: makes me all the more passionate for what people can

1079
00:59:57,720 --> 01:00:02,080
Speaker 2: go through as far as mental health and all the

1080
01:00:02,120 --> 01:00:05,240
Speaker 2: things that can can go wrong. And I'm using air

1081
01:00:05,320 --> 01:00:08,680
Speaker 2: quotes because there's always reasons for why we're experiencing things,

1082
01:00:08,760 --> 01:00:10,760
Speaker 2: or or maybe there isn't a reason, but there's a

1083
01:00:10,800 --> 01:00:15,240
Speaker 2: mechanism for it. So I have a lot more respect

1084
01:00:15,280 --> 01:00:15,520
Speaker 2: for it.

1085
01:00:15,600 --> 01:00:18,640
Speaker 1: Now, did you see it professional to help you get

1086
01:00:18,640 --> 01:00:19,120
Speaker 1: over the home?

1087
01:00:20,440 --> 01:00:24,080
Speaker 2: I did go to therapy, Yeah, and I did go

1088
01:00:24,400 --> 01:00:26,160
Speaker 2: I went to the doctor to try and figure out

1089
01:00:26,200 --> 01:00:28,520
Speaker 2: what I what I needed to do because I was.

1090
01:00:28,600 --> 01:00:32,280
Speaker 2: I was really blown away by it, absolutely and helped

1091
01:00:32,280 --> 01:00:36,400
Speaker 2: a lot having having Rebecca because she's just has my

1092
01:00:36,480 --> 01:00:40,720
Speaker 2: back and every way and so so supportive and came

1093
01:00:40,760 --> 01:00:42,520
Speaker 2: through it. You know, you just kind of have to

1094
01:00:42,920 --> 01:00:46,640
Speaker 2: go through things and believe that you're going to come

1095
01:00:46,680 --> 01:00:48,640
Speaker 2: out the other side. And I and I really did,

1096
01:00:48,680 --> 01:00:51,200
Speaker 2: and I and I believed that I was going to

1097
01:00:51,240 --> 01:00:52,160
Speaker 2: come through it, and I did.

1098
01:00:52,760 --> 01:00:53,720
Speaker 1: How about medication.

1099
01:00:56,680 --> 01:00:59,120
Speaker 2: I have had a lot of family members who have

1100
01:00:59,200 --> 01:01:02,000
Speaker 2: dealt with this before, so it was something that I

1101
01:01:02,040 --> 01:01:05,480
Speaker 2: feel lucky and very privileged to have watched other people

1102
01:01:05,520 --> 01:01:08,920
Speaker 2: go through. So I kind of knew when I was

1103
01:01:08,920 --> 01:01:12,440
Speaker 2: starting to experience the anxiety disorder. I knew what was

1104
01:01:12,480 --> 01:01:14,440
Speaker 2: happening to me, so I knew who to go and

1105
01:01:14,480 --> 01:01:20,680
Speaker 2: talk to, and the family that had experienced it suggested

1106
01:01:20,720 --> 01:01:24,560
Speaker 2: that I try and at least try to do to

1107
01:01:24,760 --> 01:01:26,240
Speaker 2: try to come through it without medication.

1108
01:01:26,440 --> 01:01:26,800
Speaker 4: First.

1109
01:01:27,160 --> 01:01:29,760
Speaker 2: I think there is a place certainly for medication, but

1110
01:01:30,800 --> 01:01:34,560
Speaker 2: they suggested that I try without first, just to see

1111
01:01:35,000 --> 01:01:38,000
Speaker 2: where I sat, and I'm glad for that because I

1112
01:01:38,160 --> 01:01:39,400
Speaker 2: was able to come through without.

1113
01:01:47,240 --> 01:01:50,720
Speaker 1: Okay, people have no idea how difficult it is to

1114
01:01:50,800 --> 01:01:53,640
Speaker 1: go on the road. You know, they see somebody an

1115
01:01:53,680 --> 01:01:56,560
Speaker 1: hour and a half on stage. They don't know that

1116
01:01:57,000 --> 01:02:00,600
Speaker 1: they're in close contact, traveling with the same people every day.

1117
01:02:00,640 --> 01:02:04,360
Speaker 1: They get on their nerves, you get off stage, takes

1118
01:02:04,600 --> 01:02:08,040
Speaker 1: hours to calm down, which is why a lot of

1119
01:02:08,280 --> 01:02:12,720
Speaker 1: artists take drugs, because the cycle goes day day and

1120
01:02:13,000 --> 01:02:15,000
Speaker 1: how do you cope with the stress.

1121
01:02:14,600 --> 01:02:15,080
Speaker 2: Of the road.

1122
01:02:18,360 --> 01:02:21,120
Speaker 3: I think it's something that we still engage with or

1123
01:02:21,160 --> 01:02:26,480
Speaker 3: try new things because you're You're exactly right, it is.

1124
01:02:26,600 --> 01:02:31,680
Speaker 3: It is a very tough experience, and I think especially

1125
01:02:31,720 --> 01:02:34,520
Speaker 3: as well, when a lot of the conversations you have

1126
01:02:34,640 --> 01:02:38,960
Speaker 3: with people about the touring lifestyle is this overwhelming narrative

1127
01:02:39,200 --> 01:02:39,960
Speaker 3: of you.

1128
01:02:39,920 --> 01:02:41,440
Speaker 4: Guys are so lucky.

1129
01:02:41,520 --> 01:02:45,040
Speaker 3: It's you're seeing the world and like, you guys are

1130
01:02:45,080 --> 01:02:47,600
Speaker 3: just always on vacation, aren't you. And so then you

1131
01:02:47,640 --> 01:02:54,080
Speaker 3: can also build up this this callous against realistically looking

1132
01:02:54,080 --> 01:02:56,800
Speaker 3: at your situation where it's like you feel, oh, I'm

1133
01:02:56,840 --> 01:03:00,000
Speaker 3: so blessed, like I shouldn't I don't even I shouldn't want.

1134
01:03:00,440 --> 01:03:02,960
Speaker 3: I shouldn't engage with the fact that I'm really uncomfortable

1135
01:03:03,000 --> 01:03:06,160
Speaker 3: and sleep deprived and missing my family and very very

1136
01:03:06,200 --> 01:03:10,600
Speaker 3: homesick and just craving like to be in one place

1137
01:03:10,600 --> 01:03:13,360
Speaker 3: for more than five minutes. I shouldn't feel these things.

1138
01:03:13,480 --> 01:03:15,840
Speaker 3: So then I think, as Megan was speaking to earlier,

1139
01:03:16,920 --> 01:03:19,840
Speaker 3: you are constantly in the state of sort of squashing

1140
01:03:20,080 --> 01:03:23,400
Speaker 3: and and just continuing to move in order just.

1141
01:03:23,320 --> 01:03:28,440
Speaker 4: To survive, but educating yourself, medicating yourself.

1142
01:03:28,200 --> 01:03:30,560
Speaker 3: Right, yeah, which which again I think in terms of

1143
01:03:30,600 --> 01:03:32,560
Speaker 3: like the culture of our band, that's just never been

1144
01:03:33,120 --> 01:03:35,160
Speaker 3: such a huge thing for us, which I it's just

1145
01:03:35,200 --> 01:03:38,320
Speaker 3: by happenstance, and I feel very fortunate that we actually

1146
01:03:38,320 --> 01:03:43,960
Speaker 3: together as a team, haven't had issues with substance or alcoholism.

1147
01:03:44,520 --> 01:03:46,920
Speaker 4: And but that's just that's not a credit to us.

1148
01:03:46,920 --> 01:03:48,439
Speaker 4: That's just circumstantial, I think.

1149
01:03:50,440 --> 01:03:52,840
Speaker 3: But I think being able to be together and to

1150
01:03:52,920 --> 01:03:56,240
Speaker 3: communicate a lot, the fact that we go through things

1151
01:03:56,280 --> 01:03:59,800
Speaker 3: together and we are constantly working on our relationship real time,

1152
01:04:00,360 --> 01:04:03,720
Speaker 3: because as you can imagine, everything that you just described

1153
01:04:04,520 --> 01:04:08,000
Speaker 3: is at times amped up to like the nth degree

1154
01:04:08,120 --> 01:04:13,280
Speaker 3: when you're experiencing those stressors, the isolation, the you know,

1155
01:04:13,320 --> 01:04:20,400
Speaker 3: the exhaustion, the monotony, the fast paced nature with a sibling,

1156
01:04:20,960 --> 01:04:24,880
Speaker 3: and and you're like trying to have that balance of

1157
01:04:26,160 --> 01:04:31,120
Speaker 3: work and sibling relationship that I think because so much

1158
01:04:31,440 --> 01:04:37,720
Speaker 3: energy gets transferred into maintenancing our connection that we're able

1159
01:04:37,880 --> 01:04:42,920
Speaker 3: I think, to have a lot of release in that way.

1160
01:04:44,720 --> 01:04:45,080
Speaker 4: It's hard.

1161
01:04:45,120 --> 01:04:47,240
Speaker 3: It's actually, as I'm saying it, like do you know

1162
01:04:47,280 --> 01:04:48,840
Speaker 3: where I'm coming from, But it's a little bit hard

1163
01:04:48,880 --> 01:04:50,200
Speaker 3: to describe.

1164
01:04:50,440 --> 01:04:57,920
Speaker 2: Yeah, yeah, I do. I think. I think having having

1165
01:04:58,760 --> 01:05:01,520
Speaker 2: someone by your side who who keeps it real with

1166
01:05:01,600 --> 01:05:06,200
Speaker 2: you and you experience the highs and the lows together,

1167
01:05:06,280 --> 01:05:10,480
Speaker 2: it's not something I take for granted. And then like

1168
01:05:10,520 --> 01:05:14,160
Speaker 2: you're saying, not squashing the emotions that you're feeling, but

1169
01:05:14,200 --> 01:05:20,240
Speaker 2: at the same time also feeling overwhelmed, overwhelmingly grateful for

1170
01:05:20,360 --> 01:05:25,560
Speaker 2: the opportunities that we've been able to have. And you know,

1171
01:05:25,600 --> 01:05:27,640
Speaker 2: we have meet and greets ahead of the show, and

1172
01:05:28,760 --> 01:05:30,960
Speaker 2: we're able to speak with some of the most amazing

1173
01:05:31,000 --> 01:05:35,960
Speaker 2: people who have these incredible stories and feel so privileged

1174
01:05:36,000 --> 01:05:38,439
Speaker 2: to be a part of their lives and actually quite

1175
01:05:38,440 --> 01:05:42,480
Speaker 2: a real way and to have that connection with then

1176
01:05:43,640 --> 01:05:50,040
Speaker 2: thousands of people, it feels really incredible. And that's why

1177
01:05:50,040 --> 01:05:54,200
Speaker 2: you push through, because at the end of the day,

1178
01:05:54,640 --> 01:05:56,960
Speaker 2: we are really lucky to be able to have those

1179
01:05:57,000 --> 01:06:01,720
Speaker 2: experiences with other people. And that's that's why you push.

1180
01:06:01,440 --> 01:06:03,560
Speaker 3: Yeah, Because I mean, we can either we can either

1181
01:06:03,600 --> 01:06:07,920
Speaker 3: come to the world with a nihilistic perspective, right of ah, God,

1182
01:06:08,040 --> 01:06:11,160
Speaker 3: you know, the bloody Gospel of tooth and claw and

1183
01:06:11,200 --> 01:06:12,440
Speaker 3: we all die and like.

1184
01:06:12,400 --> 01:06:13,120
Speaker 4: Why are we here?

1185
01:06:13,680 --> 01:06:16,400
Speaker 3: And I struggle with myself right right, which is which

1186
01:06:16,440 --> 01:06:20,200
Speaker 3: is a very real perspective, and I think that it's

1187
01:06:20,240 --> 01:06:23,560
Speaker 3: staying within that groove, that groove of the needle. You

1188
01:06:23,640 --> 01:06:28,040
Speaker 3: can go down the path of isolation and addiction, and God,

1189
01:06:28,080 --> 01:06:30,680
Speaker 3: I'm just so tired and we have you know, fifteen

1190
01:06:30,760 --> 01:06:34,840
Speaker 3: shows left, et cetera, et cetera. Or you can lean

1191
01:06:34,880 --> 01:06:39,360
Speaker 3: into the connection, you can focus on the positives. You

1192
01:06:39,360 --> 01:06:43,480
Speaker 3: can you can really, you know, look into someone's eyes

1193
01:06:43,600 --> 01:06:46,200
Speaker 3: and hear them say to you, your music got me

1194
01:06:46,240 --> 01:06:49,640
Speaker 3: through the pandemic. Your music is what saved me. And

1195
01:06:49,680 --> 01:06:51,480
Speaker 3: you can believe the words that are coming out of

1196
01:06:51,480 --> 01:06:55,360
Speaker 3: their mouth, and that completely drives your experience in a

1197
01:06:55,400 --> 01:06:56,120
Speaker 3: different direction.

1198
01:06:57,600 --> 01:07:00,680
Speaker 1: Okay, you mentioned earlier sight seeing and you mentioned again

1199
01:07:01,120 --> 01:07:03,520
Speaker 1: I know this guy who is the tour photographer for

1200
01:07:03,600 --> 01:07:07,560
Speaker 1: led Zeppelin, grant a completely different era film as opposed

1201
01:07:07,560 --> 01:07:10,640
Speaker 1: to digital, a lot more work, and he said, I've

1202
01:07:10,640 --> 01:07:14,240
Speaker 1: been around the world and seeing nothing. So to what

1203
01:07:14,440 --> 01:07:17,840
Speaker 1: degree how do you take advantage of the places that

1204
01:07:17,880 --> 01:07:18,320
Speaker 1: you do go.

1205
01:07:20,000 --> 01:07:22,640
Speaker 3: We've been making an effort more so, and again I

1206
01:07:22,640 --> 01:07:26,080
Speaker 3: think it's it's such a luxury actually, because you know,

1207
01:07:26,360 --> 01:07:29,040
Speaker 3: for so many years toying in the van, we would,

1208
01:07:29,120 --> 01:07:33,880
Speaker 3: honest to god, roll up, you know, minutes before the

1209
01:07:33,960 --> 01:07:36,600
Speaker 3: gig and then immediately have to leave. But being able

1210
01:07:36,640 --> 01:07:39,040
Speaker 3: to make that leap into a tour bus has really

1211
01:07:39,120 --> 01:07:40,560
Speaker 3: changed our experience.

1212
01:07:41,040 --> 01:07:43,160
Speaker 2: And you find those moments that you look forward to

1213
01:07:44,080 --> 01:07:46,760
Speaker 2: in those those little things. Like for us, it's very

1214
01:07:46,800 --> 01:07:51,640
Speaker 2: food based. We love to experience the culture of another

1215
01:07:51,760 --> 01:07:55,560
Speaker 2: city based on like their food and their coffee. So

1216
01:07:55,600 --> 01:07:57,960
Speaker 2: it's like we're always wanting to try out the different

1217
01:07:58,080 --> 01:08:00,760
Speaker 2: espressos of you know, all of these years in cities

1218
01:08:00,760 --> 01:08:04,000
Speaker 2: and they're different foods. So that that makes things exciting

1219
01:08:04,120 --> 01:08:06,000
Speaker 2: and fine little things that you can look forward to.

1220
01:08:06,280 --> 01:08:07,520
Speaker 4: Yeah, go out in sight see.

1221
01:08:08,120 --> 01:08:10,920
Speaker 1: Can you mention one or two restaurants that are your favorites?

1222
01:08:12,080 --> 01:08:20,280
Speaker 3: Ooh, let me think one of my favorites in Paris

1223
01:08:20,600 --> 01:08:25,280
Speaker 3: is it's a restaurant that is all fire based.

1224
01:08:25,960 --> 01:08:27,120
Speaker 4: They cook all of their.

1225
01:08:26,920 --> 01:08:30,160
Speaker 3: Food over the open flame, and it's called Robert at

1226
01:08:30,240 --> 01:08:32,040
Speaker 3: Luis and that is in Paris.

1227
01:08:32,120 --> 01:08:33,599
Speaker 4: That's one that comes to my mind.

1228
01:08:34,040 --> 01:08:41,840
Speaker 2: There also is a department store in Tokyo at the

1229
01:08:41,840 --> 01:08:47,559
Speaker 2: Shibuyah crossing, that really famous crossing, and if you go

1230
01:08:47,640 --> 01:08:50,720
Speaker 2: down into the basement of that place, there's the most

1231
01:08:50,800 --> 01:08:54,360
Speaker 2: incredible sushi I've ever eaten in my life. Amen, So

1232
01:08:54,880 --> 01:08:56,160
Speaker 2: that's a that's a must.

1233
01:08:55,960 --> 01:08:59,960
Speaker 1: Eat, Okay, And what particular cuisine is your face?

1234
01:09:01,600 --> 01:09:06,640
Speaker 2: Ooh, I love Japanese and Korean food definitely my favorite.

1235
01:09:08,000 --> 01:09:12,080
Speaker 3: Man, that's a good question, Proba. Probably probably sushi is

1236
01:09:12,080 --> 01:09:16,240
Speaker 3: my favorite. I have to say, well, nothing can rival

1237
01:09:17,720 --> 01:09:21,560
Speaker 3: some good southern cooking. There's a place here in Nashville.

1238
01:09:21,960 --> 01:09:24,880
Speaker 3: I think there's two locations in town called Monel's and

1239
01:09:24,920 --> 01:09:28,679
Speaker 3: it's like the whole family style eating where they bring

1240
01:09:28,720 --> 01:09:31,280
Speaker 3: out just whatever's on the menu. You don't order, they

1241
01:09:31,439 --> 01:09:34,800
Speaker 3: just bring everything out, and that that I do love.

1242
01:09:34,840 --> 01:09:36,719
Speaker 4: You can't rival some fried okra.

1243
01:09:37,360 --> 01:09:40,080
Speaker 1: Have you seen the film Jiro Dreams of Sushi?

1244
01:09:40,760 --> 01:09:42,559
Speaker 4: Yes, amazing film.

1245
01:09:42,680 --> 01:09:43,839
Speaker 2: I love that film.

1246
01:09:44,160 --> 01:09:46,400
Speaker 1: Okay, let's go back. You know, I like to go

1247
01:09:46,479 --> 01:09:49,400
Speaker 1: to countries where they don't speak the language and it's

1248
01:09:49,439 --> 01:09:53,439
Speaker 1: really exotic. So where have you been that you really

1249
01:09:53,520 --> 01:09:55,160
Speaker 1: enjoy or where would you want to go that you

1250
01:09:55,200 --> 01:09:55,639
Speaker 1: have a bit?

1251
01:09:57,560 --> 01:10:01,120
Speaker 4: Take it away, sissy one.

1252
01:10:02,360 --> 01:10:05,479
Speaker 2: I really love Japan, so I probably would love to

1253
01:10:05,520 --> 01:10:08,920
Speaker 2: go back there on a on a vacation. But I

1254
01:10:08,920 --> 01:10:11,760
Speaker 2: would we we haven't gotten the opportunity to go to

1255
01:10:11,840 --> 01:10:15,479
Speaker 2: South America and I would really love love to go

1256
01:10:15,560 --> 01:10:18,360
Speaker 2: to South America and be able to tour down there some.

1257
01:10:19,360 --> 01:10:21,880
Speaker 4: Yeah, I have to I would. I would align with that.

1258
01:10:22,040 --> 01:10:22,960
Speaker 4: Mm hmmm hmm.

1259
01:10:23,840 --> 01:10:27,719
Speaker 1: Okay, you know the obvious question sort of the elephant

1260
01:10:27,800 --> 01:10:30,840
Speaker 1: in the room, and it sounds sort of sexist, but

1261
01:10:31,479 --> 01:10:32,040
Speaker 1: it's there.

1262
01:10:32,200 --> 01:10:38,599
Speaker 3: What about children, Oh, we absolutely want to have children.

1263
01:10:39,680 --> 01:10:41,080
Speaker 3: And I do think that there's a lot of lip

1264
01:10:41,080 --> 01:10:45,559
Speaker 3: service for women in the music industry about trying to

1265
01:10:45,640 --> 01:10:49,439
Speaker 3: make touring, you know, more accessible for women. I have

1266
01:10:49,560 --> 01:10:52,439
Speaker 3: had so many conversations with so many different women on

1267
01:10:52,520 --> 01:10:56,320
Speaker 3: different tours who've had positive and negative experiences with being

1268
01:10:56,320 --> 01:10:59,639
Speaker 3: able to to continue to tour once you have babies.

1269
01:11:00,080 --> 01:11:01,839
Speaker 3: And logistically it sounds like a nightmare.

1270
01:11:02,280 --> 01:11:06,000
Speaker 4: But is it possible? Yes? Are good things always easy?

1271
01:11:06,040 --> 01:11:06,120
Speaker 1: No.

1272
01:11:07,680 --> 01:11:09,479
Speaker 3: I think the fact that we are in a position

1273
01:11:09,520 --> 01:11:12,040
Speaker 3: of leadership in our organization, the fact that there are

1274
01:11:12,080 --> 01:11:15,559
Speaker 3: two of us and so we share similar goals that

1275
01:11:15,600 --> 01:11:16,720
Speaker 3: would absolutely be.

1276
01:11:18,720 --> 01:11:20,640
Speaker 4: On the docket for sure.

1277
01:11:22,400 --> 01:11:28,439
Speaker 2: Began it's I think it's one of those things that

1278
01:11:28,479 --> 01:11:32,040
Speaker 2: you will not know how you'll deal with it until

1279
01:11:32,080 --> 01:11:35,240
Speaker 2: you have to deal with it. But likes she's saying,

1280
01:11:35,280 --> 01:11:37,320
Speaker 2: I think that everything is possible. I think we have

1281
01:11:37,800 --> 01:11:39,320
Speaker 2: had the two of us move through a lot of

1282
01:11:39,320 --> 01:11:42,599
Speaker 2: difficult situations and we've always made it work. So I

1283
01:11:42,640 --> 01:11:44,519
Speaker 2: have every faith that we'll be able to move through

1284
01:11:44,520 --> 01:11:46,680
Speaker 2: whatever it is that we want to do. And we

1285
01:11:46,760 --> 01:11:49,240
Speaker 2: do want to have kids, and that will be part

1286
01:11:49,280 --> 01:11:51,559
Speaker 2: of it that we will absolutely figure out.

1287
01:11:52,400 --> 01:11:55,720
Speaker 1: Okay, So if you look at your career, you have

1288
01:11:55,760 --> 01:11:58,519
Speaker 1: the Garrison Keeler moment, you have all these peaks, You

1289
01:11:58,600 --> 01:12:03,599
Speaker 1: win the award for mandolin at Ruralfest. Can you tell

1290
01:12:03,600 --> 01:12:07,200
Speaker 1: me about a couple of times where it didn't work out?

1291
01:12:07,520 --> 01:12:07,720
Speaker 4: Oh?

1292
01:12:07,840 --> 01:12:14,000
Speaker 3: Yeah, I mean I think, well, it's hard to even

1293
01:12:14,000 --> 01:12:15,679
Speaker 3: think about what year this would be.

1294
01:12:17,479 --> 01:12:22,800
Speaker 4: It would be probably two thousand and maybe sixteen.

1295
01:12:24,080 --> 01:12:26,240
Speaker 3: Well, we had two gigs on the calendar for Larkin

1296
01:12:26,280 --> 01:12:30,360
Speaker 3: Poe and we were struggling to make to like find traction,

1297
01:12:30,760 --> 01:12:33,519
Speaker 3: struggling to know what to do, and so much of

1298
01:12:33,560 --> 01:12:36,759
Speaker 3: our time was invested in going out and being musicians

1299
01:12:36,760 --> 01:12:40,920
Speaker 3: for Elvis Costello, being musicians for you know, Connor Oberst

1300
01:12:41,040 --> 01:12:43,440
Speaker 3: and Christian Bush and Keith Urban.

1301
01:12:43,400 --> 01:12:44,519
Speaker 4: That you know.

1302
01:12:44,600 --> 01:12:47,679
Speaker 3: There we were presented with the question, a very real

1303
01:12:47,760 --> 01:12:49,560
Speaker 3: question of like if we were going to continue. And

1304
01:12:49,600 --> 01:12:50,800
Speaker 3: also I think we were sort of at a rocky

1305
01:12:50,800 --> 01:12:52,400
Speaker 3: patch in our relationship with Sisters too.

1306
01:12:52,760 --> 01:12:57,120
Speaker 2: We did some tours where we played to the bar

1307
01:12:57,200 --> 01:13:02,360
Speaker 2: staff didn't sell not even one ticket, and that is

1308
01:13:02,400 --> 01:13:07,080
Speaker 2: a humbling experience. And you still play the show and

1309
01:13:07,240 --> 01:13:07,640
Speaker 2: you give it.

1310
01:13:07,720 --> 01:13:10,840
Speaker 1: You're all do you ever consider giving up?

1311
01:13:11,560 --> 01:13:13,240
Speaker 4: Yeah? Definitely, Yeah.

1312
01:13:13,240 --> 01:13:17,280
Speaker 3: I think in twenty sixteen, I'm pretty sure that's the

1313
01:13:17,400 --> 01:13:22,639
Speaker 3: year we were having very very serious conversations, which, interestingly enough,

1314
01:13:23,080 --> 01:13:25,320
Speaker 3: is like when I mean, we were at the bottom,

1315
01:13:25,360 --> 01:13:28,200
Speaker 3: like you couldn't get any lower. We weren't working under

1316
01:13:28,280 --> 01:13:31,000
Speaker 3: the title of our band. The work that we had

1317
01:13:31,040 --> 01:13:34,240
Speaker 3: done was demoralizing, like Megan saying, I mean, yeah, in

1318
01:13:34,280 --> 01:13:37,360
Speaker 3: Kentucky there was four people in the venue and they

1319
01:13:37,360 --> 01:13:42,720
Speaker 3: were all working in the bar, And that's really hard

1320
01:13:42,720 --> 01:13:45,479
Speaker 3: to explain to yourself and to the people that you're

1321
01:13:45,520 --> 01:13:48,280
Speaker 3: paying to be there, why that's happening, and how to

1322
01:13:48,320 --> 01:13:52,760
Speaker 3: come back from that emotionally. And I think having those

1323
01:13:52,800 --> 01:13:58,120
Speaker 3: tough conversations led us to having some galvanizing moments between

1324
01:13:58,160 --> 01:14:02,880
Speaker 3: the two of us in our relationship and creatively approaching

1325
01:14:04,240 --> 01:14:05,559
Speaker 3: the music that we were gonna make.

1326
01:14:06,400 --> 01:14:08,840
Speaker 2: Actually, we had felt like we had maybe gotten away

1327
01:14:08,920 --> 01:14:12,120
Speaker 2: a little bit from who we were. I think we

1328
01:14:12,160 --> 01:14:14,120
Speaker 2: would just we didn't know what our voice was, We

1329
01:14:14,160 --> 01:14:17,320
Speaker 2: didn't really remember who we were, and so it's like

1330
01:14:17,360 --> 01:14:21,080
Speaker 2: we needed to come back together and figure out who

1331
01:14:21,280 --> 01:14:21,920
Speaker 2: who we were.

1332
01:14:24,240 --> 01:14:27,160
Speaker 3: But it is insane actually to sit from this vantage

1333
01:14:27,160 --> 01:14:30,599
Speaker 3: point and peer into the past and try to remember

1334
01:14:30,640 --> 01:14:31,840
Speaker 3: emotionally where we were.

1335
01:14:31,720 --> 01:14:33,360
Speaker 4: At, because it felt desolate.

1336
01:14:33,439 --> 01:14:35,360
Speaker 3: It felt like it felt like we had burned through

1337
01:14:35,360 --> 01:14:40,000
Speaker 3: the wick and we were done. But then somehow, baby

1338
01:14:40,040 --> 01:14:43,439
Speaker 3: step by baby step, we we.

1339
01:14:43,400 --> 01:14:44,160
Speaker 4: Didn't give up.

1340
01:14:44,760 --> 01:14:50,040
Speaker 3: We tried new things, we started writing some different songs,

1341
01:14:50,600 --> 01:14:51,960
Speaker 3: we found new management.

1342
01:14:52,960 --> 01:14:58,200
Speaker 4: We yeah, like we just sort of we didn't give up.

1343
01:14:58,800 --> 01:15:01,599
Speaker 3: We didn't we didn't reached the point of self destruction

1344
01:15:01,720 --> 01:15:04,320
Speaker 3: that we were like burning the house down. We just

1345
01:15:04,360 --> 01:15:08,320
Speaker 3: were sort of ghosts in the house. And we knew

1346
01:15:08,320 --> 01:15:10,880
Speaker 3: that we knew that we were capable, but we did

1347
01:15:10,880 --> 01:15:12,439
Speaker 3: feel disconnected.

1348
01:15:11,840 --> 01:15:15,240
Speaker 2: From self and we had we had recorded a couple

1349
01:15:15,240 --> 01:15:19,599
Speaker 2: of albums where we didn't produce or even co produce,

1350
01:15:20,520 --> 01:15:24,920
Speaker 2: and those albums didn't do very well and didn't really

1351
01:15:24,960 --> 01:15:26,920
Speaker 2: feel like us, and I think we didn't feel like

1352
01:15:27,000 --> 01:15:32,679
Speaker 2: it was authentic. So that's when we decided, we've got

1353
01:15:32,720 --> 01:15:36,160
Speaker 2: to produce ourselves, and we really want it to be

1354
01:15:36,400 --> 01:15:39,040
Speaker 2: on our own label. We really want to figure out

1355
01:15:39,040 --> 01:15:39,559
Speaker 2: who we are.

1356
01:15:41,840 --> 01:15:45,679
Speaker 1: Okay, So, was as Rebecca said, was it a lot

1357
01:15:45,720 --> 01:15:48,960
Speaker 1: of little things or was there a specific turning point

1358
01:15:49,560 --> 01:15:51,960
Speaker 1: and you remember when you realize, wait a second, this

1359
01:15:52,080 --> 01:15:53,040
Speaker 1: is now happening.

1360
01:15:54,000 --> 01:15:58,000
Speaker 3: I do actually, and I think, really it is whatever

1361
01:15:58,040 --> 01:16:00,760
Speaker 3: the inverse of death by a thousand cuts, It's like

1362
01:16:00,920 --> 01:16:05,400
Speaker 3: a thousand band aids. We started doing our cover series

1363
01:16:05,439 --> 01:16:08,360
Speaker 3: on YouTube as well. We started using social media in

1364
01:16:08,400 --> 01:16:12,120
Speaker 3: a new way. We started to really actually invest time

1365
01:16:12,680 --> 01:16:15,599
Speaker 3: into connecting with the fans that were actively following us

1366
01:16:15,640 --> 01:16:19,080
Speaker 3: on Facebook and YouTube and Instagram, and we started to

1367
01:16:19,720 --> 01:16:22,880
Speaker 3: share our talents and snippets. We would, you know, work

1368
01:16:22,920 --> 01:16:24,960
Speaker 3: up a Crosby Stales, Nash and Young cover, we would

1369
01:16:25,000 --> 01:16:28,000
Speaker 3: work up an Alvis Costello tune, we'd work up a

1370
01:16:28,040 --> 01:16:32,400
Speaker 3: traditional bluegrass song, and we would post it and we'd

1371
01:16:32,439 --> 01:16:36,240
Speaker 3: share that with people imperfectly, and we were really shocked

1372
01:16:36,800 --> 01:16:41,400
Speaker 3: when that started to catch on. We actually did a

1373
01:16:41,439 --> 01:16:45,160
Speaker 3: cover of Preach and Blues by Sunhouse, which we performed

1374
01:16:45,160 --> 01:16:46,720
Speaker 3: in Los Angeles, and we try to do it every

1375
01:16:46,800 --> 01:16:49,559
Speaker 3: night because it's such a meaningful song to us. That

1376
01:16:49,680 --> 01:16:51,720
Speaker 3: was one of our first cover versions to really go

1377
01:16:51,840 --> 01:16:56,799
Speaker 3: viral on Facebook and YouTube, and and it.

1378
01:16:56,720 --> 01:16:59,840
Speaker 2: Was it was coming back to our roots, if we

1379
01:16:59,840 --> 01:17:03,040
Speaker 2: were returning home in a way, coming back to the

1380
01:17:03,120 --> 01:17:07,720
Speaker 2: music that brought us up, which was bluegrass, but also

1381
01:17:07,800 --> 01:17:10,959
Speaker 2: was Mountain music and blues were like a very familiar

1382
01:17:11,040 --> 01:17:14,800
Speaker 2: territory and it felt like a new discovery but also

1383
01:17:14,800 --> 01:17:15,440
Speaker 2: a homecoming.

1384
01:17:16,960 --> 01:17:20,840
Speaker 1: Okay, how many views would these videos get?

1385
01:17:22,280 --> 01:17:25,880
Speaker 3: Yeah, a few million, but I think honestly it was

1386
01:17:25,920 --> 01:17:28,200
Speaker 3: even less for us the amount of views and who

1387
01:17:28,280 --> 01:17:32,320
Speaker 3: the views were like on that video, specifically on preaching Blues.

1388
01:17:32,920 --> 01:17:34,200
Speaker 4: Bob Seger watched it.

1389
01:17:35,840 --> 01:17:38,519
Speaker 3: Actually I guess it was Bob Seger's wife who watched

1390
01:17:38,520 --> 01:17:40,920
Speaker 3: it and then showed it to Bob Seger. And then

1391
01:17:40,960 --> 01:17:44,080
Speaker 3: Bob Seger asked his people to get in touch with

1392
01:17:44,120 --> 01:17:46,840
Speaker 3: our people, which then resulted in us going out on

1393
01:17:46,880 --> 01:17:49,560
Speaker 3: the road supporting him in his arena.

1394
01:17:49,240 --> 01:17:52,160
Speaker 4: Tour in eighteen. Is that right?

1395
01:17:52,479 --> 01:17:55,000
Speaker 3: Yeah, twenty eighteen, I believe we went out on the

1396
01:17:55,080 --> 01:17:58,120
Speaker 3: road with him, and again the power of social media

1397
01:17:58,160 --> 01:18:00,880
Speaker 3: to be able to connect you to an opportunity that

1398
01:18:00,920 --> 01:18:04,240
Speaker 3: you we had, we didn't conceive of that as a possibility,

1399
01:18:04,400 --> 01:18:07,320
Speaker 3: but he watched the video and was moved by what

1400
01:18:07,360 --> 01:18:10,160
Speaker 3: we were doing and invited us out based on that

1401
01:18:10,160 --> 01:18:11,200
Speaker 3: that cover.

1402
01:18:11,960 --> 01:18:17,519
Speaker 1: And today with TikTok being the premiere platform and also

1403
01:18:17,600 --> 01:18:20,320
Speaker 1: there's Instagram and Instagram wheels. To what degree are you

1404
01:18:20,479 --> 01:18:22,360
Speaker 1: active on those platforms.

1405
01:18:23,360 --> 01:18:26,480
Speaker 4: We're very active. I think you gotta.

1406
01:18:27,920 --> 01:18:30,080
Speaker 3: One, you gotta dance with who brung Ya, And I

1407
01:18:30,120 --> 01:18:33,960
Speaker 3: think the fact that we are an independent band supported

1408
01:18:34,000 --> 01:18:37,960
Speaker 3: by individuals, and those individuals watch us on social media

1409
01:18:38,479 --> 01:18:40,599
Speaker 3: and keep tabs on us and believe in us and

1410
01:18:40,640 --> 01:18:43,719
Speaker 3: bother to tune in, we always want to maintain that connection.

1411
01:18:44,320 --> 01:18:48,040
Speaker 2: To be honest, when we were first making the videos,

1412
01:18:48,760 --> 01:18:52,519
Speaker 2: it was just a practice tool. We didn't consider it

1413
01:18:52,560 --> 01:18:56,880
Speaker 2: to be something something real, Like we didn't really know

1414
01:18:57,400 --> 01:19:01,080
Speaker 2: if these viral video views, if million views on a

1415
01:19:01,200 --> 01:19:04,000
Speaker 2: video would actually translate to anything in the real world,

1416
01:19:04,520 --> 01:19:07,000
Speaker 2: like are we gonna Will we be able to sell

1417
01:19:07,000 --> 01:19:10,679
Speaker 2: tickets based on this? And it turns out that yes,

1418
01:19:11,640 --> 01:19:15,240
Speaker 2: it does, because once those videos went viral, like we

1419
01:19:16,880 --> 01:19:19,639
Speaker 2: the very next European tour that we went out on,

1420
01:19:19,760 --> 01:19:23,559
Speaker 2: which was like a twenty two show run, and twenty

1421
01:19:23,600 --> 01:19:26,240
Speaker 2: one show sold out of that tour, so it was

1422
01:19:26,280 --> 01:19:27,760
Speaker 2: like it was a very real thing.

1423
01:19:29,120 --> 01:19:32,439
Speaker 1: And to what degree do you interact and respawn to

1424
01:19:32,520 --> 01:19:38,680
Speaker 1: the fans and the people who watch these videos.

1425
01:19:40,320 --> 01:19:41,679
Speaker 4: It's an interesting balance.

1426
01:19:41,760 --> 01:19:43,720
Speaker 3: I like this question because I feel like it puts

1427
01:19:43,760 --> 01:19:48,280
Speaker 3: us a little bit in a hot seat. We try

1428
01:19:48,280 --> 01:19:50,439
Speaker 3: not to read the comments, but also we can't help

1429
01:19:50,439 --> 01:19:54,040
Speaker 3: but read the comments because we especially after the pandemic,

1430
01:19:54,080 --> 01:19:56,600
Speaker 3: we know and love these user names and we have

1431
01:19:57,760 --> 01:20:00,400
Speaker 3: you know, I mean to back up a little little bit.

1432
01:20:00,439 --> 01:20:03,160
Speaker 3: You know, during the pandemic, we live streamed what four

1433
01:20:03,240 --> 01:20:04,360
Speaker 3: or five times a week.

1434
01:20:05,760 --> 01:20:10,160
Speaker 2: Because I would say before the pandemic, we didn't interact

1435
01:20:10,200 --> 01:20:15,560
Speaker 2: with people directly much through the internet. Then the pandemic

1436
01:20:15,600 --> 01:20:20,200
Speaker 2: came along and we had already a huge online fan base.

1437
01:20:20,720 --> 01:20:24,240
Speaker 2: That saved us that we had a we had some

1438
01:20:24,439 --> 01:20:27,439
Speaker 2: people to turn to during the pandemic, and we were

1439
01:20:27,479 --> 01:20:30,479
Speaker 2: able to keep working and we would do live streaming

1440
01:20:30,520 --> 01:20:35,520
Speaker 2: and from then there. From there we were directly commenting

1441
01:20:35,640 --> 01:20:38,920
Speaker 2: and exchanging with people, and like we recognized the user

1442
01:20:39,000 --> 01:20:41,479
Speaker 2: names and we know who the people are, and we're talking,

1443
01:20:41,680 --> 01:20:44,799
Speaker 2: like talking on a daily basis with these people.

1444
01:20:45,840 --> 01:20:48,719
Speaker 1: And do you try to activate any of these people?

1445
01:20:48,760 --> 01:20:51,280
Speaker 1: Do you say hey, I'm coming to your town, bring

1446
01:20:51,320 --> 01:20:53,320
Speaker 1: your friends stuff like that, or do you keep it

1447
01:20:53,360 --> 01:20:54,040
Speaker 1: at a distance.

1448
01:20:56,360 --> 01:20:59,599
Speaker 4: It's a balance, you know. I think we're honestly learning.

1449
01:20:59,600 --> 01:21:06,799
Speaker 3: We're still learning how, yeah, how to how to interact

1450
01:21:06,800 --> 01:21:09,519
Speaker 3: in a real way because there is a fear I

1451
01:21:09,520 --> 01:21:11,719
Speaker 3: feel like you're kind of like we, like we spoke

1452
01:21:11,720 --> 01:21:14,519
Speaker 3: about earlier. You know, you're sort of like one bad

1453
01:21:14,520 --> 01:21:16,479
Speaker 3: egg away from throwing out the whole cart. And so

1454
01:21:16,520 --> 01:21:19,519
Speaker 3: I think there is fear about reading comments because it's hard.

1455
01:21:20,000 --> 01:21:24,519
Speaker 3: It's hard to read critical stuff from from people who

1456
01:21:24,560 --> 01:21:27,559
Speaker 3: are emboldened by anonymity. You know, people can say the

1457
01:21:27,560 --> 01:21:30,559
Speaker 3: most terrible shit online that you can't even like fathom.

1458
01:21:30,760 --> 01:21:32,240
Speaker 3: It's like if I was standing in front of you, you

1459
01:21:32,280 --> 01:21:34,559
Speaker 3: couldn't say this stuff to my face, like what.

1460
01:21:34,479 --> 01:21:35,040
Speaker 4: Are you doing?

1461
01:21:35,160 --> 01:21:35,719
Speaker 2: People could?

1462
01:21:35,920 --> 01:21:38,080
Speaker 4: Some Yeah, well some people could. That's true.

1463
01:21:39,479 --> 01:21:42,719
Speaker 1: Back at all, So back you know, like ten years ago,

1464
01:21:43,360 --> 01:21:45,920
Speaker 1: maybe a little bit longer. The end of the first decade.

1465
01:21:46,320 --> 01:21:48,840
Speaker 1: I used to call the heaters on the phone because

1466
01:21:48,880 --> 01:21:52,439
Speaker 1: everybody is findable. Wow, and I was on a streak

1467
01:21:52,479 --> 01:21:54,240
Speaker 1: of good experience. I call up saying, you know, this

1468
01:21:54,320 --> 01:21:56,320
Speaker 1: is Bob Left that you obviously have a big problem

1469
01:21:56,360 --> 01:21:58,559
Speaker 1: with me. Just tell me what it is, you know.

1470
01:21:59,240 --> 01:22:02,479
Speaker 1: But then you read some people who are just you know, rigid.

1471
01:22:02,560 --> 01:22:07,120
Speaker 1: But it was interesting. But let's assume you're going on

1472
01:22:07,160 --> 01:22:09,599
Speaker 1: a tour, making up a tour. You're going on twenty

1473
01:22:09,680 --> 01:22:14,680
Speaker 1: twenty three fall tour. Do you have everybody's emails addresses.

1474
01:22:14,920 --> 01:22:17,559
Speaker 1: How are you going to reach the lark in poth fans.

1475
01:22:19,080 --> 01:22:19,920
Speaker 4: It's a bit of both.

1476
01:22:19,960 --> 01:22:21,880
Speaker 3: I mean, I think that we have felt very protective

1477
01:22:21,920 --> 01:22:27,559
Speaker 3: about trying to have a direct connection to our fans

1478
01:22:27,640 --> 01:22:31,400
Speaker 3: because you know, perhaps there is a future in which

1479
01:22:31,439 --> 01:22:33,559
Speaker 3: there is no Facebook or Instagram and how do you

1480
01:22:33,600 --> 01:22:36,679
Speaker 3: reach these people. So we do have an email list,

1481
01:22:36,720 --> 01:22:40,479
Speaker 3: We do try to capture, you know, people's information so

1482
01:22:40,520 --> 01:22:42,800
Speaker 3: that we can let them know what's going on. But

1483
01:22:42,840 --> 01:22:44,760
Speaker 3: it is it's a little bit of a scary reality,

1484
01:22:44,880 --> 01:22:48,200
Speaker 3: you know, because we do rely on these platforms to

1485
01:22:49,040 --> 01:22:50,479
Speaker 3: get our message out there to people.

1486
01:22:50,640 --> 01:22:53,240
Speaker 4: So you bring up an interesting point.

1487
01:23:00,680 --> 01:23:03,840
Speaker 1: Okay, let's go back to the songs themselves. What you

1488
01:23:03,840 --> 01:23:07,200
Speaker 1: were in the lovell Sisters? Was it always original material?

1489
01:23:07,640 --> 01:23:10,160
Speaker 1: How did you start to write songs? How do you

1490
01:23:10,240 --> 01:23:12,200
Speaker 1: write songs? And how do you write songs today?

1491
01:23:12,840 --> 01:23:19,960
Speaker 2: Oh, the lovel Sisters was virtually no songs of our own.

1492
01:23:20,560 --> 01:23:24,720
Speaker 2: We did a lot of traditional numbers and towards the

1493
01:23:24,800 --> 01:23:28,280
Speaker 2: end of the Level Sisters was when we were really

1494
01:23:28,320 --> 01:23:32,320
Speaker 2: discovering the idea of songwriting. And Rebecca is really leading

1495
01:23:32,320 --> 01:23:34,720
Speaker 2: the charge with that. Rebecca still leads the charge with

1496
01:23:35,600 --> 01:23:36,800
Speaker 2: a lot of our songwriting.

1497
01:23:37,960 --> 01:23:42,840
Speaker 3: Yeah, and uh, I think that songwriting is just like

1498
01:23:44,280 --> 01:23:48,879
Speaker 3: you know, any other muscle. I think it does require strengthening, unless,

1499
01:23:48,960 --> 01:23:50,800
Speaker 3: of course, and we've said this before in the past,

1500
01:23:50,840 --> 01:23:53,000
Speaker 3: it's a little bit trite, but like unless you're Tom Petty,

1501
01:23:53,000 --> 01:23:57,040
Speaker 3: and Tom Petty just starts with mudcratch like writing friggin bangers,

1502
01:23:57,120 --> 01:23:59,479
Speaker 3: you know, from the jump. But I do think it's

1503
01:23:59,479 --> 01:24:02,120
Speaker 3: something that we that I personally have learned how to

1504
01:24:02,120 --> 01:24:04,759
Speaker 3: do better and better with time, such that I feel,

1505
01:24:04,800 --> 01:24:07,559
Speaker 3: you know, our most recent album, Blood Harmony has some

1506
01:24:07,600 --> 01:24:09,759
Speaker 3: of my most favorite songs that I've written, just strictly

1507
01:24:09,800 --> 01:24:12,439
Speaker 3: because I think, you know, you write a hundred songs

1508
01:24:12,439 --> 01:24:13,280
Speaker 3: in order to get one.

1509
01:24:14,760 --> 01:24:17,360
Speaker 1: Well, the question is do you write a hundred songs

1510
01:24:17,400 --> 01:24:17,920
Speaker 1: to get one?

1511
01:24:18,479 --> 01:24:19,800
Speaker 4: I do I have?

1512
01:24:21,080 --> 01:24:21,160
Speaker 2: So?

1513
01:24:21,720 --> 01:24:24,599
Speaker 1: Do you write out inspiration or do you sit down

1514
01:24:24,720 --> 01:24:26,479
Speaker 1: and say I have to write an now album? How

1515
01:24:26,520 --> 01:24:28,600
Speaker 1: do you do it?

1516
01:24:28,600 --> 01:24:29,639
Speaker 4: It's a bit of both.

1517
01:24:30,040 --> 01:24:33,160
Speaker 3: I think because we do tours so hard and I

1518
01:24:33,200 --> 01:24:37,680
Speaker 3: do sing so aggressively and ferociously during our shows, I

1519
01:24:37,720 --> 01:24:40,800
Speaker 3: do have to be very careful with vocal capital when

1520
01:24:40,800 --> 01:24:43,200
Speaker 3: we're touring, so I don't really write when we're touring,

1521
01:24:43,320 --> 01:24:45,960
Speaker 3: just because during the day, I'm usually like trying to

1522
01:24:46,000 --> 01:24:48,320
Speaker 3: limit how much I'm talking just to optimize for the

1523
01:24:48,360 --> 01:24:51,040
Speaker 3: show and protect the vocals that I can give to

1524
01:24:51,080 --> 01:24:54,040
Speaker 3: the people who've bought the tickets. So we do wind

1525
01:24:54,120 --> 01:24:57,720
Speaker 3: up having more of a seasonal approach, where we'll we'll

1526
01:24:57,720 --> 01:24:59,479
Speaker 3: be off the road for a second and get together

1527
01:24:59,520 --> 01:25:00,479
Speaker 3: a batch of songs.

1528
01:25:01,000 --> 01:25:04,559
Speaker 2: I feel like we like to write in preparation for

1529
01:25:04,680 --> 01:25:07,840
Speaker 2: an album because we do take a lot of what

1530
01:25:07,920 --> 01:25:11,840
Speaker 2: we've learned during the touring season and apply it to

1531
01:25:11,880 --> 01:25:15,000
Speaker 2: the next record. But Rebecca is writing all the time

1532
01:25:15,040 --> 01:25:18,879
Speaker 2: for fun, but those songs sometimes aren't necessarily for us

1533
01:25:18,880 --> 01:25:22,960
Speaker 2: is just working the creative muscle or writing from inspiration.

1534
01:25:23,160 --> 01:25:26,559
Speaker 2: But we do take quite a workman like approach when

1535
01:25:26,560 --> 01:25:29,920
Speaker 2: we're writing for an album, like we are writing today

1536
01:25:30,040 --> 01:25:34,719
Speaker 2: from ten am, you know, till we get like three

1537
01:25:34,800 --> 01:25:37,800
Speaker 2: or four ideas at least, or finish at least you know,

1538
01:25:37,840 --> 01:25:38,799
Speaker 2: two or three songs.

1539
01:25:39,040 --> 01:25:41,920
Speaker 3: And we also have to be careful because I'm definitely

1540
01:25:42,000 --> 01:25:45,519
Speaker 3: like the creative energy that is newest idea is the

1541
01:25:45,560 --> 01:25:48,080
Speaker 3: best idea, and so I get bored with things very quickly.

1542
01:25:48,160 --> 01:25:50,400
Speaker 3: So that's also where like we really have to wait

1543
01:25:50,479 --> 01:25:53,680
Speaker 3: to like, like, I'll be information gathering for months and

1544
01:25:53,720 --> 01:25:56,880
Speaker 3: I'll have like probably like fifty or sixty titles in

1545
01:25:56,920 --> 01:25:59,639
Speaker 3: my notebook, but I make myself wait to write them

1546
01:25:59,680 --> 01:26:03,439
Speaker 3: because otherwise, by the time it comes to getting into

1547
01:26:03,439 --> 01:26:06,519
Speaker 3: the studio, I'll be like so bored with these songs

1548
01:26:06,560 --> 01:26:09,439
Speaker 3: that they'll just be wasted in the end. There's so

1549
01:26:09,520 --> 01:26:10,759
Speaker 3: much waste in the creative process.

1550
01:26:10,760 --> 01:26:12,240
Speaker 4: I feel like, how about.

1551
01:26:12,000 --> 01:26:15,640
Speaker 1: The Nashville model of writing sessions with third parties? You

1552
01:26:15,680 --> 01:26:17,200
Speaker 1: ever do that?

1553
01:26:17,200 --> 01:26:20,760
Speaker 3: That gives me anxiety personally. We have some we have

1554
01:26:20,880 --> 01:26:23,800
Speaker 3: had some, and we've had had some successful experiences.

1555
01:26:23,840 --> 01:26:24,880
Speaker 4: But I do think.

1556
01:26:26,400 --> 01:26:28,280
Speaker 3: That's that's somewhere I think I would like to learn.

1557
01:26:28,800 --> 01:26:31,880
Speaker 3: I would like to to grow a bit, because I

1558
01:26:31,920 --> 01:26:36,000
Speaker 3: do think that the there are some incredibly special songwriters

1559
01:26:36,000 --> 01:26:40,360
Speaker 3: in Nashville who who are really able to collaborate to

1560
01:26:40,400 --> 01:26:43,160
Speaker 3: the benefit of the music. So I would never want

1561
01:26:43,200 --> 01:26:47,280
Speaker 3: to self isolate just because I like had stage fright

1562
01:26:47,439 --> 01:26:49,920
Speaker 3: or writers right or something. You know.

1563
01:26:49,960 --> 01:26:51,280
Speaker 4: I'd like to try and.

1564
01:26:51,280 --> 01:26:54,240
Speaker 2: To be honest, writing together the two of us is

1565
01:26:54,560 --> 01:26:58,519
Speaker 2: a fairly new thing as well. We did it very

1566
01:26:58,560 --> 01:27:02,360
Speaker 2: successfully with this last record, Blood Harmony, and that's the

1567
01:27:02,400 --> 01:27:05,400
Speaker 2: first one. We've really collaborated from the ground up on

1568
01:27:05,439 --> 01:27:07,880
Speaker 2: a lot of the songs on the record, and really

1569
01:27:08,280 --> 01:27:12,920
Speaker 2: heavily collaborated on all of all of them the editing process, especially.

1570
01:27:13,680 --> 01:27:16,760
Speaker 1: Now speaking of Tom Petty's got that great line, the

1571
01:27:16,800 --> 01:27:20,880
Speaker 1: record company didn't hear a single. To what degree do

1572
01:27:20,920 --> 01:27:25,439
Speaker 1: you feel internal pressure to write that one song that's

1573
01:27:25,479 --> 01:27:30,559
Speaker 1: going to be relatively ubiquitous and push you into another league.

1574
01:27:31,880 --> 01:27:35,160
Speaker 3: I love this question because I think there is no

1575
01:27:35,280 --> 01:27:38,679
Speaker 3: right answer from where we currently sit.

1576
01:27:40,000 --> 01:27:41,120
Speaker 4: I think.

1577
01:27:42,840 --> 01:27:47,040
Speaker 3: There is no pressure to write a hit one because

1578
01:27:47,080 --> 01:27:52,120
Speaker 3: I think the days of hits are are ever shrinking

1579
01:27:52,160 --> 01:27:55,880
Speaker 3: for bands like us. I think the compromises that one

1580
01:27:56,000 --> 01:27:59,120
Speaker 3: sometimes must make in order to have a hit song

1581
01:28:00,160 --> 01:28:08,000
Speaker 3: outweighs the pros. That's that's that's where we're coming at

1582
01:28:08,000 --> 01:28:11,719
Speaker 3: it for now. I think that we have definitely built

1583
01:28:11,760 --> 01:28:17,760
Speaker 3: a career based on context and bodies of work with

1584
01:28:17,800 --> 01:28:22,919
Speaker 3: our fans. I think our biggest concern when when curating

1585
01:28:22,920 --> 01:28:25,880
Speaker 3: a body of work for an album has been that

1586
01:28:26,000 --> 01:28:30,439
Speaker 3: is an entertaining listen from tip to tail, Because one

1587
01:28:30,439 --> 01:28:31,880
Speaker 3: of my least favorite things is to put on an

1588
01:28:31,880 --> 01:28:34,000
Speaker 3: album where it's like you're just skipping through to get

1589
01:28:34,040 --> 01:28:36,920
Speaker 3: to the hits, or there's just a lot of filler.

1590
01:28:37,400 --> 01:28:40,920
Speaker 3: So I think, obviously we've not written our best record

1591
01:28:40,920 --> 01:28:42,440
Speaker 3: are you know, who's.

1592
01:28:42,200 --> 01:28:43,519
Speaker 4: To say what our best record is?

1593
01:28:44,160 --> 01:28:46,439
Speaker 3: But I do think that with every album that we've made,

1594
01:28:46,479 --> 01:28:50,040
Speaker 3: we've gotten closer to having every song at least be

1595
01:28:50,080 --> 01:28:51,160
Speaker 3: an entertaining listen.

1596
01:28:52,640 --> 01:28:56,320
Speaker 1: However, people don't realize when you write a lot, we

1597
01:28:56,560 --> 01:29:01,000
Speaker 1: create a lot. You know, when you hit an eleven, okay,

1598
01:29:01,280 --> 01:29:04,240
Speaker 1: and you can't do it every day, but you know

1599
01:29:04,439 --> 01:29:07,719
Speaker 1: when you get there. So do you have a couple

1600
01:29:07,800 --> 01:29:11,479
Speaker 1: of songs you say, yeah, irrelevant of acceptance, you know,

1601
01:29:11,680 --> 01:29:15,240
Speaker 1: streams on Spotify when you're writing in and you go, yeah,

1602
01:29:15,280 --> 01:29:17,000
Speaker 1: this is the one, this is going to resonate.

1603
01:29:19,520 --> 01:29:25,320
Speaker 4: That's so interesting. I don't know exactly how to respond.

1604
01:29:27,160 --> 01:29:31,600
Speaker 2: I think probably we've never written that song. Fully, I

1605
01:29:31,600 --> 01:29:34,240
Speaker 2: think that we have hit on it, hit on songs

1606
01:29:34,240 --> 01:29:37,519
Speaker 2: that I feel like, this is a this is a

1607
01:29:37,560 --> 01:29:40,920
Speaker 2: good song, and I I love what this song has

1608
01:29:40,960 --> 01:29:44,000
Speaker 2: to say, and this song is true and authentic to us,

1609
01:29:44,080 --> 01:29:46,200
Speaker 2: and and I like and I love that.

1610
01:29:49,200 --> 01:29:50,680
Speaker 4: It's it's also subjective.

1611
01:29:51,280 --> 01:29:54,120
Speaker 3: Yeah, that's what That's what I find challenging to answer,

1612
01:29:54,200 --> 01:29:59,800
Speaker 3: is because I think one of the things you have

1613
01:29:59,800 --> 01:30:04,160
Speaker 3: to consider as a human is that you are involved

1614
01:30:04,160 --> 01:30:07,880
Speaker 3: in the process, right. So it's like when you're a

1615
01:30:07,920 --> 01:30:11,599
Speaker 3: writer and you're writing your thing, you have emotional connection

1616
01:30:11,760 --> 01:30:15,479
Speaker 3: to it, so you can give it extra space or

1617
01:30:15,520 --> 01:30:20,000
Speaker 3: love it especially hard when maybe it's not the best song.

1618
01:30:20,320 --> 01:30:22,200
Speaker 3: So really, I don't know that I would ever feel

1619
01:30:22,240 --> 01:30:30,240
Speaker 3: competent in separating my own emotional ties to the art

1620
01:30:30,360 --> 01:30:34,839
Speaker 3: to really have an objective viewpoint on its quote unquote quality.

1621
01:30:36,560 --> 01:30:39,439
Speaker 1: Okay, shifting gears a little bit. I was talking to

1622
01:30:39,520 --> 01:30:42,120
Speaker 1: your manager has got a lot of experience, Peter Leak,

1623
01:30:42,560 --> 01:30:45,120
Speaker 1: and he was talking about direction that you made a

1624
01:30:45,200 --> 01:30:49,920
Speaker 1: record with restoration hardware. How did Peter help focus you

1625
01:30:49,960 --> 01:30:51,040
Speaker 1: and direct your career?

1626
01:30:53,240 --> 01:30:56,760
Speaker 4: Oh? I like this, what would you have to say this?

1627
01:30:57,720 --> 01:31:01,439
Speaker 2: In meeting Peter Leak and also Anipe it works side

1628
01:31:01,439 --> 01:31:06,360
Speaker 2: by side together, we found people who were just one

1629
01:31:06,479 --> 01:31:09,880
Speaker 2: hundred percent supportive and that is what we needed. And

1630
01:31:09,920 --> 01:31:13,479
Speaker 2: they have really gone along with us on the things

1631
01:31:13,520 --> 01:31:17,599
Speaker 2: that we've wanted to undertake that have created so much

1632
01:31:17,680 --> 01:31:21,599
Speaker 2: more work for them, and we so appreciate that they

1633
01:31:21,680 --> 01:31:26,040
Speaker 2: have been really instrumental in helping us create our own

1634
01:31:26,120 --> 01:31:31,519
Speaker 2: record label. And that has given us the freedom to

1635
01:31:31,600 --> 01:31:35,240
Speaker 2: be able to go in all of these different directions

1636
01:31:35,280 --> 01:31:39,800
Speaker 2: that we've wanted to go. I mean, their support has

1637
01:31:39,960 --> 01:31:42,799
Speaker 2: made it possible for us to go further.

1638
01:31:44,560 --> 01:31:47,240
Speaker 1: Now, when I went to see you live, I found

1639
01:31:47,240 --> 01:31:50,960
Speaker 1: the music very reminiscent of late sixties and early seventies

1640
01:31:51,040 --> 01:31:54,400
Speaker 1: blues rock to what deg we Are you versed in

1641
01:31:54,439 --> 01:31:58,960
Speaker 1: the music of those artists.

1642
01:31:58,720 --> 01:31:59,960
Speaker 4: Yeah, very well versed.

1643
01:32:00,040 --> 01:32:02,920
Speaker 3: I think I've personally found a lot of passion for

1644
01:32:03,520 --> 01:32:08,000
Speaker 3: researching turn of the century blues music and allowing that

1645
01:32:08,200 --> 01:32:13,880
Speaker 3: to filter into my understanding of rock en roll and

1646
01:32:14,360 --> 01:32:15,639
Speaker 3: blues rock and roll from.

1647
01:32:15,520 --> 01:32:16,680
Speaker 4: The sixties and seventies.

1648
01:32:16,960 --> 01:32:22,400
Speaker 3: So yes, definitely have listened, listened a lot, listened extensively.

1649
01:32:22,600 --> 01:32:24,599
Speaker 1: Okay, I'll throw out some band names. If you listened

1650
01:32:24,600 --> 01:32:29,240
Speaker 1: to fog Hat, yeah, okay, have you listened to Mountain?

1651
01:32:30,680 --> 01:32:31,759
Speaker 4: I have listened to Mountain.

1652
01:32:31,800 --> 01:32:34,360
Speaker 3: I don't know their records as much, but we've done

1653
01:32:34,360 --> 01:32:36,120
Speaker 3: a couple of fog Hat covers. I don't think we

1654
01:32:36,160 --> 01:32:38,680
Speaker 3: actually ever posted them, but I dig fog Hat, I

1655
01:32:38,720 --> 01:32:40,160
Speaker 3: dig Mountain, but I'm not as well.

1656
01:32:40,200 --> 01:32:42,439
Speaker 1: First, okay, what fog Hat covers were they?

1657
01:32:43,360 --> 01:32:47,920
Speaker 4: We did Chevrolet that was my favorite.

1658
01:32:48,200 --> 01:32:52,760
Speaker 1: Okay, And what about the trio British guitarist Jeff Beck,

1659
01:32:52,800 --> 01:32:57,280
Speaker 1: who unfortunately recently passed Jimmy Page and Eric Clapton. To

1660
01:32:57,320 --> 01:32:59,879
Speaker 1: what degree do you know their work extends?

1661
01:33:00,760 --> 01:33:03,639
Speaker 4: Yeah, big fans of all three of their playing.

1662
01:33:05,120 --> 01:33:09,160
Speaker 1: Okay, So if you had to take two records from

1663
01:33:09,200 --> 01:33:12,120
Speaker 1: that world, what albums would you pick?

1664
01:33:14,240 --> 01:33:15,439
Speaker 4: Man, that's a good question.

1665
01:33:16,760 --> 01:33:21,000
Speaker 3: Are we allowed to use Zeppelin for Jimmy Page?

1666
01:33:21,720 --> 01:33:23,719
Speaker 1: Absolutely, we can continue Zeppelin.

1667
01:33:24,120 --> 01:33:26,879
Speaker 4: Let's see.

1668
01:33:27,120 --> 01:33:31,679
Speaker 3: I think Slowhand and I think probably Zeppelin four.

1669
01:33:33,439 --> 01:33:35,800
Speaker 1: Okay, what are your favorite tracks on Zeppelin four?

1670
01:33:39,479 --> 01:33:42,840
Speaker 3: That's hard to answer, because again, I think from our perspective,

1671
01:33:44,160 --> 01:33:45,519
Speaker 3: it's the album as a whole.

1672
01:33:45,600 --> 01:33:47,960
Speaker 4: It's not singles, it's not tracks.

1673
01:33:48,000 --> 01:33:51,519
Speaker 3: It's like, oh yeah, just drop a needle and listen

1674
01:33:51,560 --> 01:33:52,280
Speaker 3: through the whole thing.

1675
01:33:52,320 --> 01:33:55,320
Speaker 4: And that is a big difference. It is a big difference.

1676
01:33:55,640 --> 01:33:59,200
Speaker 1: Okay. But if I'm listening to that album, rock and

1677
01:33:59,280 --> 01:34:03,799
Speaker 1: Rolling Black really don't do it for me. The Battle

1678
01:34:03,880 --> 01:34:07,120
Speaker 1: of Evermore and when the Levy breaks, I could listen

1679
01:34:07,160 --> 01:34:10,959
Speaker 1: to those every day and going to California, Joe.

1680
01:34:10,800 --> 01:34:13,120
Speaker 3: Dog No, But I do love that you're picking the

1681
01:34:13,160 --> 01:34:14,280
Speaker 3: mandolin tracks though.

1682
01:34:14,320 --> 01:34:16,240
Speaker 4: Good your hat off hat off.

1683
01:34:16,920 --> 01:34:20,000
Speaker 1: Well, you know, I don't want to get too much

1684
01:34:20,000 --> 01:34:23,639
Speaker 1: of a discussion of Zeppelin. I just don't find Black

1685
01:34:23,680 --> 01:34:27,160
Speaker 1: Dog innovative enough. You know, it's got the riff. If

1686
01:34:27,200 --> 01:34:30,600
Speaker 1: I'm going with Zeppelin, you know, the first album with

1687
01:34:30,960 --> 01:34:33,400
Speaker 1: Good Times Bad Times. I'd rather listen to that than

1688
01:34:33,439 --> 01:34:36,200
Speaker 1: Black Dog, although it's not as fast a record, but

1689
01:34:36,560 --> 01:34:41,519
Speaker 1: you know, slowhand that's an interesting album too. So have

1690
01:34:41,640 --> 01:34:44,880
Speaker 1: you met all those people? No?

1691
01:34:45,320 --> 01:34:48,599
Speaker 3: Actually, and I'm a little bit devastated by the loss

1692
01:34:48,640 --> 01:34:53,479
Speaker 3: of I'm like so many people of Jeff Beck because Tyler,

1693
01:34:53,520 --> 01:34:57,839
Speaker 3: my husband, was one of Jeff's proteges, and I missed.

1694
01:34:57,920 --> 01:35:00,240
Speaker 3: We were actually out on tour and so he came

1695
01:35:00,320 --> 01:35:03,360
Speaker 3: through Nashville and I didn't realize that I was missing

1696
01:35:03,360 --> 01:35:06,640
Speaker 3: my opportunity to meet him. That's that's very hard. But

1697
01:35:06,800 --> 01:35:09,839
Speaker 3: we've never met any of these cats. We've seen Clapton

1698
01:35:09,960 --> 01:35:13,400
Speaker 3: live out in Los Angeles. I've never seen Jimmy Page

1699
01:35:13,439 --> 01:35:14,880
Speaker 3: and I never got to see Jeff live.

1700
01:35:15,840 --> 01:35:17,559
Speaker 2: We opened for Robert Plant once.

1701
01:35:17,840 --> 01:35:23,080
Speaker 1: Yeah, Okay, tell me more about after the Lovell Sisters,

1702
01:35:23,120 --> 01:35:27,520
Speaker 1: when you became side people. How did that come about

1703
01:35:27,720 --> 01:35:30,640
Speaker 1: and how did you integrate into these acts?

1704
01:35:32,240 --> 01:35:36,479
Speaker 3: So Initially, I think our first side gig was with

1705
01:35:36,840 --> 01:35:37,840
Speaker 3: Elvis Costello.

1706
01:35:38,200 --> 01:35:41,439
Speaker 2: What a way to start, I know, we had no idea.

1707
01:35:42,360 --> 01:35:45,200
Speaker 3: So again, it was at merle Fest, and this would

1708
01:35:45,200 --> 01:35:50,720
Speaker 3: have been I guess twenty seventeen or eighteen.

1709
01:35:52,160 --> 01:35:53,680
Speaker 4: I believe it's thereabouts.

1710
01:35:54,240 --> 01:35:57,639
Speaker 3: Actually twenty sixteen, yeah, right, twenty fifteen, twenty.

1711
01:35:57,439 --> 01:35:59,920
Speaker 2: Sixteen, now this is this was back in two thousand

1712
01:35:59,920 --> 01:36:00,479
Speaker 2: and seven.

1713
01:36:01,280 --> 01:36:04,439
Speaker 3: Oh, Lord, I get my dates, so you're absolutely right. Yeah,

1714
01:36:04,479 --> 01:36:08,200
Speaker 3: we would have met Costello for the first time in seven. Golly,

1715
01:36:08,360 --> 01:36:09,760
Speaker 3: that was a big margin of error.

1716
01:36:09,840 --> 01:36:10,120
Speaker 4: Lord.

1717
01:36:11,760 --> 01:36:15,080
Speaker 3: And so they had a big all star jam on stage,

1718
01:36:15,200 --> 01:36:18,599
Speaker 3: and and Elvis got up, and we were familiar with Elvis' music,

1719
01:36:18,600 --> 01:36:21,280
Speaker 3: but hadn't really connected who it was who was on

1720
01:36:21,360 --> 01:36:25,040
Speaker 3: stage singing, because I didn't recognize that my amish true

1721
01:36:25,040 --> 01:36:26,639
Speaker 3: cover as the man that was up singing.

1722
01:36:26,479 --> 01:36:29,360
Speaker 4: A gospel tune. But we dashed across stage.

1723
01:36:29,080 --> 01:36:31,559
Speaker 3: In this jam and started seeing harmonies to Elvis on

1724
01:36:32,400 --> 01:36:36,040
Speaker 3: like Angel Band or some traditional gospel tune, and we

1725
01:36:36,439 --> 01:36:39,439
Speaker 3: sort of struck up an unlikely friendship. And he has

1726
01:36:39,479 --> 01:36:42,519
Speaker 3: been a really true mentor to us and invited us

1727
01:36:42,560 --> 01:36:44,840
Speaker 3: out to open up for him on a few occasions

1728
01:36:45,600 --> 01:36:47,040
Speaker 3: and Rebecca was just.

1729
01:36:47,080 --> 01:36:51,160
Speaker 2: Very bold, and they had they had been writing each

1730
01:36:51,200 --> 01:36:56,080
Speaker 2: other letters and emails, just talking about music, and Rebecca

1731
01:36:56,160 --> 01:36:58,880
Speaker 2: had seen that he was playing in Europe and doing

1732
01:36:58,880 --> 01:37:01,680
Speaker 2: a solo tour and said, Hey, I see that you

1733
01:37:01,760 --> 01:37:03,640
Speaker 2: don't have a band. Would you like us to be

1734
01:37:03,680 --> 01:37:07,880
Speaker 2: your band? And that was how it started, originally us

1735
01:37:08,040 --> 01:37:10,840
Speaker 2: backing him up. He's like, you know what, sure, come

1736
01:37:10,840 --> 01:37:11,920
Speaker 2: on out and be my band.

1737
01:37:13,040 --> 01:37:15,559
Speaker 1: Okay, let's focus on that. To what degree are you

1738
01:37:15,680 --> 01:37:19,080
Speaker 1: bold and aggressive, Rebecca and making opportunities?

1739
01:37:20,200 --> 01:37:21,400
Speaker 4: Oh? Very bold?

1740
01:37:22,320 --> 01:37:26,640
Speaker 3: I mean I think it's so trite and tired, but

1741
01:37:26,800 --> 01:37:28,600
Speaker 3: like you miss all the shots, you don't take, one

1742
01:37:28,640 --> 01:37:30,120
Speaker 3: hundred percent of the shots you don't take.

1743
01:37:31,320 --> 01:37:33,200
Speaker 4: And I think.

1744
01:37:33,120 --> 01:37:36,200
Speaker 3: Especially there is a power of the idealism of your

1745
01:37:36,320 --> 01:37:40,720
Speaker 3: early twenties too, where it's like you feel unstoppable man,

1746
01:37:40,880 --> 01:37:44,880
Speaker 3: like I'm never gonna die, I'm gonna gun for it all,

1747
01:37:45,479 --> 01:37:47,200
Speaker 3: and that has really served us well. But I think

1748
01:37:47,240 --> 01:37:51,519
Speaker 3: also like being motivated by love, by a joyful love

1749
01:37:51,560 --> 01:37:53,800
Speaker 3: of music, has really opened a lot of doors that

1750
01:37:53,880 --> 01:37:55,759
Speaker 3: otherwise wouldn't have opened.

1751
01:37:56,040 --> 01:37:58,120
Speaker 1: Tell me a couple of things you did in the

1752
01:37:58,200 --> 01:38:01,280
Speaker 1: last couple of years that you would consider bold trying

1753
01:38:01,280 --> 01:38:04,439
Speaker 1: to open the door or get it move up the ladder.

1754
01:38:05,040 --> 01:38:10,040
Speaker 3: Oh, let's think about this as recently as and you

1755
01:38:10,120 --> 01:38:13,800
Speaker 3: were there. You saw Mike Kimble and Steve f Roni

1756
01:38:13,880 --> 01:38:18,080
Speaker 3: on stage, and I I have to say, I think

1757
01:38:18,080 --> 01:38:20,280
Speaker 3: that Steve Roni is one of the biggest hearts on

1758
01:38:20,320 --> 01:38:20,879
Speaker 3: this planet.

1759
01:38:20,920 --> 01:38:22,040
Speaker 4: He's an incredible human.

1760
01:38:22,720 --> 01:38:26,240
Speaker 3: But we met those two gentlemen back in the day

1761
01:38:26,439 --> 01:38:30,240
Speaker 3: for a Music Cares event from mister Tom Petty. We

1762
01:38:30,240 --> 01:38:33,000
Speaker 3: were part of the backing band through Elvis Costello. We

1763
01:38:33,080 --> 01:38:36,280
Speaker 3: met t Bone Burnette and t Boone. Burnette was looking

1764
01:38:36,320 --> 01:38:39,680
Speaker 3: for some musicians to take part as as part of

1765
01:38:39,720 --> 01:38:42,679
Speaker 3: the house band, so we were hired to play mandolin

1766
01:38:42,720 --> 01:38:44,840
Speaker 3: an acoustic guitar, and Megan was going to play dobro

1767
01:38:44,960 --> 01:38:48,240
Speaker 3: and lap steel and we sang BGVS. So we crossed

1768
01:38:48,280 --> 01:38:51,519
Speaker 3: paths with with both Mike and Steve at that event,

1769
01:38:51,960 --> 01:38:55,040
Speaker 3: and being huge Petty fans, we were of course just

1770
01:38:55,160 --> 01:38:59,040
Speaker 3: like tripping over ourselves, but we we sort of struck

1771
01:38:59,120 --> 01:39:03,800
Speaker 3: up some friendship again and ahead of our Los Angeles show.

1772
01:39:04,680 --> 01:39:08,519
Speaker 3: I've only ever texted Mike like on his birthday just

1773
01:39:08,560 --> 01:39:11,080
Speaker 3: to wish him happy birthday, but I reached out to

1774
01:39:11,160 --> 01:39:13,320
Speaker 3: him and said like, Hey, we're coming through, We're playing

1775
01:39:13,320 --> 01:39:15,720
Speaker 3: the Fonda. Would you be interested in coming out as

1776
01:39:15,760 --> 01:39:18,920
Speaker 3: our guest? And he said yeah, hell yahad what are

1777
01:39:18,920 --> 01:39:19,360
Speaker 3: we playing?

1778
01:39:20,160 --> 01:39:21,759
Speaker 4: And I was so stuck.

1779
01:39:21,800 --> 01:39:25,000
Speaker 3: And this is literally like probably maybe six or seven

1780
01:39:25,080 --> 01:39:27,840
Speaker 3: days ahead of the show, and I immediately just started

1781
01:39:27,840 --> 01:39:30,479
Speaker 3: frantically screenshotting the text and sending it to Meg.

1782
01:39:30,360 --> 01:39:32,120
Speaker 4: And I'm like, oh my god, what do we suggest?

1783
01:39:32,200 --> 01:39:36,040
Speaker 3: And you know, we shot out some ideas and both

1784
01:39:36,200 --> 01:39:38,519
Speaker 3: both Steve and Mike came out and sat in with us.

1785
01:39:38,560 --> 01:39:42,040
Speaker 3: And I never would have believed if you told me

1786
01:39:42,520 --> 01:39:44,639
Speaker 3: two weeks ahead of the show that we would have

1787
01:39:46,640 --> 01:39:49,439
Speaker 3: the Heartbreakers on stage with us playing a Tom Petty tune,

1788
01:39:49,439 --> 01:39:50,360
Speaker 3: that that was going to happen.

1789
01:39:50,400 --> 01:39:51,320
Speaker 4: It was so special.

1790
01:39:52,520 --> 01:39:55,280
Speaker 1: Okay, what is an ask you're afraid to ask, but

1791
01:39:55,400 --> 01:39:56,080
Speaker 1: would like to.

1792
01:39:58,600 --> 01:39:59,360
Speaker 4: Just in general?

1793
01:40:00,400 --> 01:40:06,639
Speaker 3: Yeah, mmm, man, this could go in so many different directions.

1794
01:40:06,640 --> 01:40:09,600
Speaker 3: I love the broad nature of the question, so to

1795
01:40:09,640 --> 01:40:17,320
Speaker 3: see what comes to your mind.

1796
01:40:18,439 --> 01:40:23,080
Speaker 2: I mean, we've over the years talked a lot about

1797
01:40:23,320 --> 01:40:27,040
Speaker 2: our respect for Bonnie Ray and how much we would

1798
01:40:27,760 --> 01:40:31,920
Speaker 2: love to do something with her, and we probably could

1799
01:40:32,000 --> 01:40:33,439
Speaker 2: find a way to reach her.

1800
01:40:34,600 --> 01:40:37,240
Speaker 4: I feel like that would be exceptional.

1801
01:40:37,320 --> 01:40:40,320
Speaker 3: I think to do like an all female review, like

1802
01:40:40,479 --> 01:40:43,960
Speaker 3: do something with some dueling slides, oh Man, with Bonnie Ray,

1803
01:40:44,080 --> 01:40:47,960
Speaker 3: with Joan Jet, with Melissa Ethridge, with Eryl Crowe, with

1804
01:40:48,600 --> 01:40:49,679
Speaker 3: who else should we add?

1805
01:40:51,720 --> 01:40:52,080
Speaker 4: Man?

1806
01:40:53,880 --> 01:40:55,320
Speaker 1: I think that's a pretty good list.

1807
01:40:55,400 --> 01:40:56,480
Speaker 2: Pretty good.

1808
01:40:58,080 --> 01:41:01,639
Speaker 1: Let me just focus on this period of time where

1809
01:41:01,680 --> 01:41:05,040
Speaker 1: you are Lark and Poe and you're wondering whether you're

1810
01:41:05,240 --> 01:41:08,080
Speaker 1: side people or whether you're going to be an act?

1811
01:41:08,280 --> 01:41:11,400
Speaker 1: Is Lark and Poe? You mentioned Keith Urban, you mentioned

1812
01:41:11,439 --> 01:41:14,400
Speaker 1: these other racks. What acts did you work with and

1813
01:41:14,479 --> 01:41:16,040
Speaker 1: how extensive was that work?

1814
01:41:17,920 --> 01:41:21,479
Speaker 3: Yeah, So, you know, outside of doing on again, off

1815
01:41:21,479 --> 01:41:25,559
Speaker 3: again tours with with Elvis Costello, we also picked up

1816
01:41:25,600 --> 01:41:29,240
Speaker 3: work with Christian Bush, who is one half of sugar Land,

1817
01:41:29,280 --> 01:41:32,240
Speaker 3: and he's Atlanta based and so through the scene he

1818
01:41:32,280 --> 01:41:35,000
Speaker 3: was aware of our our musicianship. We you know, we

1819
01:41:35,080 --> 01:41:39,200
Speaker 3: did a lot of early work, you know, and Decatur

1820
01:41:39,320 --> 01:41:42,000
Speaker 3: in and around Atlanta. Eddie's addic and sort of the

1821
01:41:42,000 --> 01:41:45,040
Speaker 3: stomping grounds of the singer songwriter scene. So he actually

1822
01:41:45,120 --> 01:41:48,120
Speaker 3: hired us to come out for his solo project and

1823
01:41:48,160 --> 01:41:50,880
Speaker 3: he gave us a lot of work like twenty sixteen,

1824
01:41:50,920 --> 01:41:53,920
Speaker 3: twenty seventeen that helped pay our bills, and we learned

1825
01:41:53,960 --> 01:41:56,360
Speaker 3: so much actually getting to watch him as a bandleader

1826
01:41:56,439 --> 01:41:58,040
Speaker 3: and how he integrated with his people.

1827
01:41:58,240 --> 01:41:59,080
Speaker 4: Very inspirational.

1828
01:42:00,520 --> 01:42:04,479
Speaker 2: And then after that Connor Oberst which eyes.

1829
01:42:04,600 --> 01:42:06,160
Speaker 4: Yeah, that was a cool experience.

1830
01:42:06,439 --> 01:42:11,400
Speaker 2: Yeah we did. I can't even remember a few months

1831
01:42:11,439 --> 01:42:11,840
Speaker 2: with him.

1832
01:42:12,080 --> 01:42:15,320
Speaker 1: Yeah, how did that connection even happen?

1833
01:42:15,560 --> 01:42:18,479
Speaker 3: Yeah, it's I was actually just trying to remember and

1834
01:42:18,479 --> 01:42:23,080
Speaker 3: and I just made I remember. So again, t Bone

1835
01:42:23,080 --> 01:42:26,280
Speaker 3: Burnett invited us. Well, let me think about this. We

1836
01:42:26,280 --> 01:42:31,080
Speaker 3: were in Los Angeles working on our album Ken and

1837
01:42:31,320 --> 01:42:35,680
Speaker 3: Elvis Costello was in town at Capitol Records and they

1838
01:42:35,680 --> 01:42:38,240
Speaker 3: were doing the New Basement Tapes. So it was that

1839
01:42:38,360 --> 01:42:43,080
Speaker 3: all star cast of individuals cutting live and so I,

1840
01:42:43,160 --> 01:42:44,840
Speaker 3: you know, just sort of on a whim text at

1841
01:42:44,880 --> 01:42:46,800
Speaker 3: Elvis like, oh my gosh, are you in town. We're

1842
01:42:46,800 --> 01:42:48,960
Speaker 3: in town making our record. What are you all up to?

1843
01:42:50,479 --> 01:42:53,240
Speaker 4: Do you need any vgvs?

1844
01:42:53,840 --> 01:42:55,840
Speaker 3: And so they invited us over to come and play

1845
01:42:55,840 --> 01:42:58,400
Speaker 3: mandolin and sing some some background vocals for the New

1846
01:42:58,439 --> 01:43:01,960
Speaker 3: Basement Tapes. And so we met Taylor Goldsmith from Dawes

1847
01:43:02,680 --> 01:43:05,839
Speaker 3: and a handful of folks and Marcus Mumford and Rihanna

1848
01:43:05,880 --> 01:43:10,640
Speaker 3: geedd Ins and just sort of found some like minded individuals.

1849
01:43:11,120 --> 01:43:15,320
Speaker 3: And Dawes was doing some work with Connor Oburst. They

1850
01:43:15,360 --> 01:43:19,160
Speaker 3: were his band, yeah, his Upside Down Mountain tour, and

1851
01:43:19,240 --> 01:43:23,799
Speaker 3: so they were doing a Letterman and they needed additional players,

1852
01:43:24,360 --> 01:43:27,719
Speaker 3: and so in order to get sort of all worked

1853
01:43:27,800 --> 01:43:29,760
Speaker 3: up for the late night appearance, we went out on

1854
01:43:29,800 --> 01:43:33,080
Speaker 3: the road and acted as the band for Connor and

1855
01:43:33,160 --> 01:43:36,120
Speaker 3: it's some really interesting work. I think I played mostly mandolin,

1856
01:43:36,160 --> 01:43:38,160
Speaker 3: which was sort of an out liar for me at

1857
01:43:38,160 --> 01:43:38,519
Speaker 3: that time, and.

1858
01:43:38,520 --> 01:43:42,400
Speaker 2: We were seeing the vocal harmonies that First Aid Kit

1859
01:43:42,520 --> 01:43:43,799
Speaker 2: had recorded on his record.

1860
01:43:45,080 --> 01:43:47,600
Speaker 1: Okay, if you go to your Wikipedia page, not that

1861
01:43:47,680 --> 01:43:51,000
Speaker 1: I always rely on it, and I'm sure that you

1862
01:43:51,080 --> 01:43:55,639
Speaker 1: can tell when when the act itself was involved. There's

1863
01:43:55,680 --> 01:43:59,880
Speaker 1: this list of all these accomplishments. Now you talk about

1864
01:44:00,160 --> 01:44:04,400
Speaker 1: very Home Companion. Even Garrison Keeler is out of that

1865
01:44:04,600 --> 01:44:10,680
Speaker 1: and the whole thing is imploding. But people who've consistently

1866
01:44:10,720 --> 01:44:14,960
Speaker 1: been creative know you think about your big break and

1867
01:44:15,000 --> 01:44:17,559
Speaker 1: then you achieve that you realize it's not that big,

1868
01:44:18,240 --> 01:44:22,519
Speaker 1: and you also realize things you may not even want

1869
01:44:22,520 --> 01:44:26,240
Speaker 1: it to do end up paying dividends. So you know,

1870
01:44:26,280 --> 01:44:29,200
Speaker 1: I can read a list of all this stuff, But

1871
01:44:29,560 --> 01:44:32,400
Speaker 1: what has moved the needle for you? And what is

1872
01:44:32,439 --> 01:44:35,519
Speaker 1: it that would move push it over the limit?

1873
01:44:40,160 --> 01:44:45,160
Speaker 2: You hit the nail on the head that it's wonderful

1874
01:44:45,240 --> 01:44:48,200
Speaker 2: to get a Grammy nomination, But when it comes right

1875
01:44:48,240 --> 01:44:52,759
Speaker 2: down to it, it doesn't. It doesn't really mean anything

1876
01:44:53,439 --> 01:44:57,800
Speaker 2: for us. What means something is the people that buy

1877
01:44:57,840 --> 01:45:02,839
Speaker 2: the tickets and that connection that I was speaking about before,

1878
01:45:04,080 --> 01:45:07,200
Speaker 2: the fact that somebody moved their life around just a

1879
01:45:07,200 --> 01:45:09,880
Speaker 2: little bit to make room for you. And if you

1880
01:45:10,600 --> 01:45:17,640
Speaker 2: multiply that times a million, that's quite a wave that

1881
01:45:17,680 --> 01:45:24,920
Speaker 2: you're creating, and that is so incredible, and that moves

1882
01:45:25,200 --> 01:45:28,080
Speaker 2: the needle a lot. And when we are able to

1883
01:45:29,160 --> 01:45:32,880
Speaker 2: travel around the world and at this point now we've

1884
01:45:32,880 --> 01:45:35,200
Speaker 2: not played to it just the bar staff and quite

1885
01:45:35,200 --> 01:45:39,599
Speaker 2: some time, and feels so incredibly lucky to be able

1886
01:45:39,640 --> 01:45:43,000
Speaker 2: to do that. That it's those people who are actually

1887
01:45:43,160 --> 01:45:45,960
Speaker 2: out there buying the music, buying the merch and supporting.

1888
01:45:46,680 --> 01:45:50,479
Speaker 2: To have those people around is what really makes a difference.

1889
01:45:51,720 --> 01:45:55,160
Speaker 1: Yes, but in your career, I mean you have some

1890
01:45:55,240 --> 01:45:59,000
Speaker 1: peaks like the Garrison Keeler thing that opened up opportunities.

1891
01:46:00,320 --> 01:46:03,600
Speaker 1: Everything's changed now. Late night performances will give you a

1892
01:46:03,680 --> 01:46:07,960
Speaker 1: video Don't move the needle, SNL will show that the

1893
01:46:07,960 --> 01:46:12,200
Speaker 1: the labels behind it, CBS Sunday Morning. Is there anything

1894
01:46:12,280 --> 01:46:14,639
Speaker 1: that still moves the needle? H?

1895
01:46:14,800 --> 01:46:23,320
Speaker 3: Yeah, I guess it depends on on Yeah, like huntry too, because.

1896
01:46:24,560 --> 01:46:28,559
Speaker 2: It's it's been very interesting that when you're talking about

1897
01:46:28,560 --> 01:46:32,280
Speaker 2: like promotion, what moves the needle in the UK is

1898
01:46:32,320 --> 01:46:35,960
Speaker 2: different from Germany. And and we've we've actually had an

1899
01:46:35,960 --> 01:46:39,240
Speaker 2: opportunity to go on some of the there, like late

1900
01:46:39,360 --> 01:46:42,360
Speaker 2: night TV shows that actually still do make a huge

1901
01:46:42,400 --> 01:46:45,320
Speaker 2: difference over there. You know, We've gotten to do Germany's

1902
01:46:45,439 --> 01:46:49,880
Speaker 2: version and in France's version, and and it is really

1903
01:46:49,920 --> 01:46:51,479
Speaker 2: cool to be able to go on those shows and

1904
01:46:51,479 --> 01:46:54,720
Speaker 2: see how much of a difference it still makes. That's

1905
01:46:54,800 --> 01:46:58,040
Speaker 2: that's been pretty pretty amazing, especially over over in Europe.

1906
01:46:58,080 --> 01:47:00,880
Speaker 2: We've had a lot of great opera cotunities like that.

1907
01:47:01,120 --> 01:47:01,720
Speaker 4: Yeah.

1908
01:47:01,760 --> 01:47:03,640
Speaker 3: And I think it's an interesting question and one that

1909
01:47:03,680 --> 01:47:06,160
Speaker 3: I think probably based on the amount of change that

1910
01:47:06,160 --> 01:47:08,559
Speaker 3: we've seen in the industry in the last like I

1911
01:47:08,600 --> 01:47:11,479
Speaker 3: mean really condensed change in the last five ten years,

1912
01:47:12,280 --> 01:47:14,080
Speaker 3: It's hard to know how to answer that question, I think,

1913
01:47:14,160 --> 01:47:17,040
Speaker 3: especially for a band like us who lives so outside industry,

1914
01:47:17,160 --> 01:47:17,320
Speaker 3: you know.

1915
01:47:17,479 --> 01:47:21,280
Speaker 2: We Oh sorry, I just totally I totally interrupted you.

1916
01:47:21,320 --> 01:47:23,320
Speaker 2: But as I was thinking about it, I was like,

1917
01:47:24,000 --> 01:47:26,360
Speaker 2: what has brought us all of these opportunities really? As

1918
01:47:26,360 --> 01:47:29,080
Speaker 2: social media? I mean, that's got to be what has

1919
01:47:29,360 --> 01:47:35,040
Speaker 2: driven our success is videos going viral and people finding them.

1920
01:47:35,400 --> 01:47:38,760
Speaker 3: Well and paired with relentless touring. The fact that we

1921
01:47:38,840 --> 01:47:41,920
Speaker 3: have honestly beaten the streets for eighteen years and have

1922
01:47:42,320 --> 01:47:46,280
Speaker 3: managed to continue to keep our strength up and revel

1923
01:47:46,280 --> 01:47:49,560
Speaker 3: in the connection with people enough to really merit, continuing

1924
01:47:49,640 --> 01:47:53,320
Speaker 3: to work really hard and carry ourselves literally around the world.

1925
01:47:54,120 --> 01:47:57,240
Speaker 1: Okay, you have achieved quite a status, But what is

1926
01:47:57,280 --> 01:48:00,400
Speaker 1: the dream?

1927
01:48:02,800 --> 01:48:07,000
Speaker 3: This may be a little bit boring, but I honestly

1928
01:48:07,040 --> 01:48:09,680
Speaker 3: think the dream for us is just being able to

1929
01:48:09,720 --> 01:48:14,400
Speaker 3: continue what we're doing better, just a little bit better

1930
01:48:14,439 --> 01:48:17,719
Speaker 3: each time. I think that that for us has actually

1931
01:48:17,760 --> 01:48:24,559
Speaker 3: been the biggest gift is how long it's taken us

1932
01:48:24,600 --> 01:48:25,400
Speaker 3: to get anywhere.

1933
01:48:26,920 --> 01:48:27,479
Speaker 4: I see.

1934
01:48:27,520 --> 01:48:31,800
Speaker 3: I see bands that are much younger than us who

1935
01:48:31,840 --> 01:48:35,680
Speaker 3: have much less quote unquote experience hitting it big and

1936
01:48:35,880 --> 01:48:39,000
Speaker 3: not being able to really I think have the context

1937
01:48:39,080 --> 01:48:43,680
Speaker 3: to like appropriately assimilate the meaning of their success. But

1938
01:48:43,800 --> 01:48:47,840
Speaker 3: I think for a band like us who has slapstickers

1939
01:48:47,840 --> 01:48:51,720
Speaker 3: on the CD and stuffed the jewel cases and the

1940
01:48:51,760 --> 01:48:55,439
Speaker 3: digipas and drawn the T shirt and driven the van

1941
01:48:56,320 --> 01:49:00,280
Speaker 3: and paid for the gasoline and paid for the band

1942
01:49:00,320 --> 01:49:03,840
Speaker 3: members when you yourself were not getting paid. And the

1943
01:49:03,960 --> 01:49:07,200
Speaker 3: level up from a mini van to a fifteen passenger

1944
01:49:07,439 --> 01:49:13,800
Speaker 3: again as Lark and Poe into a tour bus, being

1945
01:49:13,800 --> 01:49:17,320
Speaker 3: able to command, you know, a later night slot, being

1946
01:49:17,360 --> 01:49:20,280
Speaker 3: able to carry your production with you for the first time,

1947
01:49:21,200 --> 01:49:24,200
Speaker 3: being able to call your heroes and have them text

1948
01:49:24,240 --> 01:49:26,760
Speaker 3: you back and be like, yeah, I'll be your guest.

1949
01:49:27,400 --> 01:49:28,759
Speaker 2: Suddenly this is the dream.

1950
01:49:28,960 --> 01:49:35,280
Speaker 3: Suddenly suddenly it's it's uh, you understand, you understand what

1951
01:49:35,320 --> 01:49:35,840
Speaker 3: it means.

1952
01:49:36,160 --> 01:49:39,440
Speaker 4: And so I think, because we've been patient.

1953
01:49:39,080 --> 01:49:45,120
Speaker 3: With our story again, we're not you know, there's there's

1954
01:49:45,200 --> 01:49:47,519
Speaker 3: buzz around Lark and Poe for sure, Is it the

1955
01:49:47,560 --> 01:49:48,320
Speaker 3: biggest buzz?

1956
01:49:48,439 --> 01:49:48,519
Speaker 2: No?

1957
01:49:48,800 --> 01:49:51,200
Speaker 4: Do we need it to be? No, because we get

1958
01:49:51,240 --> 01:49:52,560
Speaker 4: to do what we want.

1959
01:49:52,760 --> 01:49:55,639
Speaker 3: And you know, we've been able to literally pay our bills,

1960
01:49:55,880 --> 01:49:58,320
Speaker 3: even though sometimes the you know, we didn't quite get there,

1961
01:49:58,439 --> 01:50:00,960
Speaker 3: or the bills were themselves very very small because we

1962
01:50:00,960 --> 01:50:05,120
Speaker 3: were living in somebody's attic. We've been able to do

1963
01:50:05,160 --> 01:50:07,400
Speaker 3: it with music, and music has always been there for

1964
01:50:07,479 --> 01:50:10,639
Speaker 3: us and there's nothing better than that. And it sounds

1965
01:50:10,640 --> 01:50:13,559
Speaker 3: like I'm like being like the Hallmark version, but it's

1966
01:50:13,600 --> 01:50:15,559
Speaker 3: it's honest. That's the honest, to God's truth.

1967
01:50:16,520 --> 01:50:19,960
Speaker 1: Okay, you have your sleeves rolled up, you have tattoos

1968
01:50:19,960 --> 01:50:22,639
Speaker 1: on your hands and your arms. I don't see any

1969
01:50:22,680 --> 01:50:25,160
Speaker 1: tattoos on Megan. Megan, do you have any tattoos?

1970
01:50:26,000 --> 01:50:28,599
Speaker 2: I do. Actually they're just a little little bit more hidden,

1971
01:50:29,080 --> 01:50:29,559
Speaker 2: but I do.

1972
01:50:29,640 --> 01:50:32,000
Speaker 4: I have. I have a few.

1973
01:50:32,080 --> 01:50:32,599
Speaker 2: I have a few.

1974
01:50:32,680 --> 01:50:37,200
Speaker 1: Yeah, okay, but is that reflective of your personalities?

1975
01:50:38,680 --> 01:50:38,880
Speaker 4: Oh?

1976
01:50:39,400 --> 01:50:40,240
Speaker 2: What do you think, Megan?

1977
01:50:40,320 --> 01:50:41,559
Speaker 4: I want to hear what you have to say.

1978
01:50:41,880 --> 01:50:44,639
Speaker 2: Yes, Because here's here's Rebecca going in to get a tattoo.

1979
01:50:44,960 --> 01:50:47,040
Speaker 2: I don't really know what I'm gonna get, but it's

1980
01:50:47,120 --> 01:50:50,360
Speaker 2: just gonna make it self known. And then the person

1981
01:50:50,680 --> 01:50:53,160
Speaker 2: like they talk, her and the tattoo artists talk and

1982
01:50:53,200 --> 01:50:56,800
Speaker 2: they and then he draws something up and and she goes, Okay,

1983
01:50:56,880 --> 01:50:59,920
Speaker 2: let's do it, and then she gets a tattooed on her.

1984
01:51:00,360 --> 01:51:04,840
Speaker 2: Whereas I would sweat bullets about what I'm gonna get

1985
01:51:05,280 --> 01:51:07,720
Speaker 2: and should I do it? I don't really know. I

1986
01:51:07,760 --> 01:51:09,800
Speaker 2: don't I don't know what I want to put on

1987
01:51:09,840 --> 01:51:10,360
Speaker 2: my body.

1988
01:51:11,160 --> 01:51:13,400
Speaker 4: Well that's not even really fair. Hold on one second,

1989
01:51:13,439 --> 01:51:15,000
Speaker 4: let me add let me add it to I've.

1990
01:51:14,840 --> 01:51:17,040
Speaker 2: Been wanting to get more tattoos for years, but I

1991
01:51:17,040 --> 01:51:18,200
Speaker 2: don't know what I want to get.

1992
01:51:18,280 --> 01:51:21,200
Speaker 3: But this, I think is also like what she's just describing,

1993
01:51:21,360 --> 01:51:25,240
Speaker 3: is the magic of our relationship, because I am definitely

1994
01:51:25,439 --> 01:51:30,160
Speaker 3: like the uh the just fling it at the wall

1995
01:51:30,200 --> 01:51:33,000
Speaker 3: and see what sticks person, and that has a place.

1996
01:51:33,479 --> 01:51:35,040
Speaker 4: And Meghan is our researcher.

1997
01:51:35,320 --> 01:51:39,240
Speaker 3: Meghan is our measured researcher who will make sure that

1998
01:51:39,240 --> 01:51:41,720
Speaker 3: that you know, Rebecca's not booking the first flight that

1999
01:51:41,760 --> 01:51:44,320
Speaker 3: she sees and paying triple the price.

2000
01:51:44,439 --> 01:51:48,240
Speaker 2: But the world of creativity isn't always so concrete, so

2001
01:51:48,439 --> 01:51:50,800
Speaker 2: there's some things you can't research. And I think that's

2002
01:51:50,840 --> 01:51:55,280
Speaker 2: probably what what is hard for me fair, Fair, But

2003
01:51:55,320 --> 01:51:56,280
Speaker 2: that's why we have each other.

2004
01:51:57,280 --> 01:52:01,640
Speaker 1: Okay, Like that old cheap trick song, Southern girls, what

2005
01:52:01,720 --> 01:52:05,120
Speaker 1: are people you're from the South Georgia, Tennessee? What are

2006
01:52:05,200 --> 01:52:08,840
Speaker 1: people in the north and coasts don't understand about the South?

2007
01:52:10,520 --> 01:52:15,120
Speaker 4: Mm hmmm.

2008
01:52:18,240 --> 01:52:26,080
Speaker 3: I think most importantly, we all have to aspire to

2009
01:52:26,120 --> 01:52:29,720
Speaker 3: be the best versions of who we are, right And

2010
01:52:29,800 --> 01:52:34,680
Speaker 3: I think also you know, birth and place and status,

2011
01:52:34,720 --> 01:52:37,840
Speaker 3: and if you're poor, you're rich, or you're white or

2012
01:52:37,880 --> 01:52:41,439
Speaker 3: you're black. All this stuff has connotations attached. All this

2013
01:52:41,439 --> 01:52:46,719
Speaker 3: stuff has baggage. But I think for us being Southerners

2014
01:52:46,760 --> 01:52:50,080
Speaker 3: and making the kind of music that we make, it

2015
01:52:50,120 --> 01:52:52,760
Speaker 3: feels very important to us because we want to be

2016
01:52:52,800 --> 01:52:55,599
Speaker 3: the best version of who we are. And I think

2017
01:52:56,360 --> 01:52:59,719
Speaker 3: it's hard to you know, grow up listening to Southern

2018
01:52:59,760 --> 01:53:02,760
Speaker 3: rock and roll and loving a lot of Southern rock

2019
01:53:02,800 --> 01:53:05,920
Speaker 3: and roll, but not finding yourself and the music, not

2020
01:53:06,120 --> 01:53:12,400
Speaker 3: seeing your own reflection back looking back at you out

2021
01:53:12,400 --> 01:53:14,960
Speaker 3: of the music. So I think I think for us,

2022
01:53:15,000 --> 01:53:18,160
Speaker 3: whenever we travel abroad or we travel around the country

2023
01:53:18,600 --> 01:53:21,080
Speaker 3: and we are making Southern music, we're making Southern rock

2024
01:53:21,120 --> 01:53:24,800
Speaker 3: and roll, it's important for people to understand that we're

2025
01:53:24,840 --> 01:53:27,920
Speaker 3: doing it on our terms, and we're doing it with

2026
01:53:27,960 --> 01:53:30,600
Speaker 3: a with a big with a big heart, you know,

2027
01:53:31,160 --> 01:53:32,840
Speaker 3: with with hopefully being able to.

2028
01:53:32,800 --> 01:53:36,720
Speaker 4: Provide like a wider perspective.

2029
01:53:37,720 --> 01:53:41,960
Speaker 3: So I'm not exactly answering your question because I it's

2030
01:53:42,000 --> 01:53:44,719
Speaker 3: a little tricky to know how how to so simply

2031
01:53:44,760 --> 01:53:46,160
Speaker 3: reply what am I missing?

2032
01:53:50,000 --> 01:53:50,360
Speaker 4: I think.

2033
01:53:50,520 --> 01:53:55,559
Speaker 2: Uh, I think it's that very possibly. We don't want

2034
01:53:55,560 --> 01:53:58,719
Speaker 2: a pigeonhole either the north or the South.

2035
01:53:59,760 --> 01:54:00,000
Speaker 3: Yeah.

2036
01:54:00,080 --> 01:54:02,000
Speaker 4: Uh, that's fair.

2037
01:54:02,080 --> 01:54:05,040
Speaker 3: Yeah, I think it's very It is very tempting to

2038
01:54:05,040 --> 01:54:07,920
Speaker 3: paint with the broad brush and to to oversimplify, but

2039
01:54:07,960 --> 01:54:11,640
Speaker 3: I think that that can be very very dangerous.

2040
01:54:12,479 --> 01:54:15,439
Speaker 4: People are people, That's.

2041
01:54:15,240 --> 01:54:19,519
Speaker 1: What Depeche Mode said. In any event, what can Lark

2042
01:54:19,560 --> 01:54:22,080
Speaker 1: and Po fans look forward to in the future.

2043
01:54:23,400 --> 01:54:27,680
Speaker 3: Oh man, we have some good stuff coming down the pipeline.

2044
01:54:28,360 --> 01:54:33,360
Speaker 3: I think I've I've had some really momentous experiences personally

2045
01:54:33,400 --> 01:54:35,280
Speaker 3: this year that I think are really gonna give me

2046
01:54:35,800 --> 01:54:38,440
Speaker 3: a lot to work from from a songwriting perspective.

2047
01:54:39,080 --> 01:54:40,480
Speaker 4: So I'm looking forward to that.

2048
01:54:40,680 --> 01:54:42,720
Speaker 3: You know, like in the little Heidi Hole of my

2049
01:54:42,760 --> 01:54:44,960
Speaker 3: heart where I just keep all the titles, there's stuff

2050
01:54:44,960 --> 01:54:48,280
Speaker 3: that's kicking around that I think will we'll open up

2051
01:54:48,280 --> 01:54:49,680
Speaker 3: some new doors press creatively.

2052
01:54:50,040 --> 01:54:55,400
Speaker 2: I think we've learned a lot in touring this year

2053
01:54:56,240 --> 01:54:59,440
Speaker 2: that's gonna be very applicable to the next record. So

2054
01:54:59,440 --> 01:55:02,720
Speaker 2: I'm real really excited for us to be able to

2055
01:55:02,720 --> 01:55:04,800
Speaker 2: write some more because I do think that our next

2056
01:55:04,800 --> 01:55:06,400
Speaker 2: record is going to be pretty special. I just have

2057
01:55:06,440 --> 01:55:06,880
Speaker 2: a feeling.

2058
01:55:07,160 --> 01:55:10,080
Speaker 4: Yeah, and also so much touring, so much touring this year.

2059
01:55:10,840 --> 01:55:13,920
Speaker 1: What did you learn on the road?

2060
01:55:14,560 --> 01:55:19,120
Speaker 4: Oh man, what have we learned?

2061
01:55:21,600 --> 01:55:26,960
Speaker 2: I I think that we're becoming more open to collaborations again,

2062
01:55:29,240 --> 01:55:33,680
Speaker 2: because we were very collaborative in the early years. Then

2063
01:55:33,720 --> 01:55:37,640
Speaker 2: we closed ourselves off a little bit to learn more

2064
01:55:37,680 --> 01:55:41,120
Speaker 2: about ourselves. And now that we're at a place where

2065
01:55:41,120 --> 01:55:44,640
Speaker 2: we know who we are, I think that we're I

2066
01:55:44,680 --> 01:55:47,840
Speaker 2: think we're becoming more open again in a great way.

2067
01:55:48,040 --> 01:55:48,800
Speaker 4: Yeah.

2068
01:55:48,840 --> 01:55:53,200
Speaker 3: And I would also say that I think, you know,

2069
01:55:53,480 --> 01:55:58,960
Speaker 3: speaking about over oversimplification. You know, sometimes there is this

2070
01:55:58,960 --> 01:56:03,080
Speaker 3: this huge and instinct to rate our experiences is positive

2071
01:56:03,160 --> 01:56:07,440
Speaker 3: or negative, like you have a flat tire, and it's

2072
01:56:07,560 --> 01:56:09,880
Speaker 3: very easy to say, like, ah, this sucks, this is

2073
01:56:09,920 --> 01:56:12,520
Speaker 3: the worst thing that's happened to me today. And I

2074
01:56:12,520 --> 01:56:14,920
Speaker 3: think increasingly like the older that I get, and the

2075
01:56:14,920 --> 01:56:20,680
Speaker 3: more opportunities and experiences that come through the door, positive

2076
01:56:20,760 --> 01:56:24,000
Speaker 3: or negative, I realize there are no good guys, there

2077
01:56:24,000 --> 01:56:27,280
Speaker 3: are no bad guys. Like everybody is a little bit

2078
01:56:27,320 --> 01:56:31,040
Speaker 3: of everything, and that also applies to the experiences that

2079
01:56:31,080 --> 01:56:35,920
Speaker 3: we have in life. You know, you can't you can't

2080
01:56:36,000 --> 01:56:39,160
Speaker 3: judge the book by its cover, because there is a

2081
01:56:39,200 --> 01:56:42,440
Speaker 3: bigger picture that we can't see when we're granularly focused

2082
01:56:42,440 --> 01:56:43,320
Speaker 3: into the details.

2083
01:56:43,680 --> 01:56:44,720
Speaker 4: It's like it's more.

2084
01:56:44,560 --> 01:56:47,120
Speaker 3: I think I'm having you guys, I'm having a spiritual

2085
01:56:47,160 --> 01:56:48,280
Speaker 3: awakening now.

2086
01:56:48,240 --> 01:56:50,320
Speaker 4: But it is it's like it's more of a dow.

2087
01:56:50,280 --> 01:56:52,840
Speaker 3: Perspective of, like, you know, accepting things as it comes

2088
01:56:52,880 --> 01:56:55,560
Speaker 3: and not rating, not rating your experiences, just letting them

2089
01:56:55,680 --> 01:56:59,320
Speaker 3: wash over you. Anyway, welcome to my ted talk.

2090
01:57:01,080 --> 01:57:03,040
Speaker 1: On that note, I think both of you have been

2091
01:57:03,160 --> 01:57:05,680
Speaker 1: very open talking about the ups and downs and the

2092
01:57:05,680 --> 01:57:09,680
Speaker 1: steps in your career, and people don't have any idea

2093
01:57:09,880 --> 01:57:12,360
Speaker 1: how hard it is to make it. So I want

2094
01:57:12,400 --> 01:57:15,680
Speaker 1: to thank both of you, Rebecca and Meghan, for taking

2095
01:57:15,720 --> 01:57:17,680
Speaker 1: the time to talk to me and my audience.

2096
01:57:19,080 --> 01:57:21,680
Speaker 2: Thank you for having us. We so appreciate you in

2097
01:57:21,720 --> 01:57:22,360
Speaker 2: your perspective.

2098
01:57:24,000 --> 01:57:26,920
Speaker 1: Okay, till next time. This is Bob left Sex