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Speaker 1: I love that that is specific as the track is

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called a short life and I think we have Jack

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on the line a via WhatsApp.

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Speaker 2: Jack are you there?

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Speaker 3: You do have Jack on the line. How's it go O?

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Speaker 2: Wonderful? Wonderful?

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Speaker 1: Hey, I love that song man, It's so it's kind

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of dreamy is my first word to describe it. But

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it's just such a great tune and it just I

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just love it. You kind of get kind of get

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lost in it when I listened to it, if you

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know what I mean.

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Speaker 3: Yeah, one hundred because when our guitarists brought the chords

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into the room, it just make it transported me to

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those holidays, you know, with your partner on the beach

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and you in that little bubble of life and nothing

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can really pop that bubble. And that's the vibe that

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I wanted to give out. Yeah, against the world love

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and life.

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Speaker 1: Yeah, yeah, no, I'd say you definitely accomplished that. That's uh,

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that's really good. So tell me Jack about Pacific A

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is because I got the impression from reading a little

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bit about the band that did this start as a

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solo project and then and then kind of develop into

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a band? Is that what happened or can you kind

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of run through the history of the project.

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Speaker 3: Yeah, sure, so super fast history. I've been playing piano

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since I was ten, so you know over twenty years now. Yeah,

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classically trained and all the piano stuff done me grades,

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and then in my twenties I started really getting into

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playing guitar, and like, I just had an affinity to

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safe rock and safe music. So around five or six

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years ago, I decided, you know, now's the time to

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actually get those ideas out of your head and out

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of the voice memos and onto a page and into

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the studio. So that's what I've done. I reached out

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to a couple of people in America because that was

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always the goal for me, Like it always felt like American,

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the Californian beats music in a way. So I had

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a few producers out in LA who were helping me

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craft that sound. But that was me on my own.

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Fast forward a couple of years and now there's a

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full band of us, and we all have the same

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outlook on life. You know, there's more to life. We

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love music, we loved creating, and you know what with

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all generally nice guys.

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Speaker 1: Yeah, yeah, is that I mean some of your music.

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So the song and we're gonna play it later. By

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the way, at the end of our conversation. A previous

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single that you had Wanderlust, which I really liked as well.

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That's another great song. But that one I feel like

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has a little bit of angst to it, which which

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is different from short Life. But but again that might

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be my interpretation of it, because obviously, you know, music

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is art, and art is open to everyone's individual interpretation.

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But I do feel like there's a little bit of

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there's a little bit of angst in that one, right

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or maybe I'm wrong, you tell.

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Speaker 3: Me no, it's a good, good assessment of the song.

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There's a lot of anks, to be honest, and it

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was I wrote that when I had all these ideas

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and we had all these plans to you know, make

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a sound, create a band, but I didn't have any

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of the infrastructure. So all of the anngs there is true.

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Like the lyric twenty three one may take it, I've

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flow in the nest. So I moved to Australia. I

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thought I need to leave, I need to leave time,

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need to leave England, and then ended up coming home

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a couple of years later. And still being in the

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same place because you know, when you leave, somethink I'm

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gonna make it, I'm going to be a star whatever.

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A few years lazy, you sit down, you think nothing's changed.

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So yeah, a lot of that angst is true, and

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you know, yeah.

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Speaker 2: Yeah, it's interesting.

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Speaker 1: I've known a lot of people who they'll do something

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where they decide, you know, I'm not happy where I

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am and so I'm just gonna move to a new

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place and everything will be great, and they don't necessarily realize.

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I mean, don't get me wrong, I've scenery and sometimes

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can be very very healthy. But a lot of times

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it's just people trying to literally run away from their

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problems and they don't realize the problems are portable and

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they go with you and you know, you're still the

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same person no matter what continent you're on. But I'm

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really curious, now, why Australia when you moved, Why did

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you decide to go to Australia?

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Speaker 3: Great question. So I initially went to Wybitha. I just

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sold all my stuff and bought it one way ticket

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to why Beitha.

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Speaker 2: Wow.

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Speaker 3: So in England, we go, we go to a we

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go to Ibtha. It's like a little thing we do

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to do a season, to work the summer season. So

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I thought, I want to quit my job, leave Liverpool

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behind and you know, go live abroad for a while.

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And I met somebody who was like, oh, after the

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season's over and moving to Australia, do you want to

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come with me? Obviously said yes. But Australia was fantastic.

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But it wasn't as all as rosy as you would

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think because it's an unreal place, you know, the weather,

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the people. But it was like England, but with like

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less friends. It was. It was strange.

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Speaker 2: We'll say, how long were you there?

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Speaker 3: Six months? I was there six six months? And then

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I realized that, you know, the dream isn't always the dream.

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And then I, you know, moved along.

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Speaker 1: Yeah, yes, did you when you moved back, did you

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move back to where you were the same area that

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you were before?

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Speaker 2: Did you pick a different, different area geographically?

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Speaker 3: No? I moved back the same area. And I'll be honest,

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six months a year, you know, eighteen months away from

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your home. Everything looks so everything's the same. People moved on,

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but everything looks different, everything smells different, and that that's

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probably where the yank started for me was Okay, I left,

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I left, I've still got these ideas, still haven't got

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a band. What am I doing with my life?

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Speaker 2: Right? Right?

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Speaker 1: So when you when you put the band together, was

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that it with intention? Did you say I need I

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need a band or did that just kind of happen

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organically where you met people or maybe some people who

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you already knew, who who said hey, I'd like to

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be a part of what you're doing, or how did

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that come about?

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Speaker 3: Yeah, good question, I'll be honest. I always yearned for

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a band from the age of like twenty two when

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I really got into me music, yeah, you know, into

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pop and rock music, and I yearned for a band.

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So a lot of the time I joined projects for

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a couple of years when I was the keyboard that

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so I was a singer, but it was never my band,

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and I always thought, I want my own project, not

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to control like that. It's more I would like to

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bring my ideas into a room with people who were

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who were would like to hear them and would like

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to make them better. And I didn't have that for

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I don't even know seven years, eight years. I didn't

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have that far, and then slowly I started meeting people

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who were you know, once you're start networking and getting

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out into the industry, you realize you meet like minded people.

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But one thing I will say, which is really important

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is I didn't know who I was in the early twenties,

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and then I think as attended, you know, thirty, I

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realized who I was as a person. And once you

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accept and understand who you are, the people who you

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need in your life are naturally drawn to you and

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you're drawn to them.

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Speaker 1: It's crazy, No, I think that makes a lot of sense.

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I think that's that's absolutely what happens. So then you

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started putting a band together, and then you also have

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a do you have a specific producer that you work with?

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Speaker 3: Oh? You know what. I love that you asked me that,

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because I've got an American producer who I love. He's

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told Lewis Peskov. He produced the first three songs and Wonder, Lust,

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World and Magic. It was like a little I wanted

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to do. I wanted to do an EP with him

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because I've been following him for a while since he

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released Well. He produced Best Coast album, which I loved.

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I still wanted me Top ten albums. Now, I really

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wanted to work with them, and I'll be honest, I

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wasn't disappointed he brought He basically brought the sound that

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I had in me in my head alive, which then

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allowed me to cement that sound and then bring it

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back to because in England, say, frock isn't huge and

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that's cool, you know. I like to be a bit

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of a not a trendsetter, but I like to do

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my own thing, my own way.

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Speaker 2: It's good to.

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Speaker 3: Definitely you have to stand out because there's so much

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music being made, Like, how is anybody going to listen

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to it if it's the same as everything else?

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Speaker 1: Right?

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Speaker 3: But I just go off what I like. I just

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write songs that I want to hear, if that makes sense.

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But yeah, I've been friends with the producer for a

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while in England called John Oh. He's at a place

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called Alo Sounds. Really good producer. He's been helping me,

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you know, through the years, helping me get me files

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together for like Lewis the Center America. And then we

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spoke and he said, listen, if you want me to

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produce your music, you're going to have to pay at

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a touch because I can't make the low file that

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you want to make, he said, But I can't help you.

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I thought, you know what, Let's try your expertise, my expertise.

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Let's put our heads together, let's stop trying to be

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something that we're not, and let's see what we can

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make in the records. That Short Life is the first

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record we put out with John. Oh, We've got two

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or three more singles in the works that I would

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say are better, Yeah, better and more defined.

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Speaker 2: Yes, Oh, I'm sorry, go ahead, No, No.

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Speaker 3: I was just gonna say, like collaborations key, isn't it's

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all about trial and error?

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Speaker 2: Yeah?

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Speaker 1: Yeah, Well for some people, I mean, some people are

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are are afraid to collaborate, you know what I mean,

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and they insist on doing every thing themselves.

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Speaker 2: But but it.

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Speaker 1: Sounds like in your case, you've found the right people

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or the right people were drawn to you, as you

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talked about earlier, when you figure out who you are

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and and you know people are people come into your

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life who are going to be drawn to you. It

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sounds like you found the right people to collaborate with.

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I think some people who are resistant to collaboration, because

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I talked guardists who are who just insist on doing

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everything themselves. They probably haven't found the right people to

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collaborate with, you know what I mean. So I think

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I think that's great. And you mentioned so you use

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the term lo fi, and I that hadn't occurred to me.

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I mean, is that what you were going for with

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Short Life? Kind of a low five vibe? Because it

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didn't occur to me while listening to it, Like I

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said a lot of things, did you know, it's got

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a kind of a beach vibe and it's but it's

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it's dreamy, you know, That's that's my word for it.

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Speaker 2: But I mean, is that what you're going for kind

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of a sort of a low vibe?

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Speaker 1: I don't know if retro is the right word, but

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but I kind of associate that in my mind with

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low Fis that was what you were trying to achieve

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with that, and.

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Speaker 3: That was what I was trying to she with the

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band in general. So I write a lot of music

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at home on logic. We have got guitars and my

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ams around me and yeah me, you know, the stuff

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that I need to make music, and a lot of

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the stuff that I make at home is very low fine.

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I think there's a term called I don't know if

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you know what it's called. It's called demo isis it's

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when you get you get stuck in the mindset of

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I've made the demo, this is what the song needs

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to sound like. But that's not actually conducive to making

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a great song, because sometimes you have to go, okay,

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good start, but let's improve it, right. But yeah, short

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Life is the first creation between me, the lads you know,

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the group specifics, and the producer Johno because he brings

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a more British indie rock garage punk type vibes. So

241
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when we like, when we mash all our influencers together,

242
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that's a sound that came out. But that that was

243
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the conversation I think I mentioned a few minutes ago

244
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where he said, listen your way. I can't. I can't

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accord and produce your way, you know at my best.

246
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So I decided, okay, I'll bring my ideas, you bring

247
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your ideas, and let's meet in the middle. And that's

248
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how we done that. So I think that's how we

249
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got that more modern sound okay with little bit of

250
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retro edge. Yeah.

251
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Speaker 2: Yeah.

252
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Speaker 1: Also something else I was reading, so can you tell

253
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me about the Rick Rubin principle that you you you'd

254
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rather have because I can relate to this. You'd you

255
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like strong reactions, right like even if something even if

256
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somebody doesn't like something that you've done, you'd prefer that

257
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to sort of indifference.

258
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Speaker 2: Is that correct? Do you understand that?

259
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Speaker 3: Right? Yeah? I love it. I feel like in difference

260
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is the one thing you need to avoid. People don't

261
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realize it. It's a bit like it's one of those

262
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things indifference that it just passes you by. Was love

263
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and hate a visceral reaction. So I have a feeling

264
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and this is an assumption of course that you know,

265
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I've been playing for five years and we are at

266
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a certain stage of our career because I think people

267
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love us and hate it. So I'm able to play

268
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more shows to like, you know, bigger venues to more

269
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people because we do get to visital reactions because say

270
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a frock in England, it's not really that common, but

271
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I love playing it and I'll always play it because,

272
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like I said before, I make music for me. But yeah,

273
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Rick Rubin was it was such an inspiration to think,

274
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Oh I get it now, love or hates great indifference

275
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not so much so someone came up with me after

276
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the show recently and said, though that song is terrible,

277
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and I said, oh, thank you, right.

278
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Speaker 2: As I felt something.

279
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Speaker 3: Yeah, Look, it doesn't even offend me. I think it's great.

280
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I'm like, thank you because you've taken the time to

281
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speak to me. So I appreciate that.

282
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Speaker 2: Yeah.

283
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Speaker 1: And then how does someone react like when you react,

284
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when you react to you know, they're they're putting down

285
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the song and then you react positively and say, you know,

286
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thank you. I mean, do they do they then in

287
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that moment seem to get it why you appreciate it?

288
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Or are they just kind of do they look at

289
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you like what really? You're you like what I said?

290
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Like what happens?

291
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Speaker 2: Then?

292
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Speaker 3: Do you know what? It's a mixture. You know. You

293
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have to remember we haven't met yet. But I'm six

294
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foot five.

295
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Speaker 2: Oh my god, you're a tall guy.

296
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Speaker 3: I'm six five, I've got long air and a beard. So, like,

297
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you ever know what reaction you're gonna get from people?

298
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So I usually there's always somebody saying something to like

299
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try and chop you down. But it doesn't. It goes

300
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in one ear and goes out the other, like it

301
00:13:21,639 --> 00:13:25,360
doesn't phaze me. But when it comes to music critique,

302
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there's you know, there's some truth in it, isn't If

303
00:13:27,519 --> 00:13:30,519
somebody is like brave and honest enough to say to you, oh,

304
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I don't like that, I don't like this part, or

305
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I don't like this part of the performance, I listen

306
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and write it down and think, Okay, is there some

307
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truth in that? And I'll investigate it and sometimes there is,

308
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you know, and it makes me improve as a performer.

309
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So feedback, you know, feedback on my art or on

310
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the music. I love feedback on myself. Not interested, don't care.

311
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Speaker 1: Right right, Yeah, I've always said, I mean, that's kind

312
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of always been my approach to radio is I have

313
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an adage. I always say I'd rather be than hated,

314
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But I'd rather be hated than ignored, you know, because

315
00:14:04,120 --> 00:14:05,960
if if people are indifferent to what you're doing, then

316
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it's like, well what, you know, what's the point?

317
00:14:07,720 --> 00:14:08,840
Speaker 2: You know? Or uh?

318
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Speaker 1: Or It's kind of like in professional wrestling, right like,

319
00:14:11,919 --> 00:14:13,320
if you're a good guy, you want to be cheered.

320
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If you're a bad guy, you want to be booed.

321
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But the one thing you don't want is the crowd

322
00:14:17,360 --> 00:14:19,200
to be quiet when you walk out. You know, you

323
00:14:19,279 --> 00:14:21,120
want to to get a reaction out of people and

324
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you want them to feel something. So but I think

325
00:14:24,519 --> 00:14:26,879
it's interesting too that and I commend you for this,

326
00:14:27,039 --> 00:14:29,759
for taking the attitude that you do, because you know,

327
00:14:29,919 --> 00:14:34,919
as you know, creative people, we tend to be you

328
00:14:34,960 --> 00:14:36,519
know a lot of us tend to be kind of

329
00:14:36,519 --> 00:14:38,919
insecure in that way, and and we don't and we

330
00:14:38,960 --> 00:14:44,559
don't react to any kind of criticism positively or you

331
00:14:44,600 --> 00:14:46,480
know what I mean. Like some people really get their

332
00:14:46,480 --> 00:14:49,840
feelings hurt. So I I like, have you always had

333
00:14:49,840 --> 00:14:52,519
that sort of emotional maturity? Is that something you you've

334
00:14:52,559 --> 00:14:57,000
always that's always been internal for you?

335
00:14:57,000 --> 00:15:00,000
Speaker 3: No, I have to develop that, you know, really, yeah,

336
00:15:00,320 --> 00:15:02,559
because like I'm in my thirties now, So I think

337
00:15:03,000 --> 00:15:06,000
a lot of it's self development. And you know, there's

338
00:15:06,039 --> 00:15:07,879
a thing, isn't it like? And it's a lot of

339
00:15:07,879 --> 00:15:11,000
creatives to it. And you can say that I don't

340
00:15:11,039 --> 00:15:12,240
like you know, I can say I don't need to

341
00:15:12,279 --> 00:15:14,240
be liked. But when you put music out, you hope

342
00:15:14,240 --> 00:15:16,200
people like it, right, And a lot of is and

343
00:15:16,320 --> 00:15:18,159
extension of you. So you think, if you don't like

344
00:15:18,200 --> 00:15:20,879
my music, you don't like me. So after a while

345
00:15:20,960 --> 00:15:23,639
you just kind of stop caring. But one thing I

346
00:15:23,720 --> 00:15:26,159
don't like is I don't like being ignored. You know,

347
00:15:26,159 --> 00:15:28,200
if you send this email to somebody, or listen to

348
00:15:28,200 --> 00:15:31,840
me song or check out my new record, I'd rather

349
00:15:32,000 --> 00:15:34,720
say this is terrible as opposed to you know, not

350
00:15:35,639 --> 00:15:38,080
a question. You know, because you mentioned professional wrestler. I

351
00:15:38,200 --> 00:15:40,559
noticed that you do wrestling podcasts.

352
00:15:40,039 --> 00:15:42,960
Speaker 2: Right, I do. Yes, I love that man.

353
00:15:42,840 --> 00:15:45,360
Speaker 3: Because I used to be when I was like a kid,

354
00:15:45,440 --> 00:15:48,200
you know, in the nice I loved wrestler, loved wc W.

355
00:15:50,279 --> 00:15:53,200
So have you interviewed any any like cool wrestlers on there,

356
00:15:53,200 --> 00:15:55,559
because I've only just noticed, like the past couple of days,

357
00:15:55,600 --> 00:15:56,960
you have a pod. I'm going to listen to it

358
00:15:57,519 --> 00:16:01,320
if you do any great legendary wrestlers from those days. No.

359
00:16:01,480 --> 00:16:03,480
Speaker 1: So, the wrestling podcast that we do it is called

360
00:16:03,480 --> 00:16:06,480
Tough Bumps, and we're only up to I think we're

361
00:16:06,519 --> 00:16:09,559
an episode. I think we just did episode ten. Oh

362
00:16:09,600 --> 00:16:11,799
no wait, I'm sorry, No, we're up to episode I

363
00:16:11,799 --> 00:16:13,960
think we're almost up to episode twenty. So, but it's

364
00:16:14,039 --> 00:16:16,039
it's only been so, it's been about four months. We

365
00:16:16,080 --> 00:16:18,919
do it once a week, so it's relatively new. So

366
00:16:19,399 --> 00:16:22,840
We do have long term goals to start to get

367
00:16:22,840 --> 00:16:24,679
some of those guests, but right now it's just Eric

368
00:16:24,720 --> 00:16:27,159
and I my co host on the show, Eric Pilcher,

369
00:16:27,159 --> 00:16:29,559
and we just you know, we we usually we call

370
00:16:29,600 --> 00:16:31,519
it the undercard. We talked about some of the wrestling

371
00:16:31,519 --> 00:16:33,080
news of the week, and then the main event is

372
00:16:33,120 --> 00:16:35,919
we pick a subject that you know that we want

373
00:16:36,000 --> 00:16:39,200
to explore really in depth. But we will you know,

374
00:16:39,279 --> 00:16:42,639
stay tuned, as we say, we will be doing some

375
00:16:42,720 --> 00:16:43,600
interviews in the future.

376
00:16:43,639 --> 00:16:46,000
Speaker 2: Absolutely, yeah, they were good.

377
00:16:46,080 --> 00:16:47,960
Speaker 3: They were in my eyes, they were the gold and

378
00:16:48,559 --> 00:16:52,240
years of wrestling. But enough about wrestling. Apologies, But how

379
00:16:52,240 --> 00:16:54,080
do you deal with rejection? You know, because you're a

380
00:16:54,120 --> 00:17:00,000
creative yourself, like you said, you the whole love hate, indifferent. Yeah,

381
00:17:00,039 --> 00:17:02,200
do you cope with it? Because like you said to me,

382
00:17:02,240 --> 00:17:04,559
I can handle it just bounces off me. How do

383
00:17:04,640 --> 00:17:05,279
you cope with it?

384
00:17:05,559 --> 00:17:09,079
Speaker 1: So for me, as long as it's something I'm doing creatively,

385
00:17:09,240 --> 00:17:13,640
I take nothing personal. So if because I'm actually I'm

386
00:17:13,680 --> 00:17:16,759
a very sensitive person away from all of this, like

387
00:17:16,839 --> 00:17:19,680
if someone, if someone in my life says something to

388
00:17:19,720 --> 00:17:21,559
me that hurts my feelings, it won't just hurt a

389
00:17:21,559 --> 00:17:23,640
little little crush me, you know. I mean, I'll recover,

390
00:17:23,680 --> 00:17:25,640
I'll get past it. But I'm very sensitive that way.

391
00:17:25,960 --> 00:17:28,200
But when it comes to anything having to do with

392
00:17:28,680 --> 00:17:30,880
I am a musician, but I don't play anymore. I

393
00:17:31,359 --> 00:17:35,400
mainly I just focus on radio and podcasting now. But

394
00:17:35,680 --> 00:17:39,839
if if somebody says something mean, say online on the internet,

395
00:17:40,640 --> 00:17:43,960
I actually like it. I so, but I think that

396
00:17:45,160 --> 00:17:46,640
I kind of look at it from a couple of

397
00:17:46,680 --> 00:17:47,640
different perspectives.

398
00:17:48,720 --> 00:17:49,039
Speaker 2: Again.

399
00:17:49,240 --> 00:17:51,200
Speaker 1: I mean, part of it is I'd rather be I'd

400
00:17:51,279 --> 00:17:53,119
rather be loved than hated, but I'd rather be hated

401
00:17:53,160 --> 00:17:55,400
than ignored. So if they say something mean, well, at

402
00:17:55,440 --> 00:17:57,680
least they're paying attention to me, and it's good for

403
00:17:57,799 --> 00:17:59,559
It's good for what I do, right, you know, even

404
00:17:59,599 --> 00:18:01,519
if even if someone listens to the show but they

405
00:18:01,559 --> 00:18:04,319
hate listen to the show, at least they're listening. But

406
00:18:04,599 --> 00:18:06,720
there's also that part of me that wonders, though, is

407
00:18:06,720 --> 00:18:09,359
it really healthy or is it just a sort of

408
00:18:09,480 --> 00:18:12,480
narcissism that I carry where it's like I just want

409
00:18:12,519 --> 00:18:16,000
attention and I'll take whatever attention I can get, positive

410
00:18:16,119 --> 00:18:19,880
or negative. I just want the attention. So I don't

411
00:18:19,880 --> 00:18:22,319
know if it's healthy or not. The way that I

412
00:18:22,359 --> 00:18:25,359
look at it, but I think it is. But sometimes

413
00:18:25,359 --> 00:18:26,759
I question it if that makes sense.

414
00:18:27,920 --> 00:18:31,079
Speaker 3: No, definitely, But I love your approach as well, and

415
00:18:31,119 --> 00:18:33,079
I think it's it's a healthy approach because you know,

416
00:18:33,680 --> 00:18:36,240
it's hard to separate the art from the artist, but

417
00:18:36,359 --> 00:18:39,599
sometimes they're not. I always say this the people who

418
00:18:39,640 --> 00:18:41,720
work for In England, we have like people who work

419
00:18:41,720 --> 00:18:44,400
for charities and stuff, and they try and sign you

420
00:18:44,480 --> 00:18:46,000
up in the street to give you like ten pounds

421
00:18:46,000 --> 00:18:47,839
a month, and I always say to them, I always

422
00:18:47,839 --> 00:18:49,359
pull them aside and say, I love what you're doing.

423
00:18:49,440 --> 00:18:51,480
I don't have the time or you know, I'll sign

424
00:18:51,559 --> 00:18:53,599
up to your cause. But I understand that a lot

425
00:18:53,599 --> 00:18:56,440
of rejection is they're not rejecting you. They're rejecting your badge,

426
00:18:56,480 --> 00:18:58,559
the rejecting the company you work for. Sometimes you just

427
00:18:58,559 --> 00:19:01,400
have to separate that they're not rejecting you, the rejecting

428
00:19:01,400 --> 00:19:03,920
your art. And that's cool, man, you know, that's just

429
00:19:03,920 --> 00:19:06,880
the way it is. But I'll the rejections that I get.

430
00:19:06,920 --> 00:19:09,000
I'll keep making art regardless because I make it for me.

431
00:19:09,319 --> 00:19:12,960
Speaker 1: Yeah, yeah, no, I think that's uh. I think that's excellent.

432
00:19:13,079 --> 00:19:16,039
I think that's excellent. Now, what is what is kind

433
00:19:16,039 --> 00:19:18,720
of the future trajectory for you. You know, you've you've

434
00:19:18,759 --> 00:19:20,759
got some singles. I mean, do you do you have

435
00:19:20,799 --> 00:19:22,799
an album or in the works or are you gonna

436
00:19:23,359 --> 00:19:26,319
do an EP or you mentioned an EP earlier.

437
00:19:27,960 --> 00:19:31,480
Speaker 3: Yes, we are looking to do any EP. We are.

438
00:19:31,640 --> 00:19:33,400
We've got a couple of songs in the works that

439
00:19:33,519 --> 00:19:36,039
are actually I think we'll make a bit of a

440
00:19:37,319 --> 00:19:39,240
not a bit of a difference, make a big difference

441
00:19:39,240 --> 00:19:42,960
at our trajectory. I'm also insis of trying to get

442
00:19:43,000 --> 00:19:47,440
on the voting the board, the voting board for the Grammys.

443
00:19:47,440 --> 00:19:49,400
I'd really like to do that because I have the credits.

444
00:19:49,480 --> 00:19:52,200
I've been writing songs and producing songs for a while. Yeah,

445
00:19:52,240 --> 00:19:55,680
so that's only little list of to dos. I think

446
00:19:55,720 --> 00:19:57,200
we'd like to play a couple of big shows, a

447
00:19:57,279 --> 00:20:00,680
major festival because I played Glastonbury last year. I undone

448
00:20:00,680 --> 00:20:04,519
opportunity to play Glastonbury, which was unreal. I can't even

449
00:20:04,559 --> 00:20:06,960
tell you, but I ended up playing solo. It was

450
00:20:06,960 --> 00:20:09,200
the last minute slot. I had like a month to prepare,

451
00:20:09,279 --> 00:20:11,559
so I thought, right, I'll take me piano and I'll

452
00:20:11,599 --> 00:20:14,759
just play solo. Yeah, it was a surreal experience.

453
00:20:14,839 --> 00:20:17,119
Speaker 1: Oh that's excellent, and any kind of festival too that

454
00:20:17,160 --> 00:20:20,680
you can get on those are such. For one thing,

455
00:20:21,000 --> 00:20:23,319
it gets you in front of a big crowd, and

456
00:20:23,359 --> 00:20:26,799
it exposes you to an audience that might not otherwise

457
00:20:26,839 --> 00:20:29,480
hear you. But also or they would not otherwise. But

458
00:20:29,720 --> 00:20:34,119
also the networking opportunities that come at a festival are phenomenal.

459
00:20:34,200 --> 00:20:37,559
You know, you meet so many people and and I

460
00:20:37,599 --> 00:20:39,960
was reading something too about you that you like to

461
00:20:40,599 --> 00:20:43,359
And again this also I think speaks to your emotional

462
00:20:43,400 --> 00:20:45,519
maturity and how you approach all this. You know, you

463
00:20:45,519 --> 00:20:48,680
don't get jealous of people who are who are successful.

464
00:20:48,720 --> 00:20:51,720
You focus on learning from them. And I think that's

465
00:20:51,799 --> 00:20:55,200
great because that's you know, a lot of people think

466
00:20:55,240 --> 00:20:58,680
success in any kind of endeavor, whether it's the music

467
00:20:58,680 --> 00:21:00,640
industry or just life in general, people tend to think

468
00:21:00,680 --> 00:21:02,319
of it as a zero sum game. Well, if somebody

469
00:21:02,359 --> 00:21:05,240
else is more successful, that means I'm automatically less successful,

470
00:21:05,279 --> 00:21:07,200
you know, like there's only so much to go around.

471
00:21:07,279 --> 00:21:11,039
But the key is to learn from people who are

472
00:21:11,039 --> 00:21:14,000
more successful or who are older, maybe further along in

473
00:21:14,039 --> 00:21:17,759
their careers, and you know, and and to take that

474
00:21:17,799 --> 00:21:20,880
opportunity to learn from them. And also they've proven that

475
00:21:20,920 --> 00:21:22,400
you can do it. So if they can do it,

476
00:21:22,440 --> 00:21:24,559
then there's no reason why you can't do it too, right,

477
00:21:24,680 --> 00:21:27,079
So you know, there's validation that comes with that. So

478
00:21:27,160 --> 00:21:28,480
I commend you for that too.

479
00:21:29,480 --> 00:21:31,680
Speaker 3: Thank you. It's funny you say that, and that's one

480
00:21:31,680 --> 00:21:33,799
of the reasons. That's probably the main reason, like Pacific

481
00:21:33,880 --> 00:21:37,319
Keys is what it is today. So you know, I was.

482
00:21:38,039 --> 00:21:41,119
I was playing all the parts, organizing everything, pretty much

483
00:21:41,200 --> 00:21:44,480
managing the show for you know, a couple of years ago.

484
00:21:44,519 --> 00:21:46,359
But then I meet a guitar as who's better than me,

485
00:21:46,400 --> 00:21:48,839
and I'm like, please join me band. I meet a

486
00:21:48,880 --> 00:21:51,559
drummer who understands the drums more than me, Please join

487
00:21:51,559 --> 00:21:53,720
the band. You know, That's what it was. So now

488
00:21:53,759 --> 00:21:56,720
I met four players who were far better than me

489
00:21:56,759 --> 00:21:59,200
on their own instruments. I think fantastic. I can now

490
00:21:59,240 --> 00:22:01,359
focus on what I'm strong at, which is you know, production,

491
00:22:01,480 --> 00:22:05,400
songwriting and singing, and now I can trust them to

492
00:22:05,960 --> 00:22:08,359
do a great job. So you're right. I try not

493
00:22:08,400 --> 00:22:11,000
to get jealous because it's hard not to get jealous

494
00:22:11,039 --> 00:22:13,279
because you know, you want to be you want to

495
00:22:13,319 --> 00:22:14,640
be on stage, you want to be you think I

496
00:22:14,640 --> 00:22:16,720
should be that I deserve to be there. But at

497
00:22:16,720 --> 00:22:18,400
the same time, you got to wait your turn. Man,

498
00:22:18,440 --> 00:22:20,720
your time will come because the last thing you want.

499
00:22:20,799 --> 00:22:23,519
Let's say I think, oh I should be at Glossom,

500
00:22:23,640 --> 00:22:25,200
I should be at Leeds Festival, or you know, I

501
00:22:25,200 --> 00:22:28,880
should be playing at Cochella. They've spent ten fifteen years

502
00:22:28,920 --> 00:22:32,119
working to get towards that, for example, and I'm what

503
00:22:32,279 --> 00:22:36,799
I probably say, I'm seven years into this project, probably

504
00:22:36,839 --> 00:22:39,480
like you know, twenty five years of like a music career.

505
00:22:39,880 --> 00:22:41,920
But I would hate for me to get on stage

506
00:22:41,920 --> 00:22:44,240
and people said, think, oh, whise, how does he deserve

507
00:22:44,279 --> 00:22:45,880
to be up there? I think, mate, have worked for

508
00:22:45,960 --> 00:22:48,480
ten fifteen years, So you have to accept that. You

509
00:22:48,559 --> 00:22:50,640
got to put the work in and you know what,

510
00:22:51,000 --> 00:22:54,200
you might fail, and that's okay because you know, Alicia

511
00:22:54,319 --> 00:22:56,640
doing something that you love. That's all that matters.

512
00:22:56,880 --> 00:22:58,200
Speaker 2: Absolutely the word.

513
00:22:58,319 --> 00:23:01,240
Speaker 1: You know, the scariest thing in life would be, you know,

514
00:23:01,359 --> 00:23:03,160
to get to get to the end of it and

515
00:23:03,160 --> 00:23:05,359
look back and say, you know what if I had tried,

516
00:23:05,559 --> 00:23:07,440
you know what, if I had followed my passions. I

517
00:23:07,440 --> 00:23:09,480
mean that that would scare the hell out of me,

518
00:23:09,559 --> 00:23:12,880
you know, just just looking back with regret and saying,

519
00:23:12,920 --> 00:23:15,960
you know, maybe I should have, you know, gone for it.

520
00:23:16,000 --> 00:23:18,079
But so no, I agree with you. I mean, you

521
00:23:18,079 --> 00:23:20,720
know this is only well, you know, like the song says,

522
00:23:20,799 --> 00:23:21,880
you know, it's a short life.

523
00:23:22,720 --> 00:23:25,279
Speaker 3: So you know what I fear most. I fear getting

524
00:23:25,319 --> 00:23:29,119
to the end of the journey, like being successful and

525
00:23:29,359 --> 00:23:32,839
feel feeling empty. So that makes me. I hear a

526
00:23:32,839 --> 00:23:35,519
lot about that, Like there's a lot about people who

527
00:23:35,559 --> 00:23:38,880
win awards and play stadiums. They do that, they hit

528
00:23:38,920 --> 00:23:41,240
the goal and they're empty, and that's because they've spent

529
00:23:41,319 --> 00:23:44,359
the whole journey thinking about the goal. Whereas you have

530
00:23:44,440 --> 00:23:46,559
to just live in the journey, man, Yeah, live in

531
00:23:46,599 --> 00:23:50,079
the present. Nothing's guaranteed. The only things guaranteed now is

532
00:23:50,400 --> 00:23:52,000
I'm speaking to you. I might go down and make

533
00:23:52,039 --> 00:23:54,119
a cup of tea afterwards after we speak. That's all

534
00:23:54,160 --> 00:23:57,839
that's guaranteed, man, nothing else. Live in the moment and

535
00:23:57,920 --> 00:23:59,559
just try and enjoy the journey because it's tough.

536
00:24:00,119 --> 00:24:02,640
Speaker 1: Yeah, yeah, yeah, you got to enjoy the rider. There's

537
00:24:02,640 --> 00:24:04,319
an expression in America. I don't know if they say

538
00:24:04,319 --> 00:24:06,720
it here, if they say it over there, but getting

539
00:24:06,720 --> 00:24:10,359
there is half the fun. But even that's not necessarily true.

540
00:24:10,400 --> 00:24:12,799
Sometimes I think probably getting there is all the fun,

541
00:24:13,440 --> 00:24:15,200
you know, and then you know, and then when you

542
00:24:15,240 --> 00:24:16,559
get there, you got to find a new mountain to

543
00:24:16,599 --> 00:24:19,400
climb or something. But yeah, you better enjoy getting there.

544
00:24:20,680 --> 00:24:21,119
Speaker 2: If you look.

545
00:24:21,359 --> 00:24:23,319
Speaker 3: It's so true because you've got all these scars and

546
00:24:23,400 --> 00:24:25,480
memories of getting there. If somebody said to you today,

547
00:24:25,599 --> 00:24:28,000
are here's a button, if you press this, we'll give

548
00:24:28,000 --> 00:24:30,079
you a number one album. We'll give you a you know,

549
00:24:30,720 --> 00:24:33,920
a million pounds. I don't believe for a second that

550
00:24:33,960 --> 00:24:36,559
in six months you'll appreciate that. But I think all

551
00:24:36,559 --> 00:24:38,400
the graphs that you're doing with yourself as well with

552
00:24:38,480 --> 00:24:40,519
your radio show, in your podcast, like you seem as

553
00:24:40,519 --> 00:24:42,640
a person like me, you know you want to go

554
00:24:42,680 --> 00:24:45,240
to the top of your game. And I think it's

555
00:24:45,279 --> 00:24:48,319
that it's the hard way you put in. You look back,

556
00:24:48,400 --> 00:24:50,599
you know, five years down the line, you look out

557
00:24:50,640 --> 00:24:53,559
onto like you know, your property or your money, your bank, whatever,

558
00:24:54,079 --> 00:24:56,359
and you think I deserve I not I deserve this,

559
00:24:56,400 --> 00:24:59,720
because nobody deserves anything. I art this right. I worked hard,

560
00:25:00,160 --> 00:25:01,920
and I think that's the longevity of it. And you'll

561
00:25:02,000 --> 00:25:04,799
keep going. You think, Okay, I end me number one records,

562
00:25:05,160 --> 00:25:06,920
I'm going to go get a second one because nobody

563
00:25:06,920 --> 00:25:09,279
give it to me. Nobody gives you anything in this life, right,

564
00:25:09,640 --> 00:25:11,400
you know you're not entitled to anything.

565
00:25:11,480 --> 00:25:13,279
Speaker 2: Go get it though, exactly.

566
00:25:13,400 --> 00:25:17,160
Speaker 1: Yeah, very well said very well said Well, Jack, I

567
00:25:17,400 --> 00:25:20,160
really appreciate you joining us here today. Not only is

568
00:25:20,160 --> 00:25:22,960
it I been excited to talk to you about your music,

569
00:25:23,000 --> 00:25:26,000
but also I think you've given because a lot of

570
00:25:26,079 --> 00:25:28,200
musicians listen to this show, a lot of industry people,

571
00:25:28,200 --> 00:25:29,720
and I think you've given a lot of really good

572
00:25:29,759 --> 00:25:32,279
advice and insight today too, which is really cool. So

573
00:25:32,359 --> 00:25:36,039
I appreciate that and I enjoy h I appreciate your

574
00:25:36,039 --> 00:25:38,200
outlook on everything. I think it's I think it's excellent.

575
00:25:38,279 --> 00:25:41,119
And in a moment, like I said, we'll close out

576
00:25:41,160 --> 00:25:43,720
the segment with this track Wanderlust, which I also think

577
00:25:43,799 --> 00:25:45,759
is great. Oh and I wanted to ask you too

578
00:25:45,799 --> 00:25:49,039
about the video for this. The video is really cool.

579
00:25:49,200 --> 00:25:51,599
The video for Wanderlust. I encourage people go on YouTube

580
00:25:51,680 --> 00:25:56,160
check it out that like did you I mean, how

581
00:25:56,240 --> 00:25:58,039
much traveling did you do to make that video?

582
00:25:59,160 --> 00:26:03,079
Speaker 3: And Nellie died you know, I fell in the river

583
00:26:03,160 --> 00:26:05,799
and everything. Man, Honestly, it was such a it was

584
00:26:05,839 --> 00:26:09,480
such an amazing slash traumatic video shoot, like we were

585
00:26:09,519 --> 00:26:11,640
on top of the mountain and in the middle of

586
00:26:11,640 --> 00:26:15,000
the lake districts in England, like we'd walked two hours

587
00:26:15,039 --> 00:26:17,720
to get you know, the shot fell in a river,

588
00:26:18,279 --> 00:26:21,079
like I got wet. All my stuff, We've got, all

589
00:26:21,119 --> 00:26:24,640
the gear was missing, honestly it was. But we got

590
00:26:24,640 --> 00:26:26,559
the shot man, and that's all that matters.

591
00:26:26,640 --> 00:26:26,799
Speaker 2: Yea.

592
00:26:26,920 --> 00:26:29,759
Speaker 3: I will say, if you want a good video, you're

593
00:26:29,799 --> 00:26:32,599
gonna have to walk through hell for it. It doesn't

594
00:26:32,640 --> 00:26:35,200
come easy, man. But yeah, it was a good friend

595
00:26:35,279 --> 00:26:39,480
Dylan Witty. He's an amazing, amazing video and it's amazing

596
00:26:39,519 --> 00:26:42,279
director and he helped me, you know, put that vision

597
00:26:42,279 --> 00:26:44,039
together because that was the first piece of music that

598
00:26:44,079 --> 00:26:46,640
I put out, so I I wanted to put something

599
00:26:46,640 --> 00:26:48,160
out with a bang. But I will say, any any

600
00:26:48,240 --> 00:26:52,440
musicians artists listening, Wanderlus had three or four mixes over

601
00:26:52,480 --> 00:26:54,960
like four years. For four years I couldn't get I

602
00:26:55,000 --> 00:26:58,880
couldn't get the right sound that I wanted. It was

603
00:26:58,920 --> 00:27:01,359
tough and it was that whole you know, is it

604
00:27:01,400 --> 00:27:03,359
is it good enough? No? Okay, back to the drawing.

605
00:27:03,400 --> 00:27:07,119
But I spent thousands mates but the result that I wanted,

606
00:27:07,160 --> 00:27:10,599
so you know, I maybe too much perfectionism is a

607
00:27:10,599 --> 00:27:12,559
bit too much. But for me, if you're going to

608
00:27:12,599 --> 00:27:14,200
make an impact, do it properly.

609
00:27:14,440 --> 00:27:17,559
Speaker 1: Yes, I think, yeah, absolutely, well well done. It's a

610
00:27:17,640 --> 00:27:19,440
it's an excellent video. Like I said, I encourage people

611
00:27:19,440 --> 00:27:21,599
to go online and check it out and we will

612
00:27:21,640 --> 00:27:24,559
close out the segment with that song again, another great song.

613
00:27:25,200 --> 00:27:27,680
But Jack, we will definitely do this again in the future.

614
00:27:27,720 --> 00:27:29,400
When you were do you have any idea when your

615
00:27:29,400 --> 00:27:32,319
next single might be out? Any any any idea or

616
00:27:32,359 --> 00:27:33,640
not to put you on the spot.

617
00:27:33,400 --> 00:27:36,160
Speaker 3: But no, not to put you on spots at all.

618
00:27:36,240 --> 00:27:38,839
I'll be honest. I think maybe a couple of weeks.

619
00:27:38,880 --> 00:27:41,599
I'm just doing the final I'm looking for a strings

620
00:27:41,599 --> 00:27:44,319
and brass player to help me round out the sound.

621
00:27:44,519 --> 00:27:45,599
Speaker 2: Okay, can I just.

622
00:27:45,519 --> 00:27:47,480
Speaker 3: Give a shout out before a go if that's all right?

623
00:27:47,559 --> 00:27:49,079
Speaker 2: Oh please? Yeah? Absolutely.

624
00:27:49,160 --> 00:27:51,240
Speaker 3: I just want to say thanks to Big GPR for

625
00:27:51,279 --> 00:27:53,160
getting me the interview. Thank you to you, Matt, I

626
00:27:53,160 --> 00:27:56,920
really appreciate you, and thanks to we Believe as well

627
00:27:57,319 --> 00:28:00,839
and my case. You know, let's keep let's keep hitting

628
00:28:00,839 --> 00:28:03,079
those heights and who knows next year where we'll.

629
00:28:02,920 --> 00:28:06,799
Speaker 1: Be absolutely and everybody you mentioned such great people, you know,

630
00:28:06,880 --> 00:28:10,440
and and where they know how to find talent, that's

631
00:28:10,440 --> 00:28:15,759
for sure. It's everybody they've sent us has been absolutely amazing,

632
00:28:15,920 --> 00:28:19,759
including you. So I'm really glad to talk to you today, Jack,

633
00:28:19,799 --> 00:28:21,359
and thank you so much for joining us. We're gonna

634
00:28:21,400 --> 00:28:23,519
hit this track, so we'll let you go, but I

635
00:28:23,559 --> 00:28:26,039
look forward to the next single and we will definitely

636
00:28:26,039 --> 00:28:26,319
have to.

637
00:28:26,279 --> 00:28:28,039
Speaker 2: Do this again in the near future. So thank you

638
00:28:28,079 --> 00:28:28,480
so much.

639
00:28:29,359 --> 00:28:31,359
Speaker 3: Look forward it past to look man, keep doing what

640
00:28:31,359 --> 00:28:32,079
you're doing. You great.

641
00:28:32,240 --> 00:28:34,720
Speaker 2: Oh thanks Jack, I appreciate you. Man. All right, take care,

642
00:28:35,559 --> 00:28:37,640
thank you, all right, bye bye. All right.

643
00:28:37,680 --> 00:28:41,119
Speaker 1: That was Jack from Pacific A's and we're gonna play

644
00:28:41,119 --> 00:28:44,200
this track now. This is called one Wanderlust, and this

645
00:28:44,240 --> 00:28:46,039
is really good. And again check out the video not

646
00:28:46,160 --> 00:28:47,920
right now, stick with me for now, but later check

647
00:28:47,920 --> 00:28:48,720
out the video online.

648
00:28:48,759 --> 00:28:49,920
Speaker 2: You'll like the video too.

649
00:28:50,440 --> 00:28:53,880
Speaker 1: They put a lot of work into it, as Jack indicated,

650
00:28:54,440 --> 00:28:57,519
and a lot of some terrifying moments too. But check

651
00:28:57,559 --> 00:29:00,480
this out. This is called Wanderlust and this is specific

652
00:29:00,519 --> 00:29:00,799
days