Speaker 1: I love that. I love that. That is so catchy.
The track is called Years. The band is Club Paradise,
and I think we have them via Skype. Can you
guys hear me?
Speaker 2: Yes, suit we can.
Speaker 1: Oh, you sound great, wonderful, wonderful. Who do we have?
Who do we have with us?
Speaker 3: We've got I'm Ryan, I sing and play guitar.
Speaker 1: Welcome.
Speaker 4: Yeah, I'm Nathan, I'm selling Ryan, I am I play drums.
Speaker 2: Okay, I'm Jackson and I play guitar, all.
Speaker 1: Right, all right? And are we missing anybody?
Speaker 3: Yeah, we've also got Harry who he plays bass. But
that's okay because he plays bass.
Speaker 1: I know those damn bass players. I'll tell you the
hell with them. No, I'm got a little bit of
an inside joke. I'm a bass player myself. But that's
all right, that's all right. No, I'm glad the three
of you are here, and guys, I love your sound.
I gotta say that right up front.
Speaker 2: You.
Speaker 1: Yeah, we actually so. You sent us two tracks to play,
and we're gonna play the other one at the end
of our conversation, but later in the show too, we'll
probably play a couple more that I found that I really,
really like that I found online. So you guys are awesome.
Where are you from?
Speaker 3: Oh, thank you so much. We are from North Shields,
which is just a little town outside of Newcastle upon
Tyne in the northeast of the uk Okay.
Speaker 1: And are there a lot of bands there right now
that that kind of sound like you guys? Because you know,
we we have usually if we have somebody from across
the pond, as we say here in the United States.
I don't know if you say that there about us,
but they don't sound quite like you, guys. I mean,
you have such an accessible you know, like if I
were hearing your music and had no idea that you
were not an American band, I would assume that you
were an American band because you have a sound that's
very accessible in terms of American radio. Are there are
there other bands there that sound like you or do
you guys kind of stand out in that sense.
Speaker 2: In the sense of sounding like an American radio band?
Perhaps not, but yeah, like that's also that's just a
massive compliment we take that. So like we listen to
a lot of American radio stuff. That's actually kind of
something we say as well, like, oh, this sounds like
it could be on us radio when we're making it.
So we love we love that compliment. Not a lot
of people from around here sound like us specifically, I
would say, but there is a big music scene happening
right now.
Speaker 1: What is it like? What is it like where you
guys are, specifically in terms of are there a lot
of places to play live or you able to get
out and do a lot of shows? What's what? What
is the scene like there where you are? Yeah, it's
been it's obviously.
Speaker 4: I think it's probably similar to yourselves where post COVID
everyone's still there's still some TEVN issues and everyone's trying
to get back back to how it was before. But
we find a lot of joy in and around where
we're from, Newcastle, North Shields. We found we found a
lot of joy over there, over the water and the
likes of Sunderland and Millersbro which are of our small
city small towns. But it seems like everyone's trying to
support each other. We travel outside of the Northeast when
we can. As Jackson said, there's a big, big music scene.
It seems like it's starting a bubble up again.
Speaker 1: Yeah, that's good.
Speaker 3: A bit of funny one after COVID though, because you
had like this massive bottleneck of gigs that needed to
happen that were postponing things. But I think now we
start to see a lot of venues close, a lot
of the smaller venues. So while Newcastle and and sort
of Shields where we're from and all that sort of place,
they have a lot of really good bands and a
lot of good talent, it's kind of hard to go
out and see people that you want to go and
see as much now because some of those smaller venues,
the ones that we would all you know, take hold of,
they're all starting to or have closed recently, especially in Teaside,
which is just the borough south of us, We've lost
a lot of venues there and recently in Newcastle we've
lost two or three here too, So it's getting tricky.
But all that does, I think it is kind of
fuels the fire for the existing venues for us to
get in there and sort of, you know, everybody to
gather around in a close that environment and really listen
to each other as well.
Speaker 1: What is causing that these venues to close? Do you know?
Is it the economics of it? I know here in
the United States, the You know, there's a lot of inflation,
but I think we're probably faring better than a lot
of places. Is that it is everything just too expensive
or is there something else going on?
Speaker 3: Yeah, I think inflation is definitely one big thing. I
think people aren't sure if they can commit the money
to a ticket so far in advance, So advanced sales
is a huge part of that local scene for us,
and you really don't really find out how many tickets
you've got until maybe the day before, but even the
night of. We did a show earlier in the air
where we sold like, I don't know, twenty thirty t
gets the week running up to the gig, and then
on the night the venue was full and sold out.
So this instability that we have with ticket purchases in advance,
that's causing a lot of upset with promoters and venues.
So the commitment is like the starting to lose the
commitment of people who want to put those shows on.
And it's just just change as well. That's just it's
a natural change that I think people need to sort
of adapt to and react with.
Speaker 1: Yeah, that's interesting about the tickets because we had someone
here from the uh, Jenny, what are they called? Is
that the New Hampshire Music Collective or New England Music Collective.
John MacArthur, Yeah, yeah, he's a promoter from the area
and he was here. We had an extensive conversation with
him about this, and he was talking about how when
he puts events, when his company puts events online, very
often people wait till the last minute to buy tickets
and that's been the trend post COVID and the problem
that that causes is and he was kind of pleading
with people, please, you know, don't wait till the last minute,
because what ends up happening is, you know, an event
will sell out and he'll be going. You know, we
could have done this in a larger venue, but we
didn't know that all these people were going to show up,
because people have gotten into that habit of waiting until,
you know, the day of before they make that commitment,
and it causes a bit of a bottleneck. But I
think part of that too is I don't know if
it's if it has to do with inflation, people being
more careful about how they spend their money, that may
be part of it, but also to I think just
the Internet has made it so you know, you guys.
You guys look pretty young from what I saw online.
I'm old enough to remember when we didn't even have
an internet. So if you had to buy tickets, you know,
you call up you know, ticket Master, or you go
to the I slept on the sidewalk outside of tickets
in order to get tickets. Yeah. But but back then,
but back in the day, pre internet, it was the inverse, right,
if you wanted to go to a show, you had
to get the tickets early or you risk missing out.
Whereas now, because you can, you know, just buy tickets
online or you know, or risk just showing up, you
can afford to wait till the last minute. And I
think that's where that problem comes from.
Speaker 3: Definitely, we we have that memory. We used to go
to venues. We used to queue outside and wait and
buy the tickets. Yeah, when we were like in high school.
That was good fun. Yeah, and it's so cool here
by the way. Once in like a week in October,
back in like twenty ten, we still outside this venue
and we just shivered in We have to wear school
uniforms in the UK, and we don't wear coats because
it's not cool to wear a coat if you're from Newcastle,
so we were all just shivering outside waiting to buy tickets.
But we remember all that was such good fun. But
I totally agree the Internet changes that landscape one hundred percent.
And we've seen a lot of local festivals collapse due
to lack of advanced sales. And people obviously think that
there's just an ease of like accessibility to be able
to get your ticket whenever you want to be like, oh,
just I'll get that closer at the time, that's not
a problem, but there's so much money that has to
be put up to on these shows, the festivals, whatever
it is that you go into that logistically, financially, the
deadlines can't be met, the sort of bar stuff things
like that can't be put in place to make sure
that they can go ahead without.
Speaker 1: That right exactly. And people don't know that. You know,
your average consumer has no idea about any of this,
and you know, and there's no reason that we should
expect them to know. But one of the things that
we try to do with this show is really educate
people about that about how the music industry works, because yeah,
if you know, it's all supply and demand ultimately, and
if if somebody doesn't know. If a promoter or whomever
doesn't know that the demand is there to be met
until the very last minute, then what ends up happening is, yeah,
they don't there's not enough money coming in, and they
end up having to cancel. You said, you said you've
seen that a lot there festivals having to be canceled
for that reason.
Speaker 2: Yeah, yeah, there was a It was a festival. We
were scheduled to play inside of Newcastle and it was
like a big field, and we had promoted it, et cetera,
and then you know, six weeks before the show, it
just gets pulled because ticket sales probably weren't good enough,
and we see a lot I think it's it's sort
of like a luxury to be able to wait to
buy your ticket. People don't necessarily feel like the onus
is on them, like there's no burden or responsibility to
like buy these tickets, because there isn't really, But they
don't also know, like if a promoter sees fifteen tickets
have been sold, then they'll just go, oh, this show
isn't worth putting on, even though fifty people have just said, oh,
we'll just buy the week of like we'll say, you know,
we'll just keep money and if something else you know,
I think as well, Yeah, there's so much choice as well,
Like it might be a case of like, oh my
other plans have fallen through, so now go to this show, right, Yeah,
So the commitment as well, like people don't want to
commit too early. I think that maybe is because of
post COVID, Like you weren't going out anywhere, so people
have lent to live without going out, right, So maybe
people are you know, they've gotten comfortable not going out
and realizing they don't have to. So maybe that's part
of it as well.
Speaker 1: You know, yeah, that makes sense, That makes sense. What's
the vibe like in terms of working with other bands?
You know, here in the United States, I find that
in the music scene most there's a lot of positivity
and people kind of work together and whatnot. I mean,
it's competitive, obviously, but it's not like saying stand up comedy.
I listen to some some podcasts hosted by stand up
comedians in the United States and everything sounds like it's
very cutthroat and nobody really helps anybody. But with musicians,
people tend to try to kind of work together. Is
it like that? There or is it? I mean, how
competitive is it in the scene where you are, where
you guys are operating.
Speaker 3: I think it used to be way more cutthroat than
it is now. So we've been playing as a band
honestly around twelve or thirteen years or so, the four
of us, the same four guys, So we've seen a
big change locally, and I think at first it was
very much nobody talked to each other. Everybody went to
play the show and you were going to put on
the best so that everybody was going to see that night.
And I feel like for the first three or four
years that was definitely the case. We then didn't really
gig for a while while we were still figuring out
what we wanted to do, and then when we came
back to it, there was this complete shift and sort
of demeanor and that everybody was now friends. Everyone was
wanting to put on the best night collectively. And I
hope that we've kind of we've definitely adjusted to that
since since all that big change, and I hope that
our shows people will also come to that and feel
that in that we are trying to play with artists
who we love, and we think everybody else will love
if it's our show or actively will We'll take slots
to play with other bands that offer us them if
if again they love us, and we all think it's
the right move for the for the bill in full,
and it's a much more collaborative effort now for live shows.
I think, Yeah, it's nice to be nice.
Speaker 1: Yeah, exactly exactly. And what's we talked about it? We
touched on it radio. What's the radio situation there for
a band like you, guys like, are you on the
radio in your area or how does that work there?
Speaker 2: We're on the radio in and around the area.
Speaker 4: Yeah, we had a we had to play on Radio
X which is quite a big, a big radio station
in around the UK. That's that's a rarity that we
would get something like that, and you've got to jump
through quite a lot of hoops in it's a.
Speaker 2: Bit of a look.
Speaker 4: But in terms of the locality in the very local area, yeah,
we're we're on radio stations. People are very supportive. We've
got BBC introducing ye Upia, who who have always been
a big supporter of us and do a lot for
the local scene.
Speaker 3: You find that with that as well, you get these
little random radio shows that you've never heard of. So
there's one up in the Highlands of Scotland and every
time we play, every time we release a song, they
play us like without fail. And then there's a there's
there's two or three like that. There's a Welsh speaking
one which also plays us all the time, which is
really cool. Locally though, BBC and is a really cool thing,
but it's kind of being cut back a lot. So
the most local radio show we have for the BBC now,
which used to be in Newcastle, is in Teesside, which
is Millsbrough. It's just kind of like an hour out
of the way, so now it's a regional show rather
than a local show, which is all fine. It's just
you can see where these changes are happening in the
start to take place. But we do get we get
the support of the radio and we're really thankful and
we love those teams and they're always really really fun
to work with too.
Speaker 1: Yeah, that's good.
Speaker 3: No.
Speaker 1: I was particularly curious because, like I said, you guys
have such an accessible sound and these these songs. Yeah,
at the end of the conversation we're gonna play Chasing
the Song or another great track and I have to
tell you later in the show because I mentioned if
you're curious. Ye, we're also gonna play later. We're gonna
play Another Life and no, I'm sorry, that's the wait?
Speaker 2: Is that the song?
Speaker 3: That is a name of a song?
Speaker 1: Yeah, there was another one. There was another one too.
I'll have to find it. I'll have to find it
to play it. Oh, neighborhood that was the other one.
Speaker 3: Oh oh yeah, yeah, they came out together. That was
a double A side that we did.
Speaker 1: Oh okay, yeah, I really like those. I really like those.
You guys are such a great sound. Tell me a
little bit about influences. What uh what are you? What
do you guys? What do you listen to? What did
you grow up listening to that kind of thing?
Speaker 2: I grew up listening to like emo rock and like
all that sort of stuff. And then I think when
we so we all pretty much went to high school
to get at bon Nathan he was in separate high school,
but they Ryan and Nathan lived very very close, so
we've all known each other growing up. And I think
when we hit like thirteen fourteen, we were listening to
indie rock all that sort of stuff. I was still
listening to emo stuff. Yeah, but maybe like in the
past four years three years, we've been really into country
music as a collective, like where modern country music artists
like so much, and that's kind of like now, especially
with years, you can kind of hear that influence. We're
not trying to do it on purpose, it's just sort
of coming out naturally now. So I think country music
is kind of an influence now. I've also maybe like
synth wavy stuff. That was a big part of our
sound when we like launched as Club Paradise, like that
was sort of a direct and we wanted to head
in as well. Yeah.
Speaker 4: I think the the one band that sort of springs
to mind simply of what wise is The Midnight from
the US, who we we actually went to see in
Newcastle a couple of weeks ago together.
Speaker 2: Yeah, so that was that was great.
Speaker 4: But if he's on a really familiar with their with
their sound, I would we well, we would all recommend
that band definitely, And I think we take a lot
of influence from from what those guys do.
Speaker 1: I'll have to check them out. Yeah, I was reading
in your bio about you know, sort of the country
rock influence and it surprised me a little bit. Are
there are there artists in your area or are there
UK artists who who kind of are working in that genre,
or when you listen to that, are you listening to
American artists? Because because I don't know offhand, I mean,
I'm really curious about this.
Speaker 4: I don't think I don't think there's any.
Speaker 2: Yeah, we get local like folk music, which takes roots
from country stuff. But we the like the country music
we are currently listening there. It's like Keith Urban, Aaron Kinsey,
Morgan Wallen is a massive one. People like Nate Smith
as well. I'm just thinking Derek s Bentley as well.
We love s Bentley, Priscilla Block, Luke, Bryan.
Speaker 3: Doughtry.
Speaker 2: Yeah, but even like like Scotty McCreary as well. We
we all love Scotty McCreary. It's yeah, yeah, we we.
I mean this is stuff that we genuinely like. Say
we're on a road trip, Like we just went to
some amusement park in the UK. It was like a
two hour drive. All we would listen to was country
music on the way there and on the way back.
It's we love it.
Speaker 3: It's started as like I think between the four US.
It started as a bit of a guilty pleasure. I remember, like,
Jackson has cousins in Canada and their wedding song when
he went to their wedding in Canada was Florida George.
Speaker 2: Holy, Yeah Holy by Florida Georgia line.
Speaker 3: And then it's I think we kind of listened to
that song together after Jackson came back and we were like, WHOA,
something's going on here, and we were like at teenagers
at the time that being came this like really big
guilty pleasure for us all to talk about. And then
over time it's been like, actually, no, this is just amazing.
But because it's so kind of alien to the UK
and that it doesn't exist here, we didn't really talk
about it much. And now over time, like now on
the radio, Morgan Mullins on the radio here, those new
tunes with post Malone that he's been doing, those are
getting some tensions. So I feel like Country's grown to
see happens over here now. And we've got Absolute Country,
which is the radio station that is never off in
my car, and that's got all the shows from Nashville
coming live to us. So it's grown here and I'm
really really glad and I feel really passionate about that.
It's a really really cool thing. Yeah, so yeah, it's
all American stuff.
Speaker 4: We've still got We've still got some roots in this
sort of UK indie scene, but there's not a we
we grew up on Four's Bombay, Bicycle Club, Wild Beast,
that sort of thing, and a lot of those bands
have called it a day. You've still got some of
them not and about and were You still listen to
a lot about the Monkey's Kings of Leon and we're
still love those bands and putting out. So it was
a bit of a dynamic, shifting dynamic when all the countries,
So I think we'll try and blend it subconsciously in
what we do.
Speaker 3: There's a flavor of that. I think there's a flavor
definitely of those bands with the country stuff with the
Midnight so you kind of get that synth element. But
then I also feel like there's a really nice element
of like Brian Adams in some of the things that
we do, like in Chasing the Summer, If it just
gives us atmosphere that used to get in a lot
of stuff, maybe even like a Don Henley type of
vibey type of thing. So I feel like as a
as like a big melting pot of all those things
that come together is what we we created.
Speaker 4: A shot were in the foot a little bit. And
because we're as we've just rattled off about.
Speaker 3: Fifty different things.
Speaker 4: Sometimes sometimes UK radio stations, certainly the bigger ones one
I think a certain sound and if you're indy, you
need to be Indie, you know what I mean. We don't.
Speaker 2: We don't fit into a.
Speaker 4: Certain genres other bands do, and it's it's it's been
difficult to to pitch where we should be. But so
that's why it's so kind of yourselves say how accessible
it is, and we yeah, yeah, I don't think we
have that in the forefront of my mind.
Speaker 3: But when you think of the choruses and we'll keep
how the songs coming. We're always told that we're not
rock enough for rock and we're not popping up, so
it's kind of like, okay, that's fine, but here's the
music anyways.
Speaker 1: Right right, Yeah, And I can hear the Brian Adams
uh and and Don Henley, I can hear those influences
in there. Yeah, the country stuff is interesting that that
influence because we and and again. I'm all enough to
remember when it wasn't this way. But modern country and
I'm not a big country fan, but occasionally I'll hear
something I like, and I'm always very aware of these artists.
I try to keep up with all of it. But
modern country now sounds a lot like you can hear
the influences of eighties rock in modern country and the production.
I always say this again, it's not my first go
to on my list of sort of genres and subgenres
of what I listened to, but I listen to a
lot of different kinds of stuff. But I have to
say Nashville, which you know, is the kind of the
epicenter of country music in the United States, Nashville's got
it down as far as production. Like I'm very picky
about how drums sound, for example, and you listen to
any modern country and the drums sound exactly the way
they should sound in my opinion, you know everything and
the way things are mixed, and even the guitars are
are louder than they used to be. In country music,
you can really hear the rock. You know, there's there's
kind of been this melding that I think is really interesting,
and I kind of suspect that had that not I
guess it's chicken or the egg, right. You know, is
that happening because that helps country to be more accessible
to the mainstream or or is it a reaction to
country becoming more accessible on its own? But you know,
we saw that happen.
Speaker 3: You know.
Speaker 1: I can remember, you know, back in the nineties when
Garth Brooks got really big. That was sort of the
first real wave of country music becoming sort of mainstream.
But now it's like it it's really you hear a
lot of rock influences in modern country music.
Speaker 2: Yeah, absolutely, when you touched about like drums and guitars
as well, That's something that I'm like particularly interested in,
stuff like the recording process. So these last these last
few songs that we've put out were pretty much recorded independently,
and I'm massive on guitar tones, and I like, I
look up what people are using. And I remember a
UNI project I did it so long ago where I
was just essentially researching Blackbird Studios, which is in Nashville,
and I was just like reading about Studio A and
Studio B, and like what the drums will sound like
in each room and and then like they have like
a client list and then like a record list, and
you know, you listen to some of the people that
have recorded in the like Kings of Aam was the
big one for me, which is why I got into them.
But like I think Hayes has recorded their Rascal Flats
as well. We love the Rascal Flats. I think they
definitely hit the pop and the rock pop sort of thing.
And I know what you mean, like it it you
listen to like stuff from the nineties, the Cold Swindon
he did a What's what song? Did he just do? Uh?
She had heads Carolina h Yeah, so his obviously you
listen to the original of that and the instrumental, like
the parts are the same, but they're recorded so differently
and so like it's so everything's like hyper and now
like everything's so big compared to maybe more understated of
the original. So I understand what you mean. Things are changing,
like they are getting just bigger and more like you say,
eighties eighties rock influenced where everything was just big and massive,
and maybe I think you might start like we see
it over here. A lot of the music coming out
like in the UK, drums are really quiet and understated.
There's a lot of like snare drums with towels on,
you know, like everything's gonna be quite more mute. I
think maybe the trend and the UK at least is
going to go back from big eighties stuff to more
natural sounding I'm using air quotes, but natural sound and drums.
But with the air with US radio rock, it's just
full throttle now, right, But we love that.
Speaker 3: I think it's funny. We were in the studio a
couple of weeks ago doing some new stuff and we
just pulled up country rock drums and said, like, this
is the reference, this is the sound we want, and
we're going to set the drum kit up to sound
exactly like this.
Speaker 1: Yeah, it's good fun.
Speaker 3: I think there's also I think you're right, like there's
an element that couldn't you want to be more accessible
and more mainstream in general. But I also think that
part of the reason it sounds that way is there's
a lot of sampling going on now and that's a
good speed thing. So we've had friends who've gone to
Nashville to do writing sessions and writing camps, and they
talked about how fast it is in Nashville that I
already sits around in a circle and throws the lyric out,
and the next lerik that comes out is the one
that's going to follow that one. So it's not debated.
It just goes on and on and on them. That
sounds so alien to us, It sounds crazy, But I
think that maybe is the tone of the drums and
all these different sampled instruments and the access you have
to do in things digitally. Now, that speed that they've
created in these writing camps might sort of blend with
that pace that you can get from the sound of
the drums if they do sort of sample the kits
and recreate them that way too.
Speaker 1: Yeah, that makes sense. Yeah, Nashville. You know, we've we've
had guests on the show. We've spent some time in Nashville,
and uh, either you know, either just short trips to
just write and record, or or people who've lived there
for a while. And yeah, they do things like you
know they have. Yeah, the these writing sessions that like
you described are very fast and and and these songwriting circles,
you know, they all they'll sit in a circle or
they'll do this live, you know, where they'll they'll be
in in a club and they're they're writing songs live
in front of a crowd, you know, almost like what
a stand up comedian does when they go to say
an open mic and they they're just kind of workshopping
new material. You know, it's really interesting saying because I
don't know of anywhere else where they approach it that way.
And how nerve racking that must be. I'm a musician myself,
but I can't imagine like being in front of a
crowd of people with other musicians and writing something on
the spot, and you know, you're in front of people,
so it better be good. But yeah, I mean that's
like the Nashville is like, you know, that's like boot
camp for musicians.
Speaker 3: You know, yeah, you would not catch me doing that.
Speaker 1: And so you know, where do you guys record because
this all sounds like it was done in a million
dollar recording studio. But as we know, again, we live
in a time where it's you know, you've got a
lot of different options in terms of how you record.
Speaker 2: Yeah, so we we tend to so since maybe since
twenty twenty, we've we've kind of recorded at least guitars
and vocals, just no real amps. It's all simulated stuff,
so it's bedroom like. Yeah, half, maybe sixty percent of
the song is bedroom stuff. The only thing that we
tracked live now is drums, like in a in a
studio space, just because we can't anywhere else. But and
it saves money, Like, we have the ability to do
it at home, so why don't we. We've had We've
had fifteen years of experience as a band. We kind
of know what we're after at this point, and now
technology is caught up to where we can just do
it at home. And you know, some people might hear
that the guitars aren't real. Some people might not, but
I mean I spent them live. Oh yeah, of course
you play. When when it comes to like tracking guitars
and stuff, we just do it at home. But drums,
drums were always in the local studios we've we've actually
been through a few of them in the Northeast at
the moment, just trying to find where we we work best.
Speaker 3: Yeah, it's nice to change it up as well though, because, yeah,
Jackson's pretty modest in that jack for Neighborhood and Another Life.
Jackson produced all of that, and yeah, to say that
we did all of that at home other than the drums,
and it's come out sounding like that is insane. We
had some help with the marstering at the end and
things like that, but yeah, really the full body of
that work came out from Jackson sit at home with
headphones on, just mixing at home and really just digging
into that. It's really really fun to go into different
studios and work with different people and to see how
what they say about drum kits, and also to just
see how when we show them the song as a
reference what we're doing, they're kind of like, Okay, cool,
what about this? And we just learned. I think that's
that's one thing that we always do, no matter where
we record, if it's at home or whatever it is,
song by song, we try and do something different, and
we're always trying to research and learn about the best
way to bring the elements of that song out that
make it it's don on its own.
Speaker 1: Yeah. Yeah, it's amazing what you can do now. In fact, Uh,
the shirt that I'm wearing for those watching online day
to attend, we had these guys on a couple of
weeks ago, and uh and I said something similar to
them because their stuff sounds so good. It sounds like
it was done in a million dollar recording studio, and
Ed the guitar player is telling me, Yeah, I don't
even plug into an amp. I just you know, I mean,
you know, you plug into a modeler or whatever term,
and it's it's just it's it's incredible what you can
do now. It really is a it's a it's an
amazing time to be alive, especially if you're a musician.
Speaker 3: So you guys, yeah, except for the money.
Speaker 1: Well, yeah, true, that never seems to change. Yeah, what
the time period, right, Yeah, that that's true. It's always
been a problem unless you're you know, unless you're famous.
But you know, if your tailor swift, then you then
you get all the money. But uh, by the way,
did you guys say, what have you said? Fifteen years?
You guys have been together, yeah.
Speaker 4: With nothing club Paradise for that long. But yeah, we've
we've it's been the same for four guys. As Jackson
said earlier, I mean me and Ryan grew up in
the same street, and Jackson and Harry grew up a
couple of doors down from each other. They all went
to school with each other, and naturally, I sort of
gravitated towards them when went early teens.
Speaker 2: So yeah, it's.
Speaker 1: Yeah, yeah, oh that's incredible. Yeah, most bands don't last
that long. That's amazing. How do you how do you guys? Uh?
Speaker 2: How do you?
Speaker 1: How do you keep it together? I mean, because do
you ever do any of you do side projects or anything?
Are you just fully committed to this band?
Speaker 3: Oh?
Speaker 2: We we all have side stuff now, but we didn't
for the longest time. Really, yeah, it was I think Ryan,
I mean, I'll speak for Ryan for now, but yeah,
he plays bass in his partner's band, and Nathan also
drums for that band. I've been in a like a
goth pop band over the years, and we we we
have split up time that way, but just stay together
for that long as we haven't. It's never really we
never thought about it.
Speaker 3: You're forgetting the most important one. We do a Paramore
tribute band together, so not only of course.
Speaker 2: Yeah yeah, yeah, that's where the money comes from.
Speaker 3: Yeah, yeah, that's how we pay the record. So we
do Clip Paradise all together and it's and then the
Paramore tribute band, Isn't it fun? Is also Clip Paradise
plus Robin who sings in my partner's band playing. So
it's like it's just one big group of friends and
we just play loads of different bands and we just
see what we can do.
Speaker 4: If it's the same like seven people and it's different bands.
Speaker 3: You're on each other's schedules that way.
Speaker 1: But it's so you guys do a Paramore tribute band?
Oh yeah, that's so cool. Do you do?
Speaker 2: Do you? Sorry?
Speaker 1: I I have to know because my two favorite Paramore
songs Misery Business? Do you do that one?
Speaker 2: Of course?
Speaker 1: And do you do Ain't it fun?
Speaker 2: Of course that's the name of the bond In it fun?
Speaker 1: No kidding?
Speaker 2: Oh?
Speaker 1: Awesome? Awesome? Yeah? I uh yeah, that's Ain't it fun? Is?
Speaker 3: Is?
Speaker 1: Probably actually well, Misery Business was the first song where
I was like, oh I really like this band. I
think that might have been their first hit single, at
least in America. But then, ain't it fun? Ain't it fun?
Is so like it's impossible to hear it and not
sing along.
Speaker 3: You know, Yeah, it's good fun. It's good fun, and
it keeps you on your toes when you have to
think about all the different songs they need to play.
So we've all collectively got no numerous setlists in our
heads all the time, and we just wruck up different
gigs and thing what what shows it today?
Speaker 2: Right specifics?
Speaker 1: Yeh no, that's fantastic. Well listen, guys, the time goes quickly.
We are approaching the top of the hour. It's been
wonderful talking with the three of you, Ryan, Nathan and
Jackson from Club Paradise, And like I said in a moment,
we're gonna play Chasing the Summer another great track by
the way, which is the newest single? Is yours the
new one? Or is it Chasing the Summer? Yours?
Speaker 4: Yeah?
Speaker 3: Yeah, yeahes is the latest one. Chasing the Summer was
out in June. We've got we're doing a single every
month October. So at the end of this month, we'll
have a track out called what If These Days. At
the end of September we'll have another track out which
I'm not going to name yet. And then we've got
an October EP coming out called Life on TV. And
that'll be a collection of six songs, including the singles.
Speaker 1: Oh, very cool, very cool. Yeah. Feel free to send
those two as they're released. We would love to do
you know, we like to do world radio premieres here,
So if we can kind of be your, oh for sure,
your your conduit on American radio, Well, we'll do a
world radio premiere for each new single as it comes out.
That'd be great.
Speaker 3: Let's do that, definitely, that would be so fun.
Speaker 1: Absolutely absolutely. And the other thing too, what should people know?
What should our listener know about where to go online
to keep up with everything that you guys are doing
in terms of music and shows. If we have any listeners,
and I don't know if you plan to get to
America at any point, but but if you know, we
do have listeners because of again God bless the Internet,
we have listeners over there to online. But what should
people know about keeping up with everything that you guys
are doing.
Speaker 3: All of the handles are at this is club paradise.
We probably update Instagram the most, and then I'll handle
on Twitter X. Sorry is a club paradise with two
underscores at the end.
Speaker 1: I still call it Twitter, by the way, because yeah, yeah,
much changing. Yeah, you call it X and people don't
know what you mean necessarily, whereas everybody knows what Twitter is.
Speaker 3: It's definitely definitely much.
Speaker 1: Much easier, guys, Thank you again. So much. We're gonna
hit this track chasing the Summer, but I appreciate speaking
with the three of you. We'll do it again in
the future, of course, and and I look forward to
playing the new singles too as they're released on the show.
So guys, thank you, thank you again. Really appreciate it.
Speaker 3: Thank you so much for having us.
Speaker 2: Thank you so much.
Speaker 1: Bud, you got it, You got it all right. Thanks guys,
take care all right.