1 00:00:00,080 --> 00:00:02,720 Speaker 1: And now joining us alive in studio here if we 2 00:00:02,759 --> 00:00:04,960 have Rebecca Turmael, Hello, welcome. 3 00:00:04,679 --> 00:00:07,320 Speaker 2: It's awesome to be here. Yes, talk music. 4 00:00:07,080 --> 00:00:10,160 Speaker 1: And no for wonderful to have you. Yeah, that's that's 5 00:00:10,160 --> 00:00:14,800 a beautiful song you had mentioned off air, I think 6 00:00:14,839 --> 00:00:16,640 something about Is that the first song you recorded? 7 00:00:16,920 --> 00:00:19,559 Speaker 2: Yes, so that's the first song that I went into 8 00:00:19,600 --> 00:00:23,239 the studio with. I was terrified. My guitar had never 9 00:00:23,239 --> 00:00:26,359 been in a recording studio. Yeah, that was a little 10 00:00:26,399 --> 00:00:28,879 over two years ago. Now I released that in July 11 00:00:29,000 --> 00:00:33,759 of twenty twenty two, so it's it's been a bit 12 00:00:33,799 --> 00:00:35,079 and it's been a journey so far. 13 00:00:35,479 --> 00:00:36,560 Speaker 1: Where did you record that? 14 00:00:36,719 --> 00:00:42,399 Speaker 2: I record that at the Underground in Randolph, Vermont with Vincent. 15 00:00:42,600 --> 00:00:45,479 He's incredible in such a great space over there. 16 00:00:45,640 --> 00:00:47,840 Speaker 1: Now, how did you How did you come to record there? 17 00:00:47,880 --> 00:00:50,200 Because you know, you've got so many options as far 18 00:00:50,240 --> 00:00:53,399 as studios or or even home recording or there's so 19 00:00:53,439 --> 00:00:56,439 many different ways now to record. What led you to 20 00:00:56,479 --> 00:00:57,039 record there? 21 00:00:57,560 --> 00:00:59,759 Speaker 2: I well, first of all, I know absolutely nothing about 22 00:00:59,759 --> 00:01:03,600 recording any of that fun stuff. So a good friend 23 00:01:03,640 --> 00:01:07,879 of mine who I brought the song to, Jim Yeager. 24 00:01:07,920 --> 00:01:10,680 He's been in the music industry for well over forty 25 00:01:10,760 --> 00:01:15,159 years now. He recommended Vinnie because I just needed a 26 00:01:15,159 --> 00:01:18,359 place where I could feel comfortable, because I was so 27 00:01:18,439 --> 00:01:20,920 frightened to get into the studio for the first time. Yeah, 28 00:01:20,959 --> 00:01:23,159 so He's like, get us to the other Ground. It's 29 00:01:23,200 --> 00:01:26,359 a great spot and they have a great acoustic sound. 30 00:01:26,480 --> 00:01:28,799 So I'm like, all right, let's do it. And I 31 00:01:28,879 --> 00:01:31,519 ended up falling in love with the space. And I'm 32 00:01:31,560 --> 00:01:33,120 really glad of that choice that I made to go 33 00:01:33,120 --> 00:01:33,799 to the Underground. 34 00:01:33,920 --> 00:01:36,799 Speaker 1: Yeah, now did you because you sent us a couple 35 00:01:36,840 --> 00:01:38,519 other songs? Who were these all recorded there? 36 00:01:38,799 --> 00:01:42,040 Speaker 2: No? Actually, I actually I've had the privilege of getting 37 00:01:42,040 --> 00:01:45,519 I got to record at Blackbird's studio in Nashville, but 38 00:01:45,599 --> 00:01:49,480 I also have recorded up at Squam Sound with Randy Rus. 39 00:01:50,799 --> 00:01:53,680 I've kind of tried a few different spaces and actually 40 00:01:53,760 --> 00:01:55,400 just this week I was at the studio Portland and 41 00:01:55,439 --> 00:01:57,519 Portland Main Oh no kidding, So I just I like 42 00:01:57,599 --> 00:02:00,799 to try a new space with most each song. But 43 00:02:01,400 --> 00:02:04,480 wish you well. I also recorded at the Underground as well. 44 00:02:05,280 --> 00:02:09,759 Speaker 1: The studio in Portland. Was that because John MacArthur. I 45 00:02:09,840 --> 00:02:12,680 think that's how we met. We met you through John. Yes, 46 00:02:13,199 --> 00:02:16,280 is that the studio where it's him and his son, 47 00:02:16,319 --> 00:02:16,840 I think. 48 00:02:16,800 --> 00:02:20,560 Speaker 2: Yes, yeah, the Sam MacArthur and John and his wife 49 00:02:20,599 --> 00:02:23,719 Weaver are also the co owners of that studio. But 50 00:02:23,800 --> 00:02:27,879 they do a great monthly event for singer songwriters in 51 00:02:27,960 --> 00:02:30,759 duo acts. You can go in and get a video, 52 00:02:31,319 --> 00:02:34,919 live video, and a live recording on one take in 53 00:02:34,919 --> 00:02:37,240 one night. But it's also an in studio audience in 54 00:02:37,280 --> 00:02:41,400 there too, so you get like this, it's awesome. 55 00:02:41,919 --> 00:02:43,639 Speaker 1: Is it intimidating to do that? Oh? 56 00:02:43,719 --> 00:02:47,919 Speaker 2: Yeah, it's a very small space, right right, Yeah, but 57 00:02:48,439 --> 00:02:50,680 it was really cool because you got to just live 58 00:02:50,680 --> 00:02:53,159 in the moment with the music, but capture it as 59 00:02:53,199 --> 00:02:56,520 well and like with that professional sound in that professional video. 60 00:02:56,800 --> 00:02:57,199 Speaker 1: Yeah. 61 00:02:57,240 --> 00:02:59,199 Speaker 2: So you get a little bit of everything, which is nice, 62 00:02:59,360 --> 00:03:02,520 and especially when I'm a working, a full time working musician, 63 00:03:02,879 --> 00:03:04,960 I need a lot of content, video content and stuff 64 00:03:04,960 --> 00:03:07,120 for my ePK. It was great to do. 65 00:03:07,439 --> 00:03:12,080 Speaker 1: Yeah, yeah, no doubt. Now you So I read your bio. 66 00:03:12,159 --> 00:03:15,159 Did you start out doing covers and then started doing originals? 67 00:03:15,319 --> 00:03:18,240 Speaker 2: Yeah, so I've been. Actually I just hit my seven 68 00:03:18,319 --> 00:03:19,840 year anniversary of playing out. 69 00:03:20,000 --> 00:03:21,199 Speaker 1: Oh congratulations. 70 00:03:21,479 --> 00:03:23,680 Speaker 2: I started off as a cover artist, a gigging musician. 71 00:03:24,560 --> 00:03:26,919 My first gig was in my hometown at this Irish 72 00:03:26,960 --> 00:03:29,199 pub I worked at. It was Kathleen's Cottage now it's 73 00:03:29,240 --> 00:03:33,599 Kathleen's Irish Pub, and I just I did that for 74 00:03:33,639 --> 00:03:36,879 a while. I would take songs that I loved, songs 75 00:03:36,879 --> 00:03:38,360 that were meaningful to me, and tried to make them 76 00:03:38,360 --> 00:03:42,680 my own, yeah, make performance with it. And I finally decided, Okay, 77 00:03:42,680 --> 00:03:46,240 I need to try writing my own stuff and seeing 78 00:03:46,280 --> 00:03:50,599 how that feels like. And it's definitely an entirely different experience. 79 00:03:50,919 --> 00:03:54,120 Speaker 1: Yeah. Yeah, it's interesting because for a lot of singer songwriters, 80 00:03:54,159 --> 00:03:56,240 you know, a lot of people we talked to on 81 00:03:56,280 --> 00:03:59,759 the show, they start out with original music and then 82 00:03:59,800 --> 00:04:02,479 they wind up doing covers live because they kind of 83 00:04:02,520 --> 00:04:04,919 have to because it helps, you know, as far as 84 00:04:04,919 --> 00:04:07,000 getting gigs, and that's what a lot of venues want. 85 00:04:07,080 --> 00:04:08,960 So it's interesting for you it kind of went the 86 00:04:08,960 --> 00:04:11,159 other way. I mean, was it always your plan to 87 00:04:11,680 --> 00:04:13,560 ultimately do your own material or not? 88 00:04:13,680 --> 00:04:17,199 Speaker 2: Really? It honestly wasn't even my plan to do music 89 00:04:17,399 --> 00:04:20,600 to begin with. I usually started off in the theater. Okay, 90 00:04:20,639 --> 00:04:23,279 So when I was a little girl at my first show, 91 00:04:23,279 --> 00:04:24,759 I think I was like nine years old, but I 92 00:04:24,879 --> 00:04:29,079 fell in love with performing, being on stage and in college. 93 00:04:29,480 --> 00:04:31,959 I dabbled with my guitar in high school, but I 94 00:04:32,000 --> 00:04:34,160 didn't really do much with it. I picked it back 95 00:04:34,199 --> 00:04:36,639 up and started playing songs and went to some open 96 00:04:36,680 --> 00:04:40,199 mics with some friends, some other theater kids, and because 97 00:04:40,199 --> 00:04:42,279 it's just fun to do that stuff. Yeah, then I 98 00:04:42,319 --> 00:04:45,040 was getting gig opportunities. People asked me to play at 99 00:04:45,079 --> 00:04:49,160 their bars and restaurants, and it's just flourished into this 100 00:04:49,680 --> 00:04:53,920 whole journey, not only musical discovery but self discovery as well. 101 00:04:54,240 --> 00:04:58,240 Speaker 1: And to be able to do that full time. It 102 00:04:58,319 --> 00:05:00,519 seems like this is because I the other thing, I 103 00:05:00,519 --> 00:05:03,399 was surprised reading your bio. It seems like, in the 104 00:05:03,399 --> 00:05:06,319 grand scheme of things, you haven't been at this that long, 105 00:05:06,639 --> 00:05:09,720 but it seems like you've been able to really, you know, 106 00:05:09,800 --> 00:05:11,680 have a lot of success very quickly with it, which 107 00:05:11,800 --> 00:05:12,160 is great. 108 00:05:12,279 --> 00:05:15,920 Speaker 2: Yeah. I feel extremely fortunate that the opportunities that have 109 00:05:16,040 --> 00:05:20,879 come my way. It's it's just astounding to think of 110 00:05:20,879 --> 00:05:23,079 how far I have come because I've only been doing 111 00:05:23,079 --> 00:05:26,319 it full time for about two years now. Yeah, but 112 00:05:26,399 --> 00:05:29,360 I have a really great support system. I've had some 113 00:05:29,480 --> 00:05:33,720 wonderful mentors in my life. That really guided me and 114 00:05:33,759 --> 00:05:35,759 helped me so far, and I think helps with that 115 00:05:35,800 --> 00:05:39,160 trajectory to get yeah further along a little bit faster. Yeah, 116 00:05:39,199 --> 00:05:42,519 of course I'm always nosing the grindstone, just yeah. 117 00:05:42,079 --> 00:05:45,680 Speaker 1: Yeah, yeah, yeah. Like like in terms of mentors, like 118 00:05:45,680 --> 00:05:48,680 like I assume John MacArthur is one, right, oh yeah. 119 00:05:48,319 --> 00:05:51,800 Speaker 2: And Brad Myrick as well. I actually am a self 120 00:05:51,839 --> 00:05:55,439 taught guitarist and I just recently decided okay, it's time 121 00:05:55,480 --> 00:05:57,839 and I really understand what I'm doing, and I've been 122 00:05:57,879 --> 00:05:59,439 diving into some guitar lessons as well. 123 00:05:59,560 --> 00:06:00,399 Speaker 1: Yeah. 124 00:06:00,480 --> 00:06:03,600 Speaker 2: But my my first mentor was also previously my manager, 125 00:06:03,680 --> 00:06:06,639 was Jimmy Eager, and he was a blessing to have 126 00:06:06,680 --> 00:06:10,120 at the beginning because I've always like been so I'm 127 00:06:10,160 --> 00:06:12,120 so nervous about everything all the time. I don't need 128 00:06:12,120 --> 00:06:13,839 to be, but i am. It's just a trade of 129 00:06:13,879 --> 00:06:15,959 mind I can't seem to get rid of. But he 130 00:06:16,000 --> 00:06:18,199 did a really good job keeping me level headed and 131 00:06:18,319 --> 00:06:21,040 just and being honest with me. So it's been nice 132 00:06:21,040 --> 00:06:24,360 to have just people who are genuinely there and who care, 133 00:06:24,839 --> 00:06:29,120 and it's just it's I'm so grateful for everyone I've had. 134 00:06:29,279 --> 00:06:31,560 Speaker 1: Yeah, I mean, how do you find how do you 135 00:06:31,600 --> 00:06:33,959 find those people? Because I hear a lot of especially 136 00:06:34,000 --> 00:06:37,839 young musicians, say it's hard to find mentors or people 137 00:06:37,879 --> 00:06:41,160 they can really trust, Like have you just been fortunate 138 00:06:41,439 --> 00:06:43,639 or do you have some kind of you know, are 139 00:06:43,959 --> 00:06:47,000 you intuitive in a way where you know, Okay, this 140 00:06:47,040 --> 00:06:48,879 person I think is going to help me in their 141 00:06:48,920 --> 00:06:51,199 genuine and they you know, because there's a lot of 142 00:06:51,639 --> 00:06:53,160 I don't know sharks. I don't know how else to 143 00:06:53,160 --> 00:06:53,399 put it. 144 00:06:53,439 --> 00:06:55,360 Speaker 2: You know what I mean, I know exactly what you mean. 145 00:06:55,600 --> 00:06:58,399 I think it's just been a mix of both just 146 00:06:58,480 --> 00:07:01,399 being fortunate and also I just I really love being 147 00:07:01,399 --> 00:07:04,040 a part of our music community, and I play a lot, 148 00:07:04,079 --> 00:07:06,439 but when I'm not playing, I really try to get 149 00:07:06,439 --> 00:07:10,360 out and see what else everyone else is doing, especially 150 00:07:10,439 --> 00:07:12,879 the full timers, because it's hard. So I love to 151 00:07:13,160 --> 00:07:17,240 show support. And with that, that's everyone that I've met 152 00:07:17,240 --> 00:07:19,079 who's going to my life that has really been through, 153 00:07:19,079 --> 00:07:23,399 like mutual music friends who have known them previously. So 154 00:07:23,519 --> 00:07:27,319 that's how I ran into Jim and I was performing 155 00:07:27,519 --> 00:07:30,720 with a friend of mine and he's just the friendliest 156 00:07:30,720 --> 00:07:33,360 person there is. So he goes around and talks to everybody, 157 00:07:33,439 --> 00:07:35,959 and I'm so glad that he introduced himself to me, 158 00:07:36,439 --> 00:07:39,519 and I wanted to with him. I'm missing something. I 159 00:07:39,560 --> 00:07:42,439 wanted an unbiased opinion, and I didn't really know Jim 160 00:07:42,560 --> 00:07:45,519 that well at that point. So I sent him that 161 00:07:45,639 --> 00:07:47,920 song and he's like, don't release this. Can I meet 162 00:07:48,000 --> 00:07:50,439 with you? And I'm like, what do you mean? And 163 00:07:50,720 --> 00:07:52,439 he was just telling me how he wanted to help 164 00:07:52,480 --> 00:07:56,040 and he didn't want like he wished he had someone 165 00:07:56,079 --> 00:07:59,240 when he started out to not make the same mistakes 166 00:07:59,240 --> 00:08:01,399 that he did, and being the understanding of the industry, 167 00:08:01,480 --> 00:08:04,199 which is has changed so much, it's constantly changing. Yeah, 168 00:08:04,240 --> 00:08:06,959 but someone just has the understanding. So I've gotten lucky 169 00:08:07,040 --> 00:08:09,879 with meeting those people. Yeah, it's just so funny. You 170 00:08:09,920 --> 00:08:12,439 meet one person and someone else comes into the picture. 171 00:08:13,000 --> 00:08:15,240 You can learn something from everyone, Oh really can? 172 00:08:15,439 --> 00:08:19,759 Speaker 1: Yeah? Absolutely? Yeah. I think I think so much of 173 00:08:20,519 --> 00:08:23,920 being successful is is, you know, putting out the right 174 00:08:24,079 --> 00:08:26,959 energy and attracting people into your you know, into your 175 00:08:27,000 --> 00:08:29,639 career and into your life, just generally who are also 176 00:08:29,759 --> 00:08:32,960 positive and uh, you know, and and you know, like 177 00:08:33,000 --> 00:08:34,600 you said, you know, you meet one person, then that 178 00:08:34,720 --> 00:08:37,120 leads to meeting another person and another person and it 179 00:08:37,159 --> 00:08:40,679 sounds like you've you've been able to meet uh people 180 00:08:40,759 --> 00:08:43,759 who are you know, like I said, genuine and and 181 00:08:43,879 --> 00:08:47,360 kind of build that support system. And like John MacArthur, 182 00:08:47,440 --> 00:08:49,759 we had him on the show. It was it was 183 00:08:49,759 --> 00:08:52,279 a few months ago now and uh yeah he was 184 00:08:52,320 --> 00:08:55,120 great and just you know, just so positive. And you know, 185 00:08:55,200 --> 00:08:56,960 because there is a lot of negativity too, in the 186 00:08:57,000 --> 00:09:00,320 sense that especially for for people who've been around while 187 00:09:00,360 --> 00:09:04,279 like like I have, the industry has changed a lot, 188 00:09:04,360 --> 00:09:06,960 you know, as technology has changed, the industry has changed, 189 00:09:07,000 --> 00:09:09,320 and you know, and there is a lot of there's 190 00:09:09,320 --> 00:09:13,159 a lot of negativity. There's a lot of frustration, and 191 00:09:13,440 --> 00:09:16,120 I think it's easy to get jaded, which a lot 192 00:09:16,120 --> 00:09:18,559 of people, you know, a lot a lot of people do. Meanwhile, 193 00:09:18,600 --> 00:09:21,480 they're not sharks, they're just jaded, you know what I mean. 194 00:09:22,000 --> 00:09:24,519 So so to be able to surround yourself with positive 195 00:09:24,519 --> 00:09:27,320 people who want what's best for you and who want 196 00:09:27,559 --> 00:09:29,360 want what's best for the scene and really kind of 197 00:09:29,360 --> 00:09:31,440 see it as a community, I think is really important. 198 00:09:31,519 --> 00:09:34,879 Speaker 2: Yeah, I agree with you there there's if we're not 199 00:09:35,600 --> 00:09:38,440 connected with each other. To me, it's nothing is ever 200 00:09:38,559 --> 00:09:43,080 a competition either, and everyone has something to offer as 201 00:09:43,120 --> 00:09:46,639 a musician and I really respect and admire anybody who 202 00:09:46,679 --> 00:09:50,519 just does this in any way, shape or form. So 203 00:09:50,799 --> 00:09:52,759 I always I have I feel like I do have 204 00:09:52,799 --> 00:09:57,279 a good sense of just like understanding people and where 205 00:09:57,320 --> 00:09:59,799 they're coming from. Like you were saying, it is really 206 00:09:59,840 --> 00:10:04,279 hard to not get take things personally, especially if someone 207 00:10:04,279 --> 00:10:07,080 doesn't like your music or your sound. Sure sure so, 208 00:10:07,240 --> 00:10:10,679 like you said, surrounding yourself with like a positive group 209 00:10:10,679 --> 00:10:13,039 of people who are going after the same thing, or 210 00:10:13,120 --> 00:10:15,480 I try to choose surround myself with people who are 211 00:10:15,519 --> 00:10:17,200 in a place that I want to be or a 212 00:10:17,279 --> 00:10:20,600 level that I'm not at yet. I just love I 213 00:10:20,639 --> 00:10:23,399 love I love learning. I just want to learn from everyone. 214 00:10:23,879 --> 00:10:26,120 Speaker 1: You just said something very important because what a lot 215 00:10:26,200 --> 00:10:30,000 of people don't understand. And this this supplies not just 216 00:10:30,039 --> 00:10:34,120 in music, but in so many things. People get people 217 00:10:34,120 --> 00:10:36,919 get frustrated, People get envious of people who are doing 218 00:10:37,000 --> 00:10:41,159 better than they are, and and so I think people 219 00:10:41,399 --> 00:10:44,240 will often miss an opportunity to learn from someone because 220 00:10:44,240 --> 00:10:47,360 they're frustrated that they're not where that person is where 221 00:10:47,399 --> 00:10:51,399 they think they should be. And it's important to you know, 222 00:10:51,919 --> 00:10:53,600 my the way I tend to think of it, as 223 00:10:53,720 --> 00:10:56,559 you know, I mean, there are people who are you know, 224 00:10:56,639 --> 00:10:58,440 I do a few different things, and there are people 225 00:10:58,440 --> 00:11:01,240 who are far more successful these things than I am. 226 00:11:01,559 --> 00:11:03,919 But I look at those people and I try to 227 00:11:03,919 --> 00:11:06,840 take inspiration, try to learn from them. But also if 228 00:11:06,840 --> 00:11:09,799 they can do it, then that's proof of concept, you know, 229 00:11:09,840 --> 00:11:12,399 because none of it, it's nothing is a zero sum game. 230 00:11:13,039 --> 00:11:15,120 Life is not a zero sum game. The music industry 231 00:11:15,159 --> 00:11:16,679 is not a zero some game. Just because somebody is 232 00:11:16,679 --> 00:11:21,120 doing better doesn't mean you're automatically doing worse. Really, it's 233 00:11:21,440 --> 00:11:23,519 an opportunity for you to learn from them and to 234 00:11:23,600 --> 00:11:25,720 kind of maybe try to model what they do or 235 00:11:25,720 --> 00:11:28,919 follow their example whatever it is, you know, or just 236 00:11:29,360 --> 00:11:31,279 you see them succeed and it's like, okay, well if 237 00:11:31,279 --> 00:11:33,080 they can do it, I can do it, you know. 238 00:11:33,120 --> 00:11:35,000 And to really and to really kind of remember that 239 00:11:35,080 --> 00:11:35,919 and keep that in mind. 240 00:11:36,039 --> 00:11:40,120 Speaker 2: Oh definitely. Yeah, And everyone has their own path in 241 00:11:40,159 --> 00:11:44,120 this industry in particular, it's different for everyone. Yeah, there's 242 00:11:44,639 --> 00:11:49,159 And what I'm learning too is success for everyone is different. 243 00:11:49,159 --> 00:11:52,919 We define success differently. So I'm really trying to figure 244 00:11:53,080 --> 00:11:56,600 or figure it right now what successful means to me 245 00:11:57,399 --> 00:12:00,200 and and kind of let that guide me as well. 246 00:12:00,039 --> 00:12:02,759 All because what's working for someone else may actually may 247 00:12:02,840 --> 00:12:06,120 not work for me. So I think it's just in 248 00:12:06,200 --> 00:12:08,919 terms two of thinking what a success to you? And 249 00:12:09,039 --> 00:12:11,240 right now, if I could pay my bills with my music, 250 00:12:11,279 --> 00:12:14,759 that is success. I'm so fortunate for that. I count 251 00:12:14,759 --> 00:12:16,639 my blessing. Because you also don't know how long it's 252 00:12:16,639 --> 00:12:17,200 gonna last. 253 00:12:17,240 --> 00:12:19,360 Speaker 1: Sure, sure, yeah. 254 00:12:18,960 --> 00:12:21,480 Speaker 2: It's all unknown. Every day is unknown, which makes it 255 00:12:21,519 --> 00:12:23,120 exciting but also terrifying. 256 00:12:24,000 --> 00:12:27,360 Speaker 1: What has surprised you? Are there things that have surprised 257 00:12:27,399 --> 00:12:31,960 you just in terms of are there things about about 258 00:12:32,000 --> 00:12:34,279 your career where you kind of go, Okay, I didn't 259 00:12:34,320 --> 00:12:36,759 think this would be like this. I didn't think, Uh, 260 00:12:38,200 --> 00:12:40,759 I don't know. I didn't. I didn't think that, you know, 261 00:12:41,200 --> 00:12:43,120 whatever it is, it could even be something negative, like 262 00:12:43,159 --> 00:12:45,279 I didn't think, you know, Spotify would pay so poorly 263 00:12:45,360 --> 00:12:47,559 or whatever it is. Like, are there things even counter 264 00:12:47,600 --> 00:12:48,879 that have really been a surprise to you? 265 00:12:49,399 --> 00:12:53,639 Speaker 2: Yeah, I mean there's always surprises around every corner. Yeah, 266 00:12:53,799 --> 00:12:58,399 but with this, I think I've just been really surprising myself. 267 00:12:58,840 --> 00:13:03,120 I haven't really I didn't really realize what i've I 268 00:13:03,240 --> 00:13:06,759 was capable of because I've I'm always such like a 269 00:13:06,840 --> 00:13:10,399 nervous and shy person I'm I look at myself as 270 00:13:10,399 --> 00:13:13,360 like an introverted extrovert, like I actually have a really 271 00:13:13,399 --> 00:13:16,600 hard time with performing, which has always surprised me because 272 00:13:16,639 --> 00:13:20,360 I love the theater and being on stage. But that 273 00:13:20,519 --> 00:13:22,720 was that was down that I think about. It probably 274 00:13:22,720 --> 00:13:25,200 the first most kind of like shock factor for me. 275 00:13:25,600 --> 00:13:27,039 When I got on stage for the first time, I 276 00:13:27,080 --> 00:13:29,720 was my guitar. I'm like, oh, I'm not a character. 277 00:13:30,279 --> 00:13:35,360 I'm not playing somebody interesting. This is me, and you 278 00:13:35,399 --> 00:13:38,679 can't I mean, you can't act unless you want to 279 00:13:38,679 --> 00:13:41,000 try to be a different persona. But it's it's a 280 00:13:41,000 --> 00:13:44,120 goal of mine to always be as authentic and just 281 00:13:44,120 --> 00:13:48,600 be myself and hope that's enough. But that was that 282 00:13:48,639 --> 00:13:50,399 was really shocking to me, to just be like, whoa 283 00:13:50,440 --> 00:13:53,559 this is. It's a completely different game than I thought 284 00:13:53,600 --> 00:13:59,039 it was performance wise. But there's there's just been a 285 00:13:59,080 --> 00:14:01,200 lot of different experience instance that I have that have 286 00:14:01,279 --> 00:14:05,759 been surprising. Like Jim challenged me, He's like got me 287 00:14:05,799 --> 00:14:11,799 down to Blackbirds Studio in Nashville, and thinking like I 288 00:14:11,879 --> 00:14:13,879 had so many thoughts of what that experience was going 289 00:14:13,919 --> 00:14:17,279 to be like and how those people what they were 290 00:14:17,320 --> 00:14:20,440 going to be like. All my cesson musicians and my producer, 291 00:14:21,080 --> 00:14:23,120 and I did get to meet John McBride too, which 292 00:14:23,159 --> 00:14:26,200 was really cool. But I was just shocked at how 293 00:14:26,960 --> 00:14:29,080 down to earth and humble all those guys were and 294 00:14:29,399 --> 00:14:32,240 inviting and warm and welcoming. I was so scared for 295 00:14:32,279 --> 00:14:36,399 absolutely no reason. I was treated with respect, which is 296 00:14:36,440 --> 00:14:39,840 refreshing in an industry where people always you never know. 297 00:14:40,799 --> 00:14:45,360 We were talking about earlier, but I think it's there's 298 00:14:45,399 --> 00:14:50,279 just been so many surprises, but beautiful surprises too, and 299 00:14:50,440 --> 00:14:53,320 just again it goes back to discovering myself. I don't 300 00:14:53,360 --> 00:14:56,759 really I'm still finding myself. I just turned twenty seven, 301 00:14:56,879 --> 00:15:01,840 so I still feel like I'm still kid, right, It's 302 00:15:01,919 --> 00:15:03,639 better starting to figure it out. 303 00:15:05,919 --> 00:15:09,759 Speaker 1: Yeah, the the Nashville perspective is interesting. We've we've had 304 00:15:09,799 --> 00:15:11,759 a lot of guests on the show who you know, 305 00:15:11,799 --> 00:15:16,840 they talk about going to Nashville and how intimidating it is, 306 00:15:16,919 --> 00:15:20,120 you know, because it's Nashville. But you know, they they 307 00:15:20,159 --> 00:15:22,720 find people who or they have you know, usually if 308 00:15:22,720 --> 00:15:25,159 someone has some sort of a connection already in Nashville, 309 00:15:25,320 --> 00:15:26,960 you know it's it's hopefully it's going to be a 310 00:15:26,960 --> 00:15:29,360 positive experience, and it usually turns out to be but 311 00:15:29,399 --> 00:15:32,000 it's you know, that's that's pretty intimidating. You know, it 312 00:15:32,000 --> 00:15:35,840 sounds really scary to me. Is like those songwriting circles, 313 00:15:36,440 --> 00:15:38,200 and I'm sure those happen. I know they happened in 314 00:15:38,200 --> 00:15:40,600 New York City too, But but Nash, I mean, that 315 00:15:40,720 --> 00:15:43,039 sounds like really intense pressure. I don't know if you 316 00:15:43,039 --> 00:15:45,039 had an opportunity to do that when you were there. 317 00:15:45,360 --> 00:15:47,159 Speaker 2: No, I did not perform when I was down there. 318 00:15:47,200 --> 00:15:49,679 I was just in the studio, and I'm glad I 319 00:15:49,679 --> 00:15:52,159 didn't because I definitely am not ready for them. Yeah, 320 00:15:52,360 --> 00:15:54,799 it's like you said, it's intimidating. Yeah, those are some 321 00:15:54,879 --> 00:15:56,120 of the best people in the game. 322 00:15:56,320 --> 00:15:56,559 Speaker 1: Yep. 323 00:15:56,720 --> 00:15:59,600 Speaker 2: Yeah, but then again, I come up here in New 324 00:15:59,600 --> 00:16:03,200 Hampshire and we also have the talent is in my 325 00:16:03,320 --> 00:16:08,120 opinion at at some of the same level. Yeah, it's 326 00:16:08,200 --> 00:16:10,840 not directed to one location, but it was cool to 327 00:16:10,840 --> 00:16:11,679 go experience it. 328 00:16:12,039 --> 00:16:14,720 Speaker 1: Yeah yeah, yeah, No, I agree with you though. It's like, 329 00:16:14,840 --> 00:16:16,720 you know, any anywhere. I mean, we have an incredible 330 00:16:16,799 --> 00:16:20,399 music scene here, but I would also say that's probably 331 00:16:20,480 --> 00:16:23,279 the case anywhere, Like any anywhere in the world, there's people, 332 00:16:23,799 --> 00:16:25,360 you know, that's the thing. We're fortunate to live in 333 00:16:25,360 --> 00:16:27,639 an era where, because of the Internet, you know, you 334 00:16:27,679 --> 00:16:30,200 can find music from anywhere in the world and find 335 00:16:30,240 --> 00:16:33,480 something you like. You know, there's we live in an 336 00:16:33,480 --> 00:16:35,440 amazing time in that sense, because, like Jenny and I 337 00:16:35,440 --> 00:16:37,159 are old enough to remember when you know, you go 338 00:16:37,240 --> 00:16:39,159 to the you go to the record store and you 339 00:16:39,200 --> 00:16:41,279 flip through and you find stuff, and you know, now 340 00:16:41,320 --> 00:16:43,559 you can just go online find anything you want. You know, 341 00:16:43,799 --> 00:16:45,720 I mean literally, you know any genre and you know 342 00:16:45,759 --> 00:16:49,000 you want to hear some Norwegian speed metal, well you can. 343 00:16:49,120 --> 00:16:51,039 You can go online and google that and find some 344 00:16:51,360 --> 00:16:54,080 and you might find something you like. You know. It's 345 00:16:54,240 --> 00:16:57,720 it's it's really a remarkable time that way. I feel 346 00:16:57,720 --> 00:17:03,039 like too. In music, people are just generally musicians creative 347 00:17:03,039 --> 00:17:08,640 types are just generally more supportive. I often draw a 348 00:17:08,720 --> 00:17:11,640 contrast with stand up comedy. Now, I have no experience 349 00:17:11,640 --> 00:17:14,440 in stand up comedy. I'm not a comic, but some 350 00:17:14,480 --> 00:17:16,920 of the podcasts that I've fallen into listening to over 351 00:17:16,960 --> 00:17:19,480 the years are hosted by comics, and my impression of 352 00:17:19,519 --> 00:17:23,039 stand up comedy is that it's very cutthroat and everyone 353 00:17:23,119 --> 00:17:26,640 kind of secretly hates each other, and sometimes it spills 354 00:17:26,640 --> 00:17:29,519 out into the open and it's but but with music, 355 00:17:29,720 --> 00:17:33,160 I feel like all genres too, I feel like like 356 00:17:33,200 --> 00:17:36,000 people are just generally more supportive and want to see 357 00:17:36,000 --> 00:17:38,960 other people succeed and and want to want to help 358 00:17:39,000 --> 00:17:41,359 each other, and there's much more of a sense of community. 359 00:17:41,640 --> 00:17:46,039 Speaker 2: Oh definitely. Yeah, And that was honestly a big reason 360 00:17:46,119 --> 00:17:50,160 too why I made that transition from theater to the 361 00:17:50,400 --> 00:17:52,720 to music, because I felt more of a warm and 362 00:17:52,759 --> 00:17:56,799 welcoming community. Yeah, it's it's hard. With professional theater, it's 363 00:17:56,839 --> 00:18:01,000 it's very competitive and like every everything matter is like 364 00:18:01,039 --> 00:18:03,079 inside and out, like and you got to be a 365 00:18:03,119 --> 00:18:08,400 triple threat. And I've never just been into competition. 366 00:18:08,880 --> 00:18:09,079 Speaker 1: Yeah. 367 00:18:09,279 --> 00:18:13,559 Speaker 2: Just so when I was started out and playing out 368 00:18:13,599 --> 00:18:16,240 live and the the amount of support that I got 369 00:18:16,319 --> 00:18:19,960 despite not being that good when I first started, I 370 00:18:20,000 --> 00:18:24,079 look back at somebody was like, oh my gosh, but 371 00:18:24,119 --> 00:18:25,119 we all get to start somewhere. 372 00:18:25,160 --> 00:18:25,799 Speaker 1: Yeah, exactly. 373 00:18:26,519 --> 00:18:30,480 Speaker 2: So. Yeah, it's just that when people are are warm 374 00:18:30,519 --> 00:18:33,640 and welcoming it it helps everybody in the long run. 375 00:18:33,960 --> 00:18:36,920 We all need to support each other and be part 376 00:18:36,960 --> 00:18:39,640 of it together because it can be isolating. We're all 377 00:18:39,680 --> 00:18:42,240 on the road by ourselves. So when you can get 378 00:18:42,279 --> 00:18:44,680 together or watch someone else it's so important to make 379 00:18:44,680 --> 00:18:45,720 those connections. 380 00:18:46,160 --> 00:18:47,799 Speaker 1: By the way you use the term triple threat, I 381 00:18:47,839 --> 00:18:49,839 think I've heard that before apply to theater. Is that? 382 00:18:49,960 --> 00:18:51,319 Let me let me see if I if I have 383 00:18:51,359 --> 00:18:53,400 it right? Is it? You got to be able to sing, 384 00:18:55,279 --> 00:18:56,359 dance and act? 385 00:18:56,799 --> 00:18:59,960 Speaker 2: You got it? I could not do the dance part. 386 00:19:00,640 --> 00:19:03,279 Speaker 1: Really, did you do theater for a long time? 387 00:19:03,400 --> 00:19:06,200 Speaker 2: I did? Yeah? I actually I was in the theater 388 00:19:06,279 --> 00:19:10,200 program up in Plmouth State University and I did some 389 00:19:10,319 --> 00:19:14,000 shows at like in the Interlake Summer Theater. There was 390 00:19:14,000 --> 00:19:16,279 a professional theater out of like the Tilt and prep school, 391 00:19:16,279 --> 00:19:20,519 so I was in both like community and professional stage shows. Yeah, 392 00:19:20,559 --> 00:19:23,440 which was really cool. And again like those difference in 393 00:19:23,480 --> 00:19:27,839 communities in the support system. Community theater is in my opinion, 394 00:19:27,960 --> 00:19:31,519 so important for to have in every every city, every 395 00:19:31,559 --> 00:19:36,319 town that it was just so important to my development 396 00:19:36,359 --> 00:19:39,599 growing up and just having the arts. 397 00:19:39,920 --> 00:19:42,839 Speaker 1: Yeah, I need them absolutely. So without that experience, you 398 00:19:42,920 --> 00:19:45,200 might not be doing what you're doing now, I would assume. 399 00:19:45,160 --> 00:19:48,440 Speaker 2: Yeah, I probably wouldn't. I don't think i'd have the 400 00:19:48,480 --> 00:19:51,039 ability to. It's hard to step on stage. 401 00:19:51,359 --> 00:19:55,119 Speaker 1: Sure, sure does that work for it? So I don't 402 00:19:55,599 --> 00:19:57,480 do it anymore. I used to play in bands, and 403 00:19:57,559 --> 00:20:01,240 for me it was always because I'm in introvert but 404 00:20:02,079 --> 00:20:05,160 which is surprises some people when they hear me say 405 00:20:05,160 --> 00:20:06,920 that because I do this, But it's like, yeah, but 406 00:20:06,920 --> 00:20:10,680 if you really understand, because extroverts don't understand what being 407 00:20:10,680 --> 00:20:14,279 an introvert really is in some ways. But but for me, 408 00:20:14,319 --> 00:20:16,680 it was always with playing out. It was like I 409 00:20:16,680 --> 00:20:19,119 would be very anxious right up to the moment of 410 00:20:19,160 --> 00:20:23,000 getting on stage. Once I was on stage, I just 411 00:20:23,480 --> 00:20:29,039 all that fell away. Although I never did what you did, 412 00:20:29,079 --> 00:20:32,160 so I always played in bands. So when you're a 413 00:20:32,240 --> 00:20:34,039 dude and a band with a bunch of dudes, it's 414 00:20:34,039 --> 00:20:36,519 a little different, you know what. It's safer, you know 415 00:20:36,559 --> 00:20:38,039 what I mean. I was the bass Like, if I'm 416 00:20:38,079 --> 00:20:41,359 a bass player in a rock band, there's you know, 417 00:20:41,440 --> 00:20:43,519 and other bass players might not like when I say this, 418 00:20:43,599 --> 00:20:46,720 but there's not a lot of pressure really because the 419 00:20:46,759 --> 00:20:49,039 attention is not on me when I'm on stage, but 420 00:20:49,240 --> 00:20:51,319 doing what you do, the attention is all on you. 421 00:20:51,720 --> 00:20:55,680 Speaker 2: Yeah. It's scary, especially being by yourself. Yeah, And I've 422 00:20:56,039 --> 00:20:58,359 really had to work on being confident with my guitar, 423 00:20:58,599 --> 00:21:01,759 being self taught, yeah, and trying to figure that out too, 424 00:21:03,119 --> 00:21:06,559 But it's I think, no matter what, it's just a 425 00:21:06,599 --> 00:21:08,799 step foot on stage, on any type of stage, no 426 00:21:08,839 --> 00:21:12,440 matter if it's twenty people, one hundred and fifty people. 427 00:21:12,920 --> 00:21:15,160 To me, it's always scary, like you're saying, I still 428 00:21:15,240 --> 00:21:19,839 get that, Like I despite seven years up until like 429 00:21:19,880 --> 00:21:21,359 I'm on stage, it takes me a little bit to 430 00:21:21,400 --> 00:21:23,559 settle in, but then once I do and get comfortable, 431 00:21:24,000 --> 00:21:24,960 it kind of fades away. 432 00:21:25,119 --> 00:21:25,400 Speaker 1: Yeah. 433 00:21:25,519 --> 00:21:29,720 Speaker 2: Yeah, but I'm also a perfectionist. I nitpick everything, so 434 00:21:29,799 --> 00:21:31,240 I try. I got to like find a way to 435 00:21:31,359 --> 00:21:33,640 escape and get out of my head. And so because 436 00:21:33,640 --> 00:21:35,880 the music does that for me, Yeah, I Garrett of this, 437 00:21:36,039 --> 00:21:38,440 I'm just okay, what's the music that I'm playing? What's 438 00:21:38,440 --> 00:21:39,400 the story I'm telling? 439 00:21:39,720 --> 00:21:41,440 Speaker 1: Well, you kind of want to be a little anxious, right, 440 00:21:41,920 --> 00:21:44,359 Like in a way, it's you know, it might not 441 00:21:44,400 --> 00:21:46,319 be the most pleasant thing to feel that nervousness, but 442 00:21:46,359 --> 00:21:48,599 if it went away, wouldn't you kind of miss it? 443 00:21:48,640 --> 00:21:50,920 Because then it's like because then you might start wondering, 444 00:21:51,960 --> 00:21:54,119 I don't know, is this exciting to be still? Or 445 00:21:54,160 --> 00:21:56,039 am I getting complacent? You know? 446 00:21:56,240 --> 00:21:58,799 Speaker 2: You make a good point there, Yeah, the nerves tell 447 00:21:58,880 --> 00:22:02,279 us that we care and it's important to us. Yeah, 448 00:22:02,319 --> 00:22:06,039 And maybe that's why I haven't lost it, because every 449 00:22:06,079 --> 00:22:08,680 day I don't, this just gets more meaningful to me 450 00:22:08,720 --> 00:22:10,720 because I've been doing it for so long now and 451 00:22:10,799 --> 00:22:13,799 chasing something kind of not really still not knowing what 452 00:22:14,200 --> 00:22:16,799 I'm chasing. Yeah, and just all I know is I 453 00:22:16,839 --> 00:22:19,319 want to have a career in music, right, But you 454 00:22:19,359 --> 00:22:22,359 could do so much with that, right, But. 455 00:22:22,640 --> 00:22:27,039 Speaker 1: Yeah, yeah, I because I had moments. I remember, you know, 456 00:22:27,079 --> 00:22:28,559 there were a couple of shows along the way where 457 00:22:28,559 --> 00:22:31,720 I wasn't nervous before. But I look back and I realized, well, 458 00:22:31,720 --> 00:22:34,119 that's because there were shows where maybe there was hardly 459 00:22:34,160 --> 00:22:36,200 anyone there. So it's like, well, I kind of takes 460 00:22:36,200 --> 00:22:37,759 the pressure off when you're playing to an empty room. 461 00:22:37,799 --> 00:22:39,480 It's like there's nobody here, but you know, but then 462 00:22:39,480 --> 00:22:41,319 we'd play a show where there were people, and I'd 463 00:22:41,319 --> 00:22:43,720 get nervous again, and it's like, okay, good, good, it's 464 00:22:43,759 --> 00:22:46,400 still there. But yeah, I'd like I'm I'm very much 465 00:22:46,440 --> 00:22:50,079 an introvert, but for me, it's like I'm much more 466 00:22:50,119 --> 00:22:55,519 comfortable being on stage or any kind of performance element. 467 00:22:56,079 --> 00:22:59,119 That's where I feel the safest, you know, whether it's 468 00:22:59,160 --> 00:23:01,240 being on stage, playing in a band, or being behind 469 00:23:01,279 --> 00:23:05,240 a microphone doing a radio show or public speaking doesn't 470 00:23:05,240 --> 00:23:07,799 phaze me at all. Actually enjoy it. I'm I feel 471 00:23:07,839 --> 00:23:11,759 more comfortable speaking in public than I do just having 472 00:23:11,759 --> 00:23:16,160 a conversation with somebody. And I mean, you know I 473 00:23:16,160 --> 00:23:19,240 can do. I used to be very socially awkward, but 474 00:23:19,359 --> 00:23:23,240 I I dealt with that. But but but ultimately, like 475 00:23:23,279 --> 00:23:25,559 this is where I feel the safest behind this microphone. 476 00:23:25,559 --> 00:23:26,720 You know what I mean? Does that make sense? 477 00:23:26,960 --> 00:23:29,119 Speaker 2: It sure does. I know exactly what you mean and 478 00:23:29,160 --> 00:23:32,240 it and people don't understand it that don't do it? 479 00:23:32,440 --> 00:23:33,240 Speaker 1: Yeah, what do you mean? 480 00:23:33,279 --> 00:23:35,599 Speaker 2: You're scared to get that you're or you sing so 481 00:23:35,640 --> 00:23:38,160 well or you you've been doing this for so long 482 00:23:38,240 --> 00:23:41,599 and I'm like it doesn't matter every time. I'm still 483 00:23:41,880 --> 00:23:46,759 just so terrifying, right right. I actually had the first 484 00:23:46,759 --> 00:23:51,119 opportunity to open for someone thanks to the a Hampshire 485 00:23:51,279 --> 00:23:55,680 Music Collective. Yeah, John MacArthur. I got to open up 486 00:23:55,680 --> 00:23:59,000 for John Gorka the Bank and hands Odd and it 487 00:23:59,079 --> 00:24:01,160 was incredible and I I really didn't think I was. 488 00:24:01,839 --> 00:24:03,440 I was trying to keep myself cong because I knew 489 00:24:03,480 --> 00:24:06,279 I was going to be nervous yeah, and I got 490 00:24:06,359 --> 00:24:08,119 up there. All I had to do was play for 491 00:24:08,160 --> 00:24:10,680 twenty minutes. I play for three hours almost every day. 492 00:24:10,680 --> 00:24:14,359 All of a sudden, Yeah, but I got so incredibly nervous. 493 00:24:14,359 --> 00:24:17,000 I had to run off stage and immediately throw up. 494 00:24:17,279 --> 00:24:19,720 I will how much I was worked up. Thank god, 495 00:24:19,759 --> 00:24:20,599 nobody could tell. 496 00:24:21,079 --> 00:24:23,640 Speaker 1: You mean at the end of the site yeh oh wow. 497 00:24:23,440 --> 00:24:27,000 Speaker 2: And thank god. So I run around the ground. Yeah, 498 00:24:27,079 --> 00:24:30,240 And in my head, I'm like, why it's so scared 499 00:24:30,680 --> 00:24:33,599 Because I have been doing this so long and it 500 00:24:33,640 --> 00:24:35,240 was my own I'm wondering if it was with my 501 00:24:35,279 --> 00:24:38,960 own music. But I'm just finding that maybe it's just 502 00:24:38,960 --> 00:24:40,759 for me. But I don't think it's going to go away. 503 00:24:40,799 --> 00:24:43,279 Those nerves are always going to be there. Yeah, But 504 00:24:43,400 --> 00:24:46,680 I just I care so deeply, and I also just 505 00:24:46,720 --> 00:24:50,039 want to create an experience for anyone that's at one 506 00:24:50,039 --> 00:24:53,160 of my shows, even if it's just to escape or 507 00:24:53,599 --> 00:24:56,720 or to get out whatever you're feeling that heartbreak they 508 00:24:56,759 --> 00:24:58,880 just went through. Sometimes I just need to hear that 509 00:24:58,960 --> 00:25:07,079 sad song. But yeah, I think I will forever be nervously. 510 00:25:07,759 --> 00:25:09,799 Speaker 1: Have you got an open for for anybody else like that? 511 00:25:09,920 --> 00:25:14,359 Speaker 2: Like John Gorka, No, that's that's it so far. I 512 00:25:14,400 --> 00:25:16,440 hope to that's my goin in the future to do 513 00:25:16,519 --> 00:25:18,160 more of that. I really enjoyed it. 514 00:25:18,279 --> 00:25:20,960 Speaker 1: Do you have like a kind of a dream idea 515 00:25:21,000 --> 00:25:22,839 of who you'd really like to open for? Is there 516 00:25:22,920 --> 00:25:24,160 someone you just think would be. 517 00:25:25,880 --> 00:25:29,799 Speaker 2: Would love to open up for? Liz Longley So she's 518 00:25:29,839 --> 00:25:31,279 one of my favorite singer songwriters. 519 00:25:31,960 --> 00:25:32,720 Speaker 1: Not familiar with her. 520 00:25:32,920 --> 00:25:36,720 Speaker 2: She I think she's from Pennsylvania, but she's in Nashville. 521 00:25:37,319 --> 00:25:39,880 It's kind of like an Americana artist, but she does 522 00:25:39,880 --> 00:25:42,480 a little bit of everything. But I saw her live 523 00:25:42,599 --> 00:25:45,599 at the Tupelou Music Hall. I just wanted to go 524 00:25:45,640 --> 00:25:47,279 to a show. I had the night off. I never 525 00:25:47,400 --> 00:25:49,920 get Fridays or Saturdays off. I think this was like 526 00:25:50,319 --> 00:25:54,359 this is probably four years ago now, and I saw 527 00:25:54,480 --> 00:25:56,640 it was a female artist, and if I get a chance, 528 00:25:56,839 --> 00:25:59,680 like I always try to find someone that I can 529 00:25:59,720 --> 00:26:02,359 just go for inspiration or just to see what someone 530 00:26:02,359 --> 00:26:05,279 else is doing. Yeah, And I absolutely fell in love 531 00:26:05,319 --> 00:26:07,559 with her in the way that she told her stories 532 00:26:07,720 --> 00:26:11,680 and her songs just had a great sound. But I 533 00:26:11,720 --> 00:26:14,640 absolutely adore her and her One of her songs is 534 00:26:14,640 --> 00:26:17,880 actually what inspired me to write my own and am 535 00:26:17,920 --> 00:26:21,200 I missing something. So if I could open up for 536 00:26:21,240 --> 00:26:23,440 her one day that I think I could fit well 537 00:26:23,480 --> 00:26:26,759 into into like her sound too like we'd pair well. 538 00:26:26,799 --> 00:26:29,240 Speaker 1: Yeah, yeah, oh very cool. 539 00:26:29,319 --> 00:26:30,319 Speaker 2: Maybe one day. 540 00:26:30,880 --> 00:26:33,240 Speaker 1: If you're just joining us. Rebecca Turmelo is here with 541 00:26:33,319 --> 00:26:38,000 us live in studio. Have you is anyone reached out 542 00:26:38,000 --> 00:26:40,480 to her like to try to you know, like maybe 543 00:26:41,200 --> 00:26:42,880 John or somebody like just kind of. 544 00:26:44,480 --> 00:26:47,559 Speaker 2: I would like to, but I think I'd be too 545 00:26:47,599 --> 00:26:49,200 scared to do it right now, you know what I mean. 546 00:26:49,319 --> 00:26:52,519 But it's Liz Longley. I need to be ready because 547 00:26:52,519 --> 00:26:55,480 that actually so, I'm in a duo partner with I'm 548 00:26:55,519 --> 00:26:59,559 so lucky, my boyfriend and musical genius all in one. 549 00:26:59,640 --> 00:27:01,480 We play together all the time. Oh, we saw her 550 00:27:01,519 --> 00:27:04,039 when she came to The Flying Monkey at the beginning. 551 00:27:04,039 --> 00:27:08,599 It was March, I think this year, and he's like, 552 00:27:08,640 --> 00:27:09,880 you have to go talk to her because she came 553 00:27:09,880 --> 00:27:15,720 out after the show. Oh really, I my first experience 554 00:27:15,720 --> 00:27:19,799 with like getting starstruck. Yeah, like, is this what it 555 00:27:19,839 --> 00:27:23,839 feels like? But she he told her that we always 556 00:27:23,839 --> 00:27:26,799 play her song Camaro. It's this song is incredible in 557 00:27:26,880 --> 00:27:28,680 terms of like the lyrics and the story, the story 558 00:27:28,720 --> 00:27:31,480 I can relate to and she's like, oh, send me 559 00:27:31,519 --> 00:27:33,880 a video when you get the chance. So every time 560 00:27:33,880 --> 00:27:35,200 we play it. Now I've been taking a video and 561 00:27:35,240 --> 00:27:37,680 I'm like, when it's right, maybe we'll send it over 562 00:27:37,759 --> 00:27:39,759 to her. See what happens. And maybe that could be 563 00:27:39,799 --> 00:27:40,480 the opportunity. 564 00:27:40,559 --> 00:27:42,960 Speaker 1: That could be No, that that could very well, that 565 00:27:43,000 --> 00:27:46,359 could very well be an n So. Now, so how 566 00:27:46,400 --> 00:27:47,480 often do you play as a duo? 567 00:27:48,079 --> 00:27:51,319 Speaker 2: Not too often, probably about like two or three times 568 00:27:51,319 --> 00:27:55,359 a month. But we just played actually last night, we 569 00:27:55,359 --> 00:27:58,079 played a thirtieth birthday party for a good friend of ours. 570 00:27:59,400 --> 00:28:02,519 But we we've been writing some music together and that's 571 00:28:02,559 --> 00:28:06,599 been another great experience lately, is working and writing with 572 00:28:06,640 --> 00:28:10,839 someone else. And we we endo actually it was the 573 00:28:10,839 --> 00:28:13,039 two of us that recorded the studio Portland, so I'm 574 00:28:13,079 --> 00:28:15,640 really hoping we got some good takes because it was 575 00:28:15,680 --> 00:28:19,920 nerve wracking. Yeah, So I hope to have some of 576 00:28:19,920 --> 00:28:22,200 our music out soon because we performed to do it 577 00:28:22,279 --> 00:28:24,039 that we wrote together there excellent. 578 00:28:24,680 --> 00:28:25,720 Speaker 1: Does he also play guitar? 579 00:28:26,440 --> 00:28:28,799 Speaker 2: Okay, he's the most talented guitarist that I know, but 580 00:28:28,839 --> 00:28:32,440 he also is a singer songwriter. He produces great with 581 00:28:32,519 --> 00:28:34,599 all the recording, so I'm actually learning a lot from 582 00:28:34,680 --> 00:28:39,839 him in that sense. Brendan Gill Gill and he just 583 00:28:39,880 --> 00:28:44,839 actually released his first single are You Here, and self 584 00:28:44,880 --> 00:28:48,799 produced that and mixed it on his own, and I'm 585 00:28:49,079 --> 00:28:52,440 the quality of it. It just came out great, And 586 00:28:52,920 --> 00:28:55,000 I'm like, I wish, I wish I would have put 587 00:28:55,000 --> 00:28:56,799 a little bit more time into my first song. I mean, 588 00:28:56,839 --> 00:28:58,880 I'm proud of how it came out, but it's nice 589 00:28:58,920 --> 00:29:01,839 to see, like because he put a lot of time 590 00:29:01,880 --> 00:29:04,440 and years into it versus I just kind of had 591 00:29:04,480 --> 00:29:06,119 of ripped that band aid off. I'm just gonna get 592 00:29:06,119 --> 00:29:08,759 in there. Whatever happens, happens, we'll capture it, right. I 593 00:29:08,759 --> 00:29:13,400 can always rerecord it right, right, So I it's it's 594 00:29:13,480 --> 00:29:16,079 it's it's cool to like meet somebody else who has 595 00:29:16,119 --> 00:29:18,160 a different perspective and a different way of doing things 596 00:29:18,160 --> 00:29:20,920 because I'm learning from that. Yeah, I'm not stuck in 597 00:29:20,960 --> 00:29:23,680 my ways. I'm seeing how something else works with a 598 00:29:23,720 --> 00:29:24,519 different approach. 599 00:29:24,799 --> 00:29:25,039 Speaker 1: Right. 600 00:29:25,279 --> 00:29:27,880 Speaker 2: So I'm lucky too, Like I just I get to 601 00:29:27,880 --> 00:29:30,680 spend all my time with him doing what I love, 602 00:29:30,720 --> 00:29:33,119 with the person I love that. There's nothing that beats that. 603 00:29:33,119 --> 00:29:36,200 Speaker 1: That's awesome, excellent, excellent, Well we should uh, we'll play 604 00:29:36,200 --> 00:29:39,640 another track. What should we play next? I'll let you pick, 605 00:29:39,759 --> 00:29:42,240 We've got the road song or wish you well. 606 00:29:42,279 --> 00:29:44,400 Speaker 2: Let's do wish you well because that was that's kind 607 00:29:44,400 --> 00:29:46,680 of like part two to am I missing something? Oh? 608 00:29:46,720 --> 00:29:49,039 Speaker 1: Okay, perfect, and then we'll play We'll play road song 609 00:29:49,079 --> 00:29:51,119 at the end of the segment. But if you are 610 00:29:51,119 --> 00:29:53,200 just so on your nest. Rebecca Turmael is with us 611 00:29:53,200 --> 00:29:55,680 here in studio? Oh which studio was this one recorded? 612 00:29:56,400 --> 00:29:57,480 Speaker 2: Also the underground? 613 00:29:57,680 --> 00:30:01,319 Speaker 1: Okay? Gotcha? And vermont yep? Okay, very good? All right? 614 00:30:01,359 --> 00:30:02,440 This is wish you Well. 615 00:30:25,160 --> 00:30:30,640 Speaker 3: I did everything I ford do to try and page, 616 00:30:33,559 --> 00:30:38,319 but that's not who I have ever seen. 617 00:30:43,039 --> 00:30:48,640 Speaker 4: Even after all those things you didn't say. 618 00:30:51,440 --> 00:30:55,039 Speaker 5: I don't wanna oh them against you. 619 00:30:55,079 --> 00:30:57,480 Speaker 6: Wish you well instead? 620 00:30:59,319 --> 00:31:00,400 Speaker 1: How is shot? 621 00:31:01,640 --> 00:31:06,160 Speaker 6: If I could tell you to Louie your pass this 622 00:31:06,480 --> 00:31:07,400 one man. 623 00:31:07,400 --> 00:31:09,519 Speaker 1: Say I it's your. 624 00:31:10,960 --> 00:31:14,759 Speaker 6: Bill. Oh, I'll miss you. 625 00:31:18,839 --> 00:31:28,079 Speaker 4: I found this noll boy your turn roumb man. I'm 626 00:31:28,240 --> 00:31:33,119 letting go of it over learning from upping. 627 00:31:37,039 --> 00:31:42,960 Speaker 5: I hope you you cannot be free from all your pace. 628 00:31:46,079 --> 00:31:50,880 It may not work out, but I'll pbab. 629 00:31:50,480 --> 00:31:54,519 Speaker 3: Be a shilling. Oh it's you. 630 00:31:56,000 --> 00:32:01,119 Speaker 6: If I could tell you to your face he's working, 631 00:32:01,400 --> 00:32:06,319 I'd say, upbraid to love yourself. 632 00:32:07,240 --> 00:32:09,599 Speaker 3: It's true. I always shoe. 633 00:32:30,000 --> 00:32:30,799 Speaker 2: I wish you. 634 00:32:32,279 --> 00:32:34,839 Speaker 6: If I could tell you to. 635 00:32:35,319 --> 00:32:40,160 Speaker 1: Your face he's working, i'd say, upbraid. 636 00:32:41,279 --> 00:32:46,400 Speaker 6: To love yourself. It's okay, A small half. 637 00:32:48,000 --> 00:32:48,960 Speaker 3: Always sure. 638 00:32:50,240 --> 00:32:56,000 Speaker 6: If I can tell to you always he's work, it's 639 00:32:56,160 --> 00:32:57,920 saying I wish you. 640 00:33:17,640 --> 00:33:20,680 Speaker 1: Oh that's nice, I wish you well. Rebecca Turmel is 641 00:33:20,720 --> 00:33:23,720 here with us live in studio. Yeah, we were. We 642 00:33:23,799 --> 00:33:26,400 were kind of talking off air about the song and 643 00:33:26,680 --> 00:33:29,039 how great the mix is and and how how nice 644 00:33:29,079 --> 00:33:31,720 those guitars sound, and as you pointed out to the 645 00:33:31,799 --> 00:33:34,119 drums sound really good. And and he's a he's a 646 00:33:34,240 --> 00:33:35,200 what's his name, Vinnie is it? 647 00:33:35,519 --> 00:33:36,480 Speaker 2: Yeah? Vincent Freeman. 648 00:33:36,680 --> 00:33:39,359 Speaker 1: Yeah, he's a drummer. Yeah. 649 00:33:39,759 --> 00:33:39,960 Speaker 5: Yeah. 650 00:33:40,359 --> 00:33:43,279 Speaker 1: Now that's a lot of the stuff that comes out 651 00:33:43,319 --> 00:33:45,960 in Nashville to I always say this, I'm curious if 652 00:33:45,960 --> 00:33:47,960 you agree with me in terms of production. I mean, 653 00:33:48,000 --> 00:33:50,799 the production on that is phenomenal. I feel like I'm 654 00:33:50,839 --> 00:33:52,839 not a I'm not a big country guy, but i 655 00:33:52,920 --> 00:33:57,000 feel like the best produced because I have a somewhat 656 00:33:57,000 --> 00:34:00,319 of a background in audio production, the best produced music 657 00:34:00,400 --> 00:34:02,960 to me, But you just hear on the radio on 658 00:34:03,039 --> 00:34:06,319 commercial radio is coming out of Nashville in terms of 659 00:34:06,400 --> 00:34:08,519 how the guitars sound and how the drums sound, Like, 660 00:34:08,760 --> 00:34:10,960 I feel like Nashville's really got it down right now, 661 00:34:11,039 --> 00:34:13,039 you know. But I'm picky as hell too, like especially 662 00:34:13,079 --> 00:34:16,400 about how drums sound, you know, like something went somewhere 663 00:34:17,159 --> 00:34:20,960 along the line with I think it probably started in 664 00:34:21,039 --> 00:34:23,440 the nineties, like with rock music. Something to me went 665 00:34:23,559 --> 00:34:27,199 wrong with the way guitars are recorded. They they don't 666 00:34:27,239 --> 00:34:29,079 sound right to me. And and a lot of a 667 00:34:29,159 --> 00:34:32,280 lot with drums too, you know. But I feel like, 668 00:34:32,400 --> 00:34:34,480 but anything that comes out in Nashville, it's like they've 669 00:34:34,519 --> 00:34:35,199 really nailed it. 670 00:34:35,440 --> 00:34:35,639 Speaker 3: You know. 671 00:34:36,039 --> 00:34:39,079 Speaker 2: Yeah, And that's a big reason why I made the 672 00:34:39,159 --> 00:34:42,119 decision to go down there. I would have sent you 673 00:34:42,199 --> 00:34:43,719 that song, but I didn't have a radio edit. And 674 00:34:43,760 --> 00:34:46,039 I say one bad word, no, but it's not really 675 00:34:46,119 --> 00:34:50,519 that bad. But I wrote this song with Jim called 676 00:34:50,559 --> 00:34:55,840 Girls on Fire my female empowerment anthem. But that was 677 00:34:55,920 --> 00:34:58,159 something I noticed too when I was down there or 678 00:34:58,239 --> 00:35:01,920 listening back to just like the first take, Yeah, like 679 00:35:02,079 --> 00:35:02,719 is this real? 680 00:35:04,280 --> 00:35:04,639 Speaker 1: So good? 681 00:35:04,679 --> 00:35:07,159 Speaker 2: They haven't even touched it yet, Yeah, but they had 682 00:35:07,199 --> 00:35:09,559 one of those I just I don't have too much 683 00:35:09,639 --> 00:35:12,679 knowledge on it yet. I'm learning more about it, Like 684 00:35:13,000 --> 00:35:15,719 one of the original Neve consoles. Does that sound correct? 685 00:35:16,679 --> 00:35:16,760 Speaker 4: Uh? 686 00:35:17,320 --> 00:35:19,400 Speaker 2: And but the drum sound that came out of that 687 00:35:20,639 --> 00:35:24,639 was really really impressive. And that was the first time too, 688 00:35:24,679 --> 00:35:28,079 when I was in that studio noticing and starting to 689 00:35:28,159 --> 00:35:31,840 listen and hear the difference in sounds and instruments and 690 00:35:31,960 --> 00:35:36,280 even my vocals and background vocals. Yeah, And that's why 691 00:35:36,480 --> 00:35:39,280 I kind of had have been experimenting with jumping around 692 00:35:39,280 --> 00:35:42,000 at different studios so I can learn and hear it 693 00:35:42,159 --> 00:35:43,599 and know what I like because I don't. I don't 694 00:35:43,639 --> 00:35:45,880 know that yet. I finely recorded a handful of songs 695 00:35:45,920 --> 00:35:46,320 so far. 696 00:35:48,079 --> 00:35:49,400 Speaker 1: All the backing vocals. 697 00:35:49,480 --> 00:35:51,880 Speaker 2: That's all you I assume on Yeah, I wish you 698 00:35:51,960 --> 00:35:54,119 well yep. And then am I missing stuff they too? 699 00:35:54,199 --> 00:35:55,760 Speaker 1: Yeah? Okay, yeah? Yeah? 700 00:35:58,000 --> 00:35:58,679 Speaker 3: Is that? Uh? 701 00:35:59,559 --> 00:35:59,719 Speaker 6: Is that? 702 00:36:00,480 --> 00:36:03,840 Speaker 1: And to do like those layered vocals where you're kind 703 00:36:03,840 --> 00:36:05,920 of harmonizing with yourself or does that come easy? 704 00:36:06,199 --> 00:36:09,960 Speaker 2: It can be. That's something I noticed too, and growing 705 00:36:10,039 --> 00:36:12,159 up in the theater and I did course, Yeah, I 706 00:36:12,239 --> 00:36:14,280 was a kid too, so that helps me in terms 707 00:36:14,320 --> 00:36:17,000 of being able to hear it. But yeah, when it's 708 00:36:17,079 --> 00:36:20,079 your own voice, and you're like and it's it's kind 709 00:36:20,119 --> 00:36:22,760 of funky. Uh So it was nice. When I was 710 00:36:22,800 --> 00:36:26,320 down at Blackbird, I was able to hire a background 711 00:36:26,400 --> 00:36:28,559 vocalist and she came in and I swear it only 712 00:36:28,599 --> 00:36:30,800 took her like five minutes. And it's not an easy 713 00:36:30,840 --> 00:36:32,719 song to sing. I'm in there all day, like I'm 714 00:36:32,760 --> 00:36:36,239 not going to do this. And then her name was Marcia, 715 00:36:36,360 --> 00:36:40,199 and she was just just like just this beautiful, bright, 716 00:36:40,280 --> 00:36:43,960 bubbly energy that I needed day. But she just sang 717 00:36:44,119 --> 00:36:47,880 was like I'll never forget what she said too. She's like, wow, girl, 718 00:36:47,920 --> 00:36:49,199 this is a barn burner. 719 00:36:49,400 --> 00:36:51,079 Speaker 1: Oh that's school. That's cool. 720 00:36:51,239 --> 00:36:54,440 Speaker 2: I will never forget that. Yeah, but it was nice 721 00:36:54,480 --> 00:36:57,679 to hear that difference too, and it's it I would 722 00:36:57,880 --> 00:37:00,639 like to like, it's I can do it myself, but 723 00:37:00,840 --> 00:37:02,760 I feel like it adds a different element and a 724 00:37:02,840 --> 00:37:04,880 different sound and gives it more of a quality to 725 00:37:04,960 --> 00:37:07,000 it when you have a contrasting tone or what it's 726 00:37:07,079 --> 00:37:07,639 kind of similar. 727 00:37:07,880 --> 00:37:13,159 Speaker 1: Yeah, no doubt. Now are these all on an album 728 00:37:13,320 --> 00:37:14,960 that's available or what? 729 00:37:15,480 --> 00:37:15,519 Speaker 3: No? 730 00:37:15,880 --> 00:37:18,960 Speaker 2: No, I actually have been releasing single by single okay, 731 00:37:19,320 --> 00:37:22,880 because I really being new to it and just not 732 00:37:23,079 --> 00:37:25,119 sure of where it was going or what I wanted 733 00:37:25,119 --> 00:37:28,599 to do. I wanted to just like give each song 734 00:37:28,960 --> 00:37:34,000 sole focus. Yeah so far, But actually I just recently 735 00:37:34,400 --> 00:37:37,199 finished recording. It still needs to be mixed and master 736 00:37:37,280 --> 00:37:40,079 and all. That my first collection of songs in a 737 00:37:40,159 --> 00:37:44,159 three song EP, okay, and that was that was interesting 738 00:37:44,199 --> 00:37:46,480 to do because I haven't done that yet, working on 739 00:37:46,559 --> 00:37:49,159 a collection of music and keeping like a similar sound 740 00:37:50,920 --> 00:37:54,559 and stories and such. But yeah, the song by song 741 00:37:54,639 --> 00:37:57,360 I think was a good choice for me, just being 742 00:37:57,679 --> 00:38:01,119 is not knowing who I was an artist yet, that 743 00:38:01,239 --> 00:38:01,679 makes sense. 744 00:38:02,159 --> 00:38:04,840 Speaker 1: Yeah, And you know, we again, we live in a 745 00:38:04,960 --> 00:38:08,400 time where you know, you've got different options in terms 746 00:38:08,440 --> 00:38:10,199 of like when I was growing up, it was, you know, 747 00:38:10,400 --> 00:38:12,960 somebody would put out an album and usually there would 748 00:38:12,960 --> 00:38:15,280 be a single for the album that would go to radio, 749 00:38:15,639 --> 00:38:18,079 usually six eight weeks before the album was coming out, 750 00:38:18,360 --> 00:38:21,199 and then the album would come out and then subsequent 751 00:38:21,320 --> 00:38:24,079 singles would come out. And that was just the standard 752 00:38:24,159 --> 00:38:27,000 way of doing it. Whereas now you know, you can 753 00:38:27,039 --> 00:38:28,599 do it any way you want to, like a lot 754 00:38:28,679 --> 00:38:30,920 of a lot of guests that we have on the show, 755 00:38:30,960 --> 00:38:32,320 do it the way you're doing it, where you know 756 00:38:32,400 --> 00:38:35,039 you have a series of singles and maybe eventually those 757 00:38:35,039 --> 00:38:37,280 singles become an EP or an album or maybe not. 758 00:38:37,639 --> 00:38:41,039 Speaker 2: But yeah, there was something interesting actually that Minnie told 759 00:38:41,079 --> 00:38:43,000 me from the underground. He's like, have you ever heard 760 00:38:43,039 --> 00:38:44,199 of the Waterfall release? 761 00:38:44,559 --> 00:38:49,840 Speaker 1: The Waterfall Effect? Yeah, oh, Temple Mountain, you know Temple. Yeah, 762 00:38:49,880 --> 00:38:51,760 he was on last week and he was talking about that, 763 00:38:51,880 --> 00:38:52,880 because that's been his. 764 00:38:52,960 --> 00:38:55,559 Speaker 2: Approach to Yeah, and it seems to work for people. 765 00:38:56,079 --> 00:39:01,320 But in our constantly changing music industry and especially with 766 00:39:01,360 --> 00:39:05,239 the way people consume their music, I think to releasing 767 00:39:05,440 --> 00:39:10,920 song by song, it gives more life to each to 768 00:39:11,039 --> 00:39:14,440 each song and and not something for people to look 769 00:39:14,519 --> 00:39:17,800 forward to and stay stay connected with. You release all 770 00:39:17,800 --> 00:39:20,320 those songs at once, like that moment's over. You can 771 00:39:20,400 --> 00:39:24,000 kind of actend that when you release song by song, 772 00:39:24,559 --> 00:39:27,400 because especially as as someone like me who's also writing 773 00:39:27,760 --> 00:39:30,320 music and trying to become a recording artist as well, 774 00:39:31,039 --> 00:39:34,519 building that community and keeping those my followers and my 775 00:39:34,599 --> 00:39:38,719 fans engaged and just in wanting to hear more. So 776 00:39:38,760 --> 00:39:41,039 I think it's been it's been working so far. But 777 00:39:41,239 --> 00:39:43,960 I'm really intrigued by that Waterfall release and here I 778 00:39:44,079 --> 00:39:44,880 might utilize that. 779 00:39:45,280 --> 00:39:51,239 Speaker 1: Yeah, Yeah, absolutely. The time goes so fast. So what's 780 00:39:51,400 --> 00:39:53,920 what's kind of your uh what do you see as 781 00:39:53,960 --> 00:39:56,639 sort of the long term trajectory or do you know, like, 782 00:39:56,719 --> 00:39:58,320 do you have kind of a plan in terms of 783 00:39:59,239 --> 00:40:01,199 are you going or maybe I don't know if you're 784 00:40:01,199 --> 00:40:02,800 done a national tour or no. 785 00:40:03,199 --> 00:40:07,639 Speaker 2: But I would love even I it's just around New England, 786 00:40:07,960 --> 00:40:12,599 just to go out perform some shows singer songwriter style, 787 00:40:12,880 --> 00:40:16,679 just me and my guitar and tell my stories. But 788 00:40:17,480 --> 00:40:21,079 my my also make goal. Like I I just I 789 00:40:21,239 --> 00:40:24,320 just love being in the studio and creating, and I've 790 00:40:24,360 --> 00:40:27,119 always wanted to look into what it would be like 791 00:40:27,239 --> 00:40:29,440 to write for other people as well, because I just 792 00:40:29,559 --> 00:40:33,880 love writing and creating and being in that process, Like 793 00:40:34,039 --> 00:40:38,960 being in the spotlight is not really what I want necessarily. 794 00:40:39,360 --> 00:40:41,880 I just want to create the music and create something meaningful. 795 00:40:42,079 --> 00:40:42,559 Speaker 1: Okay. 796 00:40:43,079 --> 00:40:46,599 Speaker 2: So because it's it's so funny and it feels weird 797 00:40:46,639 --> 00:40:50,239 to say this, but if I didn't have to perform again, 798 00:40:50,239 --> 00:40:52,079 I'd be okay with that. But as long as I 799 00:40:52,159 --> 00:40:54,480 have my studio and I can write my music and 800 00:40:54,760 --> 00:40:58,320 just play my guitar, happy because it's what we were 801 00:40:58,320 --> 00:41:01,440 talking about. It's so nerve wracking, and but for some reason, 802 00:41:01,480 --> 00:41:03,159 I have to keep doing it right. It's like a 803 00:41:03,280 --> 00:41:08,039 calling and I can't. I can't be a songwriter thout performing. 804 00:41:08,159 --> 00:41:09,800 So it's like kind of you gotta do it. It's 805 00:41:09,800 --> 00:41:10,320 hand in hand. 806 00:41:10,519 --> 00:41:13,280 Speaker 1: Yeah, yeah, well yeah, and it's working for you. It's 807 00:41:13,360 --> 00:41:18,760 it's uh, it's definitely working. Have you You mentioned earlier too, 808 00:41:18,840 --> 00:41:22,199 because you know our audience, we know this industry, people 809 00:41:22,199 --> 00:41:24,000 who listen. There's also a lot of musicians who are 810 00:41:24,559 --> 00:41:26,639 you know, uh, trying to make their way. Do you 811 00:41:26,719 --> 00:41:29,039 have any advice for someone because you you've been able 812 00:41:29,079 --> 00:41:32,079 to really make some leaps and bounds in a short time, 813 00:41:32,400 --> 00:41:34,840 do you have any advice for someone who's maybe starting out, 814 00:41:34,880 --> 00:41:36,840 maybe a singer songwriter starting out. 815 00:41:37,559 --> 00:41:40,079 Speaker 2: The worst thing you can do is compare yourself to 816 00:41:40,360 --> 00:41:42,920 those around you. Like we were saying earlier, it's not 817 00:41:43,039 --> 00:41:47,639 a comparison. Use it as a learning experience. Yeah, you 818 00:41:48,079 --> 00:41:50,559 are your own person, You have your own perspective, in 819 00:41:50,599 --> 00:41:54,920 your own voice. So trust that that's enough. I did 820 00:41:55,000 --> 00:41:58,440 in that first and it's it's hard to ignore all 821 00:41:58,480 --> 00:42:02,679 the noise, so to say, sure, but also just just 822 00:42:02,840 --> 00:42:05,199 forcing yourself to do it. If you're scared of something. 823 00:42:05,519 --> 00:42:08,960 You should probably go and do that thing because that's 824 00:42:09,039 --> 00:42:13,800 going to bring you further. I remember I couldn't even 825 00:42:13,880 --> 00:42:16,039 keep my hands still when I was playing my guitar, 826 00:42:16,199 --> 00:42:18,440 but I'm like, I'm doing it because you cannot get 827 00:42:18,480 --> 00:42:20,679 better if you don't do it. So I think the 828 00:42:20,719 --> 00:42:23,480 biggest thing that helped me was just forcing myself into 829 00:42:23,519 --> 00:42:26,840 those difficult situations, figuring it out in the moment. And 830 00:42:26,960 --> 00:42:29,400 although I may not have believed in myself, just at 831 00:42:29,519 --> 00:42:32,400 least trying to find a little bit belief. So do 832 00:42:32,519 --> 00:42:36,119 the hard things and just do the best you can. 833 00:42:36,280 --> 00:42:37,800 At the end of the day, that's all you can do. 834 00:42:38,599 --> 00:42:40,639 Just do something, move the goalpost, even if it's just 835 00:42:40,719 --> 00:42:41,199 a little bit. 836 00:42:41,400 --> 00:42:46,519 Speaker 1: Yeah. Yeah, I think that's great advice, absolutely absolutely, And 837 00:42:46,719 --> 00:42:48,840 where should people go online to keep up with everything 838 00:42:48,920 --> 00:42:49,440 that you're doing. 839 00:42:49,679 --> 00:42:52,320 Speaker 2: So I have a website Rebecca Tremel dot com, but 840 00:42:52,400 --> 00:42:57,119 you can find me on Facebook and Instagram and if 841 00:42:57,159 --> 00:42:59,440 you want to see me perform, my mom bands intown too, 842 00:42:59,559 --> 00:43:02,119 so which is a great website alert see in your area. 843 00:43:02,159 --> 00:43:05,119 Speaker 1: I love that absolutely, But I'm all around. 844 00:43:05,159 --> 00:43:09,280 Speaker 2: I'm actually we'll be at a Oddball Brewing tonight in Pembrooke, 845 00:43:09,480 --> 00:43:10,719 or sun Cook for the first time. 846 00:43:10,920 --> 00:43:12,119 Speaker 1: Okay, so I'm all. 847 00:43:12,079 --> 00:43:14,239 Speaker 2: Over, I try I play. I play a lot in 848 00:43:14,280 --> 00:43:18,320 New Hampshire, but I'm in Masson Vermont sometimes as well. Yeah, 849 00:43:18,360 --> 00:43:20,239 I'll go where over they'll let me sing with my guitar. 850 00:43:20,480 --> 00:43:23,880 Speaker 1: Yeah. Yeah. Where's the furthest you've gone as far as 851 00:43:24,079 --> 00:43:24,719 playing shows? 852 00:43:25,519 --> 00:43:27,400 Speaker 2: I mean I played down in Florida then that was 853 00:43:27,440 --> 00:43:32,320 moretest because on vacation. But in this area by Portland's 854 00:43:32,320 --> 00:43:37,119 probably the farthest. No, actually, because now I've been in Killington, 855 00:43:37,239 --> 00:43:39,400 that's pretty part. That's pretty far too in terms of 856 00:43:39,559 --> 00:43:42,519 where I'm located. But probably the farthest I've driven is 857 00:43:42,559 --> 00:43:45,199 three hours for a show. Yeah, and I think that's 858 00:43:45,239 --> 00:43:48,239 something too that that helped me get a little bit farther. 859 00:43:48,519 --> 00:43:50,320 Is I just I didn't care how long I had 860 00:43:50,360 --> 00:43:52,280 to drive where I had to go, just if I 861 00:43:52,360 --> 00:43:55,880 had the gig opportunity again getting that experience that helped 862 00:43:55,880 --> 00:43:58,639 me out tremendously. Am I I'll take it, I'll drive. 863 00:43:58,519 --> 00:44:00,599 Speaker 1: I can do it well. That that reminds me of 864 00:44:00,679 --> 00:44:03,119 what you know, we had a Frank Gallagher played at 865 00:44:03,199 --> 00:44:05,800 a plague Dad rather on with us during the first hour. 866 00:44:05,880 --> 00:44:08,800 You know, He's from Portland, and he was saying, uh, yeah, 867 00:44:09,039 --> 00:44:11,880 just you know, play out as much as possible, which 868 00:44:11,960 --> 00:44:14,440 is which is interesting too because some some people it 869 00:44:14,519 --> 00:44:18,039 tends to be more though, people in bands, people in 870 00:44:18,159 --> 00:44:21,519 like four piece rock bands, who say, yeah, you actually 871 00:44:21,599 --> 00:44:24,199 don't want to play out too much because you risk oversaturating. 872 00:44:24,320 --> 00:44:26,880 But but I I always when I used to play, 873 00:44:26,960 --> 00:44:28,599 I always just wanted to play as much as I 874 00:44:28,639 --> 00:44:31,159 possibly could, you know, That was my That was my 875 00:44:31,519 --> 00:44:33,599 kind of ethos about it. Just just get out there 876 00:44:33,639 --> 00:44:35,480 and play as much as you can. I mean, I 877 00:44:35,519 --> 00:44:37,480 think you know, if you're playing the same like if 878 00:44:37,480 --> 00:44:39,840 you're playing the same bar every single week or something, 879 00:44:39,880 --> 00:44:43,159 you can oversaturate. But but you also want the experience 880 00:44:43,320 --> 00:44:46,599 and and you know, and and seize every opportunity to uh, 881 00:44:47,039 --> 00:44:49,199 you know, to get out there. And and because it's 882 00:44:49,280 --> 00:44:51,840 not the other thing too that I think some people 883 00:44:51,880 --> 00:44:54,280 miss is it's not just about being in front of audiences. 884 00:44:54,559 --> 00:44:57,280 It's also about making those connections. You know, you might 885 00:44:57,360 --> 00:45:00,400 go play to a room where the there's only a 886 00:45:00,440 --> 00:45:02,079 couple of people there, but one of those couple of 887 00:45:02,119 --> 00:45:04,320 people might also be a musician, and they might also 888 00:45:04,599 --> 00:45:06,280 they might be interested in what you're doing, or they 889 00:45:06,360 --> 00:45:08,519 might do something else in the scene, you know, and 890 00:45:08,599 --> 00:45:11,199 they want to connect with you. And so there's always opportunities, 891 00:45:11,280 --> 00:45:14,400 and you know, you miss all those opportunities if you 892 00:45:14,440 --> 00:45:14,960 don't take them. 893 00:45:15,119 --> 00:45:17,039 Speaker 2: Yeah, and you you never know who's going to be 894 00:45:17,440 --> 00:45:20,639 in the crowd yep. I never like if there's a 895 00:45:20,760 --> 00:45:23,320 venue that reached. I always tried to play each place 896 00:45:23,360 --> 00:45:29,119 that reaches out to me, despite like maybe other judgments 897 00:45:29,159 --> 00:45:31,199 people have, like about the room or whatever. I always 898 00:45:31,320 --> 00:45:34,599 try to get my own opinion. I think everybody it 899 00:45:34,880 --> 00:45:38,840 deserves the benefit of the doubt, but it you just 900 00:45:39,039 --> 00:45:40,960 you never know who's going to be there. I actually 901 00:45:41,159 --> 00:45:44,079 this past summer I was playing at a Shopper's Pub 902 00:45:44,639 --> 00:45:48,679 in Manchester and God Smacks guitar tech and manager. We're 903 00:45:48,719 --> 00:45:51,840 eating dinner. I was playing and he ended up giving 904 00:45:51,880 --> 00:45:55,280 me VIP passes to go see the show and I'm 905 00:45:55,360 --> 00:45:58,320 just Shoppers Pub is so cool. 906 00:45:58,519 --> 00:46:02,679 Speaker 1: Yeah, you just never know. You just never know. Well, Rebecca, 907 00:46:02,760 --> 00:46:05,760 thank you so much. Rebecca Turmel here with us in 908 00:46:05,840 --> 00:46:08,320 studio this morning. This has been wonderful. In a moment, 909 00:46:08,440 --> 00:46:12,880 we'll close out with the Road song. Anything we should 910 00:46:12,880 --> 00:46:14,480 know about this one before we play it, Rebecca. 911 00:46:14,599 --> 00:46:17,760 Speaker 2: So this song, it's fitting we're ending on it, especially 912 00:46:17,760 --> 00:46:20,440 after everything we talked about. This is like my homage 913 00:46:20,480 --> 00:46:22,840 to all my other full time musicians out there. 914 00:46:23,079 --> 00:46:23,599 Speaker 1: Oh cool. 915 00:46:23,760 --> 00:46:25,719 Speaker 2: And this is a song that I wrote with Jim 916 00:46:25,840 --> 00:46:28,639 Yeger and probably the one I'm most proud of so far. 917 00:46:28,800 --> 00:46:31,519 We actually have Jackson Brown's guitarist Boul McCollum on this 918 00:46:31,639 --> 00:46:35,360 track vocal to Vermont and I said it just captured 919 00:46:35,360 --> 00:46:37,199 the essence of the road and he sure did so. 920 00:46:37,559 --> 00:46:40,079 Speaker 1: Oh very cool, very cool, perfect way to end all 921 00:46:40,199 --> 00:46:42,599 right here. It is Rebecca Turmel. This is called the 922 00:46:42,719 --> 00:46:43,199 Road Song.