1 00:00:00,280 --> 00:00:02,359 Speaker 1: I love that. I love that. That is so catchy. 2 00:00:02,560 --> 00:00:05,639 The track is called Years. The band is Club Paradise, 3 00:00:05,679 --> 00:00:07,719 and I think we have them via Skype. Can you 4 00:00:07,759 --> 00:00:08,279 guys hear me? 5 00:00:09,039 --> 00:00:10,080 Speaker 2: Yes, suit we can. 6 00:00:10,199 --> 00:00:12,519 Speaker 1: Oh, you sound great, wonderful, wonderful. Who do we have? 7 00:00:12,759 --> 00:00:14,000 Who do we have with us? 8 00:00:15,599 --> 00:00:18,839 Speaker 3: We've got I'm Ryan, I sing and play guitar. 9 00:00:19,440 --> 00:00:19,879 Speaker 1: Welcome. 10 00:00:20,960 --> 00:00:24,679 Speaker 4: Yeah, I'm Nathan, I'm selling Ryan, I am I play drums. 11 00:00:24,440 --> 00:00:29,120 Speaker 2: Okay, I'm Jackson and I play guitar, all. 12 00:00:29,079 --> 00:00:33,439 Speaker 1: Right, all right? And are we missing anybody? 13 00:00:33,679 --> 00:00:37,079 Speaker 3: Yeah, we've also got Harry who he plays bass. But 14 00:00:37,159 --> 00:00:38,520 that's okay because he plays bass. 15 00:00:39,000 --> 00:00:41,920 Speaker 1: I know those damn bass players. I'll tell you the 16 00:00:41,960 --> 00:00:44,439 hell with them. No, I'm got a little bit of 17 00:00:44,479 --> 00:00:48,200 an inside joke. I'm a bass player myself. But that's 18 00:00:48,240 --> 00:00:50,439 all right, that's all right. No, I'm glad the three 19 00:00:50,479 --> 00:00:53,039 of you are here, and guys, I love your sound. 20 00:00:53,079 --> 00:00:54,520 I gotta say that right up front. 21 00:00:55,479 --> 00:00:55,520 Speaker 2: You. 22 00:00:55,920 --> 00:00:58,840 Speaker 1: Yeah, we actually so. You sent us two tracks to play, 23 00:00:59,000 --> 00:01:00,719 and we're gonna play the other one at the end 24 00:01:00,719 --> 00:01:03,119 of our conversation, but later in the show too, we'll 25 00:01:03,159 --> 00:01:06,120 probably play a couple more that I found that I really, 26 00:01:06,159 --> 00:01:08,959 really like that I found online. So you guys are awesome. 27 00:01:09,000 --> 00:01:09,640 Where are you from? 28 00:01:10,599 --> 00:01:13,760 Speaker 3: Oh, thank you so much. We are from North Shields, 29 00:01:13,760 --> 00:01:17,239 which is just a little town outside of Newcastle upon 30 00:01:17,359 --> 00:01:19,760 Tyne in the northeast of the uk Okay. 31 00:01:20,439 --> 00:01:24,120 Speaker 1: And are there a lot of bands there right now 32 00:01:24,159 --> 00:01:27,840 that that kind of sound like you guys? Because you know, 33 00:01:27,879 --> 00:01:30,760 we we have usually if we have somebody from across 34 00:01:30,840 --> 00:01:33,319 the pond, as we say here in the United States. 35 00:01:33,319 --> 00:01:35,000 I don't know if you say that there about us, 36 00:01:35,000 --> 00:01:40,040 but they don't sound quite like you, guys. I mean, 37 00:01:40,159 --> 00:01:43,640 you have such an accessible you know, like if I 38 00:01:43,719 --> 00:01:46,239 were hearing your music and had no idea that you 39 00:01:46,239 --> 00:01:48,159 were not an American band, I would assume that you 40 00:01:48,159 --> 00:01:52,000 were an American band because you have a sound that's 41 00:01:52,079 --> 00:01:55,319 very accessible in terms of American radio. Are there are 42 00:01:55,319 --> 00:01:57,439 there other bands there that sound like you or do 43 00:01:57,480 --> 00:01:59,359 you guys kind of stand out in that sense. 44 00:02:02,719 --> 00:02:05,719 Speaker 2: In the sense of sounding like an American radio band? 45 00:02:05,799 --> 00:02:10,120 Perhaps not, but yeah, like that's also that's just a 46 00:02:10,159 --> 00:02:14,800 massive compliment we take that. So like we listen to 47 00:02:14,840 --> 00:02:18,400 a lot of American radio stuff. That's actually kind of 48 00:02:18,400 --> 00:02:20,560 something we say as well, like, oh, this sounds like 49 00:02:20,599 --> 00:02:23,080 it could be on us radio when we're making it. 50 00:02:24,039 --> 00:02:25,919 So we love we love that compliment. Not a lot 51 00:02:25,919 --> 00:02:30,520 of people from around here sound like us specifically, I 52 00:02:30,560 --> 00:02:34,280 would say, but there is a big music scene happening 53 00:02:34,360 --> 00:02:34,840 right now. 54 00:02:35,759 --> 00:02:39,360 Speaker 1: What is it like? What is it like where you 55 00:02:39,400 --> 00:02:42,080 guys are, specifically in terms of are there a lot 56 00:02:42,080 --> 00:02:44,159 of places to play live or you able to get 57 00:02:44,159 --> 00:02:46,159 out and do a lot of shows? What's what? What 58 00:02:46,280 --> 00:02:51,599 is the scene like there where you are? Yeah, it's 59 00:02:51,599 --> 00:02:52,439 been it's obviously. 60 00:02:52,879 --> 00:02:56,319 Speaker 4: I think it's probably similar to yourselves where post COVID 61 00:02:56,639 --> 00:03:01,479 everyone's still there's still some TEVN issues and everyone's trying 62 00:03:01,479 --> 00:03:03,479 to get back back to how it was before. But 63 00:03:04,080 --> 00:03:07,439 we find a lot of joy in and around where 64 00:03:07,520 --> 00:03:10,680 we're from, Newcastle, North Shields. We found we found a 65 00:03:10,680 --> 00:03:12,960 lot of joy over there, over the water and the 66 00:03:13,080 --> 00:03:15,280 likes of Sunderland and Millersbro which are of our small 67 00:03:15,319 --> 00:03:18,400 city small towns. But it seems like everyone's trying to 68 00:03:18,439 --> 00:03:22,560 support each other. We travel outside of the Northeast when 69 00:03:22,639 --> 00:03:26,719 we can. As Jackson said, there's a big, big music scene. 70 00:03:26,759 --> 00:03:28,639 It seems like it's starting a bubble up again. 71 00:03:29,800 --> 00:03:32,560 Speaker 1: Yeah, that's good. 72 00:03:32,240 --> 00:03:34,719 Speaker 3: A bit of funny one after COVID though, because you 73 00:03:34,759 --> 00:03:36,919 had like this massive bottleneck of gigs that needed to 74 00:03:36,960 --> 00:03:40,800 happen that were postponing things. But I think now we 75 00:03:40,919 --> 00:03:42,400 start to see a lot of venues close, a lot 76 00:03:42,400 --> 00:03:45,240 of the smaller venues. So while Newcastle and and sort 77 00:03:45,240 --> 00:03:47,039 of Shields where we're from and all that sort of place, 78 00:03:47,080 --> 00:03:48,520 they have a lot of really good bands and a 79 00:03:48,560 --> 00:03:51,639 lot of good talent, it's kind of hard to go 80 00:03:51,680 --> 00:03:53,319 out and see people that you want to go and 81 00:03:53,319 --> 00:03:55,280 see as much now because some of those smaller venues, 82 00:03:55,319 --> 00:03:57,280 the ones that we would all you know, take hold of, 83 00:03:57,560 --> 00:04:00,599 they're all starting to or have closed recently, especially in Teaside, 84 00:04:00,599 --> 00:04:03,560 which is just the borough south of us, We've lost 85 00:04:03,560 --> 00:04:05,400 a lot of venues there and recently in Newcastle we've 86 00:04:05,400 --> 00:04:07,919 lost two or three here too, So it's getting tricky. 87 00:04:08,719 --> 00:04:10,520 But all that does, I think it is kind of 88 00:04:10,520 --> 00:04:12,520 fuels the fire for the existing venues for us to 89 00:04:12,560 --> 00:04:15,000 get in there and sort of, you know, everybody to 90 00:04:15,000 --> 00:04:17,480 gather around in a close that environment and really listen 91 00:04:17,480 --> 00:04:18,279 to each other as well. 92 00:04:19,040 --> 00:04:22,399 Speaker 1: What is causing that these venues to close? Do you know? 93 00:04:22,560 --> 00:04:24,920 Is it the economics of it? I know here in 94 00:04:24,959 --> 00:04:29,000 the United States, the You know, there's a lot of inflation, 95 00:04:29,639 --> 00:04:31,879 but I think we're probably faring better than a lot 96 00:04:31,920 --> 00:04:35,519 of places. Is that it is everything just too expensive 97 00:04:35,600 --> 00:04:37,000 or is there something else going on? 98 00:04:38,680 --> 00:04:42,120 Speaker 3: Yeah, I think inflation is definitely one big thing. I 99 00:04:42,160 --> 00:04:44,319 think people aren't sure if they can commit the money 100 00:04:44,319 --> 00:04:47,279 to a ticket so far in advance, So advanced sales 101 00:04:47,279 --> 00:04:49,639 is a huge part of that local scene for us, 102 00:04:49,879 --> 00:04:52,040 and you really don't really find out how many tickets 103 00:04:52,079 --> 00:04:54,160 you've got until maybe the day before, but even the 104 00:04:54,240 --> 00:04:57,000 night of. We did a show earlier in the air 105 00:04:57,000 --> 00:04:59,879 where we sold like, I don't know, twenty thirty t 106 00:05:00,079 --> 00:05:01,920 gets the week running up to the gig, and then 107 00:05:01,959 --> 00:05:04,040 on the night the venue was full and sold out. 108 00:05:04,600 --> 00:05:07,600 So this instability that we have with ticket purchases in advance, 109 00:05:07,920 --> 00:05:10,800 that's causing a lot of upset with promoters and venues. 110 00:05:10,839 --> 00:05:13,279 So the commitment is like the starting to lose the 111 00:05:13,279 --> 00:05:15,079 commitment of people who want to put those shows on. 112 00:05:16,360 --> 00:05:18,920 And it's just just change as well. That's just it's 113 00:05:18,959 --> 00:05:20,959 a natural change that I think people need to sort 114 00:05:20,959 --> 00:05:23,319 of adapt to and react with. 115 00:05:23,600 --> 00:05:28,480 Speaker 1: Yeah, that's interesting about the tickets because we had someone 116 00:05:28,600 --> 00:05:31,879 here from the uh, Jenny, what are they called? Is 117 00:05:31,920 --> 00:05:34,759 that the New Hampshire Music Collective or New England Music Collective. 118 00:05:34,800 --> 00:05:38,759 John MacArthur, Yeah, yeah, he's a promoter from the area 119 00:05:38,839 --> 00:05:41,800 and he was here. We had an extensive conversation with 120 00:05:41,879 --> 00:05:44,240 him about this, and he was talking about how when 121 00:05:44,519 --> 00:05:48,800 he puts events, when his company puts events online, very 122 00:05:48,839 --> 00:05:51,240 often people wait till the last minute to buy tickets 123 00:05:51,240 --> 00:05:54,160 and that's been the trend post COVID and the problem 124 00:05:54,319 --> 00:05:56,439 that that causes is and he was kind of pleading 125 00:05:56,480 --> 00:05:59,279 with people, please, you know, don't wait till the last minute, 126 00:05:59,279 --> 00:06:01,480 because what ends up happening is, you know, an event 127 00:06:01,519 --> 00:06:04,720 will sell out and he'll be going. You know, we 128 00:06:04,759 --> 00:06:07,240 could have done this in a larger venue, but we 129 00:06:07,360 --> 00:06:09,439 didn't know that all these people were going to show up, 130 00:06:09,480 --> 00:06:13,199 because people have gotten into that habit of waiting until, 131 00:06:13,279 --> 00:06:15,480 you know, the day of before they make that commitment, 132 00:06:15,560 --> 00:06:19,160 and it causes a bit of a bottleneck. But I 133 00:06:19,160 --> 00:06:21,040 think part of that too is I don't know if 134 00:06:21,079 --> 00:06:24,800 it's if it has to do with inflation, people being 135 00:06:24,839 --> 00:06:26,759 more careful about how they spend their money, that may 136 00:06:26,759 --> 00:06:28,399 be part of it, but also to I think just 137 00:06:28,519 --> 00:06:31,160 the Internet has made it so you know, you guys. 138 00:06:31,680 --> 00:06:34,120 You guys look pretty young from what I saw online. 139 00:06:34,120 --> 00:06:35,839 I'm old enough to remember when we didn't even have 140 00:06:35,920 --> 00:06:38,439 an internet. So if you had to buy tickets, you know, 141 00:06:38,519 --> 00:06:42,240 you call up you know, ticket Master, or you go 142 00:06:42,360 --> 00:06:45,519 to the I slept on the sidewalk outside of tickets 143 00:06:46,279 --> 00:06:49,240 in order to get tickets. Yeah. But but back then, 144 00:06:49,439 --> 00:06:52,720 but back in the day, pre internet, it was the inverse, right, 145 00:06:52,759 --> 00:06:54,800 if you wanted to go to a show, you had 146 00:06:54,839 --> 00:06:58,199 to get the tickets early or you risk missing out. 147 00:06:58,240 --> 00:07:01,680 Whereas now, because you can, you know, just buy tickets 148 00:07:01,720 --> 00:07:04,399 online or you know, or risk just showing up, you 149 00:07:04,639 --> 00:07:06,519 can afford to wait till the last minute. And I 150 00:07:06,519 --> 00:07:08,199 think that's where that problem comes from. 151 00:07:09,519 --> 00:07:12,519 Speaker 3: Definitely, we we have that memory. We used to go 152 00:07:12,560 --> 00:07:15,279 to venues. We used to queue outside and wait and 153 00:07:15,279 --> 00:07:17,759 buy the tickets. Yeah, when we were like in high school. 154 00:07:17,800 --> 00:07:20,839 That was good fun. Yeah, and it's so cool here 155 00:07:20,879 --> 00:07:23,560 by the way. Once in like a week in October, 156 00:07:23,560 --> 00:07:25,759 back in like twenty ten, we still outside this venue 157 00:07:25,920 --> 00:07:28,199 and we just shivered in We have to wear school 158 00:07:28,240 --> 00:07:31,120 uniforms in the UK, and we don't wear coats because 159 00:07:31,120 --> 00:07:33,279 it's not cool to wear a coat if you're from Newcastle, 160 00:07:34,279 --> 00:07:37,639 so we were all just shivering outside waiting to buy tickets. 161 00:07:37,639 --> 00:07:40,439 But we remember all that was such good fun. But 162 00:07:40,519 --> 00:07:43,560 I totally agree the Internet changes that landscape one hundred percent. 163 00:07:43,639 --> 00:07:46,959 And we've seen a lot of local festivals collapse due 164 00:07:47,000 --> 00:07:51,279 to lack of advanced sales. And people obviously think that 165 00:07:51,279 --> 00:07:53,720 there's just an ease of like accessibility to be able 166 00:07:53,720 --> 00:07:55,120 to get your ticket whenever you want to be like, oh, 167 00:07:55,279 --> 00:07:56,959 just I'll get that closer at the time, that's not 168 00:07:56,959 --> 00:07:59,319 a problem, but there's so much money that has to 169 00:07:59,360 --> 00:08:01,680 be put up to on these shows, the festivals, whatever 170 00:08:01,720 --> 00:08:05,800 it is that you go into that logistically, financially, the 171 00:08:05,839 --> 00:08:09,120 deadlines can't be met, the sort of bar stuff things 172 00:08:09,120 --> 00:08:11,680 like that can't be put in place to make sure 173 00:08:11,680 --> 00:08:12,800 that they can go ahead without. 174 00:08:12,600 --> 00:08:16,319 Speaker 1: That right exactly. And people don't know that. You know, 175 00:08:16,600 --> 00:08:19,240 your average consumer has no idea about any of this, 176 00:08:19,439 --> 00:08:22,480 and you know, and there's no reason that we should 177 00:08:22,480 --> 00:08:24,319 expect them to know. But one of the things that 178 00:08:24,319 --> 00:08:25,959 we try to do with this show is really educate 179 00:08:26,000 --> 00:08:29,439 people about that about how the music industry works, because yeah, 180 00:08:29,480 --> 00:08:32,600 if you know, it's all supply and demand ultimately, and 181 00:08:32,639 --> 00:08:36,440 if if somebody doesn't know. If a promoter or whomever 182 00:08:36,559 --> 00:08:40,039 doesn't know that the demand is there to be met 183 00:08:40,320 --> 00:08:42,919 until the very last minute, then what ends up happening is, yeah, 184 00:08:42,919 --> 00:08:44,399 they don't there's not enough money coming in, and they 185 00:08:44,440 --> 00:08:47,120 end up having to cancel. You said, you said you've 186 00:08:47,120 --> 00:08:49,480 seen that a lot there festivals having to be canceled 187 00:08:49,679 --> 00:08:50,320 for that reason. 188 00:08:52,279 --> 00:08:55,120 Speaker 2: Yeah, yeah, there was a It was a festival. We 189 00:08:55,120 --> 00:08:59,960 were scheduled to play inside of Newcastle and it was 190 00:09:00,120 --> 00:09:03,600 like a big field, and we had promoted it, et cetera, 191 00:09:03,759 --> 00:09:06,200 and then you know, six weeks before the show, it 192 00:09:06,360 --> 00:09:09,200 just gets pulled because ticket sales probably weren't good enough, 193 00:09:10,639 --> 00:09:13,960 and we see a lot I think it's it's sort 194 00:09:13,960 --> 00:09:15,840 of like a luxury to be able to wait to 195 00:09:15,840 --> 00:09:22,440 buy your ticket. People don't necessarily feel like the onus 196 00:09:22,519 --> 00:09:26,960 is on them, like there's no burden or responsibility to 197 00:09:27,120 --> 00:09:31,679 like buy these tickets, because there isn't really, But they 198 00:09:31,679 --> 00:09:35,200 don't also know, like if a promoter sees fifteen tickets 199 00:09:35,200 --> 00:09:38,600 have been sold, then they'll just go, oh, this show 200 00:09:39,080 --> 00:09:43,519 isn't worth putting on, even though fifty people have just said, oh, 201 00:09:43,559 --> 00:09:46,279 we'll just buy the week of like we'll say, you know, 202 00:09:46,360 --> 00:09:49,279 we'll just keep money and if something else you know, 203 00:09:49,320 --> 00:09:52,759 I think as well, Yeah, there's so much choice as well, 204 00:09:52,919 --> 00:09:55,519 Like it might be a case of like, oh my 205 00:09:55,600 --> 00:09:58,960 other plans have fallen through, so now go to this show, right, Yeah, 206 00:09:59,200 --> 00:10:01,960 So the commitment as well, like people don't want to 207 00:10:02,000 --> 00:10:06,440 commit too early. I think that maybe is because of 208 00:10:06,480 --> 00:10:10,200 post COVID, Like you weren't going out anywhere, so people 209 00:10:10,240 --> 00:10:13,879 have lent to live without going out, right, So maybe 210 00:10:13,919 --> 00:10:17,919 people are you know, they've gotten comfortable not going out 211 00:10:18,000 --> 00:10:21,759 and realizing they don't have to. So maybe that's part 212 00:10:21,799 --> 00:10:22,799 of it as well. 213 00:10:22,840 --> 00:10:28,080 Speaker 1: You know, yeah, that makes sense, That makes sense. What's 214 00:10:28,120 --> 00:10:31,000 the vibe like in terms of working with other bands? 215 00:10:31,039 --> 00:10:34,240 You know, here in the United States, I find that 216 00:10:34,840 --> 00:10:39,480 in the music scene most there's a lot of positivity 217 00:10:39,559 --> 00:10:41,519 and people kind of work together and whatnot. I mean, 218 00:10:41,559 --> 00:10:45,480 it's competitive, obviously, but it's not like saying stand up comedy. 219 00:10:45,519 --> 00:10:47,879 I listen to some some podcasts hosted by stand up 220 00:10:47,919 --> 00:10:50,960 comedians in the United States and everything sounds like it's 221 00:10:51,080 --> 00:10:54,360 very cutthroat and nobody really helps anybody. But with musicians, 222 00:10:54,360 --> 00:10:56,399 people tend to try to kind of work together. Is 223 00:10:56,440 --> 00:10:59,159 it like that? There or is it? I mean, how 224 00:10:59,159 --> 00:11:01,440 competitive is it in the scene where you are, where 225 00:11:01,480 --> 00:11:02,440 you guys are operating. 226 00:11:03,960 --> 00:11:06,919 Speaker 3: I think it used to be way more cutthroat than 227 00:11:06,960 --> 00:11:09,720 it is now. So we've been playing as a band 228 00:11:09,720 --> 00:11:12,480 honestly around twelve or thirteen years or so, the four 229 00:11:12,519 --> 00:11:15,399 of us, the same four guys, So we've seen a 230 00:11:15,399 --> 00:11:19,480 big change locally, and I think at first it was 231 00:11:19,600 --> 00:11:22,519 very much nobody talked to each other. Everybody went to 232 00:11:22,519 --> 00:11:23,720 play the show and you were going to put on 233 00:11:23,759 --> 00:11:25,639 the best so that everybody was going to see that night. 234 00:11:27,039 --> 00:11:29,440 And I feel like for the first three or four 235 00:11:29,519 --> 00:11:31,960 years that was definitely the case. We then didn't really 236 00:11:31,960 --> 00:11:33,720 gig for a while while we were still figuring out 237 00:11:33,720 --> 00:11:35,000 what we wanted to do, and then when we came 238 00:11:35,039 --> 00:11:37,919 back to it, there was this complete shift and sort 239 00:11:37,919 --> 00:11:40,679 of demeanor and that everybody was now friends. Everyone was 240 00:11:40,679 --> 00:11:44,279 wanting to put on the best night collectively. And I 241 00:11:44,399 --> 00:11:48,519 hope that we've kind of we've definitely adjusted to that 242 00:11:48,639 --> 00:11:50,799 since since all that big change, and I hope that 243 00:11:50,840 --> 00:11:53,039 our shows people will also come to that and feel 244 00:11:53,120 --> 00:11:56,240 that in that we are trying to play with artists 245 00:11:56,320 --> 00:11:58,679 who we love, and we think everybody else will love 246 00:11:58,720 --> 00:12:01,639 if it's our show or actively will We'll take slots 247 00:12:01,679 --> 00:12:04,360 to play with other bands that offer us them if 248 00:12:04,679 --> 00:12:06,879 if again they love us, and we all think it's 249 00:12:06,919 --> 00:12:09,159 the right move for the for the bill in full, 250 00:12:09,240 --> 00:12:11,679 and it's a much more collaborative effort now for live shows. 251 00:12:11,679 --> 00:12:13,720 I think, Yeah, it's nice to be nice. 252 00:12:14,000 --> 00:12:19,000 Speaker 1: Yeah, exactly exactly. And what's we talked about it? We 253 00:12:19,080 --> 00:12:24,320 touched on it radio. What's the radio situation there for 254 00:12:24,399 --> 00:12:26,159 a band like you, guys like, are you on the 255 00:12:26,279 --> 00:12:29,039 radio in your area or how does that work there? 256 00:12:31,360 --> 00:12:33,080 Speaker 2: We're on the radio in and around the area. 257 00:12:33,240 --> 00:12:36,960 Speaker 4: Yeah, we had a we had to play on Radio 258 00:12:37,159 --> 00:12:39,519 X which is quite a big, a big radio station 259 00:12:39,600 --> 00:12:41,919 in around the UK. That's that's a rarity that we 260 00:12:41,960 --> 00:12:43,559 would get something like that, and you've got to jump 261 00:12:43,600 --> 00:12:44,759 through quite a lot of hoops in it's a. 262 00:12:44,759 --> 00:12:45,240 Speaker 2: Bit of a look. 263 00:12:45,320 --> 00:12:50,080 Speaker 4: But in terms of the locality in the very local area, yeah, 264 00:12:50,080 --> 00:12:53,639 we're we're on radio stations. People are very supportive. We've 265 00:12:53,639 --> 00:12:58,360 got BBC introducing ye Upia, who who have always been 266 00:12:58,399 --> 00:13:00,399 a big supporter of us and do a lot for 267 00:13:00,440 --> 00:13:01,320 the local scene. 268 00:13:01,559 --> 00:13:03,480 Speaker 3: You find that with that as well, you get these 269 00:13:03,519 --> 00:13:06,039 little random radio shows that you've never heard of. So 270 00:13:06,080 --> 00:13:09,000 there's one up in the Highlands of Scotland and every 271 00:13:09,000 --> 00:13:11,000 time we play, every time we release a song, they 272 00:13:11,039 --> 00:13:15,000 play us like without fail. And then there's a there's 273 00:13:15,120 --> 00:13:18,080 there's two or three like that. There's a Welsh speaking 274 00:13:18,120 --> 00:13:20,039 one which also plays us all the time, which is 275 00:13:20,080 --> 00:13:24,240 really cool. Locally though, BBC and is a really cool thing, 276 00:13:24,279 --> 00:13:26,720 but it's kind of being cut back a lot. So 277 00:13:26,840 --> 00:13:29,799 the most local radio show we have for the BBC now, 278 00:13:29,799 --> 00:13:32,279 which used to be in Newcastle, is in Teesside, which 279 00:13:32,320 --> 00:13:34,279 is Millsbrough. It's just kind of like an hour out 280 00:13:34,279 --> 00:13:36,080 of the way, so now it's a regional show rather 281 00:13:36,120 --> 00:13:40,200 than a local show, which is all fine. It's just 282 00:13:40,279 --> 00:13:42,440 you can see where these changes are happening in the 283 00:13:42,440 --> 00:13:44,039 start to take place. But we do get we get 284 00:13:44,039 --> 00:13:45,960 the support of the radio and we're really thankful and 285 00:13:46,000 --> 00:13:48,720 we love those teams and they're always really really fun 286 00:13:48,759 --> 00:13:49,440 to work with too. 287 00:13:49,960 --> 00:13:50,960 Speaker 1: Yeah, that's good. 288 00:13:51,039 --> 00:13:51,120 Speaker 3: No. 289 00:13:51,399 --> 00:13:53,480 Speaker 1: I was particularly curious because, like I said, you guys 290 00:13:53,519 --> 00:13:57,840 have such an accessible sound and these these songs. Yeah, 291 00:13:57,919 --> 00:13:59,720 at the end of the conversation we're gonna play Chasing 292 00:13:59,720 --> 00:14:01,960 the Song or another great track and I have to 293 00:14:02,000 --> 00:14:03,960 tell you later in the show because I mentioned if 294 00:14:03,960 --> 00:14:07,519 you're curious. Ye, we're also gonna play later. We're gonna 295 00:14:07,519 --> 00:14:12,120 play Another Life and no, I'm sorry, that's the wait? 296 00:14:12,240 --> 00:14:13,240 Speaker 2: Is that the song? 297 00:14:14,559 --> 00:14:16,200 Speaker 3: That is a name of a song? 298 00:14:17,120 --> 00:14:20,000 Speaker 1: Yeah, there was another one. There was another one too. 299 00:14:20,120 --> 00:14:22,120 I'll have to find it. I'll have to find it 300 00:14:22,159 --> 00:14:25,279 to play it. Oh, neighborhood that was the other one. 301 00:14:25,360 --> 00:14:27,320 Speaker 3: Oh oh yeah, yeah, they came out together. That was 302 00:14:27,360 --> 00:14:28,679 a double A side that we did. 303 00:14:28,799 --> 00:14:31,519 Speaker 1: Oh okay, yeah, I really like those. I really like those. 304 00:14:31,559 --> 00:14:35,519 You guys are such a great sound. Tell me a 305 00:14:35,519 --> 00:14:38,240 little bit about influences. What uh what are you? What 306 00:14:38,279 --> 00:14:40,480 do you guys? What do you listen to? What did 307 00:14:40,519 --> 00:14:42,039 you grow up listening to that kind of thing? 308 00:14:44,679 --> 00:14:49,159 Speaker 2: I grew up listening to like emo rock and like 309 00:14:49,360 --> 00:14:51,919 all that sort of stuff. And then I think when 310 00:14:52,039 --> 00:14:55,559 we so we all pretty much went to high school 311 00:14:55,559 --> 00:14:58,639 to get at bon Nathan he was in separate high school, 312 00:14:58,679 --> 00:15:03,240 but they Ryan and Nathan lived very very close, so 313 00:15:03,279 --> 00:15:05,120 we've all known each other growing up. And I think 314 00:15:05,639 --> 00:15:08,759 when we hit like thirteen fourteen, we were listening to 315 00:15:08,919 --> 00:15:12,639 indie rock all that sort of stuff. I was still 316 00:15:12,639 --> 00:15:18,759 listening to emo stuff. Yeah, but maybe like in the 317 00:15:18,799 --> 00:15:24,600 past four years three years, we've been really into country 318 00:15:24,679 --> 00:15:31,519 music as a collective, like where modern country music artists 319 00:15:31,559 --> 00:15:37,039 like so much, and that's kind of like now, especially 320 00:15:37,080 --> 00:15:39,159 with years, you can kind of hear that influence. We're 321 00:15:39,200 --> 00:15:41,000 not trying to do it on purpose, it's just sort 322 00:15:41,039 --> 00:15:46,080 of coming out naturally now. So I think country music 323 00:15:46,240 --> 00:15:49,559 is kind of an influence now. I've also maybe like 324 00:15:49,639 --> 00:15:53,120 synth wavy stuff. That was a big part of our 325 00:15:53,200 --> 00:15:59,039 sound when we like launched as Club Paradise, like that 326 00:15:59,120 --> 00:16:00,799 was sort of a direct and we wanted to head 327 00:16:00,799 --> 00:16:02,080 in as well. Yeah. 328 00:16:02,080 --> 00:16:04,919 Speaker 4: I think the the one band that sort of springs 329 00:16:04,960 --> 00:16:09,399 to mind simply of what wise is The Midnight from 330 00:16:09,440 --> 00:16:12,440 the US, who we we actually went to see in 331 00:16:12,559 --> 00:16:15,559 Newcastle a couple of weeks ago together. 332 00:16:17,039 --> 00:16:18,519 Speaker 2: Yeah, so that was that was great. 333 00:16:18,559 --> 00:16:21,679 Speaker 4: But if he's on a really familiar with their with 334 00:16:21,799 --> 00:16:26,120 their sound, I would we well, we would all recommend 335 00:16:26,120 --> 00:16:28,039 that band definitely, And I think we take a lot 336 00:16:28,039 --> 00:16:30,159 of influence from from what those guys do. 337 00:16:30,840 --> 00:16:33,480 Speaker 1: I'll have to check them out. Yeah, I was reading 338 00:16:33,519 --> 00:16:36,200 in your bio about you know, sort of the country 339 00:16:36,279 --> 00:16:40,120 rock influence and it surprised me a little bit. Are 340 00:16:40,159 --> 00:16:44,440 there are there artists in your area or are there 341 00:16:44,600 --> 00:16:48,600 UK artists who who kind of are working in that genre, 342 00:16:48,799 --> 00:16:50,480 or when you listen to that, are you listening to 343 00:16:50,519 --> 00:16:55,240 American artists? Because because I don't know offhand, I mean, 344 00:16:55,240 --> 00:16:56,519 I'm really curious about this. 345 00:16:56,799 --> 00:17:01,200 Speaker 4: I don't think I don't think there's any. 346 00:17:00,200 --> 00:17:04,440 Speaker 2: Yeah, we get local like folk music, which takes roots 347 00:17:04,440 --> 00:17:09,720 from country stuff. But we the like the country music 348 00:17:09,799 --> 00:17:13,799 we are currently listening there. It's like Keith Urban, Aaron Kinsey, 349 00:17:13,880 --> 00:17:18,720 Morgan Wallen is a massive one. People like Nate Smith 350 00:17:18,799 --> 00:17:22,200 as well. I'm just thinking Derek s Bentley as well. 351 00:17:22,960 --> 00:17:27,599 We love s Bentley, Priscilla Block, Luke, Bryan. 352 00:17:29,279 --> 00:17:29,680 Speaker 3: Doughtry. 353 00:17:30,200 --> 00:17:35,880 Speaker 2: Yeah, but even like like Scotty McCreary as well. We 354 00:17:35,880 --> 00:17:41,079 we all love Scotty McCreary. It's yeah, yeah, we we. 355 00:17:41,480 --> 00:17:44,200 I mean this is stuff that we genuinely like. Say 356 00:17:44,279 --> 00:17:46,279 we're on a road trip, Like we just went to 357 00:17:46,480 --> 00:17:49,640 some amusement park in the UK. It was like a 358 00:17:49,640 --> 00:17:53,200 two hour drive. All we would listen to was country 359 00:17:53,279 --> 00:17:55,279 music on the way there and on the way back. 360 00:17:56,880 --> 00:17:57,880 It's we love it. 361 00:17:57,880 --> 00:18:00,240 Speaker 3: It's started as like I think between the four US. 362 00:18:00,240 --> 00:18:02,720 It started as a bit of a guilty pleasure. I remember, like, 363 00:18:02,920 --> 00:18:05,839 Jackson has cousins in Canada and their wedding song when 364 00:18:05,839 --> 00:18:09,680 he went to their wedding in Canada was Florida George. 365 00:18:09,599 --> 00:18:12,519 Speaker 2: Holy, Yeah Holy by Florida Georgia line. 366 00:18:12,680 --> 00:18:14,799 Speaker 3: And then it's I think we kind of listened to 367 00:18:14,799 --> 00:18:17,079 that song together after Jackson came back and we were like, WHOA, 368 00:18:17,240 --> 00:18:19,400 something's going on here, and we were like at teenagers 369 00:18:19,400 --> 00:18:21,240 at the time that being came this like really big 370 00:18:21,240 --> 00:18:23,400 guilty pleasure for us all to talk about. And then 371 00:18:23,440 --> 00:18:26,200 over time it's been like, actually, no, this is just amazing. 372 00:18:26,240 --> 00:18:28,640 But because it's so kind of alien to the UK 373 00:18:28,960 --> 00:18:31,920 and that it doesn't exist here, we didn't really talk 374 00:18:31,960 --> 00:18:34,519 about it much. And now over time, like now on 375 00:18:34,559 --> 00:18:37,039 the radio, Morgan Mullins on the radio here, those new 376 00:18:37,039 --> 00:18:39,200 tunes with post Malone that he's been doing, those are 377 00:18:39,200 --> 00:18:41,559 getting some tensions. So I feel like Country's grown to 378 00:18:41,599 --> 00:18:44,480 see happens over here now. And we've got Absolute Country, 379 00:18:44,519 --> 00:18:46,359 which is the radio station that is never off in 380 00:18:46,400 --> 00:18:49,960 my car, and that's got all the shows from Nashville 381 00:18:50,000 --> 00:18:53,119 coming live to us. So it's grown here and I'm 382 00:18:53,119 --> 00:18:55,839 really really glad and I feel really passionate about that. 383 00:18:55,839 --> 00:18:59,200 It's a really really cool thing. Yeah, so yeah, it's 384 00:18:59,200 --> 00:19:00,240 all American stuff. 385 00:19:00,880 --> 00:19:03,599 Speaker 4: We've still got We've still got some roots in this 386 00:19:03,720 --> 00:19:06,160 sort of UK indie scene, but there's not a we 387 00:19:06,160 --> 00:19:11,119 we grew up on Four's Bombay, Bicycle Club, Wild Beast, 388 00:19:11,200 --> 00:19:12,680 that sort of thing, and a lot of those bands 389 00:19:12,720 --> 00:19:15,720 have called it a day. You've still got some of 390 00:19:15,720 --> 00:19:17,759 them not and about and were You still listen to 391 00:19:17,799 --> 00:19:19,799 a lot about the Monkey's Kings of Leon and we're 392 00:19:19,839 --> 00:19:22,799 still love those bands and putting out. So it was 393 00:19:22,799 --> 00:19:26,480 a bit of a dynamic, shifting dynamic when all the countries, 394 00:19:26,559 --> 00:19:28,880 So I think we'll try and blend it subconsciously in 395 00:19:29,160 --> 00:19:29,599 what we do. 396 00:19:29,720 --> 00:19:32,079 Speaker 3: There's a flavor of that. I think there's a flavor 397 00:19:32,200 --> 00:19:34,599 definitely of those bands with the country stuff with the 398 00:19:34,640 --> 00:19:36,039 Midnight so you kind of get that synth element. But 399 00:19:36,079 --> 00:19:37,880 then I also feel like there's a really nice element 400 00:19:37,920 --> 00:19:39,720 of like Brian Adams in some of the things that 401 00:19:39,759 --> 00:19:41,759 we do, like in Chasing the Summer, If it just 402 00:19:41,759 --> 00:19:43,559 gives us atmosphere that used to get in a lot 403 00:19:43,559 --> 00:19:47,240 of stuff, maybe even like a Don Henley type of 404 00:19:47,319 --> 00:19:52,680 vibey type of thing. So I feel like as a 405 00:19:52,680 --> 00:19:55,480 as like a big melting pot of all those things 406 00:19:55,480 --> 00:19:57,839 that come together is what we we created. 407 00:19:57,599 --> 00:19:59,240 Speaker 4: A shot were in the foot a little bit. And 408 00:20:00,160 --> 00:20:03,039 because we're as we've just rattled off about. 409 00:20:02,839 --> 00:20:03,920 Speaker 3: Fifty different things. 410 00:20:04,759 --> 00:20:08,559 Speaker 4: Sometimes sometimes UK radio stations, certainly the bigger ones one 411 00:20:09,000 --> 00:20:11,960 I think a certain sound and if you're indy, you 412 00:20:12,000 --> 00:20:14,920 need to be Indie, you know what I mean. We don't. 413 00:20:15,400 --> 00:20:16,480 Speaker 2: We don't fit into a. 414 00:20:16,359 --> 00:20:21,079 Speaker 4: Certain genres other bands do, and it's it's it's been 415 00:20:21,240 --> 00:20:25,200 difficult to to pitch where we should be. But so 416 00:20:25,240 --> 00:20:27,920 that's why it's so kind of yourselves say how accessible 417 00:20:27,920 --> 00:20:30,559 it is, and we yeah, yeah, I don't think we 418 00:20:30,680 --> 00:20:31,839 have that in the forefront of my mind. 419 00:20:31,880 --> 00:20:33,880 Speaker 3: But when you think of the choruses and we'll keep 420 00:20:33,920 --> 00:20:36,759 how the songs coming. We're always told that we're not 421 00:20:36,839 --> 00:20:39,559 rock enough for rock and we're not popping up, so 422 00:20:40,039 --> 00:20:44,160 it's kind of like, okay, that's fine, but here's the 423 00:20:44,240 --> 00:20:45,880 music anyways. 424 00:20:45,279 --> 00:20:48,440 Speaker 1: Right right, Yeah, And I can hear the Brian Adams 425 00:20:48,720 --> 00:20:51,400 uh and and Don Henley, I can hear those influences 426 00:20:51,440 --> 00:20:55,599 in there. Yeah, the country stuff is interesting that that 427 00:20:55,960 --> 00:21:00,319 influence because we and and again. I'm all enough to 428 00:21:00,319 --> 00:21:02,759 remember when it wasn't this way. But modern country and 429 00:21:02,799 --> 00:21:04,759 I'm not a big country fan, but occasionally I'll hear 430 00:21:04,799 --> 00:21:07,799 something I like, and I'm always very aware of these artists. 431 00:21:08,599 --> 00:21:11,200 I try to keep up with all of it. But 432 00:21:11,880 --> 00:21:16,559 modern country now sounds a lot like you can hear 433 00:21:16,680 --> 00:21:23,039 the influences of eighties rock in modern country and the production. 434 00:21:23,279 --> 00:21:26,799 I always say this again, it's not my first go 435 00:21:26,880 --> 00:21:29,799 to on my list of sort of genres and subgenres 436 00:21:29,799 --> 00:21:30,920 of what I listened to, but I listen to a 437 00:21:30,960 --> 00:21:32,920 lot of different kinds of stuff. But I have to 438 00:21:32,960 --> 00:21:37,480 say Nashville, which you know, is the kind of the 439 00:21:38,160 --> 00:21:41,359 epicenter of country music in the United States, Nashville's got 440 00:21:41,359 --> 00:21:45,400 it down as far as production. Like I'm very picky 441 00:21:45,400 --> 00:21:49,240 about how drums sound, for example, and you listen to 442 00:21:49,319 --> 00:21:53,880 any modern country and the drums sound exactly the way 443 00:21:53,920 --> 00:21:56,680 they should sound in my opinion, you know everything and 444 00:21:57,319 --> 00:22:01,880 the way things are mixed, and even the guitars are 445 00:22:02,119 --> 00:22:04,799 are louder than they used to be. In country music, 446 00:22:04,839 --> 00:22:06,839 you can really hear the rock. You know, there's there's 447 00:22:06,880 --> 00:22:09,799 kind of been this melding that I think is really interesting, 448 00:22:09,960 --> 00:22:12,559 and I kind of suspect that had that not I 449 00:22:12,559 --> 00:22:15,720 guess it's chicken or the egg, right. You know, is 450 00:22:15,759 --> 00:22:19,880 that happening because that helps country to be more accessible 451 00:22:20,319 --> 00:22:24,920 to the mainstream or or is it a reaction to 452 00:22:25,079 --> 00:22:28,440 country becoming more accessible on its own? But you know, 453 00:22:28,480 --> 00:22:29,400 we saw that happen. 454 00:22:31,319 --> 00:22:31,519 Speaker 3: You know. 455 00:22:31,559 --> 00:22:33,759 Speaker 1: I can remember, you know, back in the nineties when 456 00:22:33,799 --> 00:22:35,839 Garth Brooks got really big. That was sort of the 457 00:22:35,839 --> 00:22:38,839 first real wave of country music becoming sort of mainstream. 458 00:22:39,319 --> 00:22:42,519 But now it's like it it's really you hear a 459 00:22:42,559 --> 00:22:45,079 lot of rock influences in modern country music. 460 00:22:47,279 --> 00:22:51,200 Speaker 2: Yeah, absolutely, when you touched about like drums and guitars 461 00:22:51,240 --> 00:22:56,119 as well, That's something that I'm like particularly interested in, 462 00:22:56,160 --> 00:23:01,119 stuff like the recording process. So these last these last 463 00:23:01,119 --> 00:23:05,240 few songs that we've put out were pretty much recorded independently, 464 00:23:06,720 --> 00:23:10,839 and I'm massive on guitar tones, and I like, I 465 00:23:10,880 --> 00:23:15,279 look up what people are using. And I remember a 466 00:23:15,440 --> 00:23:17,599 UNI project I did it so long ago where I 467 00:23:17,640 --> 00:23:21,640 was just essentially researching Blackbird Studios, which is in Nashville, 468 00:23:22,640 --> 00:23:24,680 and I was just like reading about Studio A and 469 00:23:24,720 --> 00:23:27,240 Studio B, and like what the drums will sound like 470 00:23:27,240 --> 00:23:30,799 in each room and and then like they have like 471 00:23:30,880 --> 00:23:33,640 a client list and then like a record list, and 472 00:23:33,680 --> 00:23:35,359 you know, you listen to some of the people that 473 00:23:35,799 --> 00:23:37,880 have recorded in the like Kings of Aam was the 474 00:23:37,880 --> 00:23:40,680 big one for me, which is why I got into them. 475 00:23:40,720 --> 00:23:45,359 But like I think Hayes has recorded their Rascal Flats 476 00:23:45,440 --> 00:23:47,839 as well. We love the Rascal Flats. I think they 477 00:23:47,960 --> 00:23:52,160 definitely hit the pop and the rock pop sort of thing. 478 00:23:52,240 --> 00:23:54,640 And I know what you mean, like it it you 479 00:23:54,720 --> 00:24:00,799 listen to like stuff from the nineties, the Cold Swindon 480 00:24:00,920 --> 00:24:05,720 he did a What's what song? Did he just do? Uh? 481 00:24:06,400 --> 00:24:11,079 She had heads Carolina h Yeah, so his obviously you 482 00:24:11,200 --> 00:24:14,759 listen to the original of that and the instrumental, like 483 00:24:15,799 --> 00:24:18,440 the parts are the same, but they're recorded so differently 484 00:24:18,480 --> 00:24:22,000 and so like it's so everything's like hyper and now 485 00:24:22,079 --> 00:24:27,319 like everything's so big compared to maybe more understated of 486 00:24:27,359 --> 00:24:31,559 the original. So I understand what you mean. Things are changing, 487 00:24:31,759 --> 00:24:36,920 like they are getting just bigger and more like you say, 488 00:24:37,079 --> 00:24:40,960 eighties eighties rock influenced where everything was just big and massive, 489 00:24:42,480 --> 00:24:46,279 and maybe I think you might start like we see 490 00:24:46,319 --> 00:24:50,160 it over here. A lot of the music coming out 491 00:24:50,240 --> 00:24:53,640 like in the UK, drums are really quiet and understated. 492 00:24:54,799 --> 00:24:57,240 There's a lot of like snare drums with towels on, 493 00:24:58,039 --> 00:25:02,519 you know, like everything's gonna be quite more mute. I 494 00:25:02,559 --> 00:25:05,319 think maybe the trend and the UK at least is 495 00:25:05,319 --> 00:25:08,480 going to go back from big eighties stuff to more 496 00:25:09,920 --> 00:25:13,240 natural sounding I'm using air quotes, but natural sound and drums. 497 00:25:14,559 --> 00:25:16,799 But with the air with US radio rock, it's just 498 00:25:17,200 --> 00:25:19,519 full throttle now, right, But we love that. 499 00:25:20,839 --> 00:25:23,000 Speaker 3: I think it's funny. We were in the studio a 500 00:25:23,000 --> 00:25:25,160 couple of weeks ago doing some new stuff and we 501 00:25:25,319 --> 00:25:28,640 just pulled up country rock drums and said, like, this 502 00:25:28,680 --> 00:25:30,240 is the reference, this is the sound we want, and 503 00:25:30,279 --> 00:25:31,640 we're going to set the drum kit up to sound 504 00:25:31,680 --> 00:25:32,359 exactly like this. 505 00:25:32,920 --> 00:25:36,720 Speaker 1: Yeah, it's good fun. 506 00:25:36,759 --> 00:25:38,640 Speaker 3: I think there's also I think you're right, like there's 507 00:25:38,680 --> 00:25:40,440 an element that couldn't you want to be more accessible 508 00:25:40,480 --> 00:25:43,079 and more mainstream in general. But I also think that 509 00:25:43,119 --> 00:25:45,039 part of the reason it sounds that way is there's 510 00:25:45,039 --> 00:25:46,400 a lot of sampling going on now and that's a 511 00:25:46,400 --> 00:25:48,839 good speed thing. So we've had friends who've gone to 512 00:25:48,920 --> 00:25:51,359 Nashville to do writing sessions and writing camps, and they 513 00:25:51,359 --> 00:25:53,440 talked about how fast it is in Nashville that I 514 00:25:53,440 --> 00:25:55,519 already sits around in a circle and throws the lyric out, 515 00:25:55,559 --> 00:25:57,119 and the next lerik that comes out is the one 516 00:25:57,119 --> 00:25:59,400 that's going to follow that one. So it's not debated. 517 00:25:59,559 --> 00:26:01,160 It just goes on and on and on them. That 518 00:26:01,240 --> 00:26:04,240 sounds so alien to us, It sounds crazy, But I 519 00:26:04,240 --> 00:26:06,759 think that maybe is the tone of the drums and 520 00:26:06,839 --> 00:26:09,119 all these different sampled instruments and the access you have 521 00:26:09,200 --> 00:26:12,039 to do in things digitally. Now, that speed that they've 522 00:26:12,119 --> 00:26:14,799 created in these writing camps might sort of blend with 523 00:26:14,839 --> 00:26:16,160 that pace that you can get from the sound of 524 00:26:16,160 --> 00:26:18,400 the drums if they do sort of sample the kits 525 00:26:18,440 --> 00:26:19,839 and recreate them that way too. 526 00:26:20,319 --> 00:26:23,480 Speaker 1: Yeah, that makes sense. Yeah, Nashville. You know, we've we've 527 00:26:23,519 --> 00:26:25,960 had guests on the show. We've spent some time in Nashville, 528 00:26:26,079 --> 00:26:29,039 and uh, either you know, either just short trips to 529 00:26:29,160 --> 00:26:32,319 just write and record, or or people who've lived there 530 00:26:32,359 --> 00:26:35,359 for a while. And yeah, they do things like you 531 00:26:35,359 --> 00:26:38,680 know they have. Yeah, the these writing sessions that like 532 00:26:38,720 --> 00:26:43,519 you described are very fast and and and these songwriting circles, 533 00:26:43,559 --> 00:26:45,720 you know, they all they'll sit in a circle or 534 00:26:45,720 --> 00:26:48,160 they'll do this live, you know, where they'll they'll be 535 00:26:48,200 --> 00:26:50,880 in in a club and they're they're writing songs live 536 00:26:50,920 --> 00:26:52,839 in front of a crowd, you know, almost like what 537 00:26:52,920 --> 00:26:55,759 a stand up comedian does when they go to say 538 00:26:55,759 --> 00:26:58,400 an open mic and they they're just kind of workshopping 539 00:26:58,440 --> 00:27:00,440 new material. You know, it's really interesting saying because I 540 00:27:00,440 --> 00:27:03,000 don't know of anywhere else where they approach it that way. 541 00:27:03,400 --> 00:27:06,240 And how nerve racking that must be. I'm a musician myself, 542 00:27:06,240 --> 00:27:08,480 but I can't imagine like being in front of a 543 00:27:08,599 --> 00:27:12,039 crowd of people with other musicians and writing something on 544 00:27:12,079 --> 00:27:14,640 the spot, and you know, you're in front of people, 545 00:27:14,640 --> 00:27:17,599 so it better be good. But yeah, I mean that's 546 00:27:17,680 --> 00:27:20,119 like the Nashville is like, you know, that's like boot 547 00:27:20,119 --> 00:27:21,200 camp for musicians. 548 00:27:21,279 --> 00:27:24,799 Speaker 3: You know, yeah, you would not catch me doing that. 549 00:27:27,599 --> 00:27:30,440 Speaker 1: And so you know, where do you guys record because 550 00:27:30,599 --> 00:27:32,400 this all sounds like it was done in a million 551 00:27:32,400 --> 00:27:35,960 dollar recording studio. But as we know, again, we live 552 00:27:36,000 --> 00:27:37,599 in a time where it's you know, you've got a 553 00:27:37,640 --> 00:27:39,680 lot of different options in terms of how you record. 554 00:27:42,200 --> 00:27:48,319 Speaker 2: Yeah, so we we tend to so since maybe since 555 00:27:48,359 --> 00:27:51,880 twenty twenty, we've we've kind of recorded at least guitars 556 00:27:51,880 --> 00:27:57,359 and vocals, just no real amps. It's all simulated stuff, 557 00:27:58,279 --> 00:28:02,119 so it's bedroom like. Yeah, half, maybe sixty percent of 558 00:28:02,160 --> 00:28:04,359 the song is bedroom stuff. The only thing that we 559 00:28:04,559 --> 00:28:10,680 tracked live now is drums, like in a in a 560 00:28:11,039 --> 00:28:15,279 studio space, just because we can't anywhere else. But and 561 00:28:15,319 --> 00:28:19,039 it saves money, Like, we have the ability to do 562 00:28:19,079 --> 00:28:22,640 it at home, so why don't we. We've had We've 563 00:28:22,680 --> 00:28:25,720 had fifteen years of experience as a band. We kind 564 00:28:25,720 --> 00:28:28,720 of know what we're after at this point, and now 565 00:28:28,839 --> 00:28:30,880 technology is caught up to where we can just do 566 00:28:30,920 --> 00:28:34,839 it at home. And you know, some people might hear 567 00:28:34,920 --> 00:28:39,039 that the guitars aren't real. Some people might not, but 568 00:28:39,160 --> 00:28:42,720 I mean I spent them live. Oh yeah, of course 569 00:28:42,720 --> 00:28:48,119 you play. When when it comes to like tracking guitars 570 00:28:48,160 --> 00:28:50,240 and stuff, we just do it at home. But drums, 571 00:28:50,400 --> 00:28:54,680 drums were always in the local studios we've we've actually 572 00:28:54,680 --> 00:28:58,519 been through a few of them in the Northeast at 573 00:28:58,519 --> 00:29:02,119 the moment, just trying to find where we we work best. 574 00:29:03,680 --> 00:29:07,319 Speaker 3: Yeah, it's nice to change it up as well though, because, yeah, 575 00:29:07,400 --> 00:29:11,319 Jackson's pretty modest in that jack for Neighborhood and Another Life. 576 00:29:11,400 --> 00:29:16,880 Jackson produced all of that, and yeah, to say that 577 00:29:16,920 --> 00:29:19,319 we did all of that at home other than the drums, 578 00:29:19,799 --> 00:29:22,640 and it's come out sounding like that is insane. We 579 00:29:22,720 --> 00:29:24,279 had some help with the marstering at the end and 580 00:29:24,279 --> 00:29:27,279 things like that, but yeah, really the full body of 581 00:29:27,279 --> 00:29:29,480 that work came out from Jackson sit at home with 582 00:29:29,559 --> 00:29:33,200 headphones on, just mixing at home and really just digging 583 00:29:33,200 --> 00:29:36,960 into that. It's really really fun to go into different 584 00:29:36,960 --> 00:29:39,079 studios and work with different people and to see how 585 00:29:39,240 --> 00:29:41,680 what they say about drum kits, and also to just 586 00:29:41,720 --> 00:29:43,640 see how when we show them the song as a 587 00:29:43,680 --> 00:29:45,920 reference what we're doing, they're kind of like, Okay, cool, 588 00:29:46,079 --> 00:29:48,119 what about this? And we just learned. I think that's 589 00:29:48,240 --> 00:29:50,400 that's one thing that we always do, no matter where 590 00:29:50,400 --> 00:29:52,240 we record, if it's at home or whatever it is, 591 00:29:52,599 --> 00:29:55,000 song by song, we try and do something different, and 592 00:29:55,039 --> 00:29:57,359 we're always trying to research and learn about the best 593 00:29:57,359 --> 00:29:59,720 way to bring the elements of that song out that 594 00:29:59,759 --> 00:30:00,880 make it it's don on its own. 595 00:30:01,160 --> 00:30:04,000 Speaker 1: Yeah. Yeah, it's amazing what you can do now. In fact, Uh, 596 00:30:04,160 --> 00:30:06,960 the shirt that I'm wearing for those watching online day 597 00:30:07,000 --> 00:30:09,039 to attend, we had these guys on a couple of 598 00:30:09,039 --> 00:30:12,480 weeks ago, and uh and I said something similar to 599 00:30:12,519 --> 00:30:15,000 them because their stuff sounds so good. It sounds like 600 00:30:15,000 --> 00:30:16,920 it was done in a million dollar recording studio, and 601 00:30:17,319 --> 00:30:18,880 Ed the guitar player is telling me, Yeah, I don't 602 00:30:18,880 --> 00:30:21,680 even plug into an amp. I just you know, I mean, 603 00:30:21,920 --> 00:30:24,960 you know, you plug into a modeler or whatever term, 604 00:30:25,200 --> 00:30:28,039 and it's it's just it's it's incredible what you can 605 00:30:28,079 --> 00:30:29,759 do now. It really is a it's a it's an 606 00:30:29,759 --> 00:30:32,240 amazing time to be alive, especially if you're a musician. 607 00:30:33,559 --> 00:30:37,559 Speaker 3: So you guys, yeah, except for the money. 608 00:30:36,839 --> 00:30:42,160 Speaker 1: Well, yeah, true, that never seems to change. Yeah, what 609 00:30:42,240 --> 00:30:45,200 the time period, right, Yeah, that that's true. It's always 610 00:30:45,240 --> 00:30:47,319 been a problem unless you're you know, unless you're famous. 611 00:30:47,319 --> 00:30:49,480 But you know, if your tailor swift, then you then 612 00:30:49,519 --> 00:30:52,599 you get all the money. But uh, by the way, 613 00:30:53,319 --> 00:30:55,680 did you guys say, what have you said? Fifteen years? 614 00:30:55,720 --> 00:30:58,480 You guys have been together, yeah. 615 00:30:59,440 --> 00:31:03,640 Speaker 4: With nothing club Paradise for that long. But yeah, we've 616 00:31:03,680 --> 00:31:08,200 we've it's been the same for four guys. As Jackson 617 00:31:08,240 --> 00:31:11,000 said earlier, I mean me and Ryan grew up in 618 00:31:11,039 --> 00:31:15,480 the same street, and Jackson and Harry grew up a 619 00:31:15,480 --> 00:31:17,279 couple of doors down from each other. They all went 620 00:31:17,319 --> 00:31:19,440 to school with each other, and naturally, I sort of 621 00:31:19,920 --> 00:31:23,160 gravitated towards them when went early teens. 622 00:31:23,200 --> 00:31:24,559 Speaker 2: So yeah, it's. 623 00:31:27,200 --> 00:31:30,599 Speaker 1: Yeah, yeah, oh that's incredible. Yeah, most bands don't last 624 00:31:30,640 --> 00:31:33,920 that long. That's amazing. How do you how do you guys? Uh? 625 00:31:34,440 --> 00:31:34,799 Speaker 2: How do you? 626 00:31:34,920 --> 00:31:37,759 Speaker 1: How do you keep it together? I mean, because do 627 00:31:37,799 --> 00:31:40,599 you ever do any of you do side projects or anything? 628 00:31:40,920 --> 00:31:42,640 Are you just fully committed to this band? 629 00:31:44,039 --> 00:31:44,240 Speaker 3: Oh? 630 00:31:44,279 --> 00:31:47,920 Speaker 2: We we all have side stuff now, but we didn't 631 00:31:47,960 --> 00:31:54,279 for the longest time. Really, yeah, it was I think Ryan, 632 00:31:55,480 --> 00:31:57,440 I mean, I'll speak for Ryan for now, but yeah, 633 00:31:57,480 --> 00:32:01,359 he plays bass in his partner's band, and Nathan also 634 00:32:01,400 --> 00:32:04,720 drums for that band. I've been in a like a 635 00:32:04,759 --> 00:32:10,319 goth pop band over the years, and we we we 636 00:32:10,400 --> 00:32:14,039 have split up time that way, but just stay together 637 00:32:14,160 --> 00:32:17,240 for that long as we haven't. It's never really we 638 00:32:17,599 --> 00:32:18,440 never thought about it. 639 00:32:18,599 --> 00:32:20,920 Speaker 3: You're forgetting the most important one. We do a Paramore 640 00:32:20,960 --> 00:32:23,519 tribute band together, so not only of course. 641 00:32:23,400 --> 00:32:26,960 Speaker 2: Yeah yeah, yeah, that's where the money comes from. 642 00:32:27,160 --> 00:32:29,759 Speaker 3: Yeah, yeah, that's how we pay the record. So we 643 00:32:30,359 --> 00:32:33,000 do Clip Paradise all together and it's and then the 644 00:32:33,039 --> 00:32:36,880 Paramore tribute band, Isn't it fun? Is also Clip Paradise 645 00:32:37,039 --> 00:32:41,240 plus Robin who sings in my partner's band playing. So 646 00:32:41,279 --> 00:32:43,200 it's like it's just one big group of friends and 647 00:32:43,200 --> 00:32:45,160 we just play loads of different bands and we just 648 00:32:45,200 --> 00:32:46,000 see what we can do. 649 00:32:47,119 --> 00:32:50,640 Speaker 4: If it's the same like seven people and it's different bands. 650 00:32:52,160 --> 00:32:54,039 Speaker 3: You're on each other's schedules that way. 651 00:32:54,079 --> 00:32:57,079 Speaker 1: But it's so you guys do a Paramore tribute band? 652 00:32:57,599 --> 00:33:01,119 Oh yeah, that's so cool. Do you do? 653 00:33:01,119 --> 00:33:04,599 Speaker 2: Do you? Sorry? 654 00:33:04,839 --> 00:33:07,240 Speaker 1: I I have to know because my two favorite Paramore 655 00:33:07,279 --> 00:33:09,319 songs Misery Business? Do you do that one? 656 00:33:09,720 --> 00:33:10,119 Speaker 2: Of course? 657 00:33:10,519 --> 00:33:11,599 Speaker 1: And do you do Ain't it fun? 658 00:33:12,200 --> 00:33:14,920 Speaker 2: Of course that's the name of the bond In it fun? 659 00:33:15,039 --> 00:33:15,640 Speaker 1: No kidding? 660 00:33:15,920 --> 00:33:16,039 Speaker 2: Oh? 661 00:33:16,200 --> 00:33:21,200 Speaker 1: Awesome? Awesome? Yeah? I uh yeah, that's Ain't it fun? Is? 662 00:33:21,200 --> 00:33:21,240 Speaker 3: Is? 663 00:33:21,240 --> 00:33:23,640 Speaker 1: Probably actually well, Misery Business was the first song where 664 00:33:23,680 --> 00:33:26,079 I was like, oh I really like this band. I 665 00:33:26,079 --> 00:33:28,279 think that might have been their first hit single, at 666 00:33:28,319 --> 00:33:31,480 least in America. But then, ain't it fun? Ain't it fun? 667 00:33:31,559 --> 00:33:33,680 Is so like it's impossible to hear it and not 668 00:33:33,799 --> 00:33:34,319 sing along. 669 00:33:36,240 --> 00:33:38,960 Speaker 3: You know, Yeah, it's good fun. It's good fun, and 670 00:33:38,960 --> 00:33:40,279 it keeps you on your toes when you have to 671 00:33:40,279 --> 00:33:42,400 think about all the different songs they need to play. 672 00:33:42,680 --> 00:33:46,160 So we've all collectively got no numerous setlists in our 673 00:33:46,200 --> 00:33:47,920 heads all the time, and we just wruck up different 674 00:33:47,920 --> 00:33:49,799 gigs and thing what what shows it today? 675 00:33:50,279 --> 00:33:53,039 Speaker 2: Right specifics? 676 00:33:53,400 --> 00:33:58,960 Speaker 1: Yeh no, that's fantastic. Well listen, guys, the time goes quickly. 677 00:33:59,000 --> 00:34:01,000 We are approaching the top of the hour. It's been 678 00:34:01,079 --> 00:34:04,799 wonderful talking with the three of you, Ryan, Nathan and 679 00:34:05,039 --> 00:34:07,759 Jackson from Club Paradise, And like I said in a moment, 680 00:34:07,759 --> 00:34:10,880 we're gonna play Chasing the Summer another great track by 681 00:34:10,880 --> 00:34:12,840 the way, which is the newest single? Is yours the 682 00:34:12,920 --> 00:34:15,400 new one? Or is it Chasing the Summer? Yours? 683 00:34:15,679 --> 00:34:15,840 Speaker 4: Yeah? 684 00:34:15,920 --> 00:34:18,400 Speaker 3: Yeah, yeahes is the latest one. Chasing the Summer was 685 00:34:18,400 --> 00:34:20,559 out in June. We've got we're doing a single every 686 00:34:20,599 --> 00:34:24,639 month October. So at the end of this month, we'll 687 00:34:24,679 --> 00:34:26,400 have a track out called what If These Days. At 688 00:34:26,400 --> 00:34:28,639 the end of September we'll have another track out which 689 00:34:28,639 --> 00:34:30,559 I'm not going to name yet. And then we've got 690 00:34:30,599 --> 00:34:34,400 an October EP coming out called Life on TV. And 691 00:34:34,440 --> 00:34:37,559 that'll be a collection of six songs, including the singles. 692 00:34:37,199 --> 00:34:39,840 Speaker 1: Oh, very cool, very cool. Yeah. Feel free to send 693 00:34:39,840 --> 00:34:42,360 those two as they're released. We would love to do 694 00:34:42,559 --> 00:34:44,480 you know, we like to do world radio premieres here, 695 00:34:44,519 --> 00:34:46,599 So if we can kind of be your, oh for sure, 696 00:34:46,719 --> 00:34:50,320 your your conduit on American radio, Well, we'll do a 697 00:34:50,320 --> 00:34:52,840 world radio premiere for each new single as it comes out. 698 00:34:52,880 --> 00:34:53,360 That'd be great. 699 00:34:53,400 --> 00:34:55,280 Speaker 3: Let's do that, definitely, that would be so fun. 700 00:34:55,400 --> 00:34:59,159 Speaker 1: Absolutely absolutely. And the other thing too, what should people know? 701 00:34:59,239 --> 00:35:01,639 What should our listener know about where to go online 702 00:35:01,679 --> 00:35:03,480 to keep up with everything that you guys are doing 703 00:35:03,800 --> 00:35:06,440 in terms of music and shows. If we have any listeners, 704 00:35:06,480 --> 00:35:07,599 and I don't know if you plan to get to 705 00:35:07,639 --> 00:35:10,159 America at any point, but but if you know, we 706 00:35:10,199 --> 00:35:12,679 do have listeners because of again God bless the Internet, 707 00:35:12,719 --> 00:35:15,960 we have listeners over there to online. But what should 708 00:35:15,960 --> 00:35:18,239 people know about keeping up with everything that you guys 709 00:35:18,280 --> 00:35:18,639 are doing. 710 00:35:19,639 --> 00:35:22,519 Speaker 3: All of the handles are at this is club paradise. 711 00:35:22,719 --> 00:35:27,159 We probably update Instagram the most, and then I'll handle 712 00:35:27,239 --> 00:35:31,440 on Twitter X. Sorry is a club paradise with two 713 00:35:31,559 --> 00:35:32,599 underscores at the end. 714 00:35:33,480 --> 00:35:35,880 Speaker 1: I still call it Twitter, by the way, because yeah, yeah, 715 00:35:36,559 --> 00:35:39,119 much changing. Yeah, you call it X and people don't 716 00:35:39,119 --> 00:35:42,000 know what you mean necessarily, whereas everybody knows what Twitter is. 717 00:35:42,199 --> 00:35:44,320 Speaker 3: It's definitely definitely much. 718 00:35:44,239 --> 00:35:46,840 Speaker 1: Much easier, guys, Thank you again. So much. We're gonna 719 00:35:46,880 --> 00:35:50,679 hit this track chasing the Summer, but I appreciate speaking 720 00:35:50,719 --> 00:35:52,079 with the three of you. We'll do it again in 721 00:35:52,079 --> 00:35:54,639 the future, of course, and and I look forward to 722 00:35:54,800 --> 00:35:57,639 playing the new singles too as they're released on the show. 723 00:35:57,679 --> 00:36:01,199 So guys, thank you, thank you again. Really appreciate it. 724 00:36:01,239 --> 00:36:02,280 Speaker 3: Thank you so much for having us. 725 00:36:02,320 --> 00:36:03,000 Speaker 2: Thank you so much. 726 00:36:03,039 --> 00:36:05,119 Speaker 1: Bud, you got it, You got it all right. Thanks guys, 727 00:36:05,159 --> 00:36:06,639 take care all right.