Speaker 1: I love that that is specific as the track is
called a short life and I think we have Jack
on the line a via WhatsApp.
Speaker 2: Jack are you there?
Speaker 3: You do have Jack on the line. How's it go O?
Speaker 2: Wonderful? Wonderful?
Speaker 1: Hey, I love that song man, It's so it's kind
of dreamy is my first word to describe it. But
it's just such a great tune and it just I
just love it. You kind of get kind of get
lost in it when I listened to it, if you
know what I mean.
Speaker 3: Yeah, one hundred because when our guitarists brought the chords
into the room, it just make it transported me to
those holidays, you know, with your partner on the beach
and you in that little bubble of life and nothing
can really pop that bubble. And that's the vibe that
I wanted to give out. Yeah, against the world love
and life.
Speaker 1: Yeah, yeah, no, I'd say you definitely accomplished that. That's uh,
that's really good. So tell me Jack about Pacific A
is because I got the impression from reading a little
bit about the band that did this start as a
solo project and then and then kind of develop into
a band? Is that what happened or can you kind
of run through the history of the project.
Speaker 3: Yeah, sure, so super fast history. I've been playing piano
since I was ten, so you know over twenty years now. Yeah,
classically trained and all the piano stuff done me grades,
and then in my twenties I started really getting into
playing guitar, and like, I just had an affinity to
safe rock and safe music. So around five or six
years ago, I decided, you know, now's the time to
actually get those ideas out of your head and out
of the voice memos and onto a page and into
the studio. So that's what I've done. I reached out
to a couple of people in America because that was
always the goal for me, Like it always felt like American,
the Californian beats music in a way. So I had
a few producers out in LA who were helping me
craft that sound. But that was me on my own.
Fast forward a couple of years and now there's a
full band of us, and we all have the same
outlook on life. You know, there's more to life. We
love music, we loved creating, and you know what with
all generally nice guys.
Speaker 1: Yeah, yeah, is that I mean some of your music.
So the song and we're gonna play it later. By
the way, at the end of our conversation. A previous
single that you had Wanderlust, which I really liked as well.
That's another great song. But that one I feel like
has a little bit of angst to it, which which
is different from short Life. But but again that might
be my interpretation of it, because obviously, you know, music
is art, and art is open to everyone's individual interpretation.
But I do feel like there's a little bit of
there's a little bit of angst in that one, right
or maybe I'm wrong, you tell.
Speaker 3: Me no, it's a good, good assessment of the song.
There's a lot of anks, to be honest, and it
was I wrote that when I had all these ideas
and we had all these plans to you know, make
a sound, create a band, but I didn't have any
of the infrastructure. So all of the anngs there is true.
Like the lyric twenty three one may take it, I've
flow in the nest. So I moved to Australia. I
thought I need to leave, I need to leave time,
need to leave England, and then ended up coming home
a couple of years later. And still being in the
same place because you know, when you leave, somethink I'm
gonna make it, I'm going to be a star whatever.
A few years lazy, you sit down, you think nothing's changed.
So yeah, a lot of that angst is true, and
you know, yeah.
Speaker 2: Yeah, it's interesting.
Speaker 1: I've known a lot of people who they'll do something
where they decide, you know, I'm not happy where I
am and so I'm just gonna move to a new
place and everything will be great, and they don't necessarily realize.
I mean, don't get me wrong, I've scenery and sometimes
can be very very healthy. But a lot of times
it's just people trying to literally run away from their
problems and they don't realize the problems are portable and
they go with you and you know, you're still the
same person no matter what continent you're on. But I'm
really curious, now, why Australia when you moved, Why did
you decide to go to Australia?
Speaker 3: Great question. So I initially went to Wybitha. I just
sold all my stuff and bought it one way ticket
to why Beitha.
Speaker 2: Wow.
Speaker 3: So in England, we go, we go to a we
go to Ibtha. It's like a little thing we do
to do a season, to work the summer season. So
I thought, I want to quit my job, leave Liverpool
behind and you know, go live abroad for a while.
And I met somebody who was like, oh, after the
season's over and moving to Australia, do you want to
come with me? Obviously said yes. But Australia was fantastic.
But it wasn't as all as rosy as you would
think because it's an unreal place, you know, the weather,
the people. But it was like England, but with like
less friends. It was. It was strange.
Speaker 2: We'll say, how long were you there?
Speaker 3: Six months? I was there six six months? And then
I realized that, you know, the dream isn't always the dream.
And then I, you know, moved along.
Speaker 1: Yeah, yes, did you when you moved back, did you
move back to where you were the same area that
you were before?
Speaker 2: Did you pick a different, different area geographically?
Speaker 3: No? I moved back the same area. And I'll be honest,
six months a year, you know, eighteen months away from
your home. Everything looks so everything's the same. People moved on,
but everything looks different, everything smells different, and that that's
probably where the yank started for me was Okay, I left,
I left, I've still got these ideas, still haven't got
a band. What am I doing with my life?
Speaker 2: Right? Right?
Speaker 1: So when you when you put the band together, was
that it with intention? Did you say I need I
need a band or did that just kind of happen
organically where you met people or maybe some people who
you already knew, who who said hey, I'd like to
be a part of what you're doing, or how did
that come about?
Speaker 3: Yeah, good question, I'll be honest. I always yearned for
a band from the age of like twenty two when
I really got into me music, yeah, you know, into
pop and rock music, and I yearned for a band.
So a lot of the time I joined projects for
a couple of years when I was the keyboard that
so I was a singer, but it was never my band,
and I always thought, I want my own project, not
to control like that. It's more I would like to
bring my ideas into a room with people who were
who were would like to hear them and would like
to make them better. And I didn't have that for
I don't even know seven years, eight years. I didn't
have that far, and then slowly I started meeting people
who were you know, once you're start networking and getting
out into the industry, you realize you meet like minded people.
But one thing I will say, which is really important
is I didn't know who I was in the early twenties,
and then I think as attended, you know, thirty, I
realized who I was as a person. And once you
accept and understand who you are, the people who you
need in your life are naturally drawn to you and
you're drawn to them.
Speaker 1: It's crazy, No, I think that makes a lot of sense.
I think that's that's absolutely what happens. So then you
started putting a band together, and then you also have
a do you have a specific producer that you work with?
Speaker 3: Oh? You know what. I love that you asked me that,
because I've got an American producer who I love. He's
told Lewis Peskov. He produced the first three songs and Wonder, Lust,
World and Magic. It was like a little I wanted
to do. I wanted to do an EP with him
because I've been following him for a while since he
released Well. He produced Best Coast album, which I loved.
I still wanted me Top ten albums. Now, I really
wanted to work with them, and I'll be honest, I
wasn't disappointed he brought He basically brought the sound that
I had in me in my head alive, which then
allowed me to cement that sound and then bring it
back to because in England, say, frock isn't huge and
that's cool, you know. I like to be a bit
of a not a trendsetter, but I like to do
my own thing, my own way.
Speaker 2: It's good to.
Speaker 3: Definitely you have to stand out because there's so much
music being made, Like, how is anybody going to listen
to it if it's the same as everything else?
Speaker 1: Right?
Speaker 3: But I just go off what I like. I just
write songs that I want to hear, if that makes sense.
But yeah, I've been friends with the producer for a
while in England called John Oh. He's at a place
called Alo Sounds. Really good producer. He's been helping me,
you know, through the years, helping me get me files
together for like Lewis the Center America. And then we
spoke and he said, listen, if you want me to
produce your music, you're going to have to pay at
a touch because I can't make the low file that
you want to make, he said, But I can't help you.
I thought, you know what, Let's try your expertise, my expertise.
Let's put our heads together, let's stop trying to be
something that we're not, and let's see what we can
make in the records. That Short Life is the first
record we put out with John. Oh, We've got two
or three more singles in the works that I would
say are better, Yeah, better and more defined.
Speaker 2: Yes, Oh, I'm sorry, go ahead, No, No.
Speaker 3: I was just gonna say, like collaborations key, isn't it's
all about trial and error?
Speaker 2: Yeah?
Speaker 1: Yeah, Well for some people, I mean, some people are
are are afraid to collaborate, you know what I mean,
and they insist on doing every thing themselves.
Speaker 2: But but it.
Speaker 1: Sounds like in your case, you've found the right people
or the right people were drawn to you, as you
talked about earlier, when you figure out who you are
and and you know people are people come into your
life who are going to be drawn to you. It
sounds like you found the right people to collaborate with.
I think some people who are resistant to collaboration, because
I talked guardists who are who just insist on doing
everything themselves. They probably haven't found the right people to
collaborate with, you know what I mean. So I think
I think that's great. And you mentioned so you use
the term lo fi, and I that hadn't occurred to me.
I mean, is that what you were going for with
Short Life? Kind of a low five vibe? Because it
didn't occur to me while listening to it, Like I
said a lot of things, did you know, it's got
a kind of a beach vibe and it's but it's
it's dreamy, you know, That's that's my word for it.
Speaker 2: But I mean, is that what you're going for kind
of a sort of a low vibe?
Speaker 1: I don't know if retro is the right word, but
but I kind of associate that in my mind with
low Fis that was what you were trying to achieve
with that, and.
Speaker 3: That was what I was trying to she with the
band in general. So I write a lot of music
at home on logic. We have got guitars and my
ams around me and yeah me, you know, the stuff
that I need to make music, and a lot of
the stuff that I make at home is very low fine.
I think there's a term called I don't know if
you know what it's called. It's called demo isis it's
when you get you get stuck in the mindset of
I've made the demo, this is what the song needs
to sound like. But that's not actually conducive to making
a great song, because sometimes you have to go, okay,
good start, but let's improve it, right. But yeah, short
Life is the first creation between me, the lads you know,
the group specifics, and the producer Johno because he brings
a more British indie rock garage punk type vibes. So
when we like, when we mash all our influencers together,
that's a sound that came out. But that that was
the conversation I think I mentioned a few minutes ago
where he said, listen your way. I can't. I can't
accord and produce your way, you know at my best.
So I decided, okay, I'll bring my ideas, you bring
your ideas, and let's meet in the middle. And that's
how we done that. So I think that's how we
got that more modern sound okay with little bit of
retro edge. Yeah.
Speaker 2: Yeah.
Speaker 1: Also something else I was reading, so can you tell
me about the Rick Rubin principle that you you you'd
rather have because I can relate to this. You'd you
like strong reactions, right like even if something even if
somebody doesn't like something that you've done, you'd prefer that
to sort of indifference.
Speaker 2: Is that correct? Do you understand that?
Speaker 3: Right? Yeah? I love it. I feel like in difference
is the one thing you need to avoid. People don't
realize it. It's a bit like it's one of those
things indifference that it just passes you by. Was love
and hate a visceral reaction. So I have a feeling
and this is an assumption of course that you know,
I've been playing for five years and we are at
a certain stage of our career because I think people
love us and hate it. So I'm able to play
more shows to like, you know, bigger venues to more
people because we do get to visital reactions because say
a frock in England, it's not really that common, but
I love playing it and I'll always play it because,
like I said before, I make music for me. But yeah,
Rick Rubin was it was such an inspiration to think,
Oh I get it now, love or hates great indifference
not so much so someone came up with me after
the show recently and said, though that song is terrible,
and I said, oh, thank you, right.
Speaker 2: As I felt something.
Speaker 3: Yeah, Look, it doesn't even offend me. I think it's great.
I'm like, thank you because you've taken the time to
speak to me. So I appreciate that.
Speaker 2: Yeah.
Speaker 1: And then how does someone react like when you react,
when you react to you know, they're they're putting down
the song and then you react positively and say, you know,
thank you. I mean, do they do they then in
that moment seem to get it why you appreciate it?
Or are they just kind of do they look at
you like what really? You're you like what I said?
Like what happens?
Speaker 2: Then?
Speaker 3: Do you know what? It's a mixture. You know. You
have to remember we haven't met yet. But I'm six
foot five.
Speaker 2: Oh my god, you're a tall guy.
Speaker 3: I'm six five, I've got long air and a beard. So, like,
you ever know what reaction you're gonna get from people?
So I usually there's always somebody saying something to like
try and chop you down. But it doesn't. It goes
in one ear and goes out the other, like it
doesn't phaze me. But when it comes to music critique,
there's you know, there's some truth in it, isn't If
somebody is like brave and honest enough to say to you, oh,
I don't like that, I don't like this part, or
I don't like this part of the performance, I listen
and write it down and think, Okay, is there some
truth in that? And I'll investigate it and sometimes there is,
you know, and it makes me improve as a performer.
So feedback, you know, feedback on my art or on
the music. I love feedback on myself. Not interested, don't care.
Speaker 1: Right right, Yeah, I've always said, I mean, that's kind
of always been my approach to radio is I have
an adage. I always say I'd rather be than hated,
But I'd rather be hated than ignored, you know, because
if if people are indifferent to what you're doing, then
it's like, well what, you know, what's the point?
Speaker 2: You know? Or uh?
Speaker 1: Or It's kind of like in professional wrestling, right like,
if you're a good guy, you want to be cheered.
If you're a bad guy, you want to be booed.
But the one thing you don't want is the crowd
to be quiet when you walk out. You know, you
want to to get a reaction out of people and
you want them to feel something. So but I think
it's interesting too that and I commend you for this,
for taking the attitude that you do, because you know,
as you know, creative people, we tend to be you
know a lot of us tend to be kind of
insecure in that way, and and we don't and we
don't react to any kind of criticism positively or you
know what I mean. Like some people really get their
feelings hurt. So I I like, have you always had
that sort of emotional maturity? Is that something you you've
always that's always been internal for you?
Speaker 3: No, I have to develop that, you know, really, yeah,
because like I'm in my thirties now, So I think
a lot of it's self development. And you know, there's
a thing, isn't it like? And it's a lot of
creatives to it. And you can say that I don't
like you know, I can say I don't need to
be liked. But when you put music out, you hope
people like it, right, And a lot of is and
extension of you. So you think, if you don't like
my music, you don't like me. So after a while
you just kind of stop caring. But one thing I
don't like is I don't like being ignored. You know,
if you send this email to somebody, or listen to
me song or check out my new record, I'd rather
say this is terrible as opposed to you know, not
a question. You know, because you mentioned professional wrestler. I
noticed that you do wrestling podcasts.
Speaker 2: Right, I do. Yes, I love that man.
Speaker 3: Because I used to be when I was like a kid,
you know, in the nice I loved wrestler, loved wc W.
So have you interviewed any any like cool wrestlers on there,
because I've only just noticed, like the past couple of days,
you have a pod. I'm going to listen to it
if you do any great legendary wrestlers from those days. No.
Speaker 1: So, the wrestling podcast that we do it is called
Tough Bumps, and we're only up to I think we're
an episode. I think we just did episode ten. Oh
no wait, I'm sorry, No, we're up to episode I
think we're almost up to episode twenty. So, but it's
it's only been so, it's been about four months. We
do it once a week, so it's relatively new. So
We do have long term goals to start to get
some of those guests, but right now it's just Eric
and I my co host on the show, Eric Pilcher,
and we just you know, we we usually we call
it the undercard. We talked about some of the wrestling
news of the week, and then the main event is
we pick a subject that you know that we want
to explore really in depth. But we will you know,
stay tuned, as we say, we will be doing some
interviews in the future.
Speaker 2: Absolutely, yeah, they were good.
Speaker 3: They were in my eyes, they were the gold and
years of wrestling. But enough about wrestling. Apologies, But how
do you deal with rejection? You know, because you're a
creative yourself, like you said, you the whole love hate, indifferent. Yeah,
do you cope with it? Because like you said to me,
I can handle it just bounces off me. How do
you cope with it?
Speaker 1: So for me, as long as it's something I'm doing creatively,
I take nothing personal. So if because I'm actually I'm
a very sensitive person away from all of this, like
if someone, if someone in my life says something to
me that hurts my feelings, it won't just hurt a
little little crush me, you know. I mean, I'll recover,
I'll get past it. But I'm very sensitive that way.
But when it comes to anything having to do with
I am a musician, but I don't play anymore. I
mainly I just focus on radio and podcasting now. But
if if somebody says something mean, say online on the internet,
I actually like it. I so, but I think that
I kind of look at it from a couple of
different perspectives.
Speaker 2: Again.
Speaker 1: I mean, part of it is I'd rather be I'd
rather be loved than hated, but I'd rather be hated
than ignored. So if they say something mean, well, at
least they're paying attention to me, and it's good for
It's good for what I do, right, you know, even
if even if someone listens to the show but they
hate listen to the show, at least they're listening. But
there's also that part of me that wonders, though, is
it really healthy or is it just a sort of
narcissism that I carry where it's like I just want
attention and I'll take whatever attention I can get, positive
or negative. I just want the attention. So I don't
know if it's healthy or not. The way that I
look at it, but I think it is. But sometimes
I question it if that makes sense.
Speaker 3: No, definitely, But I love your approach as well, and
I think it's it's a healthy approach because you know,
it's hard to separate the art from the artist, but
sometimes they're not. I always say this the people who
work for In England, we have like people who work
for charities and stuff, and they try and sign you
up in the street to give you like ten pounds
a month, and I always say to them, I always
pull them aside and say, I love what you're doing.
I don't have the time or you know, I'll sign
up to your cause. But I understand that a lot
of rejection is they're not rejecting you. They're rejecting your badge,
the rejecting the company you work for. Sometimes you just
have to separate that they're not rejecting you, the rejecting
your art. And that's cool, man, you know, that's just
the way it is. But I'll the rejections that I get.
I'll keep making art regardless because I make it for me.
Speaker 1: Yeah, yeah, no, I think that's uh. I think that's excellent.
I think that's excellent. Now, what is what is kind
of the future trajectory for you. You know, you've you've
got some singles. I mean, do you do you have
an album or in the works or are you gonna
do an EP or you mentioned an EP earlier.
Speaker 3: Yes, we are looking to do any EP. We are.
We've got a couple of songs in the works that
are actually I think we'll make a bit of a
not a bit of a difference, make a big difference
at our trajectory. I'm also insis of trying to get
on the voting the board, the voting board for the Grammys.
I'd really like to do that because I have the credits.
I've been writing songs and producing songs for a while. Yeah,
so that's only little list of to dos. I think
we'd like to play a couple of big shows, a
major festival because I played Glastonbury last year. I undone
opportunity to play Glastonbury, which was unreal. I can't even
tell you, but I ended up playing solo. It was
the last minute slot. I had like a month to prepare,
so I thought, right, I'll take me piano and I'll
just play solo. Yeah, it was a surreal experience.
Speaker 1: Oh that's excellent, and any kind of festival too that
you can get on those are such. For one thing,
it gets you in front of a big crowd, and
it exposes you to an audience that might not otherwise
hear you. But also or they would not otherwise. But
also the networking opportunities that come at a festival are phenomenal.
You know, you meet so many people and and I
was reading something too about you that you like to
And again this also I think speaks to your emotional
maturity and how you approach all this. You know, you
don't get jealous of people who are who are successful.
You focus on learning from them. And I think that's
great because that's you know, a lot of people think
success in any kind of endeavor, whether it's the music
industry or just life in general, people tend to think
of it as a zero sum game. Well, if somebody
else is more successful, that means I'm automatically less successful,
you know, like there's only so much to go around.
But the key is to learn from people who are
more successful or who are older, maybe further along in
their careers, and you know, and and to take that
opportunity to learn from them. And also they've proven that
you can do it. So if they can do it,
then there's no reason why you can't do it too, right,
So you know, there's validation that comes with that. So
I commend you for that too.
Speaker 3: Thank you. It's funny you say that, and that's one
of the reasons. That's probably the main reason, like Pacific
Keys is what it is today. So you know, I was.
I was playing all the parts, organizing everything, pretty much
managing the show for you know, a couple of years ago.
But then I meet a guitar as who's better than me,
and I'm like, please join me band. I meet a
drummer who understands the drums more than me, Please join
the band. You know, That's what it was. So now
I met four players who were far better than me
on their own instruments. I think fantastic. I can now
focus on what I'm strong at, which is you know, production,
songwriting and singing, and now I can trust them to
do a great job. So you're right. I try not
to get jealous because it's hard not to get jealous
because you know, you want to be you want to
be on stage, you want to be you think I
should be that I deserve to be there. But at
the same time, you got to wait your turn. Man,
your time will come because the last thing you want.
Let's say I think, oh I should be at Glossom,
I should be at Leeds Festival, or you know, I
should be playing at Cochella. They've spent ten fifteen years
working to get towards that, for example, and I'm what
I probably say, I'm seven years into this project, probably
like you know, twenty five years of like a music career.
But I would hate for me to get on stage
and people said, think, oh, whise, how does he deserve
to be up there? I think, mate, have worked for
ten fifteen years, So you have to accept that. You
got to put the work in and you know what,
you might fail, and that's okay because you know, Alicia
doing something that you love. That's all that matters.
Speaker 2: Absolutely the word.
Speaker 1: You know, the scariest thing in life would be, you know,
to get to get to the end of it and
look back and say, you know what if I had tried,
you know what, if I had followed my passions. I
mean that that would scare the hell out of me,
you know, just just looking back with regret and saying,
you know, maybe I should have, you know, gone for it.
But so no, I agree with you. I mean, you
know this is only well, you know, like the song says,
you know, it's a short life.
Speaker 3: So you know what I fear most. I fear getting
to the end of the journey, like being successful and
feel feeling empty. So that makes me. I hear a
lot about that, Like there's a lot about people who
win awards and play stadiums. They do that, they hit
the goal and they're empty, and that's because they've spent
the whole journey thinking about the goal. Whereas you have
to just live in the journey, man, Yeah, live in
the present. Nothing's guaranteed. The only things guaranteed now is
I'm speaking to you. I might go down and make
a cup of tea afterwards after we speak. That's all
that's guaranteed, man, nothing else. Live in the moment and
just try and enjoy the journey because it's tough.
Speaker 1: Yeah, yeah, yeah, you got to enjoy the rider. There's
an expression in America. I don't know if they say
it here, if they say it over there, but getting
there is half the fun. But even that's not necessarily true.
Sometimes I think probably getting there is all the fun,
you know, and then you know, and then when you
get there, you got to find a new mountain to
climb or something. But yeah, you better enjoy getting there.
Speaker 2: If you look.
Speaker 3: It's so true because you've got all these scars and
memories of getting there. If somebody said to you today,
are here's a button, if you press this, we'll give
you a number one album. We'll give you a you know,
a million pounds. I don't believe for a second that
in six months you'll appreciate that. But I think all
the graphs that you're doing with yourself as well with
your radio show, in your podcast, like you seem as
a person like me, you know you want to go
to the top of your game. And I think it's
that it's the hard way you put in. You look back,
you know, five years down the line, you look out
onto like you know, your property or your money, your bank, whatever,
and you think I deserve I not I deserve this,
because nobody deserves anything. I art this right. I worked hard,
and I think that's the longevity of it. And you'll
keep going. You think, Okay, I end me number one records,
I'm going to go get a second one because nobody
give it to me. Nobody gives you anything in this life, right,
you know you're not entitled to anything.
Speaker 2: Go get it though, exactly.
Speaker 1: Yeah, very well said very well said Well, Jack, I
really appreciate you joining us here today. Not only is
it I been excited to talk to you about your music,
but also I think you've given because a lot of
musicians listen to this show, a lot of industry people,
and I think you've given a lot of really good
advice and insight today too, which is really cool. So
I appreciate that and I enjoy h I appreciate your
outlook on everything. I think it's I think it's excellent.
And in a moment, like I said, we'll close out
the segment with this track Wanderlust, which I also think
is great. Oh and I wanted to ask you too
about the video for this. The video is really cool.
The video for Wanderlust. I encourage people go on YouTube
check it out that like did you I mean, how
much traveling did you do to make that video?
Speaker 3: And Nellie died you know, I fell in the river
and everything. Man, Honestly, it was such a it was
such an amazing slash traumatic video shoot, like we were
on top of the mountain and in the middle of
the lake districts in England, like we'd walked two hours
to get you know, the shot fell in a river,
like I got wet. All my stuff, We've got, all
the gear was missing, honestly it was. But we got
the shot man, and that's all that matters.
Speaker 2: Yea.
Speaker 3: I will say, if you want a good video, you're
gonna have to walk through hell for it. It doesn't
come easy, man. But yeah, it was a good friend
Dylan Witty. He's an amazing, amazing video and it's amazing
director and he helped me, you know, put that vision
together because that was the first piece of music that
I put out, so I I wanted to put something
out with a bang. But I will say, any any
musicians artists listening, Wanderlus had three or four mixes over
like four years. For four years I couldn't get I
couldn't get the right sound that I wanted. It was
tough and it was that whole you know, is it
is it good enough? No? Okay, back to the drawing.
But I spent thousands mates but the result that I wanted,
so you know, I maybe too much perfectionism is a
bit too much. But for me, if you're going to
make an impact, do it properly.
Speaker 1: Yes, I think, yeah, absolutely, well well done. It's a
it's an excellent video. Like I said, I encourage people
to go online and check it out and we will
close out the segment with that song again, another great song.
But Jack, we will definitely do this again in the future.
When you were do you have any idea when your
next single might be out? Any any any idea or
not to put you on the spot.
Speaker 3: But no, not to put you on spots at all.
I'll be honest. I think maybe a couple of weeks.
I'm just doing the final I'm looking for a strings
and brass player to help me round out the sound.
Speaker 2: Okay, can I just.
Speaker 3: Give a shout out before a go if that's all right?
Speaker 2: Oh please? Yeah? Absolutely.
Speaker 3: I just want to say thanks to Big GPR for
getting me the interview. Thank you to you, Matt, I
really appreciate you, and thanks to we Believe as well
and my case. You know, let's keep let's keep hitting
those heights and who knows next year where we'll.
Speaker 1: Be absolutely and everybody you mentioned such great people, you know,
and and where they know how to find talent, that's
for sure. It's everybody they've sent us has been absolutely amazing,
including you. So I'm really glad to talk to you today, Jack,
and thank you so much for joining us. We're gonna
hit this track, so we'll let you go, but I
look forward to the next single and we will definitely
have to.
Speaker 2: Do this again in the near future. So thank you
so much.
Speaker 3: Look forward it past to look man, keep doing what
you're doing. You great.
Speaker 2: Oh thanks Jack, I appreciate you. Man. All right, take care,
thank you, all right, bye bye. All right.
Speaker 1: That was Jack from Pacific A's and we're gonna play
this track now. This is called one Wanderlust, and this
is really good. And again check out the video not
right now, stick with me for now, but later check
out the video online.
Speaker 2: You'll like the video too.
Speaker 1: They put a lot of work into it, as Jack indicated,
and a lot of some terrifying moments too. But check
this out. This is called Wanderlust and this is specific
days