0:00

Hello everyone, and welcome to another episode

0:02

of Inside the Studio on iHeart Radio.

0:04

My name is Jordan Runt Tug, but enough about

0:07

me. My guests today are a band

0:09

that hails from the great state of Tennessee.

0:11

Since they've released the trio

0:13

of EPs packed with standouts like

0:15

Daphne Blue and Seathrew, now they're

0:18

gearing up to release their self titled LP,

0:20

due out September ten. They've teased

0:22

their first full length with a string of singles

0:24

including roses, Sorry, Mom,

0:26

One, Last Cigarette, and most recently, know

0:29

It All, a refreshingly unbitter send

0:31

off to a former flame after

0:33

a year stuck inside like the rest of us,

0:35

they're gearing up to hit the road this fall, playing

0:37

a series of stadiums with the country duo

0:40

Dan and Shay, and a stint at Bonnaroo

0:42

in their home state. I'm so happy to welcome

0:44

Jeffrey Jordan's, Spencer Stewart and Harrison

0:47

Burgess, who together are known as the band

0:49

Camino. So

0:52

you just released a new song, No It All, a send

0:54

off to to a former flame, a relationship

0:57

that didn't work out. Tell me about that track. What's the genesis

0:59

of that song? So we were in um

1:01

we were on a writing retreat in Florida,

1:04

and uh, we were sitting looking at the

1:06

beach and talking about the concept

1:09

of the song. It's like you obviously, like

1:11

you said, there's an old flame and you see her out

1:13

and you're not necessarily like you want

1:15

her back. It's just you know, you kind of are reminiscing

1:17

on the stories and all the things that you know

1:20

that you know that she didn't hasn't

1:22

told him, you know, maybe because it's not the most

1:24

appropriate thing to to share with your with

1:26

your current uh, your current flame

1:29

and that comfort level you guys had exactly

1:31

exactly. And I think getting older too, you

1:33

just think about like, I don't know, your

1:36

ex is and getting older and you're like, man, like,

1:38

yeah, they have a new thing and a wife for like I

1:40

don't know, having like an ex girlfriend

1:42

like get married or have kids

1:45

and stuff like that, and you're it's

1:47

weird and you're like, yeah, I

1:49

know that they're probably way closer to that person than

1:51

they are as obviously because they're with them. But

1:53

there's still things that like she's definitely

1:55

never told it the kind of thing. Yeah, and

1:58

and and it says in the song too. Honestly, I hope

2:00

you're happy. I hope you're doing well, but it's like,

2:02

you know, like we've still got some information in between

2:05

us that you know you probably won't

2:07

share, and we shared. We shared a time in our life

2:09

too that's like only and it's really specific

2:11

intimacy. So it's like, no matter how far

2:13

they go, you know, you always have a certain

2:15

connection with them in the back of both your

2:17

minds. This is like one of the healthiest

2:20

breakup songs I think I've ever heard in my life.

2:22

It's it's love to hear that. I'm glad you see

2:25

it that way. Wait, so you mentioned a writer's

2:27

retreat. That sounds awesome. To tell me more about

2:29

that. What was just that day, like for

2:31

that weekend or whatever? It was

2:34

Destin We were in Destin, Florida,

2:36

So we rented a beach house and

2:39

went down with our producer and a

2:41

couple of a couple other writers, like a couple of

2:43

frequent collaborators. Yeah, that we

2:45

this guy Sethenniest that we write a ton with,

2:47

Like he was like one of the Jordan's our producer and

2:49

seth Innis is other writer. He was

2:51

like one of our best friends. Now are like

2:54

the first people we ever wrote with when we moved to Nashville

2:56

and we were like we should try co writing. Our manager was like,

2:58

yeah, you should grab with my friends. And so our

3:00

first ever co write that we like wrote

3:02

with anybody and like collaborated with like a producer

3:05

and like another songwriter and stuff. We wrote

3:07

Daphnie Blue, which is like one of our it's

3:09

like our song we always close the set with now

3:11

and like it was our first ever like co write with these

3:14

same guys pretty much, so it was to them and

3:16

then, um, this guy Jeff Warburton is

3:18

an insane writer and just like a great hang. So

3:20

we kind of have our like our boys that we are

3:22

go too is that we just like collap with and like make music

3:25

with. So yeah, I feel like there's a there's you

3:27

know, you might disagree with me, but I feel like

3:29

I feel like they are the

3:32

the honorary band Comuno members

3:34

there and they're they're always around. Yeah.

3:37

They are heavy influence, Yeah, heavy

3:39

influence. The community. The direction.

3:42

YEA, what's gonna ask?

3:44

I mean, you started out in Memphis, what was

3:46

that transition like going to Nashville, which seems

3:48

it's such as you mentioned such an insanely collaborative

3:51

musical place, Like, what was that like getting

3:53

integrated in uh? In that community?

3:55

Well a lot different than Memphis. Memphis is like I always

3:58

say, like it's like I love being from Memphis. I

4:00

love Memphis. Um Like we've Memphis

4:02

tattooed on my arm right here, and it's like I think

4:05

with me and Spencer Garrison were actually born in Memphis

4:07

two but then he moved away when he was like what five

4:09

months later him, I was three years

4:11

old, and then my parents we moved to Arkansas

4:13

from my dad's job. So your dad went to

4:16

Memphis with me. I was born

4:18

there. So the

4:20

soul, the soul was full blooded Memphis.

4:23

Yeah, exactly. Memphis is a very

4:25

is I'd say, it's like it's like so talented

4:27

as far as like musicianship and like

4:29

playing live. It taught us a lot about just

4:32

like some of the coldest musicians

4:34

I've ever met in my wife are all from Memphis, and

4:36

like growing up around that and just hearing these insane

4:39

players and gospel musicians and blues

4:41

musicians and like in college it was very

4:43

like whoa, everyone is better than me

4:45

and that kind of thing. And it just made us like, you

4:47

can't really fake like the live show and stuff like

4:49

that, so it kind of can. I don't know. It helped us

4:51

become students of our instruments more because I was

4:53

always just like I wanted to be a songwriter and write

4:55

songs, and then I kind of got to college and was like, well I

4:57

need to I need to practice guitar, so

5:01

like I don't know, and then Nashville moving here, it's

5:03

more of a collaborative seen as far

5:05

as artistry, I think Memphis is more like independent

5:07

when it comes to artistry and more collaborative when

5:09

it comes to like a musicianship. In here, it's

5:11

almost the opposite of like more collaborative

5:13

of like your songwriting and like just

5:16

getting into sessions with whoever and just making

5:18

music. And it's like it's definitely different, but

5:21

still maintained some similar threads. I guess

5:23

no at all. In the new single off your upcoming

5:25

debut LP, how much this was put

5:28

together during the pandemic or a pre

5:30

pandemic, because you guys, we went went down the Texas.

5:32

Yeah, I'll passo, I'll passo Texas to

5:34

record. So the original plan was we're

5:36

gonna do Dan and Shay, and then

5:39

in the fall we were supposed to go out with five

5:41

Seconds of Summer. So obviously

5:43

none of that ended up happening other than three

5:46

shows with Dan Shape, but so we kind of changed our

5:48

plans because we weren't planting on doing the record until

5:51

this summer originally. So

5:53

yeah, we I mean, we had a lot of songs written

5:55

before the pandemic, pre pandemic,

5:57

but during the pandemic, we really kind of since

5:59

we have anything else to do, we set a date when

6:02

we were going to go down to it. It's in the

6:04

city right out of Help Pasa, It's help Pornello. It's

6:06

a place by Sonic Ranch. So we like set a

6:08

date that we're gonna go. We're gonna go for a month with our

6:10

producer and like just crush it and

6:12

like do it all in a month. So we wrote

6:15

a lot like in preparation for that.

6:17

So we're just trying to beat songs, make new cool,

6:20

good story songs. This one, no, it all specifically

6:23

we wrote pre pandemic. We write we wrote it like

6:25

what was it in January? Was that January? No, we

6:27

wrote this at the beach. Yeah, it

6:30

was May of last May nineteen.

6:33

This was like and you were supposed

6:35

to go to just to go to Colorado

6:37

in this writing trip, that's what. And um,

6:39

we were gonna like go down and like have kind

6:42

of like a I don't know if maybe it was April, we were

6:44

gonna go ski and snowboard and like it

6:46

always kind of helps to get away and like I don't

6:48

know, stay somewhere for a few days and it helps, like

6:50

it just helps switch up your whole your

6:52

brain juices and stuff. But so

6:54

with with the pandemic and stuff, we just ended

6:56

up getting a house so we can kind of like keep it to

6:59

our own crew that we been with. Were anything

7:01

else that we wrote Everybody Dies, which is a

7:03

track on this record, I guess, but I guess the track

7:05

listing is now out because you can have you can order

7:07

the records, so the track list was out. Yeah, we wrote a song what Everybody

7:10

Dies that same week that was like April and

7:12

may get it your ways on there we

7:14

were we were, we wrote we mean this week.

7:17

There was a lot of that we got done during

7:19

that during the pandemic. Yeah,

7:21

I'd say as far as like how the record got

7:23

written, it once we kind of booked those studio

7:26

dates. We went down the middle

7:28

of August and safe for months. It's like August

7:30

and September, we've been right, I mean, we've been writing

7:32

songs for so long being like oh, this is gonna

7:34

be on the album. This will be on the album, like could We've been a

7:36

band for six years now almost

7:39

working towards this moment of getting to record

7:41

our first like full length, self titled

7:43

debut album like fourteen songs,

7:45

and once we had those dates on the

7:47

calendar of like whoa, this is when it's we're going.

7:49

So it really put us into like hustle mode

7:51

as far as like there were days we were writing like two songs

7:53

a day, three songs a day over the summer, just like writing

7:56

all we were right, like we couldn't stop. But it

7:58

was a great feeling. It was like, Okay, we have this

8:00

date to like leave Nashville

8:02

and go to the studio. It's like how many songs

8:04

can we write? How can we get the best songs

8:06

and how can we like and we kept just like writing

8:08

more and more songs, and it came down to like a dropbox.

8:11

We had so many songs, but it came down like a dropbox

8:13

of maybe like fortysomething songs that were

8:15

like we're trying to pick from to narrow down

8:17

to like fifteen ish, and

8:19

so we made we made a list of

8:22

all the songs and it was like, I'll

8:24

die for this song, I love this song,

8:26

I like the song no. And

8:29

we all went through and went through each song and listen

8:31

to the demo and talked

8:34

about it, and we all like put our check

8:36

mark on the board, like I'll die for this. I

8:39

died for way too many. I died for like more than we

8:41

could even put on the record. But

8:44

that that was the hardest part. It's like picking out the

8:46

record because it's like this record could look so many different

8:48

ways based on the songs that we

8:51

wrote beforehand. With it was like before

8:53

we moved to Nashville, it's like, Okay, we wrote these songs, We're

8:55

gonna go to the studio and recorom. And now it's like we've

8:57

kind of learned to turn on this collaborative creative

9:00

just like write a song every day and like put

9:02

ourselves in as many creative situations as possible,

9:04

Like Spencer will go write a song with like some friends

9:07

of his or some of the co writers who I'll write a song

9:09

with it, and then we'll all three go write a song with a different

9:11

track guy producer, and just like switch

9:13

up the scenario every time and

9:16

just keep keep flipping over stones and

9:18

trying to get just as many different kind of angles

9:20

as possible because you never know. Like this is one

9:22

example, right before we left for the studio, when

9:25

we were sitting down to pick this list of songs,

9:27

Spencer was like, Oh, I have this song I wrote yesterday

9:30

with Jordan, our producer, and

9:32

Jeff Warbert and the guy we were talking about earlier,

9:34

and he we I had already made like our lists

9:37

and stuff of what we all wanted to be on the record,

9:39

and he played this demo

9:41

and the song was one Last Cigarette and I've never

9:43

even heard that song, and we were like about

9:46

to pick all the songs and it was like, oh my god,

9:48

not on we have to pick And

9:51

that was like the second single. So it's like, it's

9:53

crazy because that one made the list. Like the day,

9:55

the last experience, extremely last seconds,

9:57

very uh indicative of me

9:59

as personally, very procrastinator,

10:02

last last minute, all my best works at the very

10:04

last, And it also just goes to show We've always

10:06

kind of said, like, you know, the best song wins,

10:09

and and we write so

10:11

much like the fact the fact of the matter

10:13

is we have a surplus of songs. We

10:15

can make two to three more records

10:18

full links if we really wanted to. But

10:20

like it's you know, are we all

10:22

in on this? Like is every single song on

10:24

this record something that we would all

10:26

put our chips in for? You know what I'm saying like that

10:29

each of those songs are special to each

10:31

of us for different reasons, but that's why they got

10:33

chosen, and a lot of it did come down to, especially

10:36

for that song, how is it going to come across live?

10:38

Like, how are we gonna how is this going to

10:40

perform? Is this gonna like affect people

10:42

and hit people the same the way that we're kind

10:45

of hoping our first record is going to do. It makes like a statement.

10:47

Yeah, since it's a self titled record, we really

10:49

want as close to who we are and right

10:52

now, you know, as as caught as soon as possible.

11:03

I mean you said earlier, writing two to

11:05

three songs a day, I mean for someone like me who's never

11:07

written a song in their life, that sounds like absolute

11:10

madness. To me, and do you find that the best songs

11:13

come quickly they just sort of fall out

11:15

almost fully fleshed out, or is it

11:17

different every time? Times? It's different

11:19

almost every time. I feel like with one last

11:21

cigarette, feel like I remember you saying like you they

11:24

like wrote it and they were kind of it was kind of like they

11:26

were all tired and like, yeah, it was like we had

11:28

all been bailed on or like they had

11:30

like a all right canceled and like

11:32

everyone which just kind of not in like a bad

11:34

mood, but just kind of in like a fuck

11:37

it whatever kind of mood and like

11:39

so and then yeah, Warburton had

11:41

a like just a little acoustic star riff. We're

11:44

like, I mean I guess or why not? And

11:46

no, it all, no, it all is the same way like we were. We

11:49

didn't even finish writing that song until we

11:51

were in the studio recording it.

11:53

Like we recorded all that. We pretty much had the instrumentation,

11:56

but we were like still not super sold

11:58

on all of the lyrics. We like,

12:00

we're we spent a lot of we spent

12:02

like multiple days rewriting you

12:05

know it all a couple of times. Yeah, because like

12:07

we we kind of all had like our ten that we're

12:09

like we'll die for it like these are and then like

12:11

the last like four or five was like all

12:13

this could be like a bunch of different combinations, and

12:16

so we kind of got down to the studio and like, let's just try

12:18

to start tracking the ones we know. We have this

12:20

list of like eight that we want to pick like four

12:22

or five from and we're gonna feel kind of feel

12:25

out how it's going in there in the room and like

12:27

so that no, it all was kind of one of those ones that was

12:29

like Okay, we we like, we like the

12:31

song, but we want to tweak it, like I feel like it

12:33

needs changes, it needs like the demo is a lot

12:35

different than the final cut. It was cool

12:38

because we got down there and we were just feeling the feeling

12:40

the creativity and energy downe writing

12:42

a way of like man, we're making our album, and

12:44

like every all the ideas that were coming out, we're like

12:46

they just felt like it felt right. It felt

12:48

like they were there to stay. Yeah, but what but to

12:50

speak to her what you're saying. A lot of a lot

12:53

of them ended up they just came out. A lot of them were like two

12:55

or three our rights which is pretty quick for

12:58

for a right. But you know, once you get on a

13:00

good idea and you're like have a good

13:02

energy in the room and everyone's kind

13:04

of vibe and it's a lot of the time

13:06

they will just kind of fall out and everyone like, well,

13:09

they'll stand the test of time. Yeah, So

13:11

it's got, it's it's both, it's there there, it

13:13

goes both wise, and I won't say writing

13:15

two to three songs days something I hardly

13:17

ever knew. It was like there was like a two week period right

13:19

there before the end of the kind of the cut off period

13:21

of like, okay, we need to start picking songs and like preprolling

13:24

songs and figuring out how what

13:26

we're gonna kind of the way we're gonna track it for

13:29

the two weeks kind of before we leave, so like we

13:31

need to we kind of need to cut off and at least make a

13:33

pretty final list of what we're gonna do and I'll

13:36

pass out. So it was like right before that cut off period,

13:38

I feel like we were just dry. Yeah, we were. We were

13:40

putting put in some work, but it was so fun.

13:42

It was fun. Looking back on it, it's probably the best

13:44

part because you're just like because yeah,

13:47

I don't know how, I don't know when

13:49

we'll be able to do that again, or like go spend

13:51

a month at a recording studio or

13:53

even be able to book a month at a

13:55

recording studios continuously. Yeah,

13:57

I was gonna say. I And the fact that everything is sort of stopped

14:00

or at least slowed down in the last year. Was

14:03

that a blessing or a curse? Did that make

14:05

it so that you you found yourself almost second

14:07

guessing like every single part, like the bass

14:09

part of the trump out, the guitar part, and really

14:11

like because you have so much time to really

14:14

go deep on every element

14:16

of it. Or was it Was it more of a positive

14:18

for you? Is it it really give you a chance to really polish

14:20

it and make it exactly how you wanted it. Probably

14:22

a little both, But I'd say, like as far

14:25

as just the studio vibe, like a month sounds

14:27

like a long time, But we we really like the

14:29

way we tracked it. We just started off and we would

14:31

try to finish the song a day just to track

14:33

like the instrumentation from the top, So

14:36

like the first two weeks was just like a song

14:38

a day, just getting like the basic

14:40

instrumentation down, and then like the second two

14:42

weeks was like going back through and finishing and putting

14:44

vocals and putting like finals. So

14:46

it's really we kind of had like two days per

14:48

song, which really isn't like that

14:51

much time to like make

14:53

a full song like the way that you want to put

14:55

it out into the world. So like it still wasn't

14:58

even that much time we were I felt like we were

15:00

like burning the candle the whole time we were

15:02

there, just like and kyd of just moving with it and trying

15:04

to trust our first instincts instead of being like, oh,

15:06

let's do this base part eighty nine times, it was like,

15:08

no, that was sick what you played the first time, but that

15:10

was it. Yeah, let's leave it. Like and that's where

15:12

it's kind of nice to have a have a producer that

15:14

we trust as well, Georgie Smith, like when

15:17

he says he's really good at finishing

15:19

project, like he's really getting staying

15:21

like let's stop here, like that's that was great.

15:23

I don't think we're gonna beat that. We can try this a hundred more

15:26

times, but I don't think it's gonna be the

15:28

same. So that was it. It was good to have

15:30

him there as well for that for that purpose,

15:32

and I feel like the whole year, I mean, like

15:34

Jeff was saying, it was, it's a little bit of both,

15:37

because when we scheduled

15:39

the studio dates, like a switch

15:42

is flipped and everybody was just like, I

15:44

on the prize, we're going there, We're

15:47

doing that. Like I don't know, I don't know if

15:49

when we picked a studio date, I second

15:51

guest anything until maybe the

15:54

last week of the of the

15:56

studio time, where I was like, is

15:59

that okay? Like is cool, because as soon as we

16:01

got there, it was just balls to the wall. Everybody's

16:03

just running and running and gunning, ready to

16:06

go. So, like like Jeff

16:08

is in, it is a little bit of both. But we

16:10

were already like we we had been in quarantine

16:12

for four months five and

16:15

we had done pre production and stuff like that to try

16:17

to get it all as styled before

16:19

we went, Like obviously we wanted to leave some space

16:21

for you for creations

16:24

and stuff as well, but like we had made made

16:26

a lot of decisions before we we even yeah,

16:29

we'd even gone, So that was that was helpful

16:31

as well. I love how the guitar is just front

16:33

and center, especially on a track like like One Last

16:35

Cigarette and I read this is total guitar

16:37

nursery. There's a sim, a helix

16:40

sim that you have that makes an electric guitar

16:42

sound acoustic. I've never even heard of that.

16:45

Can you tell me more about that? It sounds awesome.

16:47

Did you see are the One Last Cigarette

16:50

live? We did? Yes, Yes, I did, yes, yes,

16:52

Jimmy Kimbell. Yeah, and I'm playing I'm playing

16:54

the telly and it sounds

16:57

like the acoustic and it's crazy. It's

16:59

a yeah, it's a helix passion. They just came

17:01

out with a bunch of acoustic sims and

17:03

like a lot of them are I think made for like

17:05

running an acoustic through but if you run an

17:07

electric through it, it sounds like we

17:10

kind of had to tweak it a little bit, but like we

17:12

got it pretty close. And like that

17:14

that guitar on like on Kimmel

17:17

is the electric and

17:19

it's and like people are commenting like, oh, this

17:21

is this sounds like this sounds

17:23

like an acoustic and he's playing electric. This must

17:26

be all tracks and like, yeah,

17:28

there are there are backing tracks that

17:30

we're playing along to that are

17:32

given it beef, but like since and

17:34

like under underlying stuff, but like

17:36

that guitar is a lot and it's

17:38

crazy that they can do that and make that sound

17:41

like an acoustic technology. Yeah,

17:44

I don't know how it works, man, but those

17:47

guys, I know an interview gave you were talking about how

17:50

your producer, Georgan Schmidt, he encourages

17:52

you to go towards more unusual

17:54

sounds. I want to ask you more about

17:56

that. Like I'm thinking of like his you're his like

17:58

being your George Martin figure in a lot of ways,

18:00

and like, well are natural. I think all of our

18:02

natural dispositions is trying to to like try to

18:04

find a really unique kind of thing. And

18:07

Jeff is really like super into synths

18:09

and loves like that sort of thing and pedals

18:12

and all this different. I mean, we we all are. So

18:14

we're all just looking for something that's gonna

18:16

make it, and we just like to play when it comes down

18:19

to it, especially when you go to a new place that has like

18:21

new toys that you've never played with. Like we got to play

18:23

with a whole bunch of new stuff that we had never

18:25

synthesizer, Yeah, and I had like

18:27

just got it. Got this synth called

18:29

the Oaky one just like this little it's basically

18:32

got a toy and I we brought it down

18:34

there and that like that was pretty like

18:36

a pretty prominent thing on on the

18:38

throughout the record. So it was just

18:41

he knows how to get the

18:43

main sounds, like he's a

18:45

whizar start making drowns drums sound

18:47

good. Also helps up. We have a really insanely good drummer

18:49

and he also played based on the record. I don't know if

18:52

you said that yet, but so you

18:54

know, it's nice to have a good basic

18:57

sound and then you know, but it's like

19:00

anybody can do that, but to put the little

19:02

spice on top and to and to really figure

19:04

out what you know, nobody

19:06

else is going to do or say yeah, I

19:08

feel like too with Jordan's we have

19:11

gotten really comfortable with him too. I

19:13

mean not comfortable in a bad way, but comfortable

19:15

is in the fact that we he was the first

19:17

person we ever co wrote with and like let

19:19

we let him like run the track and so like

19:21

we just like have built this trust

19:23

relationship with him and like because like when

19:26

you have a producer, like your sound is in their

19:28

hands, like they're pressing the buttons. They

19:30

are obviously you're putting out all

19:32

the ideas and playing the parts and stuff, but the way

19:34

that it's sonically coming together is like he's touching

19:36

the buttons and like there has to be

19:40

trust on both ways that you know he and

19:42

like, I think that's just grown over the past

19:44

what three years, three

19:46

years you and like we've been

19:48

made. He's been making producing us

19:51

since Daphne Bleue. I guess it was the first

19:53

thing we put out with him, and like we just had

19:55

this level of trust and where I think we're all He's

19:57

having a lot of fun. He grew up

19:59

doing pop punk bands and rock bands

20:01

and like a scene guy and then

20:04

eventually moved to Nashville and got into

20:07

more pop and country, and like,

20:09

I think he's having a lot of fun with us, like

20:11

getting more experimental, because he's making a lot

20:13

of like amazing like country

20:16

music and like pop music that's like pretty

20:18

pretty down the middle, not in like a bad way at all,

20:20

but just like less experimental.

20:22

I think that he can get with us, not that

20:24

we're like super weird and stuff, but we do

20:27

try to, like Spencer said, try to find weirder

20:29

sounds and ways to make stuff sound

20:31

a little different while still like being

20:34

digestible. And I think Jordan has he

20:36

has a good filter of like what's too far? Oh, we

20:38

need to make this weirder, We need to make this less weird. Like

20:40

I love that stuff. I love the gold, I love the old analog

20:42

since like melotrons and style of phones

20:45

and stuff like that. The Yeah, we used

20:47

that, the Profit six profits. We

20:49

have a couple different junos. Yeah, Profit

20:51

six was like probably the he bought

20:54

one after Yeah, I went home and we

20:58

had to have it. So it's insane,

21:00

So we used that, and then the OPI one, like he was saying,

21:02

like really changes the whole dynamic of a

21:05

lot of layers on a lot of songs because it's you can

21:07

sample things in the room and like just

21:09

make it like spit out little beats and percussom

21:12

groups and synth lines and our arts

21:14

and like just changes the thought process of things

21:16

more than any things. I think. It just it just does

21:19

a lot and you're like, well, oh, well what if I

21:21

you know, what if you did this with it?

21:23

Just put it puts you through some different neural pathways

21:26

and it's it's really nice, kind of makes it fun to

21:28

do music again. Well,

21:38

speaking of of throwback analog technology

21:41

that I love. You guys recently released a record

21:43

for Record Store Day, four songs

21:45

by your buds in the band Camino. I'm a huge

21:48

vinyl nerd. I mean record Store Day for me is like

21:50

practically a holiday. You guys,

21:52

big grate divers like you got to record stores a

21:54

lot and uh find any gems lately?

21:56

If you do? Do you not as much as I should? Man,

21:58

I have I have some little rector here's like some Huey Lewis

22:01

and some random things like I don't have a

22:03

record player right now. I used to have like a kind

22:05

of a shitty one, but like I used to when we were

22:07

back in Memphis a little bit, but not

22:09

not so much since we've been in town, which

22:12

I feel like they would have some really like

22:14

sick like say stuff.

22:16

Probably you can probably find some stuff

22:18

pretty usy out here. But yeah, it's not that I

22:21

don't want to do that. It's that I don't

22:23

do that, like

22:26

I definitely would if I if I

22:28

if I tried. But I'm

22:30

sure we'll we'll all become collectors

22:32

eventually. We've you know, we've as

22:34

we've been putting out our music. It's you know, we're

22:36

kind of creating our own collection for ourselves

22:39

at least giving ourselves a starting point. But

22:41

but the record store day thing was really cool. Yeah,

22:43

it was really cool to be a part of that. Our records

22:46

and actual record stores was really cool. Are

22:48

there any musical influences that really

22:50

tie three you guys together, Like any all shared

22:53

people that you all listened to when you're first starting out.

22:55

There's like a lot. It's probably like a lot of the

22:57

stuff you would expect, but like I think

22:59

bands, like a lot of bands like I feel like

23:01

ties together, cold Play, the Killers,

23:03

Kings of Leon, and then like John

23:05

Mayer, just like the classic

23:08

incredible bands that nobody will ever

23:10

be able to replicate. That's what Yeah,

23:15

the Eagles was a big one too. We

23:17

all kind of came from different backgrounds

23:19

and different approaches to music, which I

23:21

think helps us kind of cover a lot of basses

23:23

and it gives our sound kind of like I don't know,

23:25

it's definitely very three sided because we all kind

23:27

of look at it a different way. And I feel like I always

23:30

approached music like I have videos of me

23:32

as a little kid, like singing songs before

23:34

I could play like an instrument with them and just like singing

23:36

song looking at a notebook and like singing a song to my

23:38

dad, like I couldn't play an instrument, but I was like, I want

23:40

to write songs, and Spencer, like I feel like comes

23:42

from like how does it make you feel? How does

23:44

this groove and like be make you feel? I don't

23:46

know, you like it's kind of like more not like not

23:49

zoomed out, but more of like a less

23:51

specific I don't know, well, yeah, just the way

23:53

that it feels like vibe. We call him the vibe

23:55

raider because he raped the vibes, like

23:58

he's the vibe curator. I feel like I've always said that

24:00

Spencer like he has like the coolest

24:02

taste out of all of us. He shows

24:04

me the most music that's like, hey, like listen to this

24:06

song, Like, hey, listen to this song. You should listen to

24:08

this band, And I'm like, whoa, I've never heard of this band.

24:11

I feel like Spencer is very much the quality

24:13

control of the group because you know, like

24:15

we're we're all we're all throwing ship at the wall

24:18

and uh if we if if

24:20

we throw something down and we look at Spencer

24:22

and he's like, it's not it, Chief, it's not it.

24:25

You gotta you gotta make something that Spencer thinks is

24:28

cool. And then it's And then at

24:30

least I'm nicer about it than I think I

24:32

was originally. So that's that's that's the case that you

24:34

gotta have the no guy. And then Garrison. Garrison's

24:36

just the player like because he's the

24:39

one that can do anything. He approaches it from

24:41

the technical like he plays like every instrument

24:43

and like he has he has the parts.

24:45

Yeah, so we kind of have like it's

24:48

it's all yeah,

24:50

and then we all kind of grew up listening to different stuff

24:53

too, like just like Garrison, what

24:55

like Rush and then no, not Rush

24:58

like a jazz guy. Where don't you ge? Yeah, so

25:01

I agree with Yeah, I don't have a problem

25:03

with Rush. I just want to make it clear I didn't. That's

25:05

not like yeah,

25:09

Journey is the yeah,

25:12

way different, significantly different. I'll

25:14

get into that later, but no, Um, so

25:16

I grew up. My dad is a guitar player.

25:19

He's played since he was like ten

25:21

years old. He's fifty four right

25:23

now. Shredder Terry

25:26

B for the Win. He's on the record. By the

25:28

way, he did play some guitar in one

25:30

of the demos we did

25:32

Awesome, and I noticed it when we

25:34

were listening down to our our

25:37

masters. I was like, that's my dad, guys,

25:39

that's my dad. Really he never ever noticed

25:41

that. We never noticed it made it into

25:43

the track like super Qui. But yeah, you're

25:45

you're right. I grew up playing

25:47

jazz music. I mean it all started

25:49

at a very young age. I started playing piano.

25:52

I played that for four years. And in

25:54

Bentonville, where I'm from, if you were going to be a

25:56

middle school like percussionist, you had to

25:58

have two years of private piano and struction

26:00

because they wanted to weed out, you know, the kids

26:02

that we're just gonna go and dick around. And

26:04

so I stuck it out for four years.

26:07

And then on my tenth birthday, I ran upstairs

26:09

and there was my drum kit that I've been waiting for

26:11

forever, and um so I've been playing

26:13

ever since. And my dad

26:15

was very much that like driving force of like,

26:17

hey, here's some weird instrumental guitar music

26:20

that I love to listen to, Like you should

26:22

learn that, and all the drum parts are crazy, and that stuff

26:24

like Steve By, you know, even

26:26

even like Eric Clapton. You know, his

26:29

drummer is so tasteful, and you know it's

26:31

it's not it's not all about shreds.

26:33

But it's really cool to get both

26:36

perspectives of Okay, how do I swing

26:38

and also shred you know, like

26:40

how do you make all these things happen? And so that's

26:43

how I grew up a lot of church music

26:45

too. I grew up in church and uh did

26:48

a lot of CCM stuff. Um, but

26:50

that was kind of my upbringing. Was just an

26:52

eclectic group of things that

26:54

that made me want to keep playing drums. We

26:56

all have that collective X worship pastor

26:59

swag going on you we'll share

27:01

that tattoos the show, you know, we have a

27:03

past. Um. We're interesting

27:05

in quirky. Please

27:08

like us. But are there any

27:10

other favorite tracks on the on the record that

27:12

aren't out as singles that that you

27:14

can tell us about the ones that are just

27:16

standouts to you that I realized, like keep an ear

27:18

out for when when the records out. Um.

27:21

Yeah, there's one called Underneath My Skin, which is really

27:23

fun. It's kind of like a mid two thousands throwback.

27:25

It's very much like a like

27:28

a third eye blind kind of thing. Yeah.

27:30

Um, And then we've got some like pop stuff. There's

27:33

one called who do You Think You Are? That's really sick that we're

27:35

like kind of like on the John Bellion

27:37

type side, so it's kind of

27:39

all that kind of way. And then we've got like

27:42

this one called I Think I Like You just like a like

27:44

a disc seventies disco throwback, it's

27:46

really like. And then we've got some really hart felt

27:48

stuff. It's pretty eclectic acoustic

27:50

stuff and it's all there. But

27:53

anything you want is on the record. Exactly

27:55

happen for everyone. And I think a lot of people

27:58

are like, what kind of music is it. We're like, it's

28:00

I don't know band.

28:03

You said, like live instruments, and I don't think

28:05

a lot of people are like, I mean, yeah, everyone's

28:08

still playing instruments. But as far as how records

28:10

are sounding, it's like you can make a

28:12

record in in a bedroom on a laptop now,

28:15

but we went to like a real studio and recorded

28:17

real drums in a big room and guitars

28:20

through like vintage amps and like that kind of stuff,

28:22

because it's there's something cool to that and like you

28:24

can tell a difference regardless of what people

28:26

say, you can tell a different Yeah, you know it

28:29

is different. It's just like a different energy, really is.

28:31

The record sounds just like live. It

28:33

sounds like, you know, some dudes playing instruments,

28:36

modern book, classic band

28:39

band, band band, speaking of some guys

28:42

playing instruments live in the Fall.

28:44

You're going out on the road finally, but not

28:46

only going on the road, You're going out with Dan and Shay

28:48

on the arena tour. How does that

28:50

feel? Let's go crazy.

28:54

It's it's an insane opportunity.

28:57

We're like, I mean, the fact that we were

28:59

able were we were going to do it last year

29:01

and it kind of like got to not taken

29:03

away from us, but everyone everyone had

29:05

had a hard year last year. Let's be honest, unless

29:07

you're like Jeff Bassis or something, but yeah,

29:10

it was just you know, we don't we don't have

29:12

much to complaint about. But we're really lucky

29:14

too that we got the opportunity to

29:17

get back out there again and and we get to go on more

29:19

shows this time. So it's the last the

29:21

last time it was going to only be half but this

29:23

time we get to do the Madison Square Garden

29:26

and like all

29:28

the shows we weren't going to do United, now

29:30

we get to do them, so honestly kind of a

29:32

blessing. Yeah, and that way,

29:34

I definitely was very awesome. But we didn't

29:36

know for a long time, and we didn't know if we were even gonna

29:38

be playing in the fall, and people were starting to say

29:40

it's not going to be in fault until fall of next year that

29:42

people are going to go out, and so it was

29:45

it was scary there for a minute, and just like how

29:47

up in the air it was. It was. It was a little disconcerting.

29:50

But it's also weird that we've just been at

29:52

home for like over a year

29:54

and then in like two months we're

29:57

gonna play it like fifteen thousand people a

29:59

night. It's gonna be really weird. I haven't seen like

30:01

over like twenty people at a time since

30:04

like in a year and until

30:06

like a week ago when like should started opening

30:09

back up, but like I haven't been around more

30:11

than like ten people, you know, like at all.

30:13

And we're gonna walk into an arena like

30:15

that's filled. This is gonna be like it's

30:17

gonna be It's gonna be a crazy feeling it's

30:19

gonna be insane. We're definitely ready. You got

30:22

to right, Yeah, Yeah, basically

30:24

the hometown. Yeah, it's like second

30:27

or third show back. We have a couple little

30:29

festivals doing some like random stuff.

30:32

I think we're doing one that's not announced yet still

30:34

before that possibly maybe

30:37

um and then we're

30:39

doing a festival in Columbus and those

30:41

they're kind of all like they'll be cool, but bonitaries

30:43

like the first like really big. It's and

30:45

it's like forty five minutes from Nashville,

30:48

kind of like it's a hometown. A lot of people that

30:50

we know and friends and like Nashville

30:53

music industry peers and friends

30:55

will be out there. It's gonna be crazy. I'm

30:57

gonna camp out. Well, we we

30:59

leave like three days later to start

31:01

the Danny Shade tour, so we

31:03

might go a day early and camp was.

31:05

We'll have the bus, which is like the

31:10

glamp side we've gone the past two years

31:13

since we've lived here. Like I was

31:16

the last battery, but we camped out the whole

31:18

time. Had did like the whole thing and so

31:20

shout Out Calliope play until

31:23

seven in the morning. Yeah, we we we

31:25

had a time and like so it's gonna be cool going

31:27

back and playing after just like

31:29

having like it was one of the best,

31:32

one of the best weekends in my life and being there and camping

31:34

out. Yeah, it's just a great experience to

31:36

be there in general. So the fact that we actually get

31:38

to play and it's like we've got a cool

31:41

spot and yeah, it's

31:43

just it's gonna be sick, man, It's

31:45

gonna be sick. I hope lots of people lose their

31:47

minds. Yeah, I'm sure they will. And

31:49

also I love that in September because it might be

31:51

it might be a little cooler usually. So

31:54

like I feel like Labor Day weekend is

31:56

like the perfect weekend for bart because

31:58

people aren't going to work on Monday after bonning,

32:00

like unless you're unless you're an iron man,

32:02

I don't really or you just hydrated all weekend.

32:05

But congratulations on getting

32:07

back out there on the album. It has been so

32:09

awesome talking to Thank Comino. Thank you so

32:11

much for taking the time today. I really appreciate

32:13

it. Thanks and

32:17

you had a pleasure appreciate it. We

32:26

hope you enjoyed this episode of Inside the Studio,

32:29

a production of I Heart Radio. For

32:31

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