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Speaker 1: I'm here and technically I can leave, but we're far

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Speaker 1: enough out in the middle of nowhere that I wouldn't

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Speaker 1: know what direction to go.

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Speaker 2: Hi, I'm Ashley. I'm evidently a drunk.

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Speaker 3: I'm a big fan of our next guest, Ashley McBride.

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Speaker 3: She's a Grammy, CMA and ACM Award winner, so she

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Speaker 3: has all the awards. She's a member of the Grand

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Speaker 3: ol Opry. She is one of the most respected songwriters

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Speaker 3: in Nashville. You're gonna love Ashley McBride if you didn't

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Speaker 3: know her. If you already know where, you're gonna love

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Speaker 3: her even more. From Girl Going Nowhere to One Night's Standards,

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Speaker 3: both Jams to light On in the Kitchen. She's built

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Speaker 3: a career on telling it exactly like it is. She's

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Speaker 3: got a brand new album on the way. She's already

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Speaker 3: dropped some new songs what If We Don't in Arkansas Mud.

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Speaker 3: She's also headlining her Redemption residency up at Chiefs in Nashville,

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Speaker 3: where it's a non alcoholic redemption bar. She's hit in

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Speaker 3: the road Eric Church. As you can tell, I'm a

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Speaker 3: massive fan here. She is fellow Arkans and Ashley McBride Ashley,

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Speaker 3: good to see you, Good to see you. I was

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Speaker 3: listening to your song Arkansaw Mud, and I don't pay

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Speaker 3: attention to a lot of words. I'm so much a

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Speaker 3: melody guy. Even like some of the songs that I've

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Speaker 3: known my whole life, I don't even think I know

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Speaker 3: the words of them yet. But I was listening and

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Speaker 3: the first line, just from memory, I think is percocet

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Speaker 3: adderall nicotine, alcohol, throwing dishes down the hall. Bad mistakes.

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Speaker 3: I've tried them all, is that? Is that?

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Speaker 2: Right?

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Speaker 3: Yeah?

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Speaker 2: Bad decisions, try them all.

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Speaker 3: I love that.

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Speaker 2: Thank you.

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Speaker 3: Yeah, that was really good.

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Speaker 2: Thank you.

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Speaker 3: So I don't know talk about that song and that

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Speaker 3: lyric because because I don't know, is that real?

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Speaker 2: Yeah? Oh yeah, oh yeah.

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Speaker 1: And I think it when we were making the video

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Speaker 1: for it, and we were talking about we need to

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Speaker 1: get footage of how I used to be after shows,

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Speaker 1: after events, after like because when it went off the rails,

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Speaker 1: it went off the.

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Speaker 2: Rails in a big way.

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Speaker 1: So, and as I've had to say over the last

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Speaker 1: three years, I'm a drunk. And if you find yourself

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Speaker 1: wanting to be like, no, you're not, that's how good

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Speaker 1: I am at it. I've had people say I really

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Speaker 1: saw you as much of a drinker, and so now

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Speaker 1: I can say, if you were around me prior to

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Speaker 1: three years, nine months, six weeks, and however many days ago,

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Speaker 1: I was drunk.

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Speaker 2: Sorry, I am sorry.

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Speaker 3: Who did notice?

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Speaker 1: When we were in professional settings? Like luckily, I did

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Speaker 1: not embarrass my organization. I did not embarrass my genre.

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Speaker 1: Everyone that was around me, tour managers, glam wardrobe, band,

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Speaker 1: entire crew.

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Speaker 2: Everybody knows.

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Speaker 1: And I would do different things to get a handle

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Speaker 1: on it, or to make myself believe I was getting

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Speaker 1: a handle on it. You know, there's no drinking before shows.

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Speaker 1: I'm totally fine with that. At one point I was

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Speaker 1: having to drink before meet and greets because I was

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Speaker 1: so anxious.

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Speaker 2: So it's got some tools to learn now.

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Speaker 1: I was like, I don't want to drink all day,

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Speaker 1: all night, and then it was maybe just.

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Speaker 2: After shows that I would drink.

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Speaker 1: But for some reason, my brain was like, you didn't

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Speaker 1: drink till after a show, and now you have to

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Speaker 1: drink as much as humanly possible. And so everybody that

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Speaker 1: I work with, everybody that was close with, not even

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Speaker 1: my parents knew the extent of it. And when we

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Speaker 1: wrote Arkansas Mud and we're putting it on this record,

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Speaker 1: I'm looking at it, we're going to make the video.

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Speaker 1: I was like, well, I don't want anybody to think

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Speaker 1: that when I say I'm made of Arkansas mud, that

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Speaker 1: that means alcoholic. It was not being the most true,

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Speaker 1: the most real to myself that caused me to put

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Speaker 1: the wrong things in its place percocet and adderall and

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Speaker 1: nicotine and alcohol. And I'm not a mean drunk Luckily, I'm,

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Speaker 1: you know, a pretty jovial person to be around. And

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Speaker 1: I couldn't throw a ball from here to the broadside

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Speaker 1: of a barn, but I can smash a whiskey glass

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Speaker 1: right next to your head. Evidently, she plays in alleg

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Speaker 1: of her own. So I think writing that lyric felt good,

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Speaker 1: and it didn't.

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Speaker 2: It's not.

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Speaker 1: It could sound like it's from a glorifying place, but

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Speaker 1: that's just me admitting it. I did.

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Speaker 2: I tried it.

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Speaker 1: All and it didn't work. And thankfully, because of where

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Speaker 1: I'm from and the people that I come from and

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Speaker 1: the area that I come from, we're made of really

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Speaker 1: stout stuff and we can We're one of the most

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Speaker 1: self reliant groups of people that I've encountered ar kansins

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Speaker 1: are and and to think that anything could control in Arkansa,

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Speaker 1: especially me joan of Arkansas bigger than, larger than life,

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Speaker 1: runs faster than you don't run faster than anybody. To

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Speaker 1: think that that was in control really pissed me off.

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Speaker 3: So when you had and I saw the video, like

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Speaker 3: you said, you're recreating, Yeah, was that triggering for you

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Speaker 3: at all?

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Speaker 2: Like third tak ish, you know?

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Speaker 1: And we were having we were trying to be lighthearted

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Speaker 1: about it, because everybody in the filming crew, everybody at

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Speaker 1: Warner is, everybody at Keprime, everybody's in the know. When

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Speaker 1: I went away, it was not because I got up

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Speaker 1: and said, hey, guys, I think I have a problem.

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Speaker 2: I should go away.

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Speaker 1: It was intervention style, and so everybody knows that there's

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Speaker 1: a chance that this is really really hard on us.

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Speaker 1: But we had We did good kind of lighthearted blocked

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Speaker 1: it a couple times, and by the time we filmed

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Speaker 1: it for real, that's when you those bottles are full

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Speaker 1: of apple cider, vinegar, sweet tea water. I have no

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Speaker 1: idea what's in what the bottle. I didn't feel them,

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Speaker 1: So those reactions are real. And then the farther into it,

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Speaker 1: I got being like looking in that mirror and then

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Speaker 1: grabbing a bottle and then pouring it, and then drinking

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Speaker 1: the bottle, and then drinking the drink and then being like,

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Speaker 1: bigger bottle, bigger glass.

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Speaker 2: Poor too, poor one for you, I'll drink it too.

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Speaker 1: And then the faster I got into that, and the

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Speaker 1: more it got on my face and kind of everywhere.

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Speaker 1: I don't know what exactly, I'm not a neuroscientist, but

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Speaker 1: something clicked and went, oh, no, we're doing We're off

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Speaker 1: the rails.

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Speaker 2: So very last take. I'd be happy to send you

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Speaker 2: the clip.

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Speaker 1: As I was drinking and like, you know, throwing the

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Speaker 1: trash can behind me, being silly, all of that stuff,

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Speaker 1: I looked into the mirror and then got scared, and

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Speaker 1: then for some reason I started just kind of picking

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Speaker 1: up on the set. I've already kicked stuff off the

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Speaker 1: bed and kicked stuff off the nightstand. I started picking

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Speaker 1: up and then I started crying. And then I got

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Speaker 1: in the bed. That's a prop bed, and I got

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Speaker 1: in it and cried, and nobody said cut, and nobody moved,

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Speaker 1: and then finally Brandon said okay, cut, and I tried

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Speaker 1: to make light of it. And I sat up and

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Speaker 1: I said, oh, it's just like the real drunk me.

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Speaker 1: And I looked over in my team, especially sweet Dana,

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Speaker 1: who was she's the glam artist best friend assistant team

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Speaker 1: and if I tear up, forgive me just crocodile tears.

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Speaker 2: I was like, oh no, I hurt her again. Oh

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Speaker 2: do we have a tissue.

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Speaker 1: I didn't realize that that would be it'll stop, it

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Speaker 1: always stops. That was tough, and what we follow that

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Speaker 1: with is tough because we shot them one right after

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Speaker 1: the other. So I messed up my makeup and did

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Speaker 1: all that stuff and then we shot the bottle tells

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Speaker 1: me so immediately, same same bedroom, same prop bed.

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Speaker 3: Do you mind some Arkansas tissue?

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Speaker 2: Which is to yeah, no, I would love that. I'm

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Speaker 2: surprised I don't have a handkerchief in my pocket.

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Speaker 3: And for those thinking that I'm insulting Arkansas, I also

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Speaker 3: am from Arkansas.

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Speaker 2: That is correct.

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Speaker 3: Yeah, I want to ask for a napkin at home.

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Speaker 3: That means a paper towel.

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Speaker 2: That, yeah, towel is everything.

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Speaker 3: Yes, that's interesting, this is a viva.

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Speaker 2: This is a really nice paper towel.

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Speaker 3: And I definitely didn't.

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Speaker 2: It's gotta be some kind of record going from everything

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Speaker 2: into tearing up.

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Speaker 3: I really didn't plan to jump in this hard is quick.

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Speaker 3: I was just listening to the song and I was like,

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Speaker 3: I really enjoy that lyric at the beginning, and I

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Speaker 3: knew what you were trying to establish by it, and

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Speaker 3: so I just because I was listen to it again

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Speaker 3: right before you came in. But you're talking about that

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Speaker 3: whenever you went in, because I had to put my

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Speaker 3: mom and rehab a couple of times before she died,

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Speaker 3: and it's never a fun thing. It was always a

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Speaker 3: terrible thing. But she never stayed. She left every time. Yeah,

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Speaker 3: because she had the ability to do that. She I

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Speaker 3: check her in, but she's an.

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Speaker 2: Adult, technically, I had the ability to leave.

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Speaker 3: Did you ever want to?

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Speaker 1: I kept being like, I can't do I can't do this,

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Speaker 1: Like I don't know where I am.

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Speaker 2: I can't.

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Speaker 1: Oh my god, I have to do this. I mean,

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Speaker 1: I'm gonna do it. They got me here, I'm gonna

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Speaker 1: do it. But I just kept being like, there's no

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Speaker 1: way of doing this for thirty days.

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Speaker 2: That's insane. I don't live under a bridge. It didn't

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Speaker 2: hurt anybody and.

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Speaker 1: Now I can hear my other self going, oh kid,

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Speaker 1: sit down and shut up and put your seat belt on.

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Speaker 3: Why do you think you stayed?

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Speaker 2: I was gonna die.

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Speaker 1: Yeah, that's I mean, that's the reason I had to

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Speaker 1: go there intervention style. God, I wish we gave an

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Speaker 1: award for who cries the most often. I woke up

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Speaker 1: at another artist's house, another female artist. And if I

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Speaker 1: told you who, you would not be shocked, of course.

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Speaker 1: And I woke up in a bed that's not mine,

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Speaker 1: in pajamas that aren't mine, and I.

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Speaker 2: Was like, oh my god, that must have been a doozy.

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Speaker 1: I'm thirsty. I don't know where I am and I

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Speaker 1: don't know where water is. Go find water. And when

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Speaker 1: I went to find water, I found a living room and.

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Speaker 2: In that living room was.

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Speaker 1: My team, Dana and John Pete's in my day to

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Speaker 1: day and I said, I looked at them, and that

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Speaker 1: artist was also on the couch, and I said, okay,

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Speaker 1: I don't know where my boots are, but I need

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Speaker 1: my boots. And they said, we need you to stop,

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Speaker 1: and I said, I need me to stop too. And

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Speaker 1: that was when I found out that she took me

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Speaker 1: to her house that night after we'd been out to

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Speaker 1: make sure I didn't die, but I didn't.

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Speaker 3: Was there a point not? Was there? At what point

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Speaker 3: later did you appreciate how hard it was even for

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Speaker 3: them to do that for you.

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Speaker 1: There's so much that I look at now and all

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Speaker 1: during the process, and it was I say, but I'm

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Speaker 1: gonna use that in kind of a loose term.

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Speaker 2: I'd be at treatment and people would say, oh, I

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Speaker 2: really like.

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Speaker 1: Those shoes, and I'd go, thanks, they're not mine, and oh,

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Speaker 1: cute pajamas, and I was like, my clothes aren't even

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Speaker 1: here yet.

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Speaker 2: And when I think.

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Speaker 1: About Dana and Blakely having to go shopping and find

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Speaker 1: me clothes and having to go through my stuff and

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Speaker 1: to decide whether to tell my family that I cannot.

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Speaker 1: I cannot fathom or make up for how much I

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Speaker 1: put them through. And that's another reason to stay, is

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Speaker 1: I didn't die, and I have the chance right now,

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Speaker 1: and yeah, yeah, I'm hurting me whatever, and I'm hurting them.

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Speaker 1: And if this goes any farther, this is really really ugly.

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Speaker 1: This is like they'll have to make a movie about

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Speaker 1: it bad. So I just buckled down and decided, well,

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Speaker 1: I'm here and technically I can leave, but we're far

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Speaker 1: enough out in the middle of nowhere that I wouldn't

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Speaker 1: know what direction to go. Hi, I'm Ashley. I'm evidently

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Speaker 1: a drunk.

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Speaker 3: Evidently you had to have that version first, right, I did.

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Speaker 1: And when I was like, I don't you know, filling

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Speaker 1: out different than you know? They give you a worksheet

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Speaker 1: and can you list this and that? And they're like

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Speaker 1: how much do you drink? And I'm like, out of

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Speaker 1: time the same as everyone else. I just drink two

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Speaker 1: glasses out of time having to go through that to

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Speaker 1: illustrate to myself. And at the you know, at first

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Speaker 1: you're like, okay, I'll fill out the worksheet, but whatever,

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Speaker 1: Like again, I do my job. I do my job well,

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Speaker 1: no one is hurt. I pay my bills. I think

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Speaker 1: I'm okay. And then as you are filling out those

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Speaker 1: worksheets and doing those talks and everything, you go, oh,

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Speaker 1: I'm not okay.

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Speaker 2: Oh my gosh, what a pos.

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Speaker 1: And oh my god, that's me, how terrifying, and oh

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Speaker 1: my god, that's me, how sad and all of that

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Speaker 1: just looking at at everything that you did and accomplished

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Speaker 1: and while being that ill, and what else could you

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Speaker 1: have accomplished if you hadn't been drunk.

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Speaker 3: How raw did it feel coming out?

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Speaker 2: Oh my god?

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Speaker 1: And when I left, I went to a couple of

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Speaker 1: my practitioners and therapists and I said, Okay, when I

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Speaker 1: leave here, and I left on a Wednesday, Tuesday, when

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Speaker 1: I leave here, you need me to never ever ever

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Speaker 1: encounter alcohol again. I will leave here at noon, I

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Speaker 1: will be around alcohol. By ten pm, I will be

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Speaker 1: in the bus. I've already fixed it at this time

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Speaker 1: to where one of my buses there is no alcohol.

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Speaker 1: The other bus you can have alcohol on it. And

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Speaker 1: I said, I'm not going to drink. I know that

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Speaker 1: I won't, and you don't know me well enough to

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Speaker 1: know that. If I've made a decision, that's it. I

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Speaker 1: need you to give me the tools to be around

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Speaker 1: it tomorrow. It is our entire industry. Yeah, it's one

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Speaker 1: of the most loved and celebrated things about our industry.

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Speaker 1: I built a career on it. It was literally before

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Speaker 1: I ever popped on the scene, dubbed the whiskey drinking badass.

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Speaker 1: So now I need you to give me the tools

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Speaker 1: to not do it. And then all of the fear

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Speaker 1: comes in. Are you any good not drunk.

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Speaker 3: That was my next question, because you did so much,

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Speaker 3: not because of you drinking, but while drinking. I had

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Speaker 3: the same feelings about therapy, like, if I get really right,

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Speaker 3: am I gonna be able to do this? Fix this?

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Speaker 2: Am I even interesting?

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Speaker 3: Yes?

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Speaker 1: Yeah?

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Speaker 3: Yeah?

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Speaker 2: Am I still funny? Do I write stupid songs? I

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Speaker 2: can't write sober records? Who buys sober records? I don't

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Speaker 2: buy sober records?

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Speaker 1: All of that, And then you think about you just

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Speaker 1: name an artist and you hear those voices go in.

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Speaker 2: They're liked the.

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Speaker 1: Better when you use cocade or like it was awesome

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Speaker 1: until he quit drinking vodka, like and all of that

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Speaker 1: negativity that our brains are trained to scan for to

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Speaker 1: keep us safe. It scans for enhance it to your

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Speaker 1: confirmation bias.

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Speaker 3: You just said, what are brains scanned for? Okay, so

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Speaker 3: you're learning stuff, like I'm learning stuff because that doesn't

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Speaker 3: sound like that's just something you thought of.

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Speaker 1: No, yeah, I had to learn about why the things happen,

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Speaker 1: how the habits form, why, what that is, what a

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Speaker 1: reticular activating system is, what is confirmation bias? What is

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Speaker 1: experiential bias? And it's over intellectualizing, which is a way

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Speaker 1: to avoid feelings. And I also know that which I

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Speaker 1: just over intellectualized. But it helps me understand too. Instead

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Speaker 1: of being like I'm angry or whatever, I can say

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Speaker 1: I'm noticing I have anger, and then I can immediately

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Speaker 1: try to trace it back and then be like, that's

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Speaker 1: because my experiential bias, says be based on X, Y,

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Speaker 1: Z oh. So I am having that feeling, but I'm

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Speaker 1: having that feeling based on this experience, not this experience.

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Speaker 1: So it helps me to nerd out about it.

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Speaker 3: A lot of what you're saying and a lot of

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Speaker 3: what you've been through is obviously going to help so

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Speaker 3: many people in so many ways, but just on an

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Speaker 3: intimate level with me and you, even you telling that story,

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Speaker 3: how it helps me is so I went through the

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Speaker 3: process with my mom a couple of times. She died

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Speaker 3: in her forties from drugs and alcohol. Put her in

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Speaker 3: so sorry, put her in a couple of times she

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Speaker 3: would get out, But I always wondered if she knew

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Speaker 3: that I was doing it out of pure love. Yeah,

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Speaker 3: Like I really wondered if she knew it, and I

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Speaker 3: think she did. But hearing you talk about that and

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Speaker 3: you understanding and knowing that they did that out of

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Speaker 3: pure love, even as uncomfortable as it was for everybody.

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Speaker 2: Yeah, they basically didn't knock me over the head and

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Speaker 2: put me in the car.

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Speaker 3: And that's what I had to do. And I just wondered,

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Speaker 3: And at first I was like, there's to send me away.

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Speaker 2: I'm too much trouble though, They're just gonna send me away.

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Speaker 2: That doesn't last long.

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Speaker 1: That doesn't last long when you can stop being like

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Speaker 1: I'm uncomfortable because of someone else and you just even

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Speaker 1: consider that you're the reason you're so miserable, and then

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Speaker 1: you can look at it and go, oh.

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Speaker 2: My god, they love me so much. I'm so sorry.

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Speaker 3: Yeah, you telling that story makes me feel like maybe

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Speaker 3: she understood that.

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Speaker 1: Yeah, I would say chances are very good. And I

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Speaker 1: didn't make a sober record, but I did make a

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Speaker 1: record about being a drunk and almost.

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Speaker 2: Dying and not dying.

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Speaker 3: Last question about it, because I just it just triggers

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Speaker 3: so many things inside of me, because this is something

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Speaker 3: personally that I've dealt with too my whole life on

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Speaker 3: a different level, in a different way, like did you

355
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Speaker 3: ever not want to live? Instead of getting.

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Speaker 2: Sober part of why they had to take me there, because.

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Speaker 3: I think that is what we were dealing with to

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Speaker 3: it in my family.

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Speaker 1: I think also thinking it'd be much easier than trying

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Speaker 1: to quit. And the more the more times I would

361
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Speaker 1: allow myself to be that drunk, the scarier, the darker

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Speaker 1: it got faster, and it wasn't six drinks and then

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Speaker 1: it was three drinks in and pretty soon that becomes one.

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Speaker 2: And that's a scary place to be. It's a scary spot.

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Speaker 3: I know you did it for you, but so many

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Speaker 3: people are going to look at this, hear this, use

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Speaker 3: this for their own journeys. And again, I can appreciate

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Speaker 3: you talking about this because I didn't expect to have

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Speaker 3: who knew if we even went here in this conversation,

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Speaker 3: but this has helped me even so, I appreciate you

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Speaker 3: being yeah.

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Speaker 1: And I didn't want to talk about it at all

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Speaker 1: when I first quit drinking, because I didn't want it

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Speaker 1: to look like it was performative. Sure, especially when nobody

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Speaker 1: knew how bad it was. They're like, oh, she must

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Speaker 1: be suffering for ratings right now, because she's suddenly like

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Speaker 1: I'm gonna be so And I thought, if I screw

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Speaker 1: it up. That's the first thing we're gonna wait for

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Speaker 1: is for me to screw it up if I talk

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Speaker 1: about it. So I went to tell us several hundred

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Speaker 1: days in to at least be able to say I'm

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Speaker 1: this far into it, and that was three years ago.

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Speaker 3: You know what, I liked that video because you have

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Speaker 3: a na bar which is non alcoholic, and that there's

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Speaker 3: a video of people coming in. I think they were

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Speaker 3: touring and you were playing on stage. Yeah, and they

387
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Speaker 3: had no idea that you were going to be playing

388
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Speaker 3: on stage. That was the greatest TikTok because you got

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Speaker 3: to watch these people, they're obviously fans of yours, come

390
00:19:29,800 --> 00:19:32,639
Speaker 3: into your bar. And in Nashville there's music everywhere, and

391
00:19:32,680 --> 00:19:34,359
Speaker 3: so of course someone's going to be playing in your

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Speaker 3: bar because that's just what it was. And they slowly,

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Speaker 3: I don't think some of them realized it.

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Speaker 1: For a man, was it a hoodie like I wasn't

395
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Speaker 1: like a woman of country music.

396
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Speaker 2: I was a chick with a guitar.

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Speaker 3: Video.

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Speaker 1: I'm so glad you enjoyed it. It was so much

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Speaker 1: fun for me to find out that there's coffee tours

400
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Speaker 1: and so that's early in the morning. They're coming through,

401
00:19:54,040 --> 00:19:57,040
Speaker 1: they're having their coffee and walking through Redemption and being

402
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Speaker 1: able to just go play. And I was able to

403
00:19:59,000 --> 00:20:02,280
Speaker 1: just ask, Yeah, there's like thirty of them. I'm like,

404
00:20:02,320 --> 00:20:05,919
Speaker 1: what song do you want to hear? It's anything mine?

405
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Speaker 1: Barbara Mandrel, Paula Abdul, I don't care.

406
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Speaker 3: Whoever thought of that concept? Like a plus to them. Yeah,

407
00:20:13,560 --> 00:20:16,439
Speaker 3: that was a really great video. What do you think

408
00:20:16,480 --> 00:20:18,560
Speaker 3: about the bar I'm a big in a guy. I've

409
00:20:18,600 --> 00:20:20,920
Speaker 3: never tasted alcohol for the reasons that we talked about, like, Hey,

410
00:20:21,480 --> 00:20:23,439
Speaker 3: I do want I do worry though that someone's going

411
00:20:23,480 --> 00:20:25,480
Speaker 3: to put alcohol on my drink all the time. Yeah,

412
00:20:25,680 --> 00:20:26,560
Speaker 3: do you worry about that?

413
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Speaker 1: I Luckily I've got Dani slog and hoop and if

414
00:20:30,480 --> 00:20:33,080
Speaker 1: there is anything given to me that she did not

415
00:20:33,200 --> 00:20:36,159
Speaker 1: make or I did not make, then she'll drink it

416
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Speaker 1: and say Okay, this is safe or not. And and

417
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Speaker 1: lots of people on my team would do that. And

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Speaker 1: in Redemption, we help help you distinguish that with clear

419
00:20:45,800 --> 00:20:48,560
Speaker 1: straws for every drink if it has alcohol and it's

420
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Speaker 1: got a black straw, which saved my butt the other.

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Speaker 2: Day at Chiefs.

422
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Speaker 1: I'm the kind of person that if there's like seven

423
00:20:54,280 --> 00:20:56,080
Speaker 1: drinks on that table, and it's after a show.

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Speaker 2: They're all watered down. Like, I'm just thirsty. I'm just

425
00:20:58,000 --> 00:20:59,360
Speaker 2: gonna I'll drink your drink. I don't care.

426
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Speaker 1: I went to grab a cup and one of the

427
00:21:03,119 --> 00:21:05,320
Speaker 1: guys was like, that's got a black straw. I was like, oh,

428
00:21:06,240 --> 00:21:08,560
Speaker 1: you just saved your life, because we would have had

429
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Speaker 1: a blast for about three hours, I'm told, And I

430
00:21:13,000 --> 00:21:13,760
Speaker 1: think it's awesome.

431
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Speaker 2: I've made the joke. I didn't know not drinking came.

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Speaker 1: With a bar, but it's wonderful and it's the only

433
00:21:19,400 --> 00:21:22,879
Speaker 1: place on Broadway where you can order anything on the menu.

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00:21:23,119 --> 00:21:26,560
Speaker 1: It already comes without alcohol, and you're welcome to put

435
00:21:26,600 --> 00:21:28,919
Speaker 1: alcohol in it if you'd like to. Our bartenders are

436
00:21:28,920 --> 00:21:31,960
Speaker 1: happy to do that for you. But everything you order

437
00:21:32,240 --> 00:21:33,720
Speaker 1: Martine McBride, there's.

438
00:21:33,560 --> 00:21:34,920
Speaker 3: No alcohol in that funny name.

439
00:21:35,200 --> 00:21:36,880
Speaker 2: I had to pass it by her first. I didn't

440
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Speaker 2: want to hurt it by it.

441
00:21:38,240 --> 00:21:44,480
Speaker 1: Yeah, and it's okay. Nobody's gonna give you guff either way.

442
00:21:45,240 --> 00:21:47,280
Speaker 1: Nobody's going to be like, I think it's weird for

443
00:21:47,320 --> 00:21:48,760
Speaker 1: you to not drink. No one's going to think it's

444
00:21:48,760 --> 00:21:51,400
Speaker 1: weird for you to drink. Alcohol, and the stage only

445
00:21:51,400 --> 00:21:53,800
Speaker 1: holds one person plus one player.

446
00:21:53,880 --> 00:21:56,080
Speaker 2: If you really you can put two people on it

447
00:21:56,119 --> 00:21:57,480
Speaker 2: if you really squeezed it on there.

448
00:21:58,080 --> 00:22:04,240
Speaker 1: But it's that way for reason, because you can hear

449
00:22:04,520 --> 00:22:06,879
Speaker 1: every type of music an well. You can hear everything

450
00:22:06,920 --> 00:22:08,879
Speaker 1: from the radio right anywhere you go on Broadway. You

451
00:22:08,920 --> 00:22:13,719
Speaker 1: can hear the old years, the fresh Top forty. And

452
00:22:13,920 --> 00:22:16,639
Speaker 1: we didn't have a spot where a kid like me

453
00:22:16,800 --> 00:22:18,840
Speaker 1: in two thousand and five had just moved to town.

454
00:22:18,880 --> 00:22:21,000
Speaker 1: I want to play on Broadway. I want to figure

455
00:22:21,000 --> 00:22:23,200
Speaker 1: out how this works, but I won't have a spot

456
00:22:23,240 --> 00:22:23,760
Speaker 1: to learn it.

457
00:22:24,720 --> 00:22:25,440
Speaker 2: And now we do.

458
00:22:25,680 --> 00:22:28,320
Speaker 1: And you can go and hear somebody who has written hits,

459
00:22:28,440 --> 00:22:30,000
Speaker 1: or you can go and hear somebody who just moved

460
00:22:30,040 --> 00:22:35,240
Speaker 1: to town today. And it's wonderful and charming. And my

461
00:22:35,359 --> 00:22:37,119
Speaker 1: brother was the one that pointed it out to me.

462
00:22:37,240 --> 00:22:39,119
Speaker 1: He said, when I was still living in Nashville and

463
00:22:39,119 --> 00:22:40,920
Speaker 1: i'd take people on dates, I'd want to go hear

464
00:22:40,920 --> 00:22:43,680
Speaker 1: interesting music. I just woul didn't want a bunch of

465
00:22:43,760 --> 00:22:47,879
Speaker 1: drunk people slobbery all over us all the time. He's like,

466
00:22:47,920 --> 00:22:50,159
Speaker 1: we can only go to the coffee place like so

467
00:22:50,240 --> 00:22:52,680
Speaker 1: many times. So now there's a place you can go

468
00:22:53,080 --> 00:22:57,720
Speaker 1: and hear music and experience community and hanging out.

469
00:22:57,920 --> 00:23:01,200
Speaker 2: It's just that you say something stupid, you get to

470
00:23:01,240 --> 00:23:03,520
Speaker 2: be anxious about it now, not tomorrow.

471
00:23:04,000 --> 00:23:06,640
Speaker 4: Let's take a quick pause for a message from our sponsor,

472
00:23:15,680 --> 00:23:17,879
Speaker 4: and we're back on the Bobby Cast.

473
00:23:18,400 --> 00:23:21,760
Speaker 3: When you first moved to town, how do you do that?

474
00:23:22,640 --> 00:23:25,879
Speaker 3: Do you go and ask people at bars? Can I play?

475
00:23:26,200 --> 00:23:27,400
Speaker 3: How do you do? Move to town?

476
00:23:27,600 --> 00:23:32,560
Speaker 1: I needed first to have place to sleep, so on

477
00:23:32,600 --> 00:23:36,000
Speaker 1: campus at Arkansas State, I walked up to my most

478
00:23:36,000 --> 00:23:38,760
Speaker 1: favorite mentoring professor and said, I'm dropping out right now,

479
00:23:40,240 --> 00:23:43,400
Speaker 1: and he said, good, you should, that's where you want

480
00:23:43,400 --> 00:23:47,480
Speaker 1: to be go, So I left. I called my friend Jenny,

481
00:23:47,520 --> 00:23:49,760
Speaker 1: who worked at the time. It was called Sure Storage,

482
00:23:50,440 --> 00:23:52,120
Speaker 1: and I think it's called something else now, but it's

483
00:23:52,160 --> 00:23:54,000
Speaker 1: the kind of storage building that's got like the lighthouse

484
00:23:54,000 --> 00:23:56,359
Speaker 1: looking thing on it. There was one in Donaldson and

485
00:23:56,400 --> 00:23:58,240
Speaker 1: she worked there and lived there. So that was where

486
00:23:58,240 --> 00:23:58,600
Speaker 1: I lived.

487
00:23:59,320 --> 00:24:00,000
Speaker 3: How do you live there?

488
00:24:00,800 --> 00:24:04,560
Speaker 1: There's an apartment like connected to the office, so as

489
00:24:04,600 --> 00:24:08,040
Speaker 1: you can imagine aaty bitty living space. But I could

490
00:24:08,040 --> 00:24:11,000
Speaker 1: crash there until I could get a place, and then

491
00:24:11,560 --> 00:24:13,600
Speaker 1: I know I have one friend who lives here, and

492
00:24:13,640 --> 00:24:15,159
Speaker 1: I'm like, what bars do you hang out at? And

493
00:24:15,160 --> 00:24:16,840
Speaker 1: she's like, damn aguinnis And I'm like, cool, what's the

494
00:24:16,840 --> 00:24:18,960
Speaker 1: bartender's name whatever?

495
00:24:19,000 --> 00:24:19,320
Speaker 3: Peyton?

496
00:24:19,359 --> 00:24:22,800
Speaker 1: All right, cool, can you introduce me? And then what

497
00:24:22,840 --> 00:24:24,760
Speaker 1: are the bars do you hang out at? Oh, Winterers, losers,

498
00:24:25,240 --> 00:24:27,240
Speaker 1: who's your favorite bartender at it? And just go start

499
00:24:27,280 --> 00:24:28,920
Speaker 1: talking to people. Do the same thing that I'd been

500
00:24:28,960 --> 00:24:32,399
Speaker 1: doing in Oklahoma and in Arkansas, I mean Kentucky, and

501
00:24:32,720 --> 00:24:35,440
Speaker 1: do all of those things, but just do it here.

502
00:24:35,480 --> 00:24:37,720
Speaker 1: And that's how I found out that everyone plays for

503
00:24:37,760 --> 00:24:40,359
Speaker 1: free here. At the time they did, there was no

504
00:24:40,440 --> 00:24:40,920
Speaker 1: base pay.

505
00:24:41,840 --> 00:24:45,560
Speaker 3: It was all tips, all tips. So do you go, hey,

506
00:24:45,720 --> 00:24:47,400
Speaker 3: I'd love to play for a couple hours.

507
00:24:47,520 --> 00:24:49,480
Speaker 1: Yeah, do you have anything any slots that need filled?

508
00:24:51,040 --> 00:24:54,040
Speaker 1: And they're like, yeah, Patio, there's nobody there from.

509
00:24:54,160 --> 00:24:55,440
Speaker 3: Six to eight on a Tuesday.

510
00:24:56,760 --> 00:24:58,560
Speaker 2: So you're like, okay, cool, I'll take that slot.

511
00:24:58,800 --> 00:25:00,600
Speaker 1: And then you try to get people, or you try

512
00:25:00,640 --> 00:25:02,240
Speaker 1: to get people that are walking down to Moumbrian to

513
00:25:02,280 --> 00:25:04,159
Speaker 1: come into Dan mcguinnis, and then you go to the

514
00:25:04,200 --> 00:25:06,600
Speaker 1: Writer's Nights, You go to Guinness Girls in Dan mcguinnis,

515
00:25:06,640 --> 00:25:07,320
Speaker 1: and you go to.

516
00:25:09,640 --> 00:25:10,960
Speaker 2: Rusting nail out in Hermitage and you.

517
00:25:10,960 --> 00:25:13,040
Speaker 1: Meet those songwriters and you find out who plays where

518
00:25:13,119 --> 00:25:17,400
Speaker 1: and gig swap and just start trying to I mean,

519
00:25:17,400 --> 00:25:21,520
Speaker 1: it's just boots on the ground, same thing I did

520
00:25:21,520 --> 00:25:22,120
Speaker 1: in Memphis.

521
00:25:23,359 --> 00:25:25,199
Speaker 3: It feels like you build a community in the community

522
00:25:25,200 --> 00:25:27,640
Speaker 3: together kind of figures out where everybody can go. Yeah,

523
00:25:28,240 --> 00:25:30,919
Speaker 3: but you have to build that community too, because you know,

524
00:25:31,680 --> 00:25:33,320
Speaker 3: it almost felt like college to you go to college.

525
00:25:33,320 --> 00:25:36,919
Speaker 3: You know, I didn't know anybody, made a friend, that

526
00:25:37,000 --> 00:25:39,639
Speaker 3: friend knew somebody mm hmm. Then we kind of had

527
00:25:39,640 --> 00:25:41,720
Speaker 3: a group and the group looked out for each other.

528
00:25:42,359 --> 00:25:43,880
Speaker 3: It kind of sounds like what it's like to move

529
00:25:43,920 --> 00:25:46,080
Speaker 3: here to Nashville is like you have a spot or two,

530
00:25:46,080 --> 00:25:47,920
Speaker 3: but then you in those spots until you meet other

531
00:25:47,960 --> 00:25:51,239
Speaker 3: people and you're sharing information. Does it feel competitive when

532
00:25:51,280 --> 00:25:52,200
Speaker 3: you first move here?

533
00:25:53,160 --> 00:25:55,480
Speaker 1: I think when you're first moving here and you're bumping

534
00:25:55,640 --> 00:25:57,800
Speaker 1: into the people that are doing kind of the same

535
00:25:57,800 --> 00:26:00,000
Speaker 1: thing you're doing, trying to get their feet under them,

536
00:26:00,240 --> 00:26:03,359
Speaker 1: I think it's a we get farther together feeling. And

537
00:26:03,400 --> 00:26:05,320
Speaker 1: you go to the Commodore and you play the Writer's Night,

538
00:26:05,359 --> 00:26:06,960
Speaker 1: and then you talk to the guy that just sang

539
00:26:07,000 --> 00:26:09,119
Speaker 1: and You're like, Hey, what other writers nights do you like?

540
00:26:09,160 --> 00:26:11,160
Speaker 1: And he's like, Oh, I really love the one that's

541
00:26:11,280 --> 00:26:14,199
Speaker 1: at blah blah blah Tavern at blah blah blah Street.

542
00:26:14,960 --> 00:26:17,679
Speaker 1: When is that That's on Tuesdays from nine to ten?

543
00:26:17,720 --> 00:26:19,520
Speaker 1: And you're like, okay, cool, what's the open mic?

544
00:26:19,560 --> 00:26:20,280
Speaker 2: Who's the host?

545
00:26:20,520 --> 00:26:21,960
Speaker 1: And then you go to that writer's night and you

546
00:26:22,000 --> 00:26:24,800
Speaker 1: meet the same type of people and you're like, where

547
00:26:24,800 --> 00:26:25,480
Speaker 1: do you like to play?

548
00:26:25,480 --> 00:26:27,919
Speaker 2: And they're like, Oh, I like to play at the.

549
00:26:27,680 --> 00:26:32,160
Speaker 1: Mexican Restaurant in Nolansville on Saturdays from six to eight,

550
00:26:32,280 --> 00:26:34,119
Speaker 1: And you're like, who do I talk to you about that?

551
00:26:34,160 --> 00:26:37,920
Speaker 1: I think we're so willing to give the information around

552
00:26:38,680 --> 00:26:40,960
Speaker 1: because we all know that we're here to do the

553
00:26:41,000 --> 00:26:43,160
Speaker 1: same thing. It was sort of like playing the bar circuit.

554
00:26:43,560 --> 00:26:46,919
Speaker 1: If I ran into you and you played four to

555
00:26:46,960 --> 00:26:49,840
Speaker 1: eight and I'm playing eight to midnight. We aren't in

556
00:26:49,840 --> 00:26:52,200
Speaker 1: competition with each other because we are the same animal,

557
00:26:52,880 --> 00:26:56,399
Speaker 1: and we are both in this bar playing songs that

558
00:26:56,440 --> 00:26:58,520
Speaker 1: we love to play to keep the lights on in

559
00:26:58,560 --> 00:27:01,240
Speaker 1: our house. There's no competition involved.

560
00:27:01,520 --> 00:27:03,960
Speaker 3: That feels very supportive. Is there a stage when it

561
00:27:04,000 --> 00:27:06,600
Speaker 3: starts to feel a bit competitive. Absolutely, what stage is

562
00:27:06,600 --> 00:27:09,320
Speaker 3: there immediately as soon as you get any momentum at all,

563
00:27:10,960 --> 00:27:12,959
Speaker 3: because that's what everybody's compeling form.

564
00:27:13,680 --> 00:27:17,359
Speaker 1: Yes, and especially being a chick. And I'm not being

565
00:27:17,480 --> 00:27:20,520
Speaker 1: like they'll play more women. We all know what the

566
00:27:20,560 --> 00:27:26,520
Speaker 1: climate is. But we know that in country music we

567
00:27:26,560 --> 00:27:30,680
Speaker 1: are only allowed to celebrate and promote and get behind

568
00:27:31,160 --> 00:27:32,720
Speaker 1: one at a time.

569
00:27:33,400 --> 00:27:37,000
Speaker 2: Even if there's ten of us, we know only one of.

570
00:27:36,960 --> 00:27:40,399
Speaker 1: These girls is getting the stool at the bar, and

571
00:27:40,480 --> 00:27:44,840
Speaker 1: that's when it starts to get gross and caddy. But

572
00:27:44,960 --> 00:27:49,280
Speaker 1: if you're lucky, then you've created relationships and earned respect

573
00:27:49,560 --> 00:27:53,800
Speaker 1: in your community so that it's not just caddy. How

574
00:27:53,840 --> 00:27:57,159
Speaker 1: do I explain that? Miranda used to say it to me.

575
00:27:57,280 --> 00:27:59,439
Speaker 1: I want you to challenge me. I want you to

576
00:27:59,440 --> 00:28:01,199
Speaker 1: make me a better performer. I want to make you

577
00:28:01,280 --> 00:28:04,160
Speaker 1: a better performer. This is how we sharpen our edges.

578
00:28:04,480 --> 00:28:07,400
Speaker 1: We challenge each other, we show up for each other.

579
00:28:08,560 --> 00:28:11,119
Speaker 1: This is the way it should be. And I completely agree.

580
00:28:11,760 --> 00:28:15,680
Speaker 1: Now when it comes down to it, if there's only room,

581
00:28:15,720 --> 00:28:18,520
Speaker 1: if there's only one parachute, you're gonna cut my throat.

582
00:28:19,160 --> 00:28:22,200
Speaker 1: I know that, and you know I'm gonna cut yours.

583
00:28:22,800 --> 00:28:25,639
Speaker 1: It's nothing personal, It's just that only one of us

584
00:28:25,680 --> 00:28:26,680
Speaker 1: gets the parachute.

585
00:28:27,080 --> 00:28:28,880
Speaker 3: Did you have times where you felt momentum?

586
00:28:29,119 --> 00:28:29,239
Speaker 4: Oh?

587
00:28:29,320 --> 00:28:30,359
Speaker 3: Yeah, and then regression?

588
00:28:30,920 --> 00:28:36,080
Speaker 1: Oh gosh, yes, everything was going, I mean just skyrocketing.

589
00:28:36,119 --> 00:28:39,040
Speaker 2: I was like, oh my god. And then the great

590
00:28:39,040 --> 00:28:41,400
Speaker 2: separation happened COVID.

591
00:28:41,520 --> 00:28:47,440
Speaker 1: Yeah, and then so the Never Will record, which still

592
00:28:47,520 --> 00:28:50,280
Speaker 1: is the only country music album that was nominated for

593
00:28:50,320 --> 00:28:53,080
Speaker 1: the ACM, the CMA, and the Recording Academy as Best

594
00:28:53,120 --> 00:28:53,760
Speaker 1: Album of the Year.

595
00:28:54,360 --> 00:28:56,640
Speaker 2: And we're all like, we're so excited, and then it

596
00:28:56,720 --> 00:28:59,240
Speaker 2: was like, we'll be doing it from your couch.

597
00:29:00,040 --> 00:29:02,560
Speaker 1: That was when a bunch of us saw a lot

598
00:29:02,600 --> 00:29:03,560
Speaker 1: of lost momentum.

599
00:29:03,720 --> 00:29:05,680
Speaker 2: Not that we didn't keep our feet moving. We did.

600
00:29:06,800 --> 00:29:10,440
Speaker 1: But then after that time ended, when things picked back up,

601
00:29:10,480 --> 00:29:14,120
Speaker 1: it picks back up on whatever shiny bright new not

602
00:29:14,280 --> 00:29:17,800
Speaker 1: on Wait, I've been doing all the heavy lifting over

603
00:29:17,840 --> 00:29:20,600
Speaker 1: here and carried it through a pandemic.

604
00:29:21,720 --> 00:29:24,160
Speaker 2: What's up? And they're like, what, I don't know. This

605
00:29:24,240 --> 00:29:29,120
Speaker 2: guy has a hat, like what So there was a

606
00:29:29,120 --> 00:29:30,920
Speaker 2: little bit of a skirt.

607
00:29:31,040 --> 00:29:34,400
Speaker 3: Whenever the pandemic happened, And I'm just going for a memory.

608
00:29:34,440 --> 00:29:35,800
Speaker 3: I think you were one of the first people that

609
00:29:35,840 --> 00:29:38,080
Speaker 3: I saw that was like, I'm playing live on this thing. Yeah,

610
00:29:38,120 --> 00:29:39,440
Speaker 3: like at the very beginning.

611
00:29:39,120 --> 00:29:40,920
Speaker 2: You're just stick on your couch. I want you.

612
00:29:41,160 --> 00:29:43,360
Speaker 3: Before everybody started doing it. I remember seeing you go,

613
00:29:43,440 --> 00:29:44,720
Speaker 3: I'm just going to play the shows live.

614
00:29:44,960 --> 00:29:46,800
Speaker 2: Yeah, we'll just play them on my couch. I don't care.

615
00:29:47,600 --> 00:29:49,560
Speaker 1: You don't have anything else to do. I don't have

616
00:29:49,600 --> 00:29:51,360
Speaker 1: anything else to do. We don't know how long it's

617
00:29:51,400 --> 00:29:54,000
Speaker 1: going to be this way. Let's do something that we

618
00:29:54,040 --> 00:29:56,240
Speaker 1: can look back on and go, what a scary time.

619
00:29:56,920 --> 00:30:00,480
Speaker 1: But oh my gosh, that was so much fun and

620
00:30:02,080 --> 00:30:03,640
Speaker 1: I was I don't remember how many lives I did

621
00:30:03,640 --> 00:30:05,760
Speaker 1: a week, but it was fun.

622
00:30:05,840 --> 00:30:07,400
Speaker 2: It was it was fun to do, and it kept

623
00:30:07,480 --> 00:30:09,000
Speaker 2: me from despair.

624
00:30:10,160 --> 00:30:12,440
Speaker 1: It did not keep me from tipping the drinking problem

625
00:30:12,480 --> 00:30:16,840
Speaker 1: completely over the edge, but it kept me from losing hope,

626
00:30:17,520 --> 00:30:21,520
Speaker 1: because despair is really really dangerous, because you may not

627
00:30:22,560 --> 00:30:25,760
Speaker 1: get back from that if you allow yourself to be

628
00:30:25,800 --> 00:30:28,320
Speaker 1: in the depths of we haven't worked in however long,

629
00:30:28,360 --> 00:30:30,680
Speaker 1: and we never will again. If you allow that belief

630
00:30:30,720 --> 00:30:34,320
Speaker 1: to set in, man, that's a that's a tough mudpit

631
00:30:34,360 --> 00:30:37,480
Speaker 1: to climb out of. I've kept my guitars in their

632
00:30:37,520 --> 00:30:40,120
Speaker 1: flight cases in the hallway by my front door.

633
00:30:40,360 --> 00:30:41,000
Speaker 3: For what reason?

634
00:30:41,160 --> 00:30:43,040
Speaker 1: Because I will be putting them back on the bus.

635
00:30:43,680 --> 00:30:45,920
Speaker 1: They need to stay visible so that I can put

636
00:30:45,960 --> 00:30:48,080
Speaker 1: them back in a plane, back in a bus. They're

637
00:30:48,080 --> 00:30:48,920
Speaker 1: going to be used.

638
00:30:50,880 --> 00:30:55,120
Speaker 3: A little bit of a mind trick there. Yes, this

639
00:30:55,200 --> 00:30:57,880
Speaker 3: new record, when's it coming out?

640
00:30:58,440 --> 00:31:00,120
Speaker 2: Summer? That's what they tell me.

641
00:31:00,160 --> 00:31:03,680
Speaker 3: I could say, you're just gonna just a broad just

642
00:31:03,720 --> 00:31:06,440
Speaker 3: when it gets warmer, looked on your phone and I

643
00:31:06,520 --> 00:31:09,560
Speaker 3: know it might be there. Would you always do eleven tracks?

644
00:31:10,120 --> 00:31:11,560
Speaker 2: It seems to work out that way.

645
00:31:11,600 --> 00:31:14,160
Speaker 3: But is that a thing like if it's more than eleven,

646
00:31:14,160 --> 00:31:14,680
Speaker 3: it's bad luck.

647
00:31:14,840 --> 00:31:17,280
Speaker 1: I love the number eleven, okay, But it's not like

648
00:31:17,600 --> 00:31:19,000
Speaker 1: if it was a ten track record, it.

649
00:31:18,920 --> 00:31:20,800
Speaker 2: Would be a ten track record. I wouldn't be like,

650
00:31:20,880 --> 00:31:23,960
Speaker 2: well we whatever this song is, what's it called? Paper Rose?

651
00:31:24,000 --> 00:31:25,960
Speaker 2: Put that on there? Wouldn't. I can't do that.

652
00:31:26,160 --> 00:31:29,800
Speaker 1: But it seems like, and do we have twelve for

653
00:31:29,880 --> 00:31:32,840
Speaker 1: this one? I think it almost ended up as twelve.

654
00:31:32,880 --> 00:31:34,320
Speaker 3: I think I thought eleven because I just saw that

655
00:31:34,360 --> 00:31:36,560
Speaker 3: it was eleven. Yeah, am I am? I right on that.

656
00:31:36,720 --> 00:31:38,440
Speaker 2: It's eleven on every record, okay?

657
00:31:39,000 --> 00:31:43,400
Speaker 1: Is Lindyville is even Lindyville eleven tracks because we took

658
00:31:43,480 --> 00:31:45,480
Speaker 1: out one of the songs that was written for Lindyville

659
00:31:46,520 --> 00:31:49,600
Speaker 1: and make eleven and then put in a Linda Ronstadt song.

660
00:31:51,200 --> 00:31:52,320
Speaker 2: So I don't know if that one that one might

661
00:31:52,360 --> 00:31:53,080
Speaker 2: be twelve.

662
00:31:54,480 --> 00:31:55,120
Speaker 3: Superstition.

663
00:31:56,240 --> 00:31:58,200
Speaker 1: I think maybe once we did it two or three

664
00:31:58,240 --> 00:32:00,560
Speaker 1: times that I was like, Okay, it probably should be eleven.

665
00:32:00,720 --> 00:32:04,240
Speaker 1: But again for this record, I was like, if it's fourteen,

666
00:32:04,240 --> 00:32:05,600
Speaker 1: it's fourteen. If it's ten, it's ten.

667
00:32:06,200 --> 00:32:07,880
Speaker 3: How many did you record?

668
00:32:09,040 --> 00:32:12,000
Speaker 2: Everything we cut stayed on this record?

669
00:32:12,200 --> 00:32:15,240
Speaker 3: Wow? So you were very precious then with what you cut.

670
00:32:15,600 --> 00:32:17,600
Speaker 3: So how many did you ride that you considered cutting?

671
00:32:19,480 --> 00:32:22,960
Speaker 1: Everything's always in the pile at the beginning. But I

672
00:32:22,960 --> 00:32:25,280
Speaker 1: wanted to do something a little different on this record

673
00:32:26,320 --> 00:32:29,000
Speaker 1: because I knew that there were I knew I wanted

674
00:32:29,080 --> 00:32:31,000
Speaker 1: Rattlesnake Preacher, I knew I wanted water in the River.

675
00:32:31,040 --> 00:32:32,720
Speaker 1: I knew I wanted cres So because I had been

676
00:32:34,720 --> 00:32:39,760
Speaker 1: guided away, suggested away from cutting those three specific songs

677
00:32:39,800 --> 00:32:42,920
Speaker 1: from the get go, why because nobody cares about that

678
00:32:42,960 --> 00:32:46,680
Speaker 1: sound whatever, it's swampy, it's bluesy, it's been done. And

679
00:32:46,720 --> 00:32:48,440
Speaker 1: I was like, but that's what I sound like, and

680
00:32:48,440 --> 00:32:51,640
Speaker 1: they're like, whatever, we will delightfully gently suggest that you

681
00:32:51,680 --> 00:32:52,120
Speaker 1: not do that.

682
00:32:53,800 --> 00:32:55,000
Speaker 2: So I was like, I want to do that, but

683
00:32:55,040 --> 00:32:56,360
Speaker 2: I don't have to balance that out.

684
00:32:57,440 --> 00:33:00,400
Speaker 1: And luckily my bread and butter is songs like lie

685
00:33:00,400 --> 00:33:03,360
Speaker 1: on in the Kitchen, and so the acoustic fingerpicky stuff,

686
00:33:03,400 --> 00:33:05,640
Speaker 1: I've got plenty of it we can choose from, but

687
00:33:05,680 --> 00:33:08,280
Speaker 1: I knew to balance it out. Really, to round that out,

688
00:33:09,480 --> 00:33:13,000
Speaker 1: I was going to need to call my publishers. When

689
00:33:13,040 --> 00:33:16,959
Speaker 1: I first got my publishing deal in twenty fourteen, I

690
00:33:17,040 --> 00:33:19,040
Speaker 1: was sitting here in these rooms writing these songs, and

691
00:33:19,080 --> 00:33:21,280
Speaker 1: some of them were terrible and some of them were

692
00:33:21,360 --> 00:33:24,520
Speaker 1: very good. And I would say to my co writers, man,

693
00:33:24,600 --> 00:33:27,800
Speaker 1: every artist is a songwriter. So nobody's going to cut

694
00:33:27,840 --> 00:33:30,400
Speaker 1: our songs because nobody will listen to them because they

695
00:33:30,400 --> 00:33:32,960
Speaker 1: aren't a writer. They aren't a producer that's a writer.

696
00:33:33,000 --> 00:33:34,400
Speaker 1: They're not an artist that's a writer. They're not a

697
00:33:34,440 --> 00:33:36,959
Speaker 1: track guy that's a writer. And if somebody would just

698
00:33:37,200 --> 00:33:40,200
Speaker 1: listen to my songs, they would cut them. So here

699
00:33:40,240 --> 00:33:44,280
Speaker 1: I am twenty twenty five, twenty twenty six going I'm

700
00:33:44,320 --> 00:33:48,160
Speaker 1: the thing that I bitched about because I'm always on

701
00:33:48,200 --> 00:33:50,360
Speaker 1: the road. I don't take time to go to writers

702
00:33:50,480 --> 00:33:52,800
Speaker 1: nights and hear things. I don't call and ask what's

703
00:33:52,880 --> 00:33:54,920
Speaker 1: going on in the writing world.

704
00:33:55,320 --> 00:33:55,960
Speaker 2: Shame on me.

705
00:33:57,920 --> 00:33:59,720
Speaker 1: Just like every song I write, I'm not the best

706
00:33:59,800 --> 00:34:05,400
Speaker 1: voy four something that someone else wrote is my story

707
00:34:05,680 --> 00:34:08,080
Speaker 1: is for my voice, and I've not been listening. So

708
00:34:08,120 --> 00:34:10,480
Speaker 1: I asked my publishers to go song hunting.

709
00:34:11,160 --> 00:34:12,520
Speaker 3: Is that a conversation with your ego?

710
00:34:13,719 --> 00:34:16,720
Speaker 1: Yeah, especially because that's what I'm a songwriter first.

711
00:34:16,960 --> 00:34:19,960
Speaker 3: Yeah, because I think you write awesome songs and for

712
00:34:20,040 --> 00:34:23,320
Speaker 3: you to go, maybe I'd like to hear some other songs.

713
00:34:23,360 --> 00:34:28,280
Speaker 2: I what if I'm missing out on magic And it's okay?

714
00:34:28,360 --> 00:34:30,720
Speaker 2: And it's not a marriage proposal. It's a pitch meeting

715
00:34:30,880 --> 00:34:32,400
Speaker 2: and you play me a bunch of songs and I

716
00:34:32,400 --> 00:34:33,480
Speaker 2: don't take any of them.

717
00:34:33,560 --> 00:34:35,360
Speaker 3: Fine, I I go. The first time that happened, the

718
00:34:35,400 --> 00:34:37,440
Speaker 3: first pitch meeting where they're playing you songs? Were you

719
00:34:37,480 --> 00:34:38,239
Speaker 3: already opened to it?

720
00:34:38,800 --> 00:34:42,080
Speaker 1: There was only one pitch meeting for this record, really,

721
00:34:42,760 --> 00:34:47,040
Speaker 1: and I think they played me twelve or fifteen. It

722
00:34:47,120 --> 00:34:47,600
Speaker 1: took five.

723
00:34:48,280 --> 00:34:49,919
Speaker 2: Wow, So you were ready two more than I would

724
00:34:49,920 --> 00:34:51,120
Speaker 2: cut today if I had room for them.

725
00:34:51,239 --> 00:34:55,320
Speaker 3: Yeah, then you were ready then psychologically.

726
00:34:54,520 --> 00:34:56,839
Speaker 1: Emotionally, and a new kind of what I was looking for,

727
00:34:57,080 --> 00:35:00,719
Speaker 1: especially since I know what the ingredients already are and

728
00:35:00,840 --> 00:35:04,640
Speaker 1: I need to balance out the chick rock with a

729
00:35:04,680 --> 00:35:10,239
Speaker 1: Southern accent, things about trains and things about whatever, and

730
00:35:10,320 --> 00:35:10,719
Speaker 1: I need to.

731
00:35:10,680 --> 00:35:11,560
Speaker 2: Balance this out.

732
00:35:12,160 --> 00:35:16,080
Speaker 1: And so I knew when I heard the ingredient, I yes,

733
00:35:16,320 --> 00:35:19,080
Speaker 1: I think I need that. And even those well, I

734
00:35:19,120 --> 00:35:22,439
Speaker 1: wound up taking five sixty seven songs and then going

735
00:35:22,440 --> 00:35:24,399
Speaker 1: home and living with those and being able to go

736
00:35:25,239 --> 00:35:29,080
Speaker 1: these five they do the correct job. They help me

737
00:35:29,200 --> 00:35:33,680
Speaker 1: tell this story. They feel natural in my bones when

738
00:35:33,719 --> 00:35:36,719
Speaker 1: I sing them. And then the other two that I

739
00:35:36,719 --> 00:35:38,440
Speaker 1: had on hold, I'll cut those as soon as I

740
00:35:38,440 --> 00:35:42,960
Speaker 1: get a chance. That the songwriters are magic, They're just magic.

741
00:35:43,000 --> 00:35:44,600
Speaker 3: It feels like a new version that you have to

742
00:35:44,760 --> 00:35:49,320
Speaker 3: like introduce yourself to because you've always been that person.

743
00:35:49,160 --> 00:35:50,240
Speaker 2: Always been the songwriter.

744
00:35:50,400 --> 00:35:54,600
Speaker 3: Yeah, and so now. But I think you have to

745
00:35:54,600 --> 00:35:58,080
Speaker 3: be comfortable with yourself as a songwriter to listen to

746
00:35:58,120 --> 00:36:00,239
Speaker 3: other songs. Like there's no way I should say there's

747
00:36:00,239 --> 00:36:02,160
Speaker 3: no because to do anything in the creative world, you

748
00:36:02,160 --> 00:36:05,400
Speaker 3: have to be insecure. I'm tacked that to the wall.

749
00:36:06,320 --> 00:36:08,960
Speaker 3: But I think there's a security in your songwriting now

750
00:36:09,000 --> 00:36:10,600
Speaker 3: within you. This is me just saying you can tell

751
00:36:10,600 --> 00:36:12,600
Speaker 3: if I'm wrong that you now can listen to other

752
00:36:12,640 --> 00:36:14,520
Speaker 3: songs because you're confident with who you are as a songwriter.

753
00:36:15,160 --> 00:36:16,359
Speaker 2: Yeah, we know I can write a song.

754
00:36:16,440 --> 00:36:19,160
Speaker 3: Yeah, it doesn't make you feel less than to write

755
00:36:19,200 --> 00:36:21,719
Speaker 3: somebody else's song because you know you can write a song. Right.

756
00:36:21,880 --> 00:36:25,760
Speaker 1: Yeah, I would say I feel good about the songs

757
00:36:26,080 --> 00:36:28,200
Speaker 1: that I've written, that I've put out, that I continue

758
00:36:28,239 --> 00:36:31,279
Speaker 1: to write. And I just knew I was missing out

759
00:36:31,320 --> 00:36:32,600
Speaker 1: on magic.

760
00:36:33,120 --> 00:36:35,920
Speaker 3: What's a magic song that you heard?

761
00:36:37,360 --> 00:36:42,560
Speaker 2: Wild? The co writers on that are MICHAELA. Lynn, Jeremy Spielman,

762
00:36:42,600 --> 00:36:43,319
Speaker 2: and Matteresa Berg.

763
00:36:43,680 --> 00:36:45,160
Speaker 3: What about that song stuck you?

764
00:36:47,360 --> 00:36:47,960
Speaker 2: The melody?

765
00:36:48,560 --> 00:36:52,400
Speaker 1: We haven't heard a melody like this since remember the

766
00:36:52,840 --> 00:36:57,239
Speaker 1: Chicks record Home, the song Home Maya Sharp's a writer

767
00:36:57,320 --> 00:37:00,120
Speaker 1: on that that melody where you're like, what the it's

768
00:37:00,160 --> 00:37:03,839
Speaker 1: not a traditional country melody. This was brave in that

769
00:37:03,920 --> 00:37:07,719
Speaker 1: direction and brave that it made sense, not defiantly like

770
00:37:07,840 --> 00:37:11,359
Speaker 1: here's a weird chord. And when it did that, I

771
00:37:11,400 --> 00:37:15,920
Speaker 1: was like, Oh, I'm interested. And then lyrically, there's a

772
00:37:15,960 --> 00:37:19,480
Speaker 1: phrase and it's a question in the chorus, and it's

773
00:37:19,560 --> 00:37:22,239
Speaker 1: do the razor wire white picket fences keep you from

774
00:37:22,320 --> 00:37:26,480
Speaker 1: running for miles? And then your picture in your brain?

775
00:37:26,600 --> 00:37:30,600
Speaker 1: For me, it's my mom my sister, my aunt's, my

776
00:37:30,640 --> 00:37:33,920
Speaker 1: grandmother's razor wire white picket fences.

777
00:37:34,000 --> 00:37:36,600
Speaker 2: Is it everything you wanted it to be? Or is

778
00:37:36,640 --> 00:37:37,200
Speaker 2: it a trap?

779
00:37:38,200 --> 00:37:41,600
Speaker 1: And am I the representation of what's on the other

780
00:37:41,640 --> 00:37:44,600
Speaker 1: side of that fence that did not get trapped, that

781
00:37:44,640 --> 00:37:48,279
Speaker 1: lives her life as a vagabond, and that just goes

782
00:37:48,280 --> 00:37:51,440
Speaker 1: from town to town. So when I heard that phrase

783
00:37:51,480 --> 00:37:54,160
Speaker 1: in that song, that was magic to me.

784
00:37:55,560 --> 00:37:59,440
Speaker 2: And oh, there's a song, oh that she asks in

785
00:37:59,520 --> 00:38:02,160
Speaker 2: the first first where do you go when you're dreaming?

786
00:38:02,760 --> 00:38:05,640
Speaker 2: You with the far away stair? Do you ever take

787
00:38:05,640 --> 00:38:08,000
Speaker 2: me with you? And you go there? And I knew

788
00:38:08,000 --> 00:38:11,319
Speaker 2: who she was singing to. She was singing to me,

789
00:38:13,200 --> 00:38:17,839
Speaker 2: the little me in my bedroom playing my guitar, just

790
00:38:17,920 --> 00:38:19,799
Speaker 2: knowing that I'm going to be a star someday and

791
00:38:19,920 --> 00:38:22,200
Speaker 2: imagining what I would look like and what I would

792
00:38:22,280 --> 00:38:24,239
Speaker 2: walk like, and what I would wear. And I would

793
00:38:24,280 --> 00:38:26,160
Speaker 2: be in like cool jeans and like.

794
00:38:26,000 --> 00:38:29,120
Speaker 5: A ripped up leather jacket and white T shirt and

795
00:38:29,120 --> 00:38:32,120
Speaker 5: I would just be so cool and I would walk

796
00:38:32,239 --> 00:38:34,880
Speaker 5: so cool that it looks like I'm animated, or I

797
00:38:34,920 --> 00:38:36,839
Speaker 5: look like I came off of a video game.

798
00:38:36,920 --> 00:38:37,760
Speaker 2: I'm that cool.

799
00:38:38,360 --> 00:38:41,360
Speaker 1: That's who this song is written to, is that little girl.

800
00:38:43,120 --> 00:38:45,880
Speaker 1: And when I hear it and I take this in

801
00:38:45,920 --> 00:38:48,000
Speaker 1: and I'm getting ready to sing it, then I realized,

802
00:38:48,000 --> 00:38:51,480
Speaker 1: while I'm cutting it with my band, those little boys

803
00:38:51,640 --> 00:38:54,160
Speaker 1: are who are performing this song with me right now

804
00:38:54,320 --> 00:38:56,040
Speaker 1: that dreamt of what they would be like when we

805
00:38:56,040 --> 00:39:00,399
Speaker 1: grow up. Oh my god, that thing exists still very

806
00:39:00,440 --> 00:39:03,200
Speaker 1: much in all of us, and they've been napping in

807
00:39:03,280 --> 00:39:06,120
Speaker 1: some cases, and we can wake that up. This song

808
00:39:06,239 --> 00:39:08,480
Speaker 1: does that, and it's not because it's my voice. You

809
00:39:08,520 --> 00:39:11,280
Speaker 1: could sing it and it would wake everything up too.

810
00:39:11,400 --> 00:39:13,799
Speaker 1: And then realizing that, oh my god, that's the gun

811
00:39:13,880 --> 00:39:17,240
Speaker 1: of the whole thing of the live show is that's

812
00:39:17,440 --> 00:39:19,400
Speaker 1: who I bring on to the stage and that's the

813
00:39:19,480 --> 00:39:22,440
Speaker 1: you that I want to sing to, the part of

814
00:39:22,480 --> 00:39:25,040
Speaker 1: you that dreamt who you would be, and people like

815
00:39:25,120 --> 00:39:27,040
Speaker 1: me and people like you, I am what I want

816
00:39:27,040 --> 00:39:27,920
Speaker 1: to be when I grow up.

817
00:39:28,880 --> 00:39:31,480
Speaker 3: That's funny say that. I was just thinking. I had

818
00:39:31,520 --> 00:39:33,680
Speaker 3: a thought the other day that I finally think young

819
00:39:33,760 --> 00:39:36,479
Speaker 3: me would think I'm cool. Just now, yes, just now,

820
00:39:37,160 --> 00:39:38,560
Speaker 3: Like I think eight year old me would be like,

821
00:39:39,080 --> 00:39:40,040
Speaker 3: that guy's cool.

822
00:39:39,880 --> 00:39:43,040
Speaker 1: That guy's got it going on. Yeah, she would think

823
00:39:43,080 --> 00:39:49,319
Speaker 1: I'm so dope. She would love my leather jacket. And

824
00:39:50,000 --> 00:39:53,400
Speaker 1: adult me plays an electric guitar, which I was not

825
00:39:53,520 --> 00:39:56,120
Speaker 1: allowed to have when I was little. I could play

826
00:39:56,160 --> 00:39:59,120
Speaker 1: the acoustic guitar. But electric guitars make you lazy, which

827
00:39:59,200 --> 00:40:02,879
Speaker 1: is not true. They help you learn scales real fast

828
00:40:02,960 --> 00:40:03,840
Speaker 1: and get a grasp on.

829
00:40:03,920 --> 00:40:06,160
Speaker 3: Lead, but that's true. I have a niece that's learning

830
00:40:06,160 --> 00:40:08,520
Speaker 3: guitar right now, and she's learning on an electric, And

831
00:40:08,520 --> 00:40:10,280
Speaker 3: I said, man, I wish you wouldn't learn on an electric.

832
00:40:10,880 --> 00:40:13,560
Speaker 1: For your strength, in your dexterity, you really should start

833
00:40:13,560 --> 00:40:16,440
Speaker 1: out on acoustic, but you should start to work I

834
00:40:16,480 --> 00:40:20,000
Speaker 1: think electric in so that you don't get married to

835
00:40:20,120 --> 00:40:22,440
Speaker 1: only rhythm, you don't get married to only cowboy chords.

836
00:40:23,080 --> 00:40:24,680
Speaker 1: It's going to be way easier on her hands to

837
00:40:24,760 --> 00:40:28,520
Speaker 1: learn bar chords in different formations on an electric, which

838
00:40:28,719 --> 00:40:31,680
Speaker 1: hopefully will encourage her to play above the fourth fret,

839
00:40:31,719 --> 00:40:36,239
Speaker 1: you know, which I didn't have I do now, but

840
00:40:36,239 --> 00:40:38,200
Speaker 1: but it was me being like, it's still I have

841
00:40:38,239 --> 00:40:41,319
Speaker 1: to be like e f shirt g shirt Bay and

842
00:40:41,400 --> 00:40:43,560
Speaker 1: my guitar players like, see is right there, and I'm like,

843
00:40:43,760 --> 00:40:46,160
Speaker 1: hang on, f sharp gee.

844
00:40:48,120 --> 00:40:50,200
Speaker 3: Did you ever have a moment where you're like, I

845
00:40:50,239 --> 00:40:52,279
Speaker 3: now deserve a really nice guitar. Did you ever get

846
00:40:52,320 --> 00:40:53,960
Speaker 3: your first, like really nice guitar?

847
00:40:54,360 --> 00:40:59,000
Speaker 1: Definitely when I have a Santa Cruz that I bought

848
00:40:59,000 --> 00:41:02,160
Speaker 1: when I was sixteen in Mountain View, Arkansas at Signal

849
00:41:02,200 --> 00:41:07,759
Speaker 1: Hill Music Store, which was very expensive for me at

850
00:41:07,800 --> 00:41:11,160
Speaker 1: the time, and I paid it. We made a deal

851
00:41:11,280 --> 00:41:13,879
Speaker 1: the shop and my parents that I would send money

852
00:41:13,920 --> 00:41:16,160
Speaker 1: every month to I was paid off. It was my

853
00:41:16,200 --> 00:41:18,920
Speaker 1: first version of right but you got it right. It's

854
00:41:18,960 --> 00:41:20,359
Speaker 1: my first version of like a car note. I had

855
00:41:20,360 --> 00:41:23,680
Speaker 1: a guitar note and I learned great lessons on that

856
00:41:23,960 --> 00:41:28,120
Speaker 1: and I loved that guitar. It's an incredible instrument. And

857
00:41:28,160 --> 00:41:30,600
Speaker 1: then as I'm playing in bars and everything, things start

858
00:41:30,680 --> 00:41:34,600
Speaker 1: happening to Hug and beers get spilled on him and

859
00:41:34,640 --> 00:41:37,680
Speaker 1: he gets bumped into stuff and this case isn't sturdy enough,

860
00:41:37,800 --> 00:41:41,640
Speaker 1: and then I'm like, am I going to get I

861
00:41:41,640 --> 00:41:45,960
Speaker 1: think at one point I played a tailor because the

862
00:41:46,200 --> 00:41:50,360
Speaker 1: electronics were great in it. And then when I was

863
00:41:50,360 --> 00:41:54,960
Speaker 1: like I need a nice guitar, and I knew I

864
00:41:55,000 --> 00:41:58,400
Speaker 1: wanted a J forty five because there's such a workhorse,

865
00:41:58,400 --> 00:42:01,800
Speaker 1: and I'm a bluegrass girl from the word goes so Martin,

866
00:42:01,920 --> 00:42:04,919
Speaker 1: of course, But I knew that a J forty five

867
00:42:05,560 --> 00:42:09,279
Speaker 1: cuts through well in a PA and cuts through well

868
00:42:09,280 --> 00:42:11,800
Speaker 1: in a band setting, and you could build a house

869
00:42:11,840 --> 00:42:14,000
Speaker 1: with it and then play a show with it. It's

870
00:42:14,040 --> 00:42:16,400
Speaker 1: really hard to damage them. And that's Dinah that you

871
00:42:16,520 --> 00:42:20,040
Speaker 1: usually see me play at the opry, And boy does

872
00:42:20,080 --> 00:42:22,080
Speaker 1: she have some dings from me trying to build a

873
00:42:22,120 --> 00:42:25,960
Speaker 1: house with her. And I didn't know how to save up.

874
00:42:26,440 --> 00:42:28,240
Speaker 1: I didn't know how to get a nice guitar at first,

875
00:42:29,160 --> 00:42:31,319
Speaker 1: So I learned what songs to play to make more

876
00:42:31,360 --> 00:42:34,000
Speaker 1: tips so I could save up.

877
00:42:33,880 --> 00:42:34,760
Speaker 2: And buy a new guitar.

878
00:42:35,040 --> 00:42:40,000
Speaker 1: No one handed me a thing, not my pa, not

879
00:42:40,120 --> 00:42:42,440
Speaker 1: how to run it, not the truck I was driving,

880
00:42:42,680 --> 00:42:45,279
Speaker 1: not the topper that kept most of the water off

881
00:42:45,280 --> 00:42:47,200
Speaker 1: of it. And I would get that at the bar.

882
00:42:47,320 --> 00:42:52,600
Speaker 2: Is there your husband's truck. No, it's your husband's.

883
00:42:52,239 --> 00:42:57,160
Speaker 3: Truck, isn't it? Well for me, I would resent having

884
00:42:57,200 --> 00:42:59,400
Speaker 3: to do everything for so long until I then later

885
00:42:59,719 --> 00:43:01,440
Speaker 3: got to a point where then I understood how to

886
00:43:01,480 --> 00:43:04,040
Speaker 3: do everything, and I was so grateful that I knew

887
00:43:04,080 --> 00:43:07,200
Speaker 3: how to do everything. Yes, for two reasons. One, I

888
00:43:07,239 --> 00:43:09,840
Speaker 3: was grateful because I knew how to do it just

889
00:43:09,840 --> 00:43:12,000
Speaker 3: in case anything ever went wrong. And then two, I

890
00:43:12,040 --> 00:43:15,080
Speaker 3: actually appreciated the people that were doing it, yes, because

891
00:43:15,080 --> 00:43:16,080
Speaker 3: I had done it before.

892
00:43:17,080 --> 00:43:18,800
Speaker 2: So I can wire my own pedal board.

893
00:43:19,560 --> 00:43:20,480
Speaker 1: I mean, I don't know if I could do it

894
00:43:20,560 --> 00:43:22,759
Speaker 1: today because it's been so long since I've had to

895
00:43:22,760 --> 00:43:26,080
Speaker 1: set my own up. But knowing that if something goes wrong,

896
00:43:26,120 --> 00:43:30,520
Speaker 1: I can troubleshoot it was really comforting. And like you said,

897
00:43:30,560 --> 00:43:34,120
Speaker 1: now when somebody sets something up for me, I appreciate,

898
00:43:34,280 --> 00:43:36,960
Speaker 1: especially if something goes wrong on my current pedal board,

899
00:43:37,360 --> 00:43:39,239
Speaker 1: I have. All I can do is turn something on

900
00:43:39,280 --> 00:43:43,280
Speaker 1: and turn something off. The knowledge that surrounds how pedals

901
00:43:43,320 --> 00:43:46,319
Speaker 1: have progressed, and how all of the things, how power

902
00:43:46,360 --> 00:43:48,720
Speaker 1: supplies have progressed, and all that there's not eighty wires

903
00:43:48,760 --> 00:43:51,319
Speaker 1: another there's one. I don't know how this works. I

904
00:43:51,360 --> 00:43:53,840
Speaker 1: have such an appreciation and I was offended a little

905
00:43:53,840 --> 00:43:56,759
Speaker 1: bit at first when I wasn't setting up my MIC

906
00:43:56,880 --> 00:44:01,279
Speaker 1: stant how's it going to be right? And a bandmate said, well,

907
00:44:01,320 --> 00:44:05,560
Speaker 1: it's going to be right, because that's his job. He

908
00:44:05,719 --> 00:44:10,120
Speaker 1: knows where your mouth is according to his height. And

909
00:44:10,160 --> 00:44:11,040
Speaker 1: I'm like, but I can.

910
00:44:10,920 --> 00:44:13,719
Speaker 2: Set I've been set up my own stuff for twenty years.

911
00:44:13,840 --> 00:44:14,279
Speaker 3: I do it.

912
00:44:14,320 --> 00:44:17,239
Speaker 1: Myself, and what's posed to me by the bandmate is

913
00:44:17,480 --> 00:44:21,120
Speaker 1: that's right, and maybe you've earned your right to have

914
00:44:21,239 --> 00:44:22,480
Speaker 1: someone else do it for you.

915
00:44:23,320 --> 00:44:29,800
Speaker 2: And I was like, I mean, gross, but thanks.

916
00:44:31,320 --> 00:44:43,920
Speaker 6: The Bobby Cast will be right back. This is the

917
00:44:44,000 --> 00:44:44,720
Speaker 6: Bobby Cast.

918
00:44:45,480 --> 00:44:49,120
Speaker 3: What I found so interesting about Nashville and just touring

919
00:44:49,320 --> 00:44:52,680
Speaker 3: is you're at whatever level and you're moving up, but

920
00:44:52,719 --> 00:44:54,919
Speaker 3: now you've got to spend more money when you get up.

921
00:44:55,360 --> 00:44:57,440
Speaker 3: But now you have a song, Well, now you got

922
00:44:57,440 --> 00:44:59,919
Speaker 3: to spend more. It's always this game of you're having

923
00:45:00,000 --> 00:45:03,719
Speaker 3: and the more money you're making, more more money has

924
00:45:03,760 --> 00:45:06,839
Speaker 3: to be invested into. So it's almost never like just

925
00:45:06,960 --> 00:45:09,719
Speaker 3: straight you just get all this extra money, because it

926
00:45:09,719 --> 00:45:13,080
Speaker 3: mostly turns into well, now we got to get trucks. Oh,

927
00:45:13,120 --> 00:45:14,520
Speaker 3: now we need multiple buses.

928
00:45:14,560 --> 00:45:16,279
Speaker 2: And I was like, oh my gosh, the truck. And

929
00:45:16,280 --> 00:45:19,200
Speaker 2: then I was like, oh my god, I truck. We

930
00:45:19,280 --> 00:45:22,960
Speaker 2: have to have how small of a lighting grade can

931
00:45:23,000 --> 00:45:23,399
Speaker 2: we use?

932
00:45:23,480 --> 00:45:25,120
Speaker 3: Yeah, that's a crazy part of the touring here is

933
00:45:25,120 --> 00:45:28,319
Speaker 3: that it just keeps costing more money, and yeah, I

934
00:45:28,400 --> 00:45:30,640
Speaker 3: never see success in making it. But you have to

935
00:45:30,640 --> 00:45:32,560
Speaker 3: then spend more money, Yeah, make this or at least

936
00:45:32,600 --> 00:45:33,680
Speaker 3: feel like the show is bigger.

937
00:45:33,760 --> 00:45:34,760
Speaker 2: Yeah.

938
00:45:34,800 --> 00:45:36,560
Speaker 1: And then the more equipment you have, the more hands

939
00:45:36,600 --> 00:45:40,560
Speaker 1: it takes to run that equipment. That's more mouths to

940
00:45:40,600 --> 00:45:43,759
Speaker 1: be responsible for making sure that they eat and their

941
00:45:43,760 --> 00:45:49,160
Speaker 1: family eats. And then then there's the pressure is now

942
00:45:49,200 --> 00:45:52,520
Speaker 1: we have to have enough success to keep enough growth,

943
00:45:52,560 --> 00:45:55,920
Speaker 1: to keep growing because everything will keep costing more and

944
00:45:55,960 --> 00:46:00,759
Speaker 1: asking more of us and being the woman behind the

945
00:46:00,800 --> 00:46:07,560
Speaker 1: ship's wheel and going it's this way, knowing how many

946
00:46:07,600 --> 00:46:09,200
Speaker 1: people are hungry.

947
00:46:09,239 --> 00:46:12,160
Speaker 3: If you're wrong, I'm gonna put that pressure on your

948
00:46:12,160 --> 00:46:12,560
Speaker 3: celf phone.

949
00:46:12,640 --> 00:46:19,360
Speaker 1: Absolutely, I will, Sirpa it everywhere with me, and it

950
00:46:19,400 --> 00:46:21,600
Speaker 1: helps me make great decisions, especially now that I'm not

951
00:46:21,640 --> 00:46:24,120
Speaker 1: a drunk, well a drunk living a sober life.

952
00:46:24,719 --> 00:46:27,160
Speaker 3: Have you felt different creatively since you've stopped drinking.

953
00:46:27,840 --> 00:46:28,560
Speaker 2: Yeah, I think so.

954
00:46:30,040 --> 00:46:33,200
Speaker 1: I was really really worried, and I'm sure that there

955
00:46:33,239 --> 00:46:38,319
Speaker 1: were some real turns that I wrote, and there were

956
00:46:38,360 --> 00:46:42,360
Speaker 1: some times where Anger kept trying to be a co writer,

957
00:46:42,960 --> 00:46:46,080
Speaker 1: and those don't make very valuable songs I don't understand

958
00:46:46,080 --> 00:46:47,799
Speaker 1: where you're s and also nobody cares if you're mad

959
00:46:49,320 --> 00:46:51,760
Speaker 1: to where you're like, well, I can't write that because

960
00:46:51,760 --> 00:46:53,960
Speaker 1: I don't drink anymore. And then you're mad at that.

961
00:46:54,200 --> 00:46:56,360
Speaker 1: Well now you're okay. Well now the song is shot,

962
00:46:56,560 --> 00:47:02,959
Speaker 1: so stop try it again. As an adult, it's okay

963
00:47:02,960 --> 00:47:03,960
Speaker 1: to access.

964
00:47:03,560 --> 00:47:05,760
Speaker 2: Anger, it's okay to use it as a tool.

965
00:47:05,640 --> 00:47:10,319
Speaker 1: It's not okay to let it drive the car. Then

966
00:47:10,560 --> 00:47:15,600
Speaker 1: I had to re meet myself as a writer. I've

967
00:47:15,600 --> 00:47:23,080
Speaker 1: been drinking since I was twelve. Oh that's sorry, mom.

968
00:47:23,400 --> 00:47:25,120
Speaker 1: My friend Blair's sister gave me a bottle of Crown

969
00:47:25,200 --> 00:47:28,120
Speaker 1: Royal when I was twelve, so technically twelve, but I've

970
00:47:28,160 --> 00:47:31,680
Speaker 1: been drinking there. There isn't anything where alcohol wasn't already

971
00:47:32,160 --> 00:47:35,839
Speaker 1: just part of the recipe. So extracting that and then

972
00:47:35,880 --> 00:47:39,520
Speaker 1: learning how to create without that element, it's a learning curve.

973
00:47:40,719 --> 00:47:44,160
Speaker 1: And getting out of getting it out of my way,

974
00:47:44,320 --> 00:47:46,719
Speaker 1: I was able to re meet myself. And then I

975
00:47:46,800 --> 00:47:51,440
Speaker 1: found out that the quirkiness, like the stuff that's in

976
00:47:51,480 --> 00:47:55,319
Speaker 1: Lindyville and things like that, there was more of it

977
00:47:56,719 --> 00:47:59,319
Speaker 1: that was really me, that wasn't saus to me, that

978
00:47:59,400 --> 00:48:02,920
Speaker 1: wasn't pickled me. Those were moments where actual me was

979
00:48:02,960 --> 00:48:05,880
Speaker 1: writing the song and then being like, oh gosh, this

980
00:48:05,960 --> 00:48:10,080
Speaker 1: gives me hope. Follow that and things that are very heartfelt,

981
00:48:10,239 --> 00:48:16,040
Speaker 1: and I had more colors to color with and I

982
00:48:16,120 --> 00:48:18,000
Speaker 1: just didn't know. It's like you came in and just

983
00:48:18,040 --> 00:48:22,240
Speaker 1: pulled a sheet off of this giant easel and paint set,

984
00:48:22,320 --> 00:48:26,319
Speaker 1: and I was like, there's more blues than this. And

985
00:48:26,400 --> 00:48:30,799
Speaker 1: after I re met myself and decided that when I'm

986
00:48:30,880 --> 00:48:35,920
Speaker 1: angry or I think something, that feeling that something is

987
00:48:35,960 --> 00:48:38,920
Speaker 1: missing that's never going to leave, that part of your

988
00:48:38,920 --> 00:48:41,480
Speaker 1: brain is still over here going you still want that,

989
00:48:41,520 --> 00:48:42,319
Speaker 1: And you're like, no, I don't.

990
00:48:42,320 --> 00:48:45,080
Speaker 2: You're an idiot. You have to make room for that feeling.

991
00:48:45,400 --> 00:48:47,680
Speaker 1: Whether it shows up a sadness or anger or frustration

992
00:48:47,800 --> 00:48:49,480
Speaker 1: or whatever, you're going to have to look at it

993
00:48:49,520 --> 00:48:54,800
Speaker 1: and go there is room for you. May I continue

994
00:48:54,800 --> 00:48:55,439
Speaker 1: writing my song?

995
00:48:55,520 --> 00:48:59,000
Speaker 3: Now, when you look back at your body of work,

996
00:48:59,080 --> 00:49:01,040
Speaker 3: is there a concept to look back on and go, man,

997
00:49:01,080 --> 00:49:02,200
Speaker 3: that was awesome.

998
00:49:03,239 --> 00:49:05,760
Speaker 2: Oh, I'm so. I'm so proud of our records.

999
00:49:08,560 --> 00:49:11,480
Speaker 3: Like a songwriting a song a concept where you look

1000
00:49:11,480 --> 00:49:14,279
Speaker 3: you're like, man, that not just the lyrics. But the

1001
00:49:14,400 --> 00:49:18,480
Speaker 3: idea behind the song that you just it feels still

1002
00:49:18,560 --> 00:49:19,520
Speaker 3: feel so original.

1003
00:49:20,200 --> 00:49:23,840
Speaker 2: Stone Stone's a tough one.

1004
00:49:24,080 --> 00:49:28,520
Speaker 1: But I still think that if anyone else had been

1005
00:49:28,560 --> 00:49:31,000
Speaker 1: in the room, if any other two people besides Nicolat

1006
00:49:31,000 --> 00:49:33,439
Speaker 1: Hayford and myself had tried to write a song about

1007
00:49:33,440 --> 00:49:36,320
Speaker 1: the fact that both of us have lost our siblings,

1008
00:49:37,960 --> 00:49:40,880
Speaker 1: I think we did the right thing by saying stone,

1009
00:49:41,320 --> 00:49:43,160
Speaker 1: that we were cut from the same stone, and then

1010
00:49:43,440 --> 00:49:46,000
Speaker 1: talking about you know, especially since we'd both lost a brother,

1011
00:49:47,239 --> 00:49:50,359
Speaker 1: instead of saying only saying I miss you so much

1012
00:49:50,400 --> 00:49:52,000
Speaker 1: and I'm so sad you're gone and I'm so angry

1013
00:49:52,040 --> 00:49:56,040
Speaker 1: You're God you're gone, saying the different things that you

1014
00:49:56,160 --> 00:49:58,799
Speaker 1: learned from that sibling, about the role in ones and

1015
00:49:58,840 --> 00:50:01,840
Speaker 1: the throwing ones and that way. There was all of

1016
00:50:01,880 --> 00:50:03,960
Speaker 1: those feelings in there, but I didn't have to spell

1017
00:50:04,000 --> 00:50:06,920
Speaker 1: it out. Nobody had to feed that to you. Us

1018
00:50:06,960 --> 00:50:10,960
Speaker 1: making those references give you the feeling. And then when

1019
00:50:10,960 --> 00:50:13,439
Speaker 1: you're like, oh, yeah, she's talking about rocks. And then

1020
00:50:13,760 --> 00:50:16,720
Speaker 1: to end that with we were cut from the same stone,

1021
00:50:16,719 --> 00:50:19,880
Speaker 1: and you're like, oh, well they wrote the tart of that.

1022
00:50:20,600 --> 00:50:23,279
Speaker 1: Really really proud of that one. That's tough, though, it's

1023
00:50:23,280 --> 00:50:23,880
Speaker 1: hard to play.

1024
00:50:23,680 --> 00:50:26,279
Speaker 3: That song live really. Yeah, even if you played one

1025
00:50:26,320 --> 00:50:27,439
Speaker 3: hundred times, you still feel it.

1026
00:50:27,600 --> 00:50:32,000
Speaker 2: I have played it live three times.

1027
00:50:32,000 --> 00:50:34,640
Speaker 3: Ever, Oh you haven't played it much because of that.

1028
00:50:34,680 --> 00:50:37,919
Speaker 1: Wow. We tried at full band one time, like different rooms,

1029
00:50:37,960 --> 00:50:39,560
Speaker 1: you know how you'll get to a theater and like that,

1030
00:50:40,000 --> 00:50:42,799
Speaker 1: you're like, oh my gosh, this theater really needs to

1031
00:50:42,840 --> 00:50:46,840
Speaker 1: hear whatever, Like this theater be perfect for like Chicago

1032
00:50:46,840 --> 00:50:49,239
Speaker 1: the Musical or whatever. We got in one and I

1033
00:50:49,280 --> 00:50:56,080
Speaker 1: said this room wants stone and it did. And we

1034
00:50:56,200 --> 00:50:59,160
Speaker 1: tried it in soundcheck, try to rehearsal. And when we

1035
00:50:59,200 --> 00:51:02,759
Speaker 1: got to the bridge where I say, there's a lot

1036
00:51:02,760 --> 00:51:05,000
Speaker 1: of things that should be written in one, but your

1037
00:51:05,080 --> 00:51:08,640
Speaker 1: name ain't one of them, Quinn Hill plays a military

1038
00:51:08,680 --> 00:51:10,520
Speaker 1: cadence on his snare drum.

1039
00:51:10,640 --> 00:51:14,960
Speaker 2: And I lost it, Like.

1040
00:51:15,800 --> 00:51:17,440
Speaker 1: You know how, I start to cry and then you're like,

1041
00:51:17,480 --> 00:51:19,520
Speaker 1: you'll get it together and I can get through this line.

1042
00:51:19,560 --> 00:51:24,320
Speaker 1: There was no It was like slobber bah cry, And

1043
00:51:24,320 --> 00:51:26,880
Speaker 1: then I was after just I was like and I

1044
00:51:26,920 --> 00:51:27,640
Speaker 1: was like, okay, we're not.

1045
00:51:27,600 --> 00:51:31,000
Speaker 2: Doing that one. What a power though?

1046
00:51:31,000 --> 00:51:35,000
Speaker 1: If that's not magical or witchcraft, what is to conjure

1047
00:51:36,400 --> 00:51:39,680
Speaker 1: a feeling like that and we wrote the song. I

1048
00:51:39,840 --> 00:51:43,719
Speaker 1: know what's in it, and for those words and sounds

1049
00:51:43,840 --> 00:51:47,960
Speaker 1: to still create that emotion. That's like the coolest thing

1050
00:51:48,719 --> 00:51:51,879
Speaker 1: being a songwriter. Being a creative is the coolest thing

1051
00:51:51,880 --> 00:51:54,960
Speaker 1: I could ever hope for anyone to experience.

1052
00:51:55,480 --> 00:51:57,239
Speaker 3: What's the coolest thing about me in a country star?

1053
00:52:01,520 --> 00:52:07,359
Speaker 1: The coolest thing about being a country star? He means

1054
00:52:07,400 --> 00:52:10,880
Speaker 1: something simple, like having institutions like the gran ol Opry

1055
00:52:11,440 --> 00:52:19,480
Speaker 1: to lean on. I think the most valuable thing for

1056
00:52:20,239 --> 00:52:25,160
Speaker 1: us as country stars is knowing. Compared to other genres,

1057
00:52:25,200 --> 00:52:29,799
Speaker 1: maybe we're more accessible. If I want to go to

1058
00:52:29,880 --> 00:52:34,719
Speaker 1: Lucinda Williams and say your record's changed my life, I

1059
00:52:34,760 --> 00:52:39,439
Speaker 1: may have that opportunity. It's never painted to look such

1060
00:52:39,480 --> 00:52:43,040
Speaker 1: a way that you may never reach or speak to

1061
00:52:43,440 --> 00:52:48,239
Speaker 1: or you totally can. And that's what we're for. We're

1062
00:52:48,239 --> 00:52:51,160
Speaker 1: not here to be a mythical creature. We're here because

1063
00:52:51,200 --> 00:52:53,600
Speaker 1: regular stuff happens and somebody needs it to rhyme.

1064
00:52:54,320 --> 00:52:55,520
Speaker 3: In people that to you.

1065
00:52:56,200 --> 00:52:59,640
Speaker 1: Yeah, yeah, especially grown up in the bluegrass world. The best,

1066
00:53:00,040 --> 00:53:01,719
Speaker 1: the best flat picker you've ever seen in your life,

1067
00:53:01,760 --> 00:53:03,799
Speaker 1: you can go talk to him. That's how I learned

1068
00:53:03,800 --> 00:53:07,160
Speaker 1: to play guitar. Going to bluegrass festivals when I was

1069
00:53:07,160 --> 00:53:09,440
Speaker 1: little with a little guitar and I was terrible and

1070
00:53:09,480 --> 00:53:12,160
Speaker 1: I only knew a chord and being able to go

1071
00:53:12,200 --> 00:53:13,680
Speaker 1: to those guys and be like, how do you make

1072
00:53:13,719 --> 00:53:15,279
Speaker 1: when you do your hand this way? How do you

1073
00:53:15,280 --> 00:53:19,640
Speaker 1: make this sound? Instead of just this strum having access?

1074
00:53:20,120 --> 00:53:25,920
Speaker 1: I think that's I think being a star, and it

1075
00:53:26,040 --> 00:53:31,520
Speaker 1: not meaning in any way better than. Sometimes it's louder than,

1076
00:53:32,440 --> 00:53:37,640
Speaker 1: sometimes it's more sparkly than, and sometimes it's more traveled than,

1077
00:53:38,000 --> 00:53:40,399
Speaker 1: but it's never better than. And that's not the point

1078
00:53:40,440 --> 00:53:41,560
Speaker 1: of our genre.

1079
00:53:42,320 --> 00:53:43,920
Speaker 3: I guess what I meant wasn't than you. I mean

1080
00:53:43,920 --> 00:53:47,319
Speaker 3: the people now get to do that to you? Where

1081
00:53:47,360 --> 00:53:50,200
Speaker 3: you got to do that to yeah people?

1082
00:53:50,480 --> 00:53:52,600
Speaker 2: Yeah, I just experienced that the other night at the Opry.

1083
00:53:52,680 --> 00:53:57,120
Speaker 1: What happened during our set a young girl and her

1084
00:53:57,160 --> 00:53:59,279
Speaker 1: mom came to the very very front during lot on

1085
00:53:59,320 --> 00:54:01,680
Speaker 1: in the kitchen saying every single word both of them.

1086
00:54:02,040 --> 00:54:05,280
Speaker 1: And I even mentioned to the audience, I can't I

1087
00:54:05,320 --> 00:54:07,479
Speaker 1: can't look at that. When that happens, I will cry,

1088
00:54:07,520 --> 00:54:10,600
Speaker 1: you know me, and I thought it was such a

1089
00:54:10,600 --> 00:54:13,120
Speaker 1: great moment. Well, we stayed a little bit late after

1090
00:54:13,160 --> 00:54:15,880
Speaker 1: the Opry. They came to kick us out. The tours

1091
00:54:15,880 --> 00:54:18,080
Speaker 1: are starting. We're like, oh, I gotta leave. Guitars are

1092
00:54:18,120 --> 00:54:21,160
Speaker 1: on our backs. We're walking out. And the after the

1093
00:54:21,200 --> 00:54:24,440
Speaker 1: Opry tour came through and a group of people went

1094
00:54:24,480 --> 00:54:24,960
Speaker 1: and we're.

1095
00:54:24,800 --> 00:54:25,640
Speaker 2: Like, oh, good night, guys.

1096
00:54:25,800 --> 00:54:28,840
Speaker 1: And then this group stopped and in that group was

1097
00:54:28,880 --> 00:54:30,919
Speaker 1: that young girl and her parents.

1098
00:54:31,480 --> 00:54:33,319
Speaker 2: And I was starstruck. I was like, oh, my gosh,

1099
00:54:33,360 --> 00:54:35,120
Speaker 2: you're the girl from the front row. I tried to

1100
00:54:35,120 --> 00:54:37,160
Speaker 2: throw you a pick. I couldn't. I went over your head.

1101
00:54:37,600 --> 00:54:40,080
Speaker 1: And she came and introduced herself, and she's so well spoken,

1102
00:54:40,760 --> 00:54:43,400
Speaker 1: and she said, my name is Sawyer June, and my

1103
00:54:43,440 --> 00:54:45,680
Speaker 1: family and I grow and harvest pecans and I would

1104
00:54:45,719 --> 00:54:47,160
Speaker 1: love to give you a bag of pecans, and I

1105
00:54:47,160 --> 00:54:50,839
Speaker 1: love pecans. And we chit chatted, and everybody that has

1106
00:54:50,880 --> 00:54:52,640
Speaker 1: to do with the tour is being so nice and

1107
00:54:52,719 --> 00:54:55,920
Speaker 1: calm while we have this minute to talk. And she

1108
00:54:55,960 --> 00:54:58,040
Speaker 1: gave me a sticker and I signed a sticker for her.

1109
00:54:58,080 --> 00:54:59,799
Speaker 1: And I don't have my I think I still have,

1110
00:55:00,400 --> 00:55:02,480
Speaker 1: but I don't have my extensions in and I'm in

1111
00:55:02,480 --> 00:55:04,399
Speaker 1: a leather jacket, and I don't look like a woman

1112
00:55:04,440 --> 00:55:06,560
Speaker 1: of country music. I look like the check I thought

1113
00:55:06,600 --> 00:55:09,799
Speaker 1: I was gonna be when I grew up. And her

1114
00:55:09,840 --> 00:55:12,080
Speaker 1: mom says, she sings too, And I said, oh, okay,

1115
00:55:12,080 --> 00:55:12,560
Speaker 1: do you sing?

1116
00:55:13,080 --> 00:55:14,719
Speaker 2: She said, yeah, I sing.

1117
00:55:15,160 --> 00:55:17,040
Speaker 1: I really loved to sing Bible in a forty four

1118
00:55:17,760 --> 00:55:20,239
Speaker 1: and I had I had two guitars right there as

1119
00:55:20,239 --> 00:55:21,640
Speaker 1: we were getting ready to leave, and I said, let's

1120
00:55:21,640 --> 00:55:22,319
Speaker 1: get a guitar out.

1121
00:55:22,520 --> 00:55:23,760
Speaker 2: You and I should sing together.

1122
00:55:24,200 --> 00:55:26,680
Speaker 1: No way, and you know, like coming in the artist

1123
00:55:26,840 --> 00:55:29,680
Speaker 1: entrance where it's just like concrete floor. So we sat

1124
00:55:29,719 --> 00:55:31,920
Speaker 1: on the rug and I played, and she sang, and

1125
00:55:31,960 --> 00:55:33,000
Speaker 1: I sang harmony with her.

1126
00:55:34,040 --> 00:55:37,240
Speaker 2: Bobby. She looked me in the eye the whole song,

1127
00:55:38,200 --> 00:55:40,760
Speaker 2: and in her eyes it looked like a forest fire,

1128
00:55:41,320 --> 00:55:44,680
Speaker 2: and it was just magical. And the way she shaped

1129
00:55:44,719 --> 00:55:48,240
Speaker 2: her vowels was so itsself.

1130
00:55:48,320 --> 00:55:51,160
Speaker 1: It wasn't put on, And there was no like a

1131
00:55:51,719 --> 00:55:55,000
Speaker 1: young child actor Broadway vibrato. This was a young girl

1132
00:55:55,040 --> 00:55:57,600
Speaker 1: who sounds the way she sounds at her age, and

1133
00:55:57,640 --> 00:55:59,799
Speaker 1: she knows every word, and she has worked out when

1134
00:56:00,120 --> 00:56:02,719
Speaker 1: her breaths are in the song compared to where mine

1135
00:56:02,719 --> 00:56:05,440
Speaker 1: would be. And she's not thrown off by this grown

1136
00:56:05,480 --> 00:56:09,720
Speaker 1: woman singing harmonies with her or the whole tour, singing

1137
00:56:09,760 --> 00:56:13,560
Speaker 1: the last chorus with us, and at the end of

1138
00:56:13,640 --> 00:56:16,680
Speaker 1: us singing together, she said, who it's going to cheer

1139
00:56:16,719 --> 00:56:18,839
Speaker 1: me up with her a little pouty lip. She said,

1140
00:56:18,840 --> 00:56:23,239
Speaker 1: you're my favorite singer and you always will be, and.

1141
00:56:23,160 --> 00:56:27,280
Speaker 2: I said same. It was so magic.

1142
00:56:27,400 --> 00:56:31,160
Speaker 1: We posted it on socials and people are commenting about

1143
00:56:31,160 --> 00:56:33,600
Speaker 1: how good she sounds, which is true, and how lovely

1144
00:56:33,640 --> 00:56:35,319
Speaker 1: of a moment this says, which is true, and how

1145
00:56:35,360 --> 00:56:37,440
Speaker 1: I changed her life, which might be true.

1146
00:56:37,440 --> 00:56:42,360
Speaker 2: But she changed mine. She's proof that I am what

1147
00:56:42,440 --> 00:56:47,560
Speaker 2: I want to be. I saw the spark in her eyes.

1148
00:56:47,719 --> 00:56:50,360
Speaker 2: It is there, and I put more wood on the fire.

1149
00:56:51,040 --> 00:56:54,240
Speaker 2: And we might watch her walk across the opery stage someday.

1150
00:56:54,360 --> 00:56:57,359
Speaker 1: I hope I do. I hope I will see her

1151
00:56:57,400 --> 00:56:59,880
Speaker 1: do that. That's the whole point of anything we do

1152
00:57:01,840 --> 00:57:03,600
Speaker 1: is to make more of it. If we don't make

1153
00:57:03,680 --> 00:57:09,000
Speaker 1: more of it, we're the last. I don't know if

1154
00:57:09,000 --> 00:57:10,840
Speaker 1: she's ten or twelve. She also plays guitar. By the

1155
00:57:10,840 --> 00:57:12,560
Speaker 1: way I looked her, I looked her videos up and

1156
00:57:13,400 --> 00:57:16,480
Speaker 1: it reminds me of me. And when I was little,

1157
00:57:16,960 --> 00:57:19,080
Speaker 1: I was twelve, my mom had some friends. They were

1158
00:57:19,080 --> 00:57:23,360
Speaker 1: in a band called the Cluster Pluckers. Fantastic musicianship in

1159
00:57:23,360 --> 00:57:27,040
Speaker 1: that band, and we knew a couple of the players,

1160
00:57:27,720 --> 00:57:29,520
Speaker 1: and we came to Nashville for Spigma to go to

1161
00:57:29,600 --> 00:57:34,400
Speaker 1: the Bluegrass Convention and they worked on the Opry campus

1162
00:57:35,240 --> 00:57:36,800
Speaker 1: and Mom said, well, can we come say hi and

1163
00:57:36,840 --> 00:57:37,439
Speaker 1: blah blah blah.

1164
00:57:37,480 --> 00:57:37,840
Speaker 2: So we did.

1165
00:57:37,920 --> 00:57:40,640
Speaker 1: We went and saw them walked around to do whatever,

1166
00:57:40,840 --> 00:57:43,280
Speaker 1: and she said, is there any chance that we can

1167
00:57:43,280 --> 00:57:45,600
Speaker 1: get in the Opry house and let Ashley see the stage?

1168
00:57:46,400 --> 00:57:48,640
Speaker 1: And Richard said, sure, no problem. So he went to

1169
00:57:48,680 --> 00:57:51,919
Speaker 1: an office, grabbed a guitar on the back. You remember

1170
00:57:51,960 --> 00:57:54,680
Speaker 1: white out pins. On the back of the guitar, it's

1171
00:57:54,680 --> 00:57:58,240
Speaker 1: written please don't steal me. I'm cheap in white outpin

1172
00:57:59,360 --> 00:58:03,160
Speaker 1: and he took me to the stage and I stood

1173
00:58:03,160 --> 00:58:06,080
Speaker 1: in the circle at twelve years old, with this much

1174
00:58:06,160 --> 00:58:09,040
Speaker 1: understanding of what is happening to me right now, and

1175
00:58:09,080 --> 00:58:10,840
Speaker 1: I sang Peach Pick and Time in Georgia because it

1176
00:58:10,880 --> 00:58:14,720
Speaker 1: was my favorite song at the time. And that moment

1177
00:58:14,920 --> 00:58:17,640
Speaker 1: for me at twelve is this moment sitting in the

1178
00:58:17,680 --> 00:58:19,480
Speaker 1: floor at the Opry for herd.

1179
00:58:19,520 --> 00:58:21,400
Speaker 2: I paid it forward. I did the right thing. It's

1180
00:58:21,440 --> 00:58:25,440
Speaker 2: the circle of life, like it's happening. We're creating new

1181
00:58:25,480 --> 00:58:27,440
Speaker 2: ones and we're appreciating the old ones, and we're here

1182
00:58:27,440 --> 00:58:28,960
Speaker 2: and I'm an aper, remember and this is crazy and

1183
00:58:29,000 --> 00:58:33,480
Speaker 2: I'm not drunk and I can remember it. And that's magic.

1184
00:58:34,760 --> 00:58:35,720
Speaker 2: That is magic.

1185
00:58:36,560 --> 00:58:40,640
Speaker 1: And if it doesn't make you tear up, call your mom,

1186
00:58:42,120 --> 00:58:42,640
Speaker 1: Call your mom.

1187
00:58:43,200 --> 00:58:45,840
Speaker 4: Let's take a quick pause for a message from our sponsor,

1188
00:58:55,920 --> 00:58:58,160
Speaker 4: and we're back on the Bobby Cast.

1189
00:58:59,760 --> 00:59:01,520
Speaker 3: One of my favorite things about being able to do this,

1190
00:59:01,680 --> 00:59:04,960
Speaker 3: especially in a long form, you know, spoken back and forth,

1191
00:59:05,040 --> 00:59:07,680
Speaker 3: is that people get to bring music they appreciate. Yeah,

1192
00:59:07,720 --> 00:59:09,720
Speaker 3: and so we just kind of say, hey, if there's

1193
00:59:09,760 --> 00:59:12,000
Speaker 3: if there's like a record that influenced you so much,

1194
00:59:12,080 --> 00:59:13,680
Speaker 3: feel free to bring it by and donate it to

1195
00:59:13,720 --> 00:59:16,080
Speaker 3: our you know, influenced collection. We have a whole collection

1196
00:59:16,120 --> 00:59:18,760
Speaker 3: of it here. And so you mentioned Lucinda Williams, Yes,

1197
00:59:18,880 --> 00:59:21,240
Speaker 3: would you mind picking that album up, showing it to

1198
00:59:21,280 --> 00:59:23,360
Speaker 3: the camera, and then just telling me why this matters

1199
00:59:23,400 --> 00:59:24,120
Speaker 3: to you so much?

1200
00:59:26,920 --> 00:59:29,960
Speaker 1: Car Wheels on a gravel Road top to bottom, the

1201
00:59:30,000 --> 00:59:37,040
Speaker 1: most perfect listen I've ever encountered, nineteen ninety eight. Some

1202
00:59:37,120 --> 00:59:39,880
Speaker 1: of the things that I loved about Lucinda from the

1203
00:59:39,920 --> 00:59:43,680
Speaker 1: get go was and I didn't know anything about her.

1204
00:59:44,080 --> 00:59:46,960
Speaker 1: I just a friend of mine gave me a burned

1205
00:59:47,040 --> 00:59:47,640
Speaker 1: CD of.

1206
00:59:48,040 --> 00:59:49,240
Speaker 2: This, totally pirated.

1207
00:59:50,560 --> 00:59:52,520
Speaker 1: I've bought enough copies since then to make up for that.

1208
00:59:54,200 --> 00:59:57,160
Speaker 1: And I put it in and I heard the car

1209
00:59:57,240 --> 00:59:58,440
Speaker 1: Wheels on a gravel Road, which is.

1210
00:59:58,360 --> 01:00:01,320
Speaker 2: Tracked to and I thought, well, that's really cool.

1211
01:00:01,320 --> 01:00:04,720
Speaker 1: And then I heard song three, too Cool to be Forgotten,

1212
01:00:06,560 --> 01:00:09,400
Speaker 1: and I thought, what an interesting concept.

1213
01:00:10,120 --> 01:00:11,720
Speaker 2: Too cool to be forgotten?

1214
01:00:11,800 --> 01:00:14,600
Speaker 1: Hey, Hey, And there's a part of the song where

1215
01:00:14,640 --> 01:00:17,480
Speaker 1: she says June Bug versus Hurricane. She says it over

1216
01:00:17,520 --> 01:00:22,640
Speaker 1: and over, June Bug versus Hurricane, and I'm like, yeah,

1217
01:00:23,440 --> 01:00:25,320
Speaker 1: that's the life I want to live. Is number one,

1218
01:00:25,360 --> 01:00:28,800
Speaker 1: I would be too Cool to be Forgotten, And the

1219
01:00:28,920 --> 01:00:33,400
Speaker 1: music business is June Bug versus Hurricane. This like, come on,

1220
01:00:33,520 --> 01:00:36,520
Speaker 1: that makes me want to be a june Bug. There

1221
01:00:36,640 --> 01:00:40,160
Speaker 1: isn't anything I could skip on this record. From the

1222
01:00:40,280 --> 01:00:43,640
Speaker 1: very first listen Drunken Angel. If you're tuning in and

1223
01:00:43,640 --> 01:00:46,480
Speaker 1: you've never heard that song, please listen to it that

1224
01:00:46,760 --> 01:00:50,520
Speaker 1: it's amazing. She never tries to be anything she isn't

1225
01:00:50,600 --> 01:00:53,000
Speaker 1: and sometimes she doesn't say a complete syllable, but that's

1226
01:00:53,000 --> 01:00:55,840
Speaker 1: because You didn't need all of the syllables in that

1227
01:00:55,880 --> 01:00:58,080
Speaker 1: word for you to feel the way she wanted you

1228
01:00:58,120 --> 01:00:59,840
Speaker 1: to feel. And you know what she was singing about.

1229
01:01:01,400 --> 01:01:02,680
Speaker 2: You get it well.

1230
01:01:02,720 --> 01:01:05,320
Speaker 1: Even if she throws something away, like in I Can't

1231
01:01:05,360 --> 01:01:07,080
Speaker 1: Let Go when she says.

1232
01:01:06,960 --> 01:01:08,960
Speaker 2: I feel like I've been shot and devin fah down

1233
01:01:09,480 --> 01:01:11,080
Speaker 2: nim fat down is not a word.

1234
01:01:12,000 --> 01:01:14,320
Speaker 1: You know exactly how she feels, and those words that

1235
01:01:14,360 --> 01:01:18,160
Speaker 1: she said if and oh my god, the very less

1236
01:01:18,200 --> 01:01:22,480
Speaker 1: track on this record, Jackson moves Me to tears and

1237
01:01:22,520 --> 01:01:24,560
Speaker 1: I would sing it. I mean, you could just pick

1238
01:01:24,640 --> 01:01:26,880
Speaker 1: me three other artists to sing it with right now.

1239
01:01:27,000 --> 01:01:29,480
Speaker 1: We could sing it acapella, four part harmony, and just

1240
01:01:29,600 --> 01:01:33,000
Speaker 1: I would be completely happy. Over the years, when people

1241
01:01:33,000 --> 01:01:36,240
Speaker 1: have said one record, you listen one record the rest

1242
01:01:36,280 --> 01:01:36,800
Speaker 1: of your life.

1243
01:01:37,120 --> 01:01:38,520
Speaker 2: It's car Wheel's on a gravel road.

1244
01:01:38,640 --> 01:01:39,840
Speaker 3: What did you learn from that record?

1245
01:01:41,920 --> 01:01:42,680
Speaker 2: Oh? Wow?

1246
01:01:43,440 --> 01:01:46,640
Speaker 1: Actually I learned to play harmonica because of this record,

1247
01:01:46,680 --> 01:01:48,920
Speaker 1: because of Drunken Angel. It had a harmonica part that

1248
01:01:48,960 --> 01:01:51,480
Speaker 1: I wanted to play. I put Can't Let Go in

1249
01:01:51,600 --> 01:01:56,960
Speaker 1: my show. Joy is on this record, and the entire

1250
01:01:57,280 --> 01:01:59,560
Speaker 1: song is you took My Joy and I want it

1251
01:01:59,600 --> 01:02:01,720
Speaker 1: back right and I'm gonna go to different locations. I'm

1252
01:02:01,720 --> 01:02:03,640
Speaker 1: gonna go to West Memphis and look for my joy.

1253
01:02:03,880 --> 01:02:05,600
Speaker 1: You gotta look for my joy. And I was like,

1254
01:02:05,840 --> 01:02:09,680
Speaker 1: as repetitive as that song is, it's never it doesn't

1255
01:02:09,720 --> 01:02:10,920
Speaker 1: ever feel repetitive.

1256
01:02:11,800 --> 01:02:12,560
Speaker 2: It feels it.

1257
01:02:12,520 --> 01:02:16,640
Speaker 1: Doesn't feel boring. It feels like you're starting to feel

1258
01:02:16,680 --> 01:02:20,160
Speaker 1: the way she feels. By the third verse, you're feeling

1259
01:02:20,160 --> 01:02:21,800
Speaker 1: the way she felt when she started writing it down.

1260
01:02:22,640 --> 01:02:25,200
Speaker 2: You took my jaw. I won't it back.

1261
01:02:25,280 --> 01:02:28,400
Speaker 1: And then by the time she gets down far enough

1262
01:02:28,400 --> 01:02:30,800
Speaker 1: in the song, she's not even saying back anymore. She's

1263
01:02:30,840 --> 01:02:34,560
Speaker 1: just saying nah, and that kind of frustration. I was like, oh, okay,

1264
01:02:35,080 --> 01:02:41,560
Speaker 1: repetition isn't always mundane. And I had the chance to

1265
01:02:41,560 --> 01:02:45,040
Speaker 1: meet Lucinda Williams, who played a show at Skydeck last

1266
01:02:45,040 --> 01:02:48,840
Speaker 1: summer two summers ago. And I am a at the

1267
01:02:48,880 --> 01:02:52,040
Speaker 1: time of a forty year old woman. I am grown

1268
01:02:52,120 --> 01:02:54,200
Speaker 1: as I can be, and it was all I could

1269
01:02:54,240 --> 01:02:57,360
Speaker 1: do to keep my jaw from hitting myself in the stomach.

1270
01:02:57,440 --> 01:03:00,320
Speaker 1: I was just like, miss Lucinda, it's very nice to

1271
01:03:00,320 --> 01:03:03,200
Speaker 1: meet you. And my face is like shaky, and You're like,

1272
01:03:03,680 --> 01:03:04,920
Speaker 1: you know how it is when you meet somebody and

1273
01:03:04,920 --> 01:03:06,600
Speaker 1: they ask you to sign something in their handshakes.

1274
01:03:06,640 --> 01:03:07,400
Speaker 2: That's how I was.

1275
01:03:07,680 --> 01:03:09,439
Speaker 1: And I know she noticed because I heard her band

1276
01:03:09,440 --> 01:03:14,640
Speaker 1: make comments about it later. And yes, I'm a fan

1277
01:03:14,680 --> 01:03:17,520
Speaker 1: of music. That's how That's how I got here.

1278
01:03:19,200 --> 01:03:23,680
Speaker 3: New album comes out this summer. Yeah, we're dead set

1279
01:03:23,720 --> 01:03:24,640
Speaker 3: on loving tracks.

1280
01:03:24,960 --> 01:03:26,760
Speaker 2: I'm dead set on it, okay, just.

1281
01:03:26,720 --> 01:03:30,360
Speaker 3: Making sure, Yeah, man, I just I just love your

1282
01:03:30,400 --> 01:03:36,960
Speaker 3: generosity with the stories and just you being you like

1283
01:03:37,000 --> 01:03:39,800
Speaker 3: I've always loved it. So I don't know, that's just

1284
01:03:39,840 --> 01:03:40,720
Speaker 3: what I want to say to you.

1285
01:03:40,840 --> 01:03:43,480
Speaker 1: I love sitting and talking to you, plus seeing another

1286
01:03:43,560 --> 01:03:45,840
Speaker 1: arcans and where the two that made it.

1287
01:03:45,960 --> 01:03:48,280
Speaker 2: I know, I know. And when I met Maiestis, I

1288
01:03:48,320 --> 01:03:49,120
Speaker 2: was like, oh my.

1289
01:03:49,040 --> 01:03:52,560
Speaker 3: God, yeah, I'm same with May Like I was instantly

1290
01:03:52,640 --> 01:03:55,560
Speaker 3: drawn because there's just like yeah, you said away earlier,

1291
01:03:55,680 --> 01:03:57,960
Speaker 3: like when you come from where we come from, you

1292
01:03:58,040 --> 01:04:00,600
Speaker 3: kind of have to learn to do it yourself. Yeah,

1293
01:04:00,880 --> 01:04:03,240
Speaker 3: you have to be it. And so even with May,

1294
01:04:04,240 --> 01:04:07,120
Speaker 3: like we would sit and talk and like she's got it.

1295
01:04:07,360 --> 01:04:09,960
Speaker 3: She's got to figure out which direction to point it sometimes,

1296
01:04:10,400 --> 01:04:13,440
Speaker 3: but she's got it. And so it's funny you mentioned May.

1297
01:04:13,480 --> 01:04:17,080
Speaker 3: I love may Uh and you're just the best. So

1298
01:04:17,560 --> 01:04:20,320
Speaker 3: thank you for spending time with me. Again. I always

1299
01:04:20,560 --> 01:04:23,040
Speaker 3: really really just value the time.

1300
01:04:23,280 --> 01:04:25,240
Speaker 2: Thank you. I do too, I love it so much.

1301
01:04:25,240 --> 01:04:27,560
Speaker 1: And I know when we do like events and red

1302
01:04:27,600 --> 01:04:29,000
Speaker 1: carpets and all that, all we ever get to do

1303
01:04:29,040 --> 01:04:29,800
Speaker 1: is wave at each other.

1304
01:04:29,880 --> 01:04:31,480
Speaker 3: But I just know in my heart it's more than

1305
01:04:31,520 --> 01:04:32,120
Speaker 3: just a way the.

1306
01:04:32,120 --> 01:04:33,240
Speaker 2: Same and I've got your back.

1307
01:04:33,360 --> 01:04:37,280
Speaker 3: Yeah, same, yeah, same. Uh Okay, that's that's that's amazing.

1308
01:04:37,320 --> 01:04:39,200
Speaker 3: When the record comes out and you know, in the

1309
01:04:39,280 --> 01:04:42,160
Speaker 3: summertime we'll do something again and make sure everybody knows.

1310
01:04:42,200 --> 01:04:43,800
Speaker 3: We have to remind people one hundred times over and

1311
01:04:43,800 --> 01:04:47,000
Speaker 3: over again. But Arkisa's mudd that song. That song is awesome.

1312
01:04:47,280 --> 01:04:47,640
Speaker 2: Thank you.

1313
01:04:47,960 --> 01:04:50,120
Speaker 3: And initially I was like, okay, it's Goma State and

1314
01:04:50,200 --> 01:04:51,640
Speaker 3: let me just hear it because I know you represent

1315
01:04:51,640 --> 01:04:53,240
Speaker 3: as well. But I told you that first line. I

1316
01:04:53,280 --> 01:04:54,880
Speaker 3: was like, oh, she's going hard. I like the whole

1317
01:04:54,920 --> 01:04:56,840
Speaker 3: beginning of it too, where it's just a build just

1318
01:04:56,840 --> 01:05:00,560
Speaker 3: to music, just a music, and you don't guys so good.

1319
01:05:00,640 --> 01:05:03,200
Speaker 3: You don't have many extended intros anymore in songs because

1320
01:05:03,200 --> 01:05:05,680
Speaker 3: everybody's you know, But I think that now is what

1321
01:05:05,720 --> 01:05:08,080
Speaker 3: makes them stand out so much. Especially when they're good.

1322
01:05:08,400 --> 01:05:10,080
Speaker 1: And if we were to hit you right in the

1323
01:05:10,080 --> 01:05:12,240
Speaker 1: face with bombbine.

1324
01:05:13,280 --> 01:05:14,080
Speaker 3: It'd still be good.

1325
01:05:14,320 --> 01:05:15,440
Speaker 2: But it might be a little it.

1326
01:05:15,400 --> 01:05:17,320
Speaker 1: Might have too many teeth, and you might be like, ah,

1327
01:05:17,400 --> 01:05:20,160
Speaker 1: I agree, I love it, I love it. I'm so

1328
01:05:20,200 --> 01:05:21,600
Speaker 1: glad that you my guys are so good. And with

1329
01:05:21,680 --> 01:05:25,000
Speaker 1: John Osborne, and yes, with.

1330
01:05:25,040 --> 01:05:27,400
Speaker 2: Him, there's a magic thing.

1331
01:05:27,240 --> 01:05:29,640
Speaker 1: That happens when when John Osborne and I are in

1332
01:05:29,680 --> 01:05:31,360
Speaker 1: the same room with each other, and putting him in

1333
01:05:31,480 --> 01:05:35,000
Speaker 1: charge of my band, guys is incredible.

1334
01:05:35,440 --> 01:05:36,840
Speaker 3: Did you ever just grab a guitar and be like, no,

1335
01:05:36,960 --> 01:05:37,240
Speaker 3: like this?

1336
01:05:38,520 --> 01:05:41,160
Speaker 2: Sometimes he would grab a Mandolins, a guitar star.

1337
01:05:41,320 --> 01:05:43,880
Speaker 1: Oh yeah. And when we were cutting, I want to

1338
01:05:43,880 --> 01:05:45,680
Speaker 1: say it was wild. It might have been behind bars.

1339
01:05:46,640 --> 01:05:49,840
Speaker 1: He started dismantling the front of the piano while Wesley

1340
01:05:49,960 --> 01:05:53,560
Speaker 1: was playing it and moving more microphones over there. He's like,

1341
01:05:53,640 --> 01:05:55,680
Speaker 1: just keep playing and he's just taking stuff off because

1342
01:05:55,720 --> 01:05:57,600
Speaker 1: he wanted to get the mic closer to the felt

1343
01:05:57,680 --> 01:06:00,040
Speaker 1: on the hammers. And I think in my band the

1344
01:06:00,160 --> 01:06:03,360
Speaker 1: Three Arkansas and I want we should.

1345
01:06:03,080 --> 01:06:04,800
Speaker 2: Look it up. That might be the Federal.

1346
01:06:04,920 --> 01:06:09,960
Speaker 3: That's the limit. Yeah, thank you. I will end with that.

1347
01:06:10,760 --> 01:06:12,960
Speaker 3: You're awesome. I'll end with that instead.

1348
01:06:13,360 --> 01:06:13,440
Speaker 1: Uh.

1349
01:06:13,520 --> 01:06:15,080
Speaker 3: There she is, Ashtony Bride.

1350
01:06:15,960 --> 01:06:18,480
Speaker 6: Thanks for listening to a Bobby Cast production