1
00:00:00,840 --> 00:00:06,160
Speaker 1: W m N h rip the noos. We're back from

2
00:00:06,160 --> 00:00:19,280
the brand.

3
00:00:39,479 --> 00:00:42,880
Speaker 2: It's the end as we know.

4
00:00:43,240 --> 00:00:50,880
Speaker 3: It's fading now for a few weeks, simons you it's

5
00:00:50,960 --> 00:00:52,200
a like voice and.

6
00:00:52,439 --> 00:00:54,640
Speaker 4: Charlie, I'm when I must stay.

7
00:00:54,640 --> 00:00:57,119
Speaker 3: If I go back to you, you know that I

8
00:00:57,159 --> 00:00:58,479
wouldn't think twise.

9
00:00:59,759 --> 00:01:06,159
Speaker 5: But as I race it out, spin off say what

10
00:01:06,400 --> 00:01:06,840
the fun?

11
00:01:09,480 --> 00:01:16,799
Speaker 2: I'm thinking all the face. Would I have respeed all moments.

12
00:01:20,680 --> 00:01:27,879
Speaker 5: Side with the moon stars and.

13
00:01:29,560 --> 00:01:31,280
Speaker 4: All your music?

14
00:01:33,400 --> 00:01:37,519
Speaker 6: We see that along so well, and now you are

15
00:01:37,680 --> 00:01:40,400
denied it and never.

16
00:01:43,519 --> 00:01:45,959
Speaker 4: I rode into her someday.

17
00:01:47,040 --> 00:01:49,439
Speaker 1: Out you can got it?

18
00:01:53,079 --> 00:01:54,799
Speaker 2: I would I riskin over.

19
00:01:58,400 --> 00:02:15,560
Speaker 7: Osad and his eyes says, I think of those things

20
00:02:15,840 --> 00:02:19,120
like week missed out.

21
00:02:21,520 --> 00:02:26,240
Speaker 4: And now it seems turn me like week.

22
00:02:26,879 --> 00:02:28,759
Speaker 1: The worlds are fast.

23
00:02:31,120 --> 00:02:37,439
Speaker 5: And now'side him alone wing wing horrible so.

24
00:02:40,639 --> 00:02:43,639
Speaker 8: And if I see out.

25
00:02:44,639 --> 00:02:47,879
Speaker 9: The U say bother bout.

26
00:02:50,319 --> 00:02:52,919
Speaker 4: I'm thinking of the things.

27
00:02:54,639 --> 00:03:08,759
Speaker 2: For the harriskyed all for she side with the bom stars.

28
00:03:08,599 --> 00:03:13,759
Speaker 4: They HUDUSI.

29
00:03:14,240 --> 00:03:18,599
Speaker 10: We see gotta love so wealth and now you're acting

30
00:03:18,840 --> 00:03:21,080
nice it and neb.

31
00:03:24,319 --> 00:03:26,400
Speaker 4: I ron into her some day.

32
00:03:27,840 --> 00:03:31,719
Speaker 1: I und gott.

33
00:03:33,919 --> 00:03:34,919
Speaker 4: How would arrest it?

34
00:03:35,080 --> 00:03:57,400
Speaker 11: Oversid What a great track that is so catchy. That

35
00:03:57,520 --> 00:04:00,479
is called absolutely the band is moving on, and we've

36
00:04:00,520 --> 00:04:04,039
got Elijah Jenkins via Microsoft Teams. He's gonna talk with

37
00:04:04,120 --> 00:04:06,039
us in just a moment, or we're gonna talk with him.

38
00:04:06,039 --> 00:04:08,479
We're gonna talk with each other. Here we have entered

39
00:04:08,520 --> 00:04:11,520
our number two New Maarrow dose of Matt Connorton unleashed.

40
00:04:11,560 --> 00:04:14,479
Welcome everybody. We are live from the studios of w

41
00:04:14,879 --> 00:04:18,399
m n H ninety five point three FM and Glorious Manchester,

42
00:04:18,519 --> 00:04:21,959
New Hampshire. If you are listening live today is Saturday,

43
00:04:22,000 --> 00:04:25,360
February twenty eight, twenty twenty six. So nice to have

44
00:04:25,399 --> 00:04:27,839
you all with us. And let's go ahead and get

45
00:04:27,879 --> 00:04:31,800
this up. Ooh, I'm hearing an echo, but uh, Elijah,

46
00:04:31,839 --> 00:04:32,319
are you there?

47
00:04:32,680 --> 00:04:33,040
Speaker 12: Hire?

48
00:04:33,040 --> 00:04:33,560
Speaker 1: Are you there?

49
00:04:33,959 --> 00:04:34,120
Speaker 10: Hi?

50
00:04:34,360 --> 00:04:34,879
Speaker 2: Can you hear me?

51
00:04:35,199 --> 00:04:37,160
Speaker 11: I can hear you. Yes. For some reason, I'm also

52
00:04:37,199 --> 00:04:40,959
hearing myself though. Hearing myself though. Do you have headphones in?

53
00:04:41,279 --> 00:04:43,759
Speaker 2: Do you have headphones in? No? I don't, but I

54
00:04:43,759 --> 00:04:46,199
can't get some one if you If that would be helpful.

55
00:04:45,959 --> 00:04:49,040
Speaker 11: Oh, definitely, yeah, because it's it's actually feeding back, actually

56
00:04:49,040 --> 00:04:53,079
feed Yeah. Okay, I'm gonna turn I'm gonna turn this

57
00:04:53,120 --> 00:04:56,560
down for a second. I'm gonna okay, so I've muted Elijah. Yeah,

58
00:04:56,600 --> 00:04:59,319
we just uh, I can tell you he didn't have

59
00:04:59,360 --> 00:05:01,639
headphones in because we're hearing we're hearing me, and then

60
00:05:01,680 --> 00:05:03,800
we're hearing me again, which is exciting in a way.

61
00:05:03,879 --> 00:05:07,040
But it's like I'm talking to myself. But no, that's okay.

62
00:05:07,120 --> 00:05:08,959
I don't want to talk to myself. I do want

63
00:05:09,000 --> 00:05:11,360
to talk to Elijah Jenkins. So I'm very excited about this.

64
00:05:11,519 --> 00:05:15,399
We had done a world radio premiere for him not

65
00:05:15,439 --> 00:05:19,959
too long ago, one of his solo releases, stay Tonight,

66
00:05:20,000 --> 00:05:22,279
I think it was. But uh, but I love this

67
00:05:22,399 --> 00:05:24,160
band moving on. So let's see. I'm gonna turn this

68
00:05:24,199 --> 00:05:27,319
volume back up on Elijah. We'll see if he's Elijah.

69
00:05:27,319 --> 00:05:27,879
Are you with us?

70
00:05:30,680 --> 00:05:30,800
Speaker 1: Uh?

71
00:05:30,839 --> 00:05:36,959
Speaker 11: Oh? Oh yes, oh yes, Oh no, it's still feeding back.

72
00:05:37,279 --> 00:05:38,240
It's still feeding back.

73
00:05:39,480 --> 00:05:41,279
Speaker 2: Why I got my headphones to work?

74
00:05:42,279 --> 00:05:44,040
Speaker 11: You can't get them to work. You can't get them

75
00:05:44,040 --> 00:05:44,399
to work.

76
00:05:45,040 --> 00:05:46,319
Speaker 2: Yeah, give us a sack. Co o.

77
00:05:46,600 --> 00:05:48,879
Speaker 11: Okay, oh no, no worries. I'll just beat you again

78
00:05:48,920 --> 00:05:51,560
for a minute. I'll beat you again for a minute. Okay,

79
00:05:51,839 --> 00:05:54,680
Elijah is muted. This has never happened before, actually, and

80
00:05:54,920 --> 00:05:58,079
all the time we've been using Microsoft teams. But but yeah,

81
00:05:58,079 --> 00:06:00,240
it sounds like it's coming out to speaker. Everything I'm

82
00:06:00,240 --> 00:06:02,199
saying is coming out of the speaker on his end,

83
00:06:02,680 --> 00:06:05,240
and that is giving us a bit of a trouble,

84
00:06:05,879 --> 00:06:08,680
a problem, A bit of a trouble, a bit of

85
00:06:08,680 --> 00:06:12,560
a problem. So it is live radio. It is what

86
00:06:12,600 --> 00:06:15,439
it is. We uh, we go forth, and I'm sure

87
00:06:15,439 --> 00:06:17,639
it will be fine in a moment. He's just got

88
00:06:17,680 --> 00:06:19,519
to get those headphones to work, all right. I'm gonna

89
00:06:19,560 --> 00:06:22,720
un mute Elijah again. This is exciting though it's kind

90
00:06:22,720 --> 00:06:24,639
of fun. You know, sometimes it's going to be challenged.

91
00:06:24,680 --> 00:06:27,399
Right when things go wrong, then we have to work

92
00:06:27,399 --> 00:06:29,600
through them. It can be uh, you know, because then

93
00:06:29,639 --> 00:06:32,600
at the other side of it, if you successfully troubleshoot

94
00:06:32,600 --> 00:06:35,360
the problem, you feel a sense of accomplishment. Right, let's see,

95
00:06:35,399 --> 00:06:37,759
let's see what we got here. Elijah, are you there?

96
00:06:38,439 --> 00:06:41,079
I think we're still connected. Yeah, we're still connected according

97
00:06:41,079 --> 00:06:43,720
to this. Can you hear me, Elijah? Do you hear me?

98
00:06:43,759 --> 00:06:44,279
Speaker 1: Elijah?

99
00:06:44,319 --> 00:06:45,040
Speaker 2: I can hear you.

100
00:06:45,120 --> 00:06:47,560
Speaker 8: I can't get any of my headphones to work though

101
00:06:47,560 --> 00:06:48,720
I tried free pass.

102
00:06:49,120 --> 00:06:52,959
Speaker 11: Oh yeah, because the problem is everything I say to

103
00:06:53,000 --> 00:06:55,000
you it's being it's we're hearing it.

104
00:06:55,519 --> 00:06:56,600
Speaker 2: Yeah, yeah, I know, I know.

105
00:06:58,480 --> 00:07:00,560
Speaker 11: I wonder I wonder if you can do it on

106
00:07:00,600 --> 00:07:01,079
your phone?

107
00:07:01,160 --> 00:07:03,519
Speaker 2: If you can do it on your phone. I'm doing

108
00:07:03,560 --> 00:07:04,199
it on my phone.

109
00:07:04,240 --> 00:07:05,879
Speaker 11: Oh you are doing it on your phone. Okay, you

110
00:07:05,959 --> 00:07:07,279
are doing it on your phone. Okay.

111
00:07:08,959 --> 00:07:10,759
Speaker 2: Do you ever stoppen last time as well?

112
00:07:11,319 --> 00:07:11,839
Speaker 11: What's adam?

113
00:07:11,839 --> 00:07:12,040
Speaker 13: Sorry?

114
00:07:12,079 --> 00:07:12,560
Speaker 11: Say that again?

115
00:07:12,639 --> 00:07:13,120
Speaker 1: That's Adam?

116
00:07:13,160 --> 00:07:15,480
Speaker 2: Sorry, say that again? Because they stoppened last time as well.

117
00:07:15,560 --> 00:07:21,040
Speaker 11: Oh I don't even remember. Hey, for some reason, when

118
00:07:21,040 --> 00:07:24,800
I said that, I didn't hear it feedback. It's still

119
00:07:24,800 --> 00:07:27,800
there there. Do you have a do you have a

120
00:07:27,839 --> 00:07:30,279
computer available? I wonder if you tried it on a computer.

121
00:07:30,319 --> 00:07:31,680
I wonder if you tried it on a computer.

122
00:07:32,040 --> 00:07:32,879
Speaker 2: Yeah, I'll just die.

123
00:07:33,680 --> 00:07:36,839
Speaker 11: That so all right, oh beautiful, yes, yes, yes, yes,

124
00:07:37,199 --> 00:07:43,000
uh do that that? Actually? Can you email me the

125
00:07:43,079 --> 00:07:45,000
number and I'll call you on What's Up and I'll

126
00:07:45,040 --> 00:07:46,000
call you on WhatsApp?

127
00:07:46,120 --> 00:07:48,120
Speaker 2: Yeah, yeah, I'll tell you that now.

128
00:07:48,439 --> 00:07:50,920
Speaker 11: Okay, yeah, go ahead, and I'll play another song while

129
00:07:50,959 --> 00:07:53,600
you do that. Play another song while you do that. Okay,

130
00:07:53,680 --> 00:07:57,360
sounds good? All right, guys, thank you for being patient.

131
00:07:57,399 --> 00:08:00,040
We will uh we we have found a solution, and

132
00:08:00,279 --> 00:08:01,800
it's just gonna take a minute. So what I'm gonna

133
00:08:01,839 --> 00:08:05,839
do is I'm gonna play one of Elijah Jenkins's solo

134
00:08:05,959 --> 00:08:08,759
songs that he had sent us before. I'm gonna play

135
00:08:08,759 --> 00:08:11,160
this one. This is called take a Chance on Her.

136
00:08:11,600 --> 00:08:13,879
This is a really good song. So let's give this

137
00:08:13,959 --> 00:08:16,360
a spin and then I'm gonna connect with him on

138
00:08:16,399 --> 00:08:19,120
WhatsApp and then we will go from there. We should

139
00:08:19,120 --> 00:08:21,360
have just sund that to begin with. But but again,

140
00:08:21,439 --> 00:08:24,439
you live and you learn and you troubleshoot, all right,

141
00:08:24,639 --> 00:08:26,560
but hey, it gives us an excuse to play this song.

142
00:08:26,639 --> 00:08:27,399
Check this out.

143
00:08:28,480 --> 00:08:35,960
Speaker 13: Because it don't remember I'm it all started. Just catch

144
00:08:36,000 --> 00:08:40,960
to get my word in case, take amad.

145
00:08:42,279 --> 00:08:50,279
Speaker 5: So Katy drab in the street centered time, say chilta

146
00:08:50,360 --> 00:08:50,799
from the.

147
00:08:50,879 --> 00:08:54,360
Speaker 3: Ring Welcome was born in Din.

148
00:08:57,840 --> 00:09:04,440
Speaker 7: You know, I'll dream than all the boys every day.

149
00:09:04,960 --> 00:09:07,440
Speaker 4: Watch your ringsize, baby, I'm homping.

150
00:09:07,559 --> 00:09:08,840
Speaker 2: One day I'll get.

151
00:09:08,600 --> 00:09:16,639
Speaker 13: The chance to ask him.

152
00:09:16,679 --> 00:09:20,720
Speaker 5: Oh and you said to me, I reckon, you're a

153
00:09:20,720 --> 00:09:26,639
bit of a chancer. You last one day, babe, He's

154
00:09:26,679 --> 00:09:27,360
something good.

155
00:09:27,399 --> 00:09:27,919
Speaker 2: Be last.

156
00:09:28,279 --> 00:09:33,279
Speaker 5: Ever, you do not leave me here with all my

157
00:09:33,600 --> 00:09:40,360
questions un answer. I hear everybody talking when you didn't

158
00:09:40,440 --> 00:09:41,919
you to take a chance.

159
00:09:41,639 --> 00:09:49,279
Speaker 4: On going through the train home. I can't seat you again?

160
00:09:49,879 --> 00:09:54,519
What myma high? Or is it too good to be true?

161
00:09:54,960 --> 00:09:58,240
Speaker 5: Or am idress feeling high?

162
00:09:59,519 --> 00:09:59,879
Speaker 4: Don't know?

163
00:10:00,000 --> 00:10:01,519
Speaker 2: Don't what to say next?

164
00:10:01,960 --> 00:10:03,200
Speaker 8: Don't wanna come.

165
00:10:03,080 --> 00:10:09,600
Speaker 14: Across to shah, don't wanna look back anyantee, all our

166
00:10:09,720 --> 00:10:17,279
dreams slowly die, not dream better.

167
00:10:17,399 --> 00:10:20,000
Speaker 4: Than all the boys every day?

168
00:10:22,120 --> 00:10:22,759
Speaker 12: What you think?

169
00:10:23,000 --> 00:10:25,240
Speaker 15: Size, baby, I'm umping one.

170
00:10:25,120 --> 00:10:27,879
Speaker 2: Day I'll get the chances to us.

171
00:10:33,840 --> 00:10:37,799
Speaker 4: Oh, and he said to me, I reckon, you're a

172
00:10:37,919 --> 00:10:39,159
thing of the chancellor.

173
00:10:40,679 --> 00:10:41,720
Speaker 1: You last one day?

174
00:10:43,000 --> 00:10:48,000
Speaker 5: Body be's umping when we last fever, you do not

175
00:10:48,240 --> 00:10:54,440
leave me here with all my quest don't answer. I

176
00:10:54,600 --> 00:10:58,279
hear everybody talking, would read you to take a.

177
00:10:58,399 --> 00:11:21,799
Speaker 4: Chance on her. You know better than all the boys

178
00:11:22,440 --> 00:11:23,360
every day.

179
00:11:25,080 --> 00:11:28,840
Speaker 5: I watch ringsize, baby, I'm hoping one day I'll get

180
00:11:28,960 --> 00:11:31,120
the chance to ask.

181
00:11:37,000 --> 00:11:41,559
Speaker 4: Boy, he said to me, Hurricane, I'm made of the

182
00:11:41,759 --> 00:11:48,879
chances you lad, what day day's open? When we last raver,

183
00:11:50,679 --> 00:11:52,240
you did not leave me here.

184
00:11:52,879 --> 00:11:59,519
Speaker 5: If all my questions or answered, I hear everybody talking

185
00:12:01,000 --> 00:12:02,320
to take a Johnson it.

186
00:12:07,120 --> 00:12:08,240
Speaker 4: Say my chonce on.

187
00:12:20,399 --> 00:12:23,399
Speaker 11: All right, let's see I think we have Elijah Jenkins

188
00:12:23,480 --> 00:12:26,039
with us via WhatsApp. Let's see how this goes. Elijah,

189
00:12:26,080 --> 00:12:31,360
are you there? I am, hey, oh, perfect, perfect, no feedback,

190
00:12:31,399 --> 00:12:35,919
Everything's awesome, wonderful, all right, all right, yeah, yeah, I

191
00:12:36,000 --> 00:12:37,679
knew we I knew we would work through it. So

192
00:12:38,240 --> 00:12:41,399
so welcome Elijah again. You know, I love your solo work.

193
00:12:41,440 --> 00:12:43,399
Obviously we just played take a Chance on Her. That

194
00:12:43,519 --> 00:12:45,799
is a great song. But I'm really curious to learn

195
00:12:45,879 --> 00:12:50,159
more about your band moving on. I love that song Absolutely.

196
00:12:50,639 --> 00:12:53,639
We did the American radio premiere for that recently, and

197
00:12:53,960 --> 00:12:56,480
I really enjoyed getting to play that again as well.

198
00:12:56,759 --> 00:13:00,000
And so tell us about the band. I'm curious about

199
00:13:00,039 --> 00:13:02,559
out how, you know, because obviously you know you have

200
00:13:02,679 --> 00:13:07,120
released songs as a solo artist, But why moving on?

201
00:13:07,360 --> 00:13:11,240
Why why moving to a band project with your material?

202
00:13:12,360 --> 00:13:16,840
Speaker 8: So I've had songs like absolutely, which is obviously out now,

203
00:13:17,240 --> 00:13:19,159
and a couple of other things that we've got in

204
00:13:19,200 --> 00:13:22,000
the works for a while towards the end of the

205
00:13:22,080 --> 00:13:25,159
solo days, and I thought it was I thought the

206
00:13:25,240 --> 00:13:27,879
songs needed a band behind them, to be honest with you, Matt,

207
00:13:27,919 --> 00:13:30,200
I thought that was the way we were going to

208
00:13:30,240 --> 00:13:31,639
get the best potential out of them.

209
00:13:32,039 --> 00:13:33,759
Speaker 2: So a little bit about the lads in the band.

210
00:13:33,919 --> 00:13:36,039
Speaker 8: We've got Scott on drums, who I was in a

211
00:13:36,720 --> 00:13:39,919
former band with back when I was seventeen, and then

212
00:13:40,120 --> 00:13:44,519
we've got George on bass, who I have a mutual

213
00:13:44,600 --> 00:13:47,679
friends with, and then we've got Alfie on guitar, who

214
00:13:47,799 --> 00:13:51,240
was last to join us in mid October of last year.

215
00:13:51,360 --> 00:13:54,080
So you know, we're still only what we're in now.

216
00:13:54,559 --> 00:13:57,600
Late February was still only about four months into the

217
00:13:57,720 --> 00:14:00,919
journey as the band, but we're really happy with what

218
00:14:01,039 --> 00:14:01,960
we've done so far.

219
00:14:03,080 --> 00:14:05,320
Speaker 11: How how hard was it to find the right people?

220
00:14:05,360 --> 00:14:07,639
I mean, did the chemistry sort of come together quickly?

221
00:14:07,679 --> 00:14:10,440
Because obviously when you're putting a band together to do

222
00:14:10,600 --> 00:14:14,039
material that you've already written and you know recorded in

223
00:14:14,120 --> 00:14:19,320
some form, I mean, is it obviously it's a priority

224
00:14:19,440 --> 00:14:23,159
to write to find the right people. Was that difficult

225
00:14:23,279 --> 00:14:24,480
or did this come together quickly?

226
00:14:26,080 --> 00:14:30,200
Speaker 8: So with Scott, I knew Scott who was obviously the drummer,

227
00:14:30,320 --> 00:14:31,960
so I knew he was going to be.

228
00:14:33,679 --> 00:14:35,039
Speaker 2: I knew we worked well together.

229
00:14:35,480 --> 00:14:38,000
Speaker 8: With Georgia, we had mutual friends, so reached out to

230
00:14:38,120 --> 00:14:42,240
him on Instagram before Alfie came in we did have

231
00:14:42,360 --> 00:14:47,039
another guitarist, but we parted ways for a couple of

232
00:14:47,080 --> 00:14:52,919
different reasons, and George knew Alfie and me and George

233
00:14:53,000 --> 00:14:55,960
both reached out to Alfie. And then then first few

234
00:14:56,039 --> 00:14:59,759
rehearsals were so exciting because it was obviously just as

235
00:14:59,799 --> 00:15:02,120
well playing the songs and getting to know the songs,

236
00:15:02,639 --> 00:15:04,480
it was also getting to know each other on like

237
00:15:04,759 --> 00:15:08,440
a personal level as well, and to build that band chemistry,

238
00:15:08,720 --> 00:15:11,399
which is something we've gotten, something we're very very happy

239
00:15:11,440 --> 00:15:12,480
with and proud of as well.

240
00:15:12,759 --> 00:15:15,919
Speaker 11: Sure sure, was that always kind of the goal when

241
00:15:16,000 --> 00:15:18,519
you were recording and releasing music as a solo artist.

242
00:15:18,600 --> 00:15:20,000
Did you always kind of have it in mind that

243
00:15:20,440 --> 00:15:22,559
you would like to transition that into a band or

244
00:15:22,639 --> 00:15:25,159
is that something that you sort of came to over time.

245
00:15:26,919 --> 00:15:30,320
Speaker 8: It's come quite recently, to be honest about. I think

246
00:15:30,440 --> 00:15:34,919
definitely in my earlier solo days, when I had done

247
00:15:35,600 --> 00:15:40,480
Start Again and stuff like that, I couldn't really see

248
00:15:40,519 --> 00:15:43,360
it as a band. But then the more I started

249
00:15:43,440 --> 00:15:47,159
to write and the more I started to think about it,

250
00:15:48,000 --> 00:15:51,279
and when it was just me and my guitar, I

251
00:15:51,399 --> 00:15:53,879
could hear drums in the back of songs and guitar,

252
00:15:54,039 --> 00:15:57,759
solos and bass and obviously I can't play all that

253
00:15:57,879 --> 00:16:00,879
at once at the same time, so I thought, right,

254
00:16:00,960 --> 00:16:03,279
we need to get a band behind it, and yeah,

255
00:16:03,360 --> 00:16:05,879
that's what we've done and couldn't be happy with it either.

256
00:16:06,200 --> 00:16:09,440
Speaker 11: Yeah, No, it sounds great. Absolutely. Now that's the only

257
00:16:09,480 --> 00:16:13,879
single you've released so far as a band to this point. Correct, Yes,

258
00:16:14,000 --> 00:16:16,399
that is correct, Okay, And what's what's kind of been

259
00:16:16,440 --> 00:16:18,320
the response over there? I mean, obviously, you know, we

260
00:16:18,480 --> 00:16:21,679
we played it here, so an American audience is getting

261
00:16:21,759 --> 00:16:23,919
exposure to it. But I mean do people when people

262
00:16:23,960 --> 00:16:26,759
hear it, do they do they recognize it's you right

263
00:16:26,840 --> 00:16:31,080
away with a band or how's how's that transition been

264
00:16:31,120 --> 00:16:34,279
in terms of interacting with your audience and and what's

265
00:16:34,279 --> 00:16:35,840
some of the feedback that you've gotten from them.

266
00:16:37,000 --> 00:16:39,000
Speaker 2: Yeah, it's been smooth, to be fair.

267
00:16:39,639 --> 00:16:42,000
Speaker 8: Even when we've been working with a lot of the

268
00:16:42,080 --> 00:16:44,879
people here in the on the UK side of things

269
00:16:44,919 --> 00:16:49,519
as well, like gig promoters and stuff, they're really pleased

270
00:16:49,559 --> 00:16:51,960
to see it move into a band and it adds

271
00:16:51,960 --> 00:16:54,360
a lot more energy even to some of the solo

272
00:16:54,480 --> 00:16:57,120
stuff that had been doing as well. A lot of

273
00:16:57,159 --> 00:17:00,279
the solo songs that are out have now gone full

274
00:17:00,360 --> 00:17:03,639
band versions that were obviously playing live, so you know,

275
00:17:03,720 --> 00:17:06,720
we're still keeping the solo stuff in there, but we

276
00:17:06,839 --> 00:17:09,480
know we've transitioned it all now into a you know,

277
00:17:09,599 --> 00:17:13,240
the four piece band, and you know, the reception who

278
00:17:13,279 --> 00:17:17,079
it's been fantastic from obviously both sides of the pond,

279
00:17:17,160 --> 00:17:18,720
which we're really really happy about.

280
00:17:18,880 --> 00:17:23,160
Speaker 11: Yeah, no, that's fantastic. So an obvious question, where does

281
00:17:23,160 --> 00:17:24,359
the name come from? Moving On?

282
00:17:25,799 --> 00:17:28,960
Speaker 2: So the name moving On comes from when.

283
00:17:30,440 --> 00:17:33,880
Speaker 8: Just previously mentioned we obviously had another guitarist who we

284
00:17:34,559 --> 00:17:40,680
separated ways with, and yeah, I created a WhatsApp group

285
00:17:40,759 --> 00:17:42,480
with myself, George and Scott.

286
00:17:44,079 --> 00:17:44,839
Speaker 2: Called moving On.

287
00:17:45,119 --> 00:17:45,240
Speaker 9: Oh.

288
00:17:45,400 --> 00:17:49,279
Speaker 8: And it wasn't really thought of us like, oh, this

289
00:17:49,400 --> 00:17:51,480
will be the band name or anything.

290
00:17:52,160 --> 00:17:53,960
Speaker 2: It was just like, oh, this is how we're going

291
00:17:54,000 --> 00:17:56,480
to move on from this situation.

292
00:17:56,880 --> 00:17:57,200
Speaker 11: Yeah, and.

293
00:17:58,799 --> 00:18:02,039
Speaker 8: It sort of stuck, and you know, then we added

294
00:18:02,079 --> 00:18:04,319
alphae in and we were like, right, we've got to

295
00:18:04,720 --> 00:18:07,480
think of a band name. And I was thinking, you

296
00:18:07,559 --> 00:18:12,599
know a while about what a lot of the songs reflect,

297
00:18:12,640 --> 00:18:15,759
and a lot of the songs reflect you know, nostalgia

298
00:18:15,960 --> 00:18:18,799
but also escapism and you know that wanting to be

299
00:18:18,920 --> 00:18:23,559
free just for moving on. Was the perfect fit really

300
00:18:23,680 --> 00:18:25,880
for what a lot of the songs are about that

301
00:18:25,960 --> 00:18:28,960
are obviously already out from the solo project, but a

302
00:18:29,039 --> 00:18:29,680
lot of what's.

303
00:18:29,519 --> 00:18:30,240
Speaker 2: To come as well.

304
00:18:30,680 --> 00:18:34,880
Speaker 11: Okay, okay, were you surprised that the name was available

305
00:18:34,880 --> 00:18:36,720
because you know, it almost seems like somebody else has

306
00:18:36,720 --> 00:18:38,640
already got to be using that name, right, but but

307
00:18:38,759 --> 00:18:41,480
apparently not, like you know, you you found something that

308
00:18:41,720 --> 00:18:44,759
I'm just curious, you know, I'm always fascinated by how artists,

309
00:18:44,960 --> 00:18:49,240
you know, decide to choose a name, and you know,

310
00:18:49,559 --> 00:18:51,519
it is almost surprising to me that that was available,

311
00:18:51,559 --> 00:18:53,319
but obviously it was. Was it a surprise to you.

312
00:18:54,799 --> 00:18:55,160
Speaker 16: It was?

313
00:18:55,599 --> 00:18:57,720
Speaker 2: I mean we had to drop the g Yeah, was

314
00:18:58,240 --> 00:19:00,799
initially on the what that group chat?

315
00:19:00,920 --> 00:19:05,079
Speaker 8: But no, Yeah, obviously did the research around it, and

316
00:19:05,640 --> 00:19:09,039
when we found out it was available and you know,

317
00:19:09,119 --> 00:19:11,839
we could get it on Spotify and all that, it

318
00:19:12,000 --> 00:19:14,559
just all seemed to fall into place at the exact

319
00:19:14,640 --> 00:19:17,480
right moment. And you know, when we went into the

320
00:19:17,559 --> 00:19:20,480
studio to do Absolutely and then the other songs that

321
00:19:20,640 --> 00:19:23,559
we'll have coming out later this year, it's just all

322
00:19:23,640 --> 00:19:25,279
seemed to fit into place really well.

323
00:19:25,559 --> 00:19:29,759
Speaker 2: And you know, We've got some cracking live shows coming up.

324
00:19:30,279 --> 00:19:34,160
Speaker 8: We've got a headline show in Liverpool at the Jacaranda,

325
00:19:34,400 --> 00:19:37,119
which is a famous venue where the Beatles played when

326
00:19:37,160 --> 00:19:39,839
they were just starting out. And then we've got a

327
00:19:39,880 --> 00:19:43,240
couple of festivals and a few unannounced things that I

328
00:19:43,359 --> 00:19:46,680
can't spill the lid on yet, but as soon as

329
00:19:47,559 --> 00:19:49,680
soon as I can, you'll be hearing all about it.

330
00:19:50,039 --> 00:19:52,720
Speaker 11: I'd standing festivals are great. You know I say this

331
00:19:52,839 --> 00:19:54,480
all the time. You might have even heard me say it.

332
00:19:54,640 --> 00:19:57,519
Festivals are The great thing about festivals is on two levels.

333
00:19:57,559 --> 00:20:00,440
On one, you know, obviously you're playing in front of

334
00:20:00,480 --> 00:20:03,519
a large crowd and you're going to get exposed or

335
00:20:03,559 --> 00:20:05,599
fans are going to get exposed to you, new fans

336
00:20:05,680 --> 00:20:08,200
perspectively who might not have been aware of you or

337
00:20:08,279 --> 00:20:10,160
have ever seen you live or heard your music before.

338
00:20:10,279 --> 00:20:13,359
So it's such a fantastic way to expand your fan base.

339
00:20:13,440 --> 00:20:17,720
But it's also an easy way to be able to network,

340
00:20:18,240 --> 00:20:21,200
you know, and meet other industry people and of course

341
00:20:21,279 --> 00:20:24,960
other artists as well. Just more broadly, but it's such

342
00:20:25,039 --> 00:20:29,400
a Festivals are just such an amazing opportunity for an

343
00:20:29,519 --> 00:20:33,319
artist like yourself to just really again not only expand

344
00:20:33,359 --> 00:20:37,039
your fan base, but expand yourself within the industry in

345
00:20:37,160 --> 00:20:39,000
terms of who you meet and the connections that you make,

346
00:20:39,079 --> 00:20:40,799
and you never know what might lead to something even

347
00:20:40,880 --> 00:20:43,559
more so, that's great. It's great that you're going to

348
00:20:43,599 --> 00:20:45,480
be doing a couple of those. I'm curious about the

349
00:20:45,480 --> 00:20:48,920
show at the jack Aranda. You know you mentioned the Beatles.

350
00:20:50,519 --> 00:20:53,799
How how do you feel about I mean, is it

351
00:20:53,880 --> 00:20:56,519
pressure to be playing a show like that or are

352
00:20:56,559 --> 00:20:59,920
you just excited? Or is there like especially where you're from,

353
00:21:00,119 --> 00:21:03,519
because you know, obviously you know there's the Beatles and

354
00:21:04,480 --> 00:21:07,640
the music scene there. I mean, I'm sure it's always

355
00:21:08,000 --> 00:21:10,160
really amazing and that there's so much great talent there.

356
00:21:10,240 --> 00:21:12,200
But i mean, do you feel any pressure with that

357
00:21:12,359 --> 00:21:14,880
or is it more just excitement or maybe you'll feel

358
00:21:14,920 --> 00:21:16,319
pressure on the day of the show. I don't know,

359
00:21:16,440 --> 00:21:18,279
but you how do you feel about that? How do

360
00:21:18,319 --> 00:21:20,759
you process that psychologically leading up to it?

361
00:21:22,160 --> 00:21:24,119
Speaker 8: It's a bit of everything, to be honest with you, Matt,

362
00:21:24,640 --> 00:21:27,720
To be honest, obviously, yeah, you know there's pressure. When

363
00:21:27,759 --> 00:21:30,440
you first announced the show, you hope it sells well.

364
00:21:30,519 --> 00:21:33,519
You know, we're nearly sold out, which I'm absolutely delighted

365
00:21:34,079 --> 00:21:37,559
to say. You know that this song and the way

366
00:21:37,640 --> 00:21:41,240
the band's been received since we announced that it would

367
00:21:41,279 --> 00:21:43,519
be a band in late December and then when the

368
00:21:43,599 --> 00:21:46,559
show got announced, you know, we've had a really really

369
00:21:46,640 --> 00:21:51,039
great reception and response. We've played the Jacaranda BEFOREMT, which

370
00:21:51,079 --> 00:21:53,759
I think, oh, ease is a little bit of the pressure.

371
00:21:53,880 --> 00:21:56,720
We've played a support slot there just before Christmas. Yeah,

372
00:21:57,440 --> 00:21:59,480
so I think that eases the pressure. But you know,

373
00:21:59,599 --> 00:22:02,200
headline in it is a different kettle of fish, but

374
00:22:02,279 --> 00:22:05,599
I think it'll be that same emotion that's tied to

375
00:22:05,680 --> 00:22:09,640
both nerves but also just immense excitement ready to get

376
00:22:09,680 --> 00:22:10,599
out there and perform.

377
00:22:11,160 --> 00:22:13,079
Speaker 11: That's great. That's great. By the way, I saw a

378
00:22:13,160 --> 00:22:16,759
couple of names of bands associated with you that you

379
00:22:16,839 --> 00:22:19,599
may have played shows with scruff of the neck and

380
00:22:20,319 --> 00:22:23,440
this feeling. Are there are those bands that you've been

381
00:22:23,480 --> 00:22:23,799
playing with.

382
00:22:24,759 --> 00:22:28,960
Speaker 8: No, so they're the promoters and the booking agents that

383
00:22:29,079 --> 00:22:33,799
we use, and they have oh real champions of unsigned,

384
00:22:34,359 --> 00:22:37,000
unsigned acts across the UK.

385
00:22:37,440 --> 00:22:41,640
Speaker 11: Oh fantastic. Okay, that's why those names came up. Yeah, No,

386
00:22:41,839 --> 00:22:44,640
that's great. I mean, how how would you how do

387
00:22:44,680 --> 00:22:47,119
you feel about the scene there currently? I mean like

388
00:22:47,200 --> 00:22:48,680
I said, I know, you know a lot of great

389
00:22:48,720 --> 00:22:51,640
bands have come out of that area, but uh, I mean,

390
00:22:51,920 --> 00:22:54,079
are there a lot of other bands that sound because

391
00:22:54,079 --> 00:22:57,920
I feel like your sound is unique. Obviously it's reflective

392
00:22:57,960 --> 00:23:00,960
of your solo work, but with a full band. But

393
00:23:02,160 --> 00:23:04,160
I mean, what's is it competitive?

394
00:23:04,200 --> 00:23:04,400
Speaker 8: There?

395
00:23:04,880 --> 00:23:07,240
Speaker 11: Is it more just a community thing where everybody kind

396
00:23:07,240 --> 00:23:09,880
of works together. How would you describe the scene where

397
00:23:09,920 --> 00:23:10,160
you are?

398
00:23:12,200 --> 00:23:13,839
Speaker 8: It makes it both to be honest, Matt, you know,

399
00:23:13,960 --> 00:23:18,039
there's support and there's you know, willingness from you know,

400
00:23:18,240 --> 00:23:21,200
other bands to do well, and there's opportunities, you know,

401
00:23:21,480 --> 00:23:24,599
like when we've been looking for support slots, we've been

402
00:23:24,680 --> 00:23:27,240
offered it by different bands who are on the way

403
00:23:27,359 --> 00:23:31,680
up as well. But you know, it's it's a competitive scene,

404
00:23:31,799 --> 00:23:34,720
but there's no one, you know, dragging anyone down and

405
00:23:34,839 --> 00:23:38,039
wanting anyone to not do well just so they can

406
00:23:38,160 --> 00:23:38,599
do well.

407
00:23:39,039 --> 00:23:40,039
Speaker 2: If that makes sense.

408
00:23:40,240 --> 00:23:42,319
Speaker 8: That like, there's a lot of bands out there, but

409
00:23:42,480 --> 00:23:44,559
a lot of the bands are all very good and

410
00:23:44,920 --> 00:23:47,960
you know, everyone supports each other, which I think is fantastic.

411
00:23:48,440 --> 00:23:49,680
Speaker 11: No, that is fantastic.

412
00:23:50,000 --> 00:23:50,160
Speaker 7: You know.

413
00:23:50,240 --> 00:23:53,799
Speaker 11: I always say success in life or or in a career,

414
00:23:54,440 --> 00:23:56,400
it's not a zero sum game. You know, it's not

415
00:23:56,519 --> 00:23:58,400
like just because somebody else is doing well that means

416
00:23:58,440 --> 00:24:01,839
you're automatically doing less well, you know so, and I

417
00:24:01,880 --> 00:24:07,039
think musicians generally understand that, which is good. What's kind

418
00:24:07,079 --> 00:24:10,640
of the forward trajectory for you guys as a band?

419
00:24:10,799 --> 00:24:14,640
Obviously you've got the single absolutely which is out. Is

420
00:24:14,720 --> 00:24:17,119
there a second single on the way. Do you plan

421
00:24:17,240 --> 00:24:19,480
to do an EP or an album? What's kind of

422
00:24:19,519 --> 00:24:21,640
the next year look like for Moving On?

423
00:24:23,400 --> 00:24:25,799
Speaker 8: Yeah, I think the next year for Moving On, Matt,

424
00:24:26,039 --> 00:24:29,599
it looks good. We've already got our second single recorded

425
00:24:29,680 --> 00:24:32,640
and produced. Oh so that that will lead into an

426
00:24:32,680 --> 00:24:36,960
EP okay, probably into the second half of this year,

427
00:24:37,759 --> 00:24:41,559
and then just getting out everywhere, Matt. You know, as

428
00:24:41,599 --> 00:24:44,359
I said before, we've got a couple of festivals lined up.

429
00:24:45,720 --> 00:24:48,559
We're going to be announcing a London show this weekend

430
00:24:48,720 --> 00:24:53,680
as well. We'll be announcing another headline in our hometown

431
00:24:53,759 --> 00:24:57,559
of Chester in the next few weeks. So it's it's

432
00:24:57,559 --> 00:24:59,599
going to be a really busy year for us, Matt,

433
00:24:59,640 --> 00:25:02,319
but it's we're really looking forward to. But yeah, I

434
00:25:02,440 --> 00:25:06,279
think in terms of obviously, you know, the second single

435
00:25:06,319 --> 00:25:09,880
will be out, give it to a three months. We'll

436
00:25:09,960 --> 00:25:13,319
let people enjoy, absolutely, but then we'll make sure that

437
00:25:13,400 --> 00:25:15,599
they're wanting the next one as well, and then we'll

438
00:25:16,359 --> 00:25:19,400
give the people what they want. But yeah, second half

439
00:25:19,480 --> 00:25:22,799
of this year and especially the summer is going to

440
00:25:22,839 --> 00:25:25,079
be a really great time for Moving On, with lots

441
00:25:25,119 --> 00:25:28,400
of gigs and a couple of festivals lined up as well.

442
00:25:28,599 --> 00:25:30,680
So yeah, we're all really excited about it.

443
00:25:31,039 --> 00:25:33,079
Speaker 11: No, that's wonderful. Yeah, it's great to see that you're

444
00:25:33,119 --> 00:25:35,839
after such a great start with the band, and you know,

445
00:25:35,960 --> 00:25:39,039
and obviously with your solo work you built a strong foundation.

446
00:25:40,000 --> 00:25:42,079
But it's great to see the band doing well. And

447
00:25:42,160 --> 00:25:44,400
like I said, I love that for a single Absolutely,

448
00:25:44,559 --> 00:25:47,759
that's really good. Where should people go, Elijah, where's the

449
00:25:47,759 --> 00:25:49,680
best place to go online to keep up with everything

450
00:25:49,759 --> 00:25:52,559
that Moving On is doing or that Elijah Jenkins is doing?

451
00:25:52,599 --> 00:25:53,319
Where should people go?

452
00:25:54,680 --> 00:25:59,279
Speaker 8: Yeah? So for the band, it's moving On Official without

453
00:25:59,359 --> 00:26:05,119
the g so m ov im on official for the

454
00:26:05,400 --> 00:26:08,279
Instagram and that's where to keep up with everything. And

455
00:26:08,440 --> 00:26:10,880
then it's the same on Spotify as well.

456
00:26:11,279 --> 00:26:14,720
Speaker 11: Okay, okay, outstanding. I think in a moment we're gonna

457
00:26:15,400 --> 00:26:17,680
close with one of your again, one of your solo

458
00:26:17,799 --> 00:26:21,240
songs Start Again, which I think is appropriate in a

459
00:26:21,319 --> 00:26:25,960
sense because you know you moving on. Start Again. This

460
00:26:26,640 --> 00:26:28,400
is another one of the songs that we had played

461
00:26:28,480 --> 00:26:31,599
previously that I really love. And then I'll probably play

462
00:26:31,680 --> 00:26:33,640
absolutely again a little bit later in the show because

463
00:26:33,640 --> 00:26:35,480
we did play it to open our segment with you today.

464
00:26:35,720 --> 00:26:39,319
But Elijah again, congratulations on the band and the success

465
00:26:39,359 --> 00:26:42,160
that you're having. It's wonderful to see this transition in

466
00:26:42,240 --> 00:26:45,480
your career. And when the next single is ready, we

467
00:26:45,559 --> 00:26:48,440
would love to be again the first American radio station

468
00:26:48,559 --> 00:26:50,839
to play that, if you will do us the honor,

469
00:26:50,920 --> 00:26:52,839
and we love being able to kind of be your

470
00:26:52,880 --> 00:26:55,440
conduit into the American radio market because we're big fans

471
00:26:55,440 --> 00:26:56,079
of what you're doing.

472
00:26:58,000 --> 00:26:58,200
Speaker 4: Yeah.

473
00:26:58,319 --> 00:27:00,440
Speaker 2: Absolutely, Matt, I appreciate that. Nice one.

474
00:27:00,680 --> 00:27:03,519
Speaker 11: Oh, definitely, definitely, So we're gonna hit that track. We

475
00:27:03,599 --> 00:27:06,480
will let you go. But Elijah Jenkins of Moving On,

476
00:27:07,160 --> 00:27:09,039
thank you again, my friend, and we will talk to

477
00:27:09,079 --> 00:27:09,839
you soon, I'm sure.

478
00:27:10,799 --> 00:27:12,559
Speaker 2: Chase out, Thank you everyone, you got it.

479
00:27:12,599 --> 00:27:16,640
Speaker 11: Bye bye? All right. That is Elijah Jenkins from the

480
00:27:16,720 --> 00:27:19,440
band Moving On. And this is another one of his

481
00:27:19,559 --> 00:27:22,240
solo songs. This is so good. I love this. This

482
00:27:22,400 --> 00:27:23,279
is called start again.

483
00:27:48,440 --> 00:27:51,440
Speaker 4: Why don'tch.

484
00:27:53,279 --> 00:28:10,559
Speaker 2: Lock on the doors? He happened months ago from the.

485
00:28:12,400 --> 00:28:16,880
Speaker 4: Around, spanning days out.

486
00:28:21,440 --> 00:28:24,119
Speaker 11: No, why wish.

487
00:28:25,400 --> 00:28:34,759
Speaker 2: They could say me now, I.

488
00:28:34,880 --> 00:28:41,680
Speaker 4: Know that it hurts, but you have to do your words.

489
00:28:45,279 --> 00:28:49,559
Speaker 15: Can you say that you change you? Now it's me

490
00:28:50,200 --> 00:28:57,799
left him in the way. It's nothing day to say

491
00:28:58,920 --> 00:29:01,720
and I it's me sad.

492
00:29:01,759 --> 00:29:07,640
Speaker 3: Here on the tree, ready to start again. There's nothing,

493
00:29:07,799 --> 00:29:24,160
it's the same, ready to start again. Got a fine

494
00:29:24,799 --> 00:29:25,880
to dream.

495
00:29:28,279 --> 00:29:39,400
Speaker 4: Your lovers blue me away. You thought that things could

496
00:29:39,640 --> 00:29:41,480
work out this a way.

497
00:29:46,039 --> 00:29:52,839
Speaker 2: There's no motics to us. What time give me now?

498
00:29:56,839 --> 00:30:01,079
Speaker 7: So I want to scream and shall most into the

499
00:30:01,359 --> 00:30:04,079
worlds come down?

500
00:30:10,240 --> 00:30:15,240
Speaker 3: Said all that it hurts, but you have to do

501
00:30:15,920 --> 00:30:16,960
your words.

502
00:30:20,799 --> 00:30:26,039
Speaker 15: And you say that you change, Then it's me left

503
00:30:26,400 --> 00:30:27,880
Jim's way.

504
00:30:31,559 --> 00:30:35,000
Speaker 2: There's nothing His days the same, and now.

505
00:30:35,240 --> 00:30:41,440
Speaker 3: It's me side here on the tree, ready to started again.

506
00:30:42,400 --> 00:30:43,160
Speaker 2: There's nothing.

507
00:30:43,319 --> 00:31:02,440
Speaker 3: It's the same, ready to start again. He sign all

508
00:31:02,559 --> 00:31:08,480
that it hurts, But do you have to do yourways?

509
00:31:12,559 --> 00:31:16,799
And you say that you change who? Now it's me

510
00:31:17,480 --> 00:31:25,000
left Tim in the ray. There's no fings days the same,

511
00:31:26,079 --> 00:31:31,599
and no, it's me sad here on the tree. I'm

512
00:31:31,680 --> 00:31:37,000
ready to start Again. There's nothing, it's the same. I'm

513
00:31:37,079 --> 00:31:38,559
ready to start again.

514
00:31:41,599 --> 00:31:43,440
Speaker 11: I really like that song a lot that is called

515
00:31:43,519 --> 00:31:47,640
start Again. That is Elijah Jenkins, another great artist from

516
00:31:47,640 --> 00:31:50,119
the UK, from the Liverpool area, and we just spoke

517
00:31:50,200 --> 00:31:52,799
with Elijah Jenkins a few minutes ago. If you missed it,

518
00:31:52,839 --> 00:31:54,400
of course you can always go back and listen to

519
00:31:54,480 --> 00:31:57,119
the podcast version of the show. We had some technical

520
00:31:57,200 --> 00:32:00,240
issues in the beginning there, but so Microsoft t eames

521
00:32:00,359 --> 00:32:01,920
was not working out for us in that case, so

522
00:32:01,960 --> 00:32:05,759
then we switched to WhatsApp and no problem. Always enjoy

523
00:32:05,839 --> 00:32:08,200
speaking with him and of course his band moving on

524
00:32:08,559 --> 00:32:11,519
their new single absolutely. We did the American radio premiere

525
00:32:11,640 --> 00:32:14,440
of that track right here on Matt Conderton Unleash here

526
00:32:14,440 --> 00:32:17,680
at WMNH ninety five point three FM and love love

527
00:32:17,759 --> 00:32:20,000
the new single. So we'll be talking to him of

528
00:32:20,039 --> 00:32:22,000
course again in the very near future, and it's great

529
00:32:22,039 --> 00:32:24,000
to see the transition that he's been able to make

530
00:32:24,039 --> 00:32:27,599
from his solo career into a full band. Let's see,

531
00:32:28,039 --> 00:32:29,880
I do want to we've got a little bit of

532
00:32:30,000 --> 00:32:33,240
music news. This particularly caught my eye, so we have

533
00:32:33,400 --> 00:32:35,759
we do have a few minutes before we before we

534
00:32:35,880 --> 00:32:37,759
hit the top of the Hour. So I wanted to

535
00:32:37,839 --> 00:32:42,599
talk about this because this well, in a sense it

536
00:32:42,799 --> 00:32:48,240
reflects or effects. I should say something that I've used.

537
00:32:50,319 --> 00:32:55,880
This is from Music Businessworldwide dot com artist representatives launch

538
00:32:56,319 --> 00:33:00,480
say No to Suno campaign now Sono if you're not familiar,

539
00:33:00,559 --> 00:33:04,680
it's an app that uses AI. You can actually create

540
00:33:04,880 --> 00:33:10,079
songs using AI. You just put in some simple prompts,

541
00:33:10,160 --> 00:33:11,720
tell it what you want, and it will create a

542
00:33:11,799 --> 00:33:14,720
song for you. Jenny and I it was over a

543
00:33:14,799 --> 00:33:16,240
year ago now, maybe a year and a half ago,

544
00:33:16,359 --> 00:33:18,920
the first time we ever used Suno. We did an

545
00:33:18,960 --> 00:33:21,079
experiment with it, kind of live on the air, just

546
00:33:21,160 --> 00:33:24,079
to see what would happen. It's very easy to use,

547
00:33:24,359 --> 00:33:27,240
and it creates some very convincing you know, like you

548
00:33:27,279 --> 00:33:29,440
wouldn't know just from listening to what it creates that

549
00:33:29,519 --> 00:33:33,359
it's AI generated necessarily. I've used it quite a bit.

550
00:33:33,480 --> 00:33:38,720
We've done some really fun things with it. But of

551
00:33:38,799 --> 00:33:41,039
course we talk about AI a lot on the show,

552
00:33:41,079 --> 00:33:42,880
and it's an effect on the music industry and how

553
00:33:43,000 --> 00:33:46,480
artists feel about it. And so now there is this

554
00:33:46,799 --> 00:33:50,839
say No to Suno campaign. Now. I have no intentions

555
00:33:50,880 --> 00:33:53,000
of involving myself in any way in the campaign because

556
00:33:53,000 --> 00:33:55,559
I actually like Suno and it would be hypocritical of

557
00:33:55,640 --> 00:33:58,799
me to do so, even though my position ultimately is

558
00:33:58,880 --> 00:34:00,920
and I think everyone knows it because of what I do,

559
00:34:01,359 --> 00:34:03,160
what I'm involved in, the people I know, et cetera,

560
00:34:03,480 --> 00:34:08,119
and the various, uh, you know, in terms of careers,

561
00:34:08,840 --> 00:34:11,039
the various things I've done. I will always at the

562
00:34:11,119 --> 00:34:13,679
end of the day, I will always always advocate on

563
00:34:13,800 --> 00:34:16,400
behalf of artists. That's what I care about the most.

564
00:34:16,960 --> 00:34:19,639
But that doesn't mean I won't use an AI app

565
00:34:19,760 --> 00:34:23,800
like Suno to create a fun, silly song, because I

566
00:34:23,880 --> 00:34:25,039
do use it for that quite a bit.

567
00:34:25,480 --> 00:34:25,519
Speaker 6: So.

568
00:34:26,119 --> 00:34:29,679
Speaker 11: Artists representatives, though, have launched the say No to Suno campaign,

569
00:34:30,079 --> 00:34:34,840
saying AI slop dilutes the royalty pools of legitimate artists

570
00:34:35,159 --> 00:34:39,199
from whose music this slop is derived. So let's take

571
00:34:39,199 --> 00:34:42,400
a look at this because again, and who knows, who knows?

572
00:34:42,599 --> 00:34:45,239
Maybe looking at this article, maybe there's information in here

573
00:34:45,280 --> 00:34:48,719
that will change my mind and make me decide to

574
00:34:48,960 --> 00:34:52,119
join the say No to Suno campaign. I doubt it,

575
00:34:52,239 --> 00:34:54,880
but let's see. So it says here again. This is

576
00:34:54,960 --> 00:34:59,800
from Music Businessworldwide dot com. A coalition of artist representatives

577
00:35:00,280 --> 00:35:03,360
published an open letter calling on the music community to

578
00:35:03,440 --> 00:35:08,679
reject AI music generator Suno. In an open letter titled

579
00:35:08,760 --> 00:35:11,760
say No to Suno, the Artist Reps described the company

580
00:35:12,239 --> 00:35:16,800
as a brazen smash and grab platform, accusing it of

581
00:35:16,920 --> 00:35:21,440
using unauthorized AI platform machinery trained on human artists. Work

582
00:35:22,639 --> 00:35:25,400
published Monday the twenty third, So this just happened this

583
00:35:25,480 --> 00:35:31,280
past week on the Music Technology Policy Blog. The letter

584
00:35:31,440 --> 00:35:36,360
was signed by figures including Ray Gubitz, executive director of

585
00:35:36,400 --> 00:35:41,559
the Music Artists Coalition, Helene Lindvall, songwriter and president of

586
00:35:41,599 --> 00:35:45,199
the European Composer and Songwriter Alliance, and Chris Castle of

587
00:35:45,280 --> 00:35:50,960
the Artist Rights Institute. Other signatories included artist David C. Lowry,

588
00:35:51,199 --> 00:35:56,880
artist and Artist Rights Alliance board member Tift Merritt, Blake Morgan,

589
00:35:57,000 --> 00:35:59,599
artist producer and president of VCR Music Group, and Abbey North,

590
00:35:59,639 --> 00:36:04,599
president of North Music Group. The letter arrives as Suno

591
00:36:04,800 --> 00:36:10,239
continues to face copyright infringement lawsuits from major music companies

592
00:36:10,400 --> 00:36:13,400
and rights organizations. And by the way, by the way

593
00:36:14,519 --> 00:36:18,199
I tell everybody, I say, if you're enjoying these apps

594
00:36:18,320 --> 00:36:21,400
like Suno or Udio is another one, a very popular

595
00:36:21,559 --> 00:36:24,480
AI music generator, if you enjoy these apps and use

596
00:36:24,559 --> 00:36:26,960
these apps, enjoy them while we have them, because the

597
00:36:27,039 --> 00:36:31,880
sharks are circling. Okay, there's all kinds of litigation and

598
00:36:32,119 --> 00:36:34,320
all kinds of stuff happening to try to get rid

599
00:36:34,360 --> 00:36:38,280
of these apps permanently, or well, probably not getting rid

600
00:36:38,280 --> 00:36:40,280
of anything permanently, and there's probably no getting rid of

601
00:36:40,360 --> 00:36:44,079
these apps period. But I'm just saying, don't be shocked

602
00:36:44,119 --> 00:36:46,719
if one day, all of a sudden, you can't use

603
00:36:46,800 --> 00:36:49,920
these anymore because they've been shut down. Okay, they've been

604
00:36:49,960 --> 00:36:54,559
bankrupted by lawsuits, whatever whatever may happen, but right now,

605
00:36:55,039 --> 00:37:00,559
this is what's going on. Okay, so so uh. The

606
00:37:00,760 --> 00:37:05,679
RIAA filed suit against both Suno and rival Udo in

607
00:37:05,840 --> 00:37:09,559
mid twenty twenty four, acting on behalf of all three majors,

608
00:37:09,679 --> 00:37:15,559
alleging mass infringement of copyright. Udeo has since reached settlements

609
00:37:15,639 --> 00:37:19,119
with both Universal Music Group and Warner Music Group, signing

610
00:37:19,280 --> 00:37:23,360
licensing agreements with each for a new AI music platform

611
00:37:23,480 --> 00:37:28,360
expected to launch this year interesting WMG. Warner Music Group

612
00:37:28,440 --> 00:37:31,800
also settled separately with Suno in November, but the AI

613
00:37:31,920 --> 00:37:35,480
company remains locked in legal battles with UMG and Sony

614
00:37:35,559 --> 00:37:39,400
Music Entertainment as well as European music rights holders, including

615
00:37:39,519 --> 00:37:44,800
Denmark's CODA and Germany's Gema Gema. I've not used either

616
00:37:44,800 --> 00:37:46,880
of those. In fact, I've never used Udio either. The

617
00:37:46,960 --> 00:37:49,440
only one I've used is Suno. Okay, it says here.

618
00:37:49,519 --> 00:37:51,840
The open letter took aim at the broader concept of

619
00:37:51,920 --> 00:37:55,760
AI in the music business, arguing that unauthorized generative AI

620
00:37:55,920 --> 00:38:00,639
platforms are fundamentally different from previous technological discus options in

621
00:38:00,719 --> 00:38:03,519
the music industry. And by the way, as we've discussed

622
00:38:03,559 --> 00:38:05,440
many times on the show, Jenny and I've talked about this,

623
00:38:05,719 --> 00:38:11,519
the music industry has had many technological disruptions over the years,

624
00:38:11,559 --> 00:38:16,760
you know, transitioning from vinyl and cassettes to CDs, napster.

625
00:38:17,119 --> 00:38:19,320
You know, when Napster first came in and file sharing

626
00:38:19,400 --> 00:38:21,679
became a thing, and all of a sudden, music was free.

627
00:38:22,280 --> 00:38:25,920
I was working for trans World Entertainment at the time,

628
00:38:26,000 --> 00:38:31,199
which owned Fye, Which and Strawberries and everything. When I

629
00:38:31,280 --> 00:38:33,119
was working for them as a store manager in a

630
00:38:33,199 --> 00:38:35,800
music store, and you know, we saw firsthand what was happening.

631
00:38:36,119 --> 00:38:38,159
All of a sudden, people aren't buying CDs because they're

632
00:38:38,159 --> 00:38:39,840
getting the music for free. And then there was all

633
00:38:39,880 --> 00:38:45,000
these debates about well, is file sharing stealing or are

634
00:38:45,079 --> 00:38:47,960
you just taking advantage of what's available and so forth.

635
00:38:48,039 --> 00:38:49,880
We won't get into all of that, but anyway, there's

636
00:38:49,880 --> 00:38:55,079
been many That's probably the single biggest technological disruption that's

637
00:38:55,079 --> 00:38:57,760
happened in the music industry is the Internet and the

638
00:38:57,880 --> 00:39:01,480
ability to access music easily and without paying for it.

639
00:39:02,679 --> 00:39:05,679
That's probably the biggest one, at least leading up to

640
00:39:06,159 --> 00:39:09,880
the advent of AI. Well, not the advent of it,

641
00:39:09,960 --> 00:39:11,679
because AI has been with us for a long time,

642
00:39:11,760 --> 00:39:15,239
but now with these apps, the advent of these apps

643
00:39:15,360 --> 00:39:19,280
like Pseudo and Udo. Okay, so it says here again,

644
00:39:19,320 --> 00:39:22,079
this is from Music Business Worldwide dot com. The open

645
00:39:22,199 --> 00:39:25,599
letter took aim Actually, well, I read this already, but

646
00:39:25,679 --> 00:39:28,320
this paragraph is worth reading again. The open letter took

647
00:39:28,320 --> 00:39:30,920
aim at the broader concept of AI and the music business,

648
00:39:31,039 --> 00:39:35,280
arguing that unauthorized generative AI platforms are fundamentally different from

649
00:39:35,320 --> 00:39:39,280
previous technological disruptions in the industry. The letter argued that

650
00:39:39,480 --> 00:39:44,400
the quote hijacking of the world's entire treasure trove of

651
00:39:44,599 --> 00:39:50,079
music floods platforms with AI slop and dilutes the royalty

652
00:39:50,199 --> 00:39:54,280
pools of legitimate artists from whose music the slop is

653
00:39:54,440 --> 00:40:00,400
derived unquote, right, Because when you create something using these apps,

654
00:40:00,440 --> 00:40:07,599
you're creating something that derives its content from all all

655
00:40:07,679 --> 00:40:11,079
the content that it has learned. You know, we call

656
00:40:11,119 --> 00:40:17,239
them large learning models. You know, it's taking that from

657
00:40:17,599 --> 00:40:20,679
everything else that's available that it's learned, that it's taken in. Now,

658
00:40:21,920 --> 00:40:24,880
when we talk about whether or not that's okay, my

659
00:40:25,880 --> 00:40:29,159
argument has always been if I am arguing on the

660
00:40:29,239 --> 00:40:31,440
side of not having a problem with any of this,

661
00:40:32,320 --> 00:40:34,840
which I really don't, because you can't hold back technology.

662
00:40:34,880 --> 00:40:39,400
It never works out. You have to adapt. You can't,

663
00:40:39,599 --> 00:40:42,079
but you can't stop it. So you have to adapt.

664
00:40:45,679 --> 00:40:49,719
When I let's say I write a song, and I've

665
00:40:49,719 --> 00:40:52,480
written songs, I'm a musician. If I write a song,

666
00:40:52,639 --> 00:40:57,840
anything that I write is somehow informed and influenced and

667
00:40:58,079 --> 00:41:00,800
therefore is a product of all the music that I've

668
00:41:00,840 --> 00:41:04,280
ever heard over the course of my life. Right, anything

669
00:41:04,320 --> 00:41:08,800
that I create is somehow derived from everything that I've heard.

670
00:41:09,119 --> 00:41:11,159
So how is that different from when a large learning

671
00:41:11,280 --> 00:41:16,320
model learns music and then creates something from that. Now,

672
00:41:16,440 --> 00:41:18,920
it is different in fundamental ways, But I'm just offering

673
00:41:19,000 --> 00:41:21,239
as a counter argument to you know, everyone who says,

674
00:41:21,280 --> 00:41:23,039
oh Ai, it's got to be stopped. We can't have

675
00:41:23,119 --> 00:41:25,960
AI generated music and so forth. Well, is it really

676
00:41:26,000 --> 00:41:29,400
different from when a human creates music? Now it is different. Again,

677
00:41:29,519 --> 00:41:32,760
I'm just playing Devil's advocate here, but that would be

678
00:41:32,840 --> 00:41:35,000
my counter argument to that. Well, if I write a

679
00:41:35,079 --> 00:41:39,440
song as a human being, my song that doesn't come

680
00:41:39,480 --> 00:41:42,519
out of thin air. My song is based on knowledge

681
00:41:42,519 --> 00:41:46,239
and information and experience and all of it from my

682
00:41:46,360 --> 00:41:48,400
own life and all the music that I've ever consumed

683
00:41:48,639 --> 00:41:51,519
over the course of my life. That's all I'm saying. Okay,

684
00:41:51,559 --> 00:41:55,039
getting back to the article, The letter arrives amid a

685
00:41:55,159 --> 00:41:58,679
growing volume of AI generated music hitting streaming platforms. Now,

686
00:41:58,800 --> 00:42:01,880
this is a problem that we've talked about on the

687
00:42:01,960 --> 00:42:06,480
show before too. Is all this AI generated music that

688
00:42:06,639 --> 00:42:12,079
ends up on Spotify for example, Well Spotify already, I

689
00:42:12,199 --> 00:42:14,760
mean I don't remember the numbers. We've talked about it

690
00:42:14,800 --> 00:42:17,519
before on the show. The amount of music that is upright,

691
00:42:17,760 --> 00:42:21,719
that is uploaded to Spotify globally on a daily basis

692
00:42:21,840 --> 00:42:29,039
is staggering. So then Spotify has to figure out, well

693
00:42:29,159 --> 00:42:34,000
what to get rid of because now that you factor

694
00:42:34,079 --> 00:42:37,000
in the ease with which you can create music using

695
00:42:37,039 --> 00:42:43,840
an app and then just upload it. Now, it's it's

696
00:42:44,159 --> 00:42:47,199
that problem of you know, you only have so much storage,

697
00:42:47,199 --> 00:42:50,320
and you have to keep creating more storage. And you

698
00:42:50,400 --> 00:42:52,639
know now that because people tend to think of it

699
00:42:52,760 --> 00:42:55,960
as well, it's just data. It doesn't take up any

700
00:42:56,039 --> 00:43:00,320
space physically, it's just data. But that's not true. That's true.

701
00:43:00,519 --> 00:43:03,000
Think about your own computer, your own devices, right, you

702
00:43:03,119 --> 00:43:05,719
only have so much memory. You know, I only have

703
00:43:05,840 --> 00:43:07,360
so much memory on my cell phone.

704
00:43:07,719 --> 00:43:07,840
Speaker 6: Now.

705
00:43:07,840 --> 00:43:09,599
Speaker 11: I keep my cell phone very clean because I don't

706
00:43:09,599 --> 00:43:11,239
want to getting clogged up with stuff I don't need.

707
00:43:11,719 --> 00:43:14,480
But I only have so much memory on it. So

708
00:43:15,440 --> 00:43:20,360
it's not like it's no different for Spotify, for example,

709
00:43:20,920 --> 00:43:25,320
they only have so much memory. Now they can create more,

710
00:43:26,039 --> 00:43:30,559
but there is an expense to that. And also the

711
00:43:30,880 --> 00:43:35,360
larger the catalog of music that is available on the platform,

712
00:43:35,639 --> 00:43:37,840
doesn't it kind of dilute everything that's already there. So

713
00:43:38,000 --> 00:43:39,719
this is a problem for Spotify. Not that I have

714
00:43:39,800 --> 00:43:43,280
any great sympathy for Spotify because they don't pay very much,

715
00:43:44,039 --> 00:43:46,639
but you know, in terms of royalties and so forth.

716
00:43:46,719 --> 00:43:50,800
But you know, but now they've got a whole new problem.

717
00:43:51,800 --> 00:43:54,280
This is why a few years ago, before before these

718
00:43:54,360 --> 00:43:57,000
apps came out, even a few years ago, Spotify was

719
00:43:57,000 --> 00:43:59,760
struggling with this. They were having to start to go

720
00:43:59,880 --> 00:44:02,320
through I mean, obviously they have bots that do it,

721
00:44:02,440 --> 00:44:05,960
but having to go through and delete low quality demo

722
00:44:06,119 --> 00:44:11,280
recordings that people were just uploading to Spotify, thus diluting

723
00:44:11,360 --> 00:44:14,360
what's on the platform. People uploading things that probably shouldn't

724
00:44:14,360 --> 00:44:16,519
have been on there to begin with, because they weren't

725
00:44:17,199 --> 00:44:19,960
of high enough quality to even be on the platform

726
00:44:20,039 --> 00:44:22,320
to begin with. So now they've got a whole new problem,

727
00:44:23,679 --> 00:44:26,199
let's see. According to getting back to the article, according

728
00:44:26,199 --> 00:44:30,199
to recent data from Deezer, approximately sixty thousand AI generated

729
00:44:30,239 --> 00:44:33,519
tracks are being uploaded to the Paris headquartered streaming service

730
00:44:33,679 --> 00:44:40,119
every day, with synthetic content now accounting for roughly thirty

731
00:44:40,280 --> 00:44:44,440
nine percent of all music delivered to the platform daily.

732
00:44:47,719 --> 00:44:51,960
Let's look at that again these numbers. According to recent

733
00:44:52,000 --> 00:44:59,559
data from Deezer, approximately sixty thousand, sixty thousand AI generated

734
00:44:59,639 --> 00:45:08,880
tracks every day are being uploaded. These are also revealed

735
00:45:08,920 --> 00:45:12,280
that up to eighty five percent of all streams on

736
00:45:12,519 --> 00:45:17,599
AI generated music on its platform were fraudulent in twenty

737
00:45:17,719 --> 00:45:21,440
twenty five, up from the seventy percent figure it reported

738
00:45:21,480 --> 00:45:25,960
in the prior year, those streams are demonetized and removed

739
00:45:26,000 --> 00:45:29,239
from the royalty pool. By comparison, streaming fraud across Caesers

740
00:45:29,400 --> 00:45:32,440
entire catalog accounted for eight percent of all streams in

741
00:45:32,519 --> 00:45:35,679
twenty twenty five. By the way, I'm not sure. I

742
00:45:36,320 --> 00:45:39,239
don't know what they mean by fraudulent. That is not

743
00:45:39,360 --> 00:45:41,480
clear to me. What do they mean by fraudulent? I'm

744
00:45:41,519 --> 00:45:45,360
not sure. Do they just mean anything that's created with

745
00:45:45,440 --> 00:45:49,000
an app or what do they mean? While AI generated

746
00:45:49,079 --> 00:45:51,599
music currently makes up only a small share of total

747
00:45:51,599 --> 00:45:54,400
streams on Deezer, up to three percent, the platform maintains

748
00:45:54,440 --> 00:45:57,559
that generating fake streams remains the primary purpose for uploading

749
00:45:57,639 --> 00:46:01,280
such content. The letter also weighed into the ongoing industry

750
00:46:01,320 --> 00:46:05,280
debate over so called wald gardens in AI music. Criticizing

751
00:46:05,360 --> 00:46:08,159
a recent LinkedIn post by Paul Sinclairs, who knows chief

752
00:46:08,239 --> 00:46:13,840
music officer and EXWMG executive, who argued that closed AI

753
00:46:14,039 --> 00:46:17,840
systems limit how people engage with music, Sinclair penned a

754
00:46:18,119 --> 00:46:23,320
lengthy post Grammy week LinkedIn memo entitled open Studios not

755
00:46:23,559 --> 00:46:27,119
wald Gardens, which took direct aim at the approach champion

756
00:46:27,199 --> 00:46:30,039
by Universal Music Group in its recent AI licensing agreements.

757
00:46:30,360 --> 00:46:32,920
UMG was the first major to settle its litigation with

758
00:46:33,039 --> 00:46:37,480
Suno rival Udio in October twenty twenty five, alongside a

759
00:46:37,679 --> 00:46:40,679
licensing deal for a new AI platform set to launch

760
00:46:40,920 --> 00:46:44,280
this year. The concept of a waled garden was introduced

761
00:46:44,320 --> 00:46:47,320
within that announcement, a model where AI generated music cannot

762
00:46:47,320 --> 00:46:51,960
be downloaded or distributed outside the platform. Udio disabled downloads,

763
00:46:52,079 --> 00:46:54,320
with users given a forty eight hour grace period to

764
00:46:54,360 --> 00:46:58,360
retrieve previously created tracks before the walls went up. By

765
00:46:58,400 --> 00:46:59,880
the way, this is the first time hearing about this

766
00:47:00,800 --> 00:47:06,400
the walled garden concept. Around two months after that deal

767
00:47:06,480 --> 00:47:09,159
was announced, in his annual memo to staff, UMG chairman

768
00:47:09,199 --> 00:47:14,800
and CEO, Sir Lucian Grange appeared to warn against firms

769
00:47:14,920 --> 00:47:17,760
quote validating business models that failed to respect artists work

770
00:47:17,800 --> 00:47:21,360
and creativity and promote the exponential growth of AI slop

771
00:47:21,480 --> 00:47:24,639
on streaming platforms. So, in other words, he's saying, don't

772
00:47:24,719 --> 00:47:28,639
do this, don't make deals with AI. You're making a

773
00:47:28,679 --> 00:47:31,639
deal with the devil. Effectively, you're getting in bed with

774
00:47:31,760 --> 00:47:34,239
something you don't want. You don't want to encourage this.

775
00:47:34,400 --> 00:47:36,320
If you start making deals with AI, you're going to

776
00:47:36,480 --> 00:47:40,079
encourage this. I guess a quick counter argument might be, well,

777
00:47:40,079 --> 00:47:43,039
if you look back to the previous seismic disruption in

778
00:47:43,079 --> 00:47:46,360
the music industry, if you go back to Napster, what

779
00:47:46,599 --> 00:47:49,360
was happening. Well, you know, the industry finally had to

780
00:47:49,400 --> 00:47:51,760
start making some deals and some compromises and working some

781
00:47:51,800 --> 00:47:55,039
stuff out. But what he's saying is, don't do that.

782
00:47:55,519 --> 00:48:00,719
Do not encourage it. Michael Nash, execus get vice president

783
00:48:00,800 --> 00:48:04,000
and Chief Digital Officer at UMG, explained the company's position

784
00:48:04,079 --> 00:48:07,039
in further detail during an appearance on Billboards on the

785
00:48:07,119 --> 00:48:10,719
Record podcast last month and outline the Waldgarden concept in

786
00:48:10,840 --> 00:48:14,079
stark terms. He said this quote. The concept of a

787
00:48:14,159 --> 00:48:17,400
wald garden is to set up through AI, a component

788
00:48:17,480 --> 00:48:20,320
of the service for deep interaction with the artists and

789
00:48:20,400 --> 00:48:23,960
the content, but not to create derivatives that you then

790
00:48:24,079 --> 00:48:26,840
take off of the platform and post all over your

791
00:48:26,880 --> 00:48:30,760
socials and post on Spotify and Amazon Music and Apple unquote.

792
00:48:30,920 --> 00:48:33,400
He argued that by doing so, you quote effectively use

793
00:48:33,519 --> 00:48:37,679
artists content and their brand to create derivative derivatives where

794
00:48:37,719 --> 00:48:40,840
you're going to compete with the artists on other platforms unquote,

795
00:48:41,800 --> 00:48:45,280
beyond Sinclair, who joined Sosuno in twenty twenty five. July

796
00:48:45,639 --> 00:48:48,239
twenty twenty five. The company has made other high profile

797
00:48:48,320 --> 00:48:50,559
hires from the music industry to support its efforts to

798
00:48:50,599 --> 00:48:55,559
build relationships with the sector, including former Merlin CEO Jimmy

799
00:48:56,239 --> 00:48:59,920
Sorry Jeremy Sirata as chief commercial Officer and former Spotify

800
00:49:00,000 --> 00:49:04,000
executive Sam Berger as Senior director of Artist Partnerships. In November,

801
00:49:04,119 --> 00:49:08,280
Suno closed a two hundred and fifty million dollars Series

802
00:49:08,320 --> 00:49:10,519
C funding round. I don't want to get in all that. Okay,

803
00:49:10,599 --> 00:49:13,039
never mind, don't care about that part. But that's the

804
00:49:13,119 --> 00:49:16,719
end of the article anyway. But there you go. So again,

805
00:49:16,800 --> 00:49:18,719
I will not be joining any such campaign. It would

806
00:49:18,719 --> 00:49:20,079
be a but critical of me to do so. But

807
00:49:20,199 --> 00:49:22,960
this is all about the say No to Suno campaign.

808
00:49:23,480 --> 00:49:25,679
So we are approaching the top of the hour. Thank

809
00:49:25,719 --> 00:49:27,400
you all for indulging me on that. I think it's

810
00:49:27,480 --> 00:49:31,440
fascinating how AI continues to be disruptive in the music industry.

811
00:49:31,599 --> 00:49:33,400
We're gonna play a song and then we're gonna take

812
00:49:33,400 --> 00:49:35,559
a quick commercial break. When we come back an hour three,

813
00:49:35,920 --> 00:49:38,280
Charles Richardson from The Charles Richardson Show will be join

814
00:49:38,400 --> 00:49:42,639
us joining us for you wrestling fans. Elimination Chamber is

815
00:49:43,000 --> 00:49:47,079
today this weekend, so we're gonna talk about that. But

816
00:49:47,159 --> 00:49:49,800
I want to play one more song from Peter, the

817
00:49:49,880 --> 00:49:53,400
photographer who joined us today in hour one of the show.

818
00:49:53,760 --> 00:49:56,039
This is another studio track from a few years ago.

819
00:49:56,400 --> 00:49:59,519
Great great song, Holding one twenty five. We're gonna play

820
00:49:59,559 --> 00:50:01,920
this show. Love to our amazing sponsors. And then an

821
00:50:01,960 --> 00:50:05,000
hour number three New Marrow Trace Charles Richardson joins us

822
00:50:05,440 --> 00:50:07,840
via how's he joining us? Oh? He's gonna join us

823
00:50:07,920 --> 00:50:10,639
via re stream? That's right. Uh so always love talking

824
00:50:10,639 --> 00:50:12,639
to Charles. We might have somebody else joining usu via

825
00:50:12,679 --> 00:50:15,000
the stream. We will see, but there is plenty more

826
00:50:15,039 --> 00:50:17,599
to come. Matt Connorton Unleashed. We are live from the

827
00:50:17,639 --> 00:50:20,000
studios of wm n H ninety five point three FM.

828
00:50:20,079 --> 00:50:20,960
Don't go away.

829
00:50:42,440 --> 00:50:44,320
Speaker 4: From a hadding things.

830
00:50:45,000 --> 00:50:53,360
Speaker 13: A good appears into the dhluis cold outside.

831
00:50:53,880 --> 00:50:56,920
Speaker 4: She insists that she don't need a coat.

832
00:51:01,199 --> 00:51:07,400
Speaker 13: Whether January airerhaps around her like a long lost friend.

833
00:51:11,840 --> 00:51:19,199
Sheep stopped knows that a hand's getting them and the

834
00:51:19,360 --> 00:51:21,440
tears are starting too.

835
00:51:21,840 --> 00:51:38,280
Speaker 4: Free spell I Pety started. An old man came up

836
00:51:38,320 --> 00:51:42,000
to me and he asked her if I could spare

837
00:51:42,199 --> 00:51:44,280
some of my precious time.

838
00:51:46,119 --> 00:51:50,280
Speaker 6: So sat down there listen while he told me a

839
00:51:50,519 --> 00:51:56,119
story of this time when he felt so loud. He's

840
00:51:56,239 --> 00:52:00,239
got a while in Nova Scotia and his son as

841
00:52:00,320 --> 00:52:08,760
the merchant the reef, he lost his child, had the factory,

842
00:52:09,000 --> 00:52:16,559
the tavy robbing alls, machines, TAMN those machinians, and NASA

843
00:52:16,719 --> 00:52:19,519
stared into his sides.

844
00:52:21,679 --> 00:52:24,639
Speaker 4: I watched him wild will.

845
00:52:24,760 --> 00:52:33,519
Speaker 10: Pass by, not serving number nine, You'll still hold ten

846
00:52:34,000 --> 00:52:39,079
one hundred and twenty five. Who Ever said that the

847
00:52:39,360 --> 00:52:44,559
is sting easy, they never got staring at the back

848
00:52:44,679 --> 00:53:12,800
of the line NASA thing number nine, you're still a

849
00:53:13,280 --> 00:53:14,360
ten one.

850
00:53:14,360 --> 00:53:19,480
Speaker 4: Hundred and twenty five. Who Ever said that being is

851
00:53:19,639 --> 00:53:24,119
to think? Say they ever got there standing at the.

852
00:53:24,320 --> 00:53:26,000
Speaker 1: Back of the line.

853
00:53:27,480 --> 00:53:28,480
Speaker 7: Master the.

854
00:53:29,960 --> 00:53:36,239
Speaker 6: Number NA, You're still allen one hundred twenty five.

855
00:53:37,440 --> 00:53:40,239
Speaker 4: Who Ever said that things to think?

856
00:53:40,880 --> 00:53:44,760
Speaker 10: Say, be ever got is standing at the back of

857
00:53:44,920 --> 00:53:46,079
the line.

858
00:53:49,320 --> 00:54:01,480
Speaker 4: Building one twenty five, holding not to water five. He's

859
00:54:01,519 --> 00:54:07,320
still old, he's still holding, and he's still world, and

860
00:54:07,440 --> 00:54:13,559
he's still hold. But no one never said it was

861
00:54:13,679 --> 00:54:14,920
gonna be in fu.

862
00:54:22,239 --> 00:54:24,480
Speaker 12: Nana's Kitchen and Pizzeria.

863
00:54:24,840 --> 00:54:30,880
Speaker 9: From Nana's hands to your plate tradition. Love and taste

864
00:54:30,960 --> 00:54:39,199
that's great, so fermented dough flavors, so true each bite

865
00:54:39,239 --> 00:54:42,760
the story made just for you.

866
00:54:43,840 --> 00:54:47,559
Speaker 12: Six o three two three two nine three six six

867
00:54:48,400 --> 00:54:52,719
Nana's Kitchen and Pizzaie fifteen yart with dry Auburn, New

868
00:54:52,760 --> 00:54:57,079
Hampshires Kitchen and Hissardy.

869
00:55:01,320 --> 00:55:04,679
Speaker 17: Luigi's Pizza Bar and Grill a breed one.

870
00:55:05,400 --> 00:55:08,960
Speaker 4: Let's raise a slyes on hide with top and all

871
00:55:09,079 --> 00:55:12,400
the round. It's a pizza barrio mine.

872
00:55:12,960 --> 00:55:17,280
Speaker 17: Luigi's Pizza Bar and Grill, seven to twelve Valley Street, Manchester.

873
00:55:17,559 --> 00:55:20,440
Come on in or call six two two one zero

874
00:55:20,679 --> 00:55:25,719
two one Luigi keeping the tradition alive since nineteen seventy five.

875
00:55:27,559 --> 00:55:29,400
Speaker 11: Pizza for every one.

876
00:55:30,079 --> 00:55:34,159
Speaker 5: Come join a beast to night with each lye sense

877
00:55:34,239 --> 00:55:36,880
of it, everything feels so right.

878
00:55:40,039 --> 00:55:42,239
Speaker 18: In times of crisis, you need a law firm that

879
00:55:42,360 --> 00:55:45,400
stands by your side. With over forty years of experience,

880
00:55:45,519 --> 00:55:48,679
Craig and Gazzulas is dedicated to fighting for your rights.

881
00:55:49,079 --> 00:55:52,079
As former state prosecutors, our attorneys have the knowledge and

882
00:55:52,159 --> 00:55:55,840
trial experience to provide an aggressive defense against any charge,

883
00:55:56,239 --> 00:56:00,480
from duise to homicides. If you've been injured, are passionate.

884
00:56:00,559 --> 00:56:03,119
Team will assess your case and fight for the compensation

885
00:56:03,239 --> 00:56:06,679
you deserve. Serving all of New Hampshire. Craigan Getzulis is

886
00:56:06,760 --> 00:56:09,800
here when you need us most. Visit craigatzulis dot com

887
00:56:10,000 --> 00:56:14,400
for a free consultation. Craigan getzulus, your advocates, your allies.

888
00:56:14,760 --> 00:56:19,079
Speaker 19: I'll bring your kitchen to life with Queen Citycabinetry, located

889
00:56:19,199 --> 00:56:22,639
at eighty seven Elm Street in the historic Sunbeam Wall

890
00:56:22,800 --> 00:56:26,519
in Manchester, open Monday through Friday nine am to five

891
00:56:26,639 --> 00:56:30,840
thirty pm, in Saturdays ten am to two pm. They

892
00:56:30,920 --> 00:56:34,119
can be reached at six oh three two two two

893
00:56:34,480 --> 00:56:37,719
to zero zero seven or on the web at Queen

894
00:56:37,840 --> 00:56:44,199
citycabinatree NH dot com. Come see the possibility. Is Queen Citycabinetry,

895
00:56:44,480 --> 00:56:47,280
another proud sponsor of WMNH.

896
00:56:47,639 --> 00:56:50,400
Speaker 20: Hey everyone, there's Rob Azevido, host of Granite State of Mind,

897
00:56:50,440 --> 00:56:52,239
and I want to tell you about Pembroke City Limits

898
00:56:52,239 --> 00:56:55,559
and the historic Suncook Village. PCL's an award winning bar,

899
00:56:55,760 --> 00:56:58,760
restaurant and music venue where there's live music five days

900
00:56:58,760 --> 00:57:02,199
a week and twice on Saturday. Everything from blues, country, folk,

901
00:57:02,280 --> 00:57:04,599
funk and a whole lot of jazz. We have twelve

902
00:57:04,639 --> 00:57:07,159
craft beers on tap dedicated to the local brewers in

903
00:57:07,199 --> 00:57:09,679
the area and some of the friendliest bartenders around.

904
00:57:10,199 --> 00:57:11,159
Speaker 11: Please come visit.

905
00:57:11,000 --> 00:57:13,400
Speaker 20: Pembrook City Limits at one thirty four Main Street, the

906
00:57:13,599 --> 00:57:17,119
historic sunk Cook Village, only six miles outside of Manchester.

907
00:57:17,559 --> 00:57:21,480
Open Tuesdays to Wednesdays four to ten Thursday's Sunday eleven

908
00:57:21,559 --> 00:57:21,880
to ten.

909
00:57:22,280 --> 00:57:24,679
Speaker 11: Pembrook City Limits, where it's all about the music.

910
00:57:24,920 --> 00:57:27,559
Speaker 17: Disneys Cafe is the place to put a smile on

911
00:57:27,679 --> 00:57:30,079
your face. Judy and the crew will take care of you,

912
00:57:30,320 --> 00:57:34,039
bring your appetite and treat your taste buds fry. Disney's

913
00:57:34,119 --> 00:57:38,199
Cafe is always a winning choice. Breakfast, lunch or supper

914
00:57:38,679 --> 00:57:42,920
Dizney's Cafe at eight sixty Elm Street in downtown Manchester.

915
00:57:43,440 --> 00:57:46,280
Dine in, take out or make a reservation call six

916
00:57:46,440 --> 00:57:50,400
oh three, six oh six two five three two, Eat

917
00:57:50,599 --> 00:57:53,599
and drink and be happy Dizze's Cafe.

918
00:57:53,960 --> 00:57:56,679
Speaker 16: When it comes to keeping WMNH on the air and

919
00:57:56,800 --> 00:58:00,559
your own personal or business computer needs trust Rolling Computers,

920
00:58:00,800 --> 00:58:04,559
located on Elm Street in Manchester, Groland handles computer repair,

921
00:58:04,760 --> 00:58:07,639
virus removal and custom built systems. Are you looking for

922
00:58:07,760 --> 00:58:11,039
budget friendly options, check out our selection of fully inspected

923
00:58:11,199 --> 00:58:15,280
used computers. We offer tailored on site solutions no unnecessary

924
00:58:15,360 --> 00:58:18,920
expenses here. Visit Groland dot com or called Grolling Computers

925
00:58:19,079 --> 00:58:21,719
at six zero three six four five zero.

926
00:58:21,639 --> 00:58:22,679
Speaker 4: One zero one.

927
00:58:22,840 --> 00:58:34,679
Speaker 16: Your Tech, your way, Trust Groland Computers. Seven times out

928
00:58:34,719 --> 00:58:41,920
of ten we listened to our music at night's titled

929
00:58:41,920 --> 00:58:43,360
book business program.

930
00:58:43,239 --> 00:58:47,840
Speaker 17: Late Night to Light with DJ Bidas right here on WMNH, Manchester.

931
00:58:48,440 --> 00:58:53,159
Speaker 1: Because Saturdays and Sunday nights midnight to four am.

932
00:58:54,480 --> 00:58:59,880
Speaker 12: This hour on WMNH is sponsored by CGI Business Solutions,

933
00:59:00,320 --> 00:59:04,320
located at five Dartmouth Drive in Auburn. They serve all

934
00:59:04,400 --> 00:59:08,880
your business needs including employee benefits, planning, corporate design and

935
00:59:09,000 --> 00:59:14,960
business administration, investments and wealth management and customized business insurance solutions.

936
00:59:15,239 --> 00:59:18,079
Their phone number is eight sixty six eight four one

937
00:59:18,480 --> 00:59:22,960
forty six hundred or on the web at CGI Businesssolutions

938
00:59:23,199 --> 00:59:23,719
dot com