[Music]
Oh yeah, welcome back everybody. This is Phantom Power. This is the Phantom Power Artist Hour.
Thank you so much for joining us. This is a value cast. You guys remember what a value cast is?
It's better than a podcast because you the listener are using a modern podcasting 2.0 app like
podverse, fountain, periocaster, true fans, etc. And if you like what you hear in the spirit of
value for value, you are sending Satoshi's to the artists who you want to support. And if you
like this show, I would love to have your support. Send to me some Satoshi's. Seriously, value for
value. If you guys like this show, I would greatly appreciate it. So on the Phantom Power Artist Hour,
we review musicians and bands who are in the Bitcoin space, artists who have put their music up and
are getting paid in Bitcoin and Satoshi's. And today we are going to be talking with Brandon Welch.
Brandon is the lead singer and guitar player for just a kick ass, Stoner Rock, Grunge Band, from North
Carolina. The name of the band is Iroh. And we have a great conversation about touring, about
how you feel as a musician when you stop touring. We talk about gear, we talk about PV amps,
we talk about terrible load-ins. Like if you're a musician, this is a good show for you. And if you're
not a musician, I hope you learn a little bit about what it's like to be out on the road and
tracking songs and all that kind of fun stuff. I really enjoyed this conversation with Brandon.
We're going to start off the show with one of my favorite songs of theirs. It's called The Fever.
And this is off of an EP, a conceptual EP that they put out. The EP is called They Ride. But let's
start off with the song called The Fever and then we will bring Brandon on for the call. Cool.
Here we go.
Twisting starts and I can hear them now. I've been hearing that and been
chasing all the luck that we feel.
I run in place I can't get you, but people break their own four-horse. I run in place I can't get you.
You're afraid of me, you're afraid of me. I run in place I can't get you.
I run like you, you're a coward. I run in place I can't get you.
Lost my friends, and I lost them.
I run in place I can't get you. I run in place I can't get you.
I run in place I can't get you.
You're afraid of me. I run in place I can't get you.
All the plans are man, all the coming, coming undone. The world's upside of feet are bad.
Come and meet you, you're the world's best friend, come and meet you.
I run in place I can't get you.
All the plans are man, all the coming undone.
I run in place I can't get you.
You're afraid of me. I run in place I can't get you.
All the plans are man, all the coming, coming undone.
I run in place I can't get you.
All the plans are man, all the coming, coming undone.
There he is.
Hey.
Hey man, how are you?
How are you doing?
I'm good brother.
Thank you so much for doing this.
Yeah, thank you for thanks for asking.
Yeah man.
Yeah, I absolutely, absolutely love your stuff.
I'm thrilled that you guys are in the valueverse and putting your songs up there on wayblk and
getting some Bitcoin.
I think it's fantastic man.
I'm just blown away by the production and the riffs and the songs and everything.
Thanks.
You got a sweet room right there.
Oh thanks, dude.
Yeah, you got a couple of guitarist sitting there.
That's awesome.
Too bad I'm not going to use the video for the interview.
But yeah, I got to see it's a Gretz Taylor, breed love, breed love, Alvarez, Stratt, national
and then my fender is on my base is all the way in the back.
Now that Gretz is that a white falcon or you see it?
Yeah, I think it's sweet man.
It's actually my daughters.
Yeah.
I think it's sweet.
The mold band, far less, the last record we recorded, we used a very similar looking
grash for some of the recording.
Yeah, this things are so sweet.
Oh man, yeah, I love it.
She loves it too and it sounds great.
Sounds great through a vox, man.
Is that an AC30, AC15?
Yes, there.
It's a 15, yeah.
It's a 15.
I just, I didn't, you know, I am in no way.
Like I'm a decent rhythm player, but I am not a fucking Nashville chicken picker.
Dude, like I can, so it needs like with the Iro stuff, you know, with the EP, like I wrote
all the songs.
Yeah.
But I'm a riff and rhythm guy.
Like I had that bring Billy in if there were going to be any leads like at all, you know
what I mean?
That's just not, yeah, it's just not me as a player.
You're talking about Billy steel, right?
Yep.
Okay.
Cool.
Well, I, you know, I'm probably just going to use the audio from right from the very beginning.
So we're going to, we're going to jump right in.
This is a fan of power artist hour.
I'm really excited to have Brandon Welch on the line from Iro.
Now you got, where are you?
You're in like Asheville, Virginia, North Carolina.
So I've been Winston Salem.
I'm in Winston, Salem with Carolina and all the other dudes are in Virginia where
I'm originally from.
So I mean, they're like an hour or 15 minutes from here, you know?
Okay.
But the band on the EP, it's, it's me and Billy who's in Virginia, Ray, who is in Portland,
was the drummer on the EP.
And my friend Steve Martin lives in Florida.
He played bass on the EP.
Yeah.
So it's, it's, it's wild.
Like when I started working on the, when I for it, it's like 2020.
And I was like, it had played in a band in a few years and kind of got this idea for an
EP during the pandemic because, you know, something kind of from my perspective of just seeing
how everybody was kind of losing their minds and stuff.
And I was like, Oh, what if, what if I hooked the psyche and kind of turned it into like
a weird like sci-fi story?
So, you know, to start working on the songs, started kind of hashing them out with this, this
guy Joe, he lives across the street.
He was a drummer.
And once I had about three songs done, I was like, man, I got to get a lead player in on this,
you know?
And Billy was, Billy was like the first person on my mind because I've been wanting to
work with him for a few years and he can sing really well and he's a great guitar player.
About him and then, you know, we got to working it out and then when it came time to record,
you know, my buddy across the street was on tour because he's a sound guy for like some
big like country acts.
Okay.
And he was on the phone with my buddy, Rayland.
Ray was a drummer in my old band from like back in the day.
Far left, right?
Right.
Yeah.
And he was the original drummer for far less.
He was on, he was in the band for like six, seven years, something like that.
And he was like, man, like, I really like what you guys are doing.
I'll fly out there and track drums and I was like, okay, because Ray is one of my favorite
drummers on the planet, like period.
He's just a phenomenal dude.
And so, you know, and ask my buddy Steve, because Steve Martin in Florida, he played bass
in this band hand to hand that far less used to tour with.
And we kind of always wanted to do something together, you know?
I mean, and so it all came together in like the most perfect way possible.
Like all the right dudes, you know, like it just lined up.
But then once it was done, I was like, man, I kind of like, I just want to go sing these
songs.
Like, how am I going to do that with you and Florida and you and Portland?
So Billy was like, hey, the rhythm section from his other band was like, they loved
a joint.
So that's, so now like we've got a live band.
We've recorded a couple songs with the live band now that will probably release in a
couple months or so.
So is that your vocals on these songs or on they ride and exile and fever?
Is that you?
Yeah, yeah.
So I do like the lead vocals and Billy handles a lot of the harmonies and stuff.
Okay.
Why do I know Steve, Steve Martin?
I mean, I know we're talking about the bass player and not the banjo player, but like what
part of what was noticed I didn't say comedian.
What part of Florida is he in?
He's in Orlando.
Why do I know that name?
I don't know.
I mean, he was in a band called Hand to Hand.
It was like a hardcore band.
Okay.
We used to play shows with a lot back in the day.
But I think I can't think of another band that, you know, you would recognize him.
Okay.
Well, tell me, you got guys coming in from all over the Eastern seaboard track and stuff.
You guys are probably bouncing files back and forth to each other in like pro tools, right?
Well, man, with Steve, yeah, what's funny though is after about getting three songs done
and with Joey across the street being too busy, Billy and I were literally, we had like
finn I was writing the songs with no drummer and I go over to Billy's house and I'd be like,
hey man, I got the song like it needs some leads and stuff and he has this this pedal.
It's like a drum buddy or something like that.
It's like the most basic like, you know, so we were writing songs with that when Ray when
Ray flew out, we had two days before we went into the studio and we literally hashed all
those songs out right here in the house in two days before we went to studio.
Whoa.
Yeah.
And that's just the testimony to just how good Rayland is.
Yeah.
I mean, the dude, he had a notepad, you know, right next to a strong kid.
Yeah.
We worked through the song.
He'd make notes.
The next time we played the song would be like perfect.
Love, love dudes like that.
Love me too.
You know, I mean, just to be able to walk into a session or walk into a gig with somebody
and, you know, I mean, over here in Nashville, it's so much like, you know, based on number
systems and, you know, and somebody, you know, like what I hear a lot, you're like, what,
you know, I've never played this song.
What is it?
And like the bass player or piano player goes 1465 on the intro.
It's about 80 BPM.
Think of Dottie West and you're like, okay.
We know.
And they can see it.
And you're like, what the hell, man?
And I have to surround myself with people like that because I'm not good like that.
But like I've played music my whole life, but it's like I cheated if that makes sense.
Like I taught myself out of play guitar, taught myself out of seeing, but I did it without
actually learning anything.
Like I, you know what I mean?
Like, yeah, I know the chords on playing and stuff like that.
But when it comes to like the Nashville stuff, man, I would be so lost.
I would be so lost.
Okay.
So that's a good segue.
Let's go all the way back to because one of the things I love to ask people when they
went when I get them on the fan of power artist hour is like, tell me about your first song.
Like I don't care if it's if it was like about the girl on the playground or like your dog
or like and I'm sure it was bad.
No offense because everybody's first song stocked, right?
Like, I'm about your first song.
What got you into this?
The first like the first song I ever wrote.
Yeah.
Well, okay.
I started a band when I was in seventh grade.
Nice.
It was like my first band.
Because I mean, I've been obsessed with music my entire life.
Yeah.
You know, my mom was like a huge R.E.M. fan.
So like I was just listening to that constantly at home.
You know, uh, you know, love the smashing pungent stuff.
But I started started a band in seventh grade.
Basically, we wanted to be like the smashing pumpkins or nirvana or something like that.
And I think the first song we wrote was like, it wasn't about anything.
You know what I mean? It was like, I think it was called like, how now brown cow or something.
Like that.
Nice.
You know what I mean?
It was just like the goofy 12 year olds like probably all on your and the riff was probably all on your E string.
It was just like, I like you.
You got it.
You nailed it.
Yeah.
It was bad.
But but I mean, it was the beginning of like the rest of my life.
Basically.
You know, yeah.
Yeah.
So seventh grade.
And where was that there in Winston Salem?
That was in Pulaski, Virginia.
Okay.
In Virginia.
All right.
So you are, you're in these coasts right on.
Okay.
So, uh, you started in seventh grade.
You start playing more and more.
And you were on, then how did that take you into far less?
Because you were on the road with far less for like better part of 10 years, right?
And you were on the road with far less for a long time.
Yes.
Um, I started this at right after high school.
I joined this band.
Okay.
So Jamie King who produced.
They, they ride.
Well, he, he, he, he mixed and mastered it.
He did half of the production.
Half like the drums we did with my buddy Mark.
Yeah.
But, um,
I joined this like rat metal band.
Okay.
And like just like a couple months before they were going to record their first record.
And we go into record with Jamie and unbeknownst to me, he pulls all the other guys aside and it's like,
Hey, you need to get rid of the rapper.
And you need to start like a rock band with that singer that you brought in,
which was me because I was doing clean vocals and stuff.
And the other guy was like, rap.
It was like a two vocalist thing.
That was really popular at the time.
Like 90.
Well, yeah.
That's kind of like, I mean, um, Lincoln Parker.
Exactly.
A little bit of Inkybiss.
A little bit.
Yeah.
A thousand.
You know, yeah.
I mean, it was like that.
No.
Yeah, a little bit of emo.
A little bit.
Yeah.
It was totally that error, new metal, all that stuff.
And so we did.
We started a band and our first.
Go.
Or our first or second show was with far less.
Okay.
Which had just kind of started.
Now, when that, uh, when that band, uh, we were called purity.
Uh, we were together for like a year.
We split up.
Jordan from far less hit me up because he, he was writing all the songs and he was singing them.
But he had a buddy playing guitar.
Jordan is a phenomenal guitar player, by the way.
Um, and songwriter and singer.
Uh, but he wanted to step back to guitar.
And apparently all the guys in far less were like, we want that dude that was in purity to come.
Like, be our singer now.
Okay.
So far less invited me to come, you know, being the band.
I think we probably did like the local circuit and like some DIY tours for like a couple of years before.
Silent off-roar records picked us up.
Then tooth and nail picked us up.
And from, from there, I mean, it was just crazy.
You know, we did a ton of tours.
MTV did like a you hear it first about us.
Yeah.
I was, I remember, I mean, I was, I was in, I was on the use coast during that time.
Um, and I remember hearing about you guys.
So, yeah.
Yeah.
So I'm, and that.
So I'm really curious as to your experience with dealing with a label.
Versus how, you know, how you got into.
Um, value for value and Bitcoin and, you know, and, and the monetary flows and things like that.
We can, we can get the a little bit more into that.
A little bit more into the interview, but keep going.
I'm sorry.
Didn't mean to interrupt.
No, no, you're fine.
Uh, so, you know, far less close to 10 years.
And it's, you know, it's funny.
My daughter was asking me about that this morning.
Like, you know, I told her I was going to do this interview and she was like,
when your band broke up, you know, were you guys angry at each other?
She's eight, you know, so she's just like, were you guys angry at each other?
And I was just like, no, like, we had hit this point where people,
like, we were, we were coming in and out of the band.
Like, it, nobody loved us.
Nobody hated us.
It was real stagnant, you know?
No, yeah.
The label didn't want to support us really anymore.
And it was just, it just felt like, you know what?
Like, nobody likes us.
Nobody hates it.
There's just like, let's just stop.
It's just, it, it had run its course.
It sounds like you guys had just kind of run the course.
I mean, that's, it's, it's really what it felt like.
But, you know, what's nuts is the stuff we were writing at that point was probably some of the best stuff we'd ever written.
Yeah.
And, and we were starting to incorporate some electronic elements.
So it was kind of like radioheadish, like, stuff that we were starting to write.
But we just couldn't get like, we just couldn't get the ball rolling again.
You know what I mean?
It's like, we were on like our third win.
That, you know what I mean?
And, and it just didn't make it happen.
Yeah. Now I've been there.
I was out with my band for a couple of years out of LA.
And we're just, you know, you're, you're just bustin' a hump.
Oh, I mean, we--
The nights you're playing to 500 some nights you're playing to nobody.
Yeah.
And, and, and it, it, it got to that point where we weren't even like,
for several years, we were doing these tours where we were in a van following buses, right?
So it's like, while everybody got the, all these other bands got the sleep all night,
we were driving 14 hours from like, to Seattle from,
I don't know where, I can't remember.
Yeah.
Well, the Seattle's in the middle of nowhere, like, you know what, one of the reasons why we,
we were going for the reason why we moved to Nashville was that Seattle is out there in the middle of nowhere, you know.
It's crazy, man. We were driving from, uh, Salt Lake to Seattle.
There's, you know, one of the hours right there.
A overnight while like, every, all these other bands that we were, you know, open and pour,
it, it was rough and we did that for a few years.
And in that, kind of, let me ask you a question.
Where in Seattle did you play, do you remember?
I mean, we played a few places.
The, the, the one really memorable show was a place called the show box.
Oh, yeah. Good for you.
Uh, we did a showcase that, and that, that was a crazy show.
I mean, because you know, it was like a tooth and nail record showcase.
I mean, there was tons of people there.
One of our guitar, my guitar player, Mark, I mean, he was just feeling it, I guess.
And he takes his guitar.
And I remember looking at him and he throws it into the audience, like at the end of the set, right?
Because it was just like so rock and roll.
And I remember looking at him and seeing the realization on his face that like,
oh my god, we're poor.
And that is my only guitar.
And like, why did I do that?
You know what I mean?
Like jumping out into the audience to go get his guitar.
That is a very memorable show.
For sure.
That's a great club to play.
I was also there, but I never, I never played there.
I played crocodile, I played tractor.
And I was there.
I was there.
A bunch of other smaller places, you know, bought that weird coffee pot shaped building down into coma that's a.
Oh, yeah.
And they brought it at places.
I, I missed to coma and Seattle dearly, but that place is dumb.
But with all due respect, like that was what a, that was that, that, that's about as bad as the lion's den on coal facts in Denver.
Right?
Like I mean, I don't think we've, you know, in Denver, I think we've only ever played maybe one or,
you know, we played two clubs there and I can't remember the name of either of them.
One of them we played had like cages in it.
I remember and I was like, oh man, they must have like great like golf rames or something like that here at some point.
That's like the blue brothers, man, you know, set nothing up on the chicken wire.
Yeah.
Name from the TV show, Rod.
The second time we played in Denver, I fell off the stage.
Which was, which was a great, a great story.
Yeah.
Well, all right.
So, so you're out there on the road with these guys for 10 years.
It, it, it runs its course.
And it sounds like everybody left on good terms and you, you know, like everybody's just whooped.
Right?
Yeah.
Well, we're all still, still buddies.
That's great.
I mean, you guys have have great stories, right?
And, and, and I hope you don't regret any of it.
I hope you don't regret any of it.
Well, you know, when we first split up, I think I did go through a period of, well, I'm getting like, I'm going to get super real in here.
But like, I went through this period of like, dude, who am I?
Like, I've been in this band since I was like 16, 17, like, what am I supposed to do?
Did I waste like all these years of my life?
There was about, there is a few year period of this like weird, like identity crisis sort of thing.
But now I mean, dude, I don't regret it at all.
I've been there.
No, proud of it.
I'm so happy that we did it.
I've, I've been there.
I know exactly what you mean.
I kind of walked away from it all at like 29, 30, 31, right?
And I was around, I was around that age and I actually was like, I would never play music again.
Like music broke my heart.
Like, yeah, it broke my heart.
Dude, I'm right there with you.
It's exactly the way I felt like I, for me, but a lot of it had to do with getting sober to be honest with you.
Okay.
I got, I mean, you could see by my hair how old I am, roughly, right?
I'm 53.
Okay.
I've been sober a little over 20 years and you look good, buddy.
Well, thank you.
Thank you, sir.
I feel like a, like a million Satoshi's, right?
Yeah, for me, it was, I, I completely, I identify with you on that because I, I had to get sober or else I would have been dead.
And playing, and it took me a while to understand the beauty of playing gigs sober versus being absolutely hammered or, or high one plan, right?
Hit that.
Yeah. And I think now I've probably done more gigs sober than I ever, than I did when I was high.
But the identity crisis that you speak of and like, God, what did I just do?
Why did I, I just spent X amount of time in my life doing this and it didn't work out?
But you, you really find yourself in those settings.
The, the, the travel is invaluable. The cultural experience of being a musician on the road, even if nobody knows you is invaluable.
Like you probably have a greater understanding of this country than most people do.
Like I, I, I really, and I don't mean this to be condescending, but I, but I genuinely feel sorry for people who don't get an opportunity to travel around the country and just see how vast it is.
And there's no better way of doing that than, than being a musician.
Oh, for sure. You know, yeah, I agree. And it's really, it's nice to talk to somebody that bad understands it because I, you know, I think people that don't dedicate, I'm, because you give up everything for me.
I mean, I, the relationships that were, that were failed because I was gone all the time, you know, like, yeah, you give up a lot to chase that.
You know, and if you don't do it, it's hard to understand it.
Yeah, and I have no regrets. I mean, I never, you know, I got some mailbox money for a number of years, which I'm, and I'm sure you did too, be insigned.
But I don't have any regrets on it. Now you went, so after you were on the road with these guys for about 10 years, you went back and got your degree in advertising and, and,
the production, right? Or advertising and marketing advertising and design. Yeah. Okay. Yeah. And by the way, shout out to house of ivy.co, like your wife is an amazing photographer.
Holy cow.
She kicks ass. She, I mean, she's wanted the, I mean, I tell her all the time and I say all the time she's one of the greatest like visual artists of our time.
And we work really well together, although it's funny because like, you know, we'll get to like huge arguments about like what font, like, you know, like what font we need to use for this particular project.
And then I said, Sarah font. Yeah. Yeah. I mean, for real, but like, there's just something about when we work together, man, like things, things really work out, although all of her works, although it's just like, I mean, that's actually how we got started talking.
I did this project with Todd, Todd turnry was the second drummer for far less is a good buddy of mine. We did this electronic EP. And I reached out to Kristen because I wanted to purchase this piece of work that she did for our cover.
And that email, it like gave, ended up giving me a family. You know what I mean? Like from that email, I got a wife and a kid. Yeah. It's crazy.
That's cool, man. That's really cool. So all right. So 10 years on the road, didn't you go back, you're going through the hole. What did I do with my life? You go back to school.
And then all of a sudden, the itch starts again. Right. Right. And while I was in school, you know, I, I did an EP with this band out of Raleigh called a civilian.
And it kind of fell through.
Basically, and then, you know, I got back with a couple of far less dudes and we did about six songs under the name planet of the song. Then COVID hit. And I couldn't go to Wilmington every other weekend to like track with them. And like.
And honestly, like, I lost, I lost a ton of like friends, man. Like, you know, during the COVID thing, you know, I was pretty, like, I wasn't like, I wasn't rude or anything.
But I was pretty vocal about how like, hey, we're being bullshit in here about what's really going on. Like, like, come on. Like, there's, there's, there's. And I want to get too deep into it.
But you know, like the moment you're like, hey, the mainstream thing that we're being told is a lie. Hey, man.
Most people agree with it and they, they were not feeling me going against the grain. You know what I mean? And that, that really put me in this position where I was like, you know what? Instead of like.
You know, like getting online and talking about statistics and I'm just going to write an EP about how I feel in my experience. And, and that's kind of how I started.
And that's how I will start it. So how, so how did your thought process as a writer change now that you're, you're, you know, you've, you've taken time off from the road.
You went back, you got your degree, you're, you're married, you got a kid.
What, what did that do to your, your, your process as a songwriter versus when you were, you know, in your early 20s on the road with far less? How did that?
How, how, how are you different artistically?
Man, away different because you know, one of the main thing I wanted to do is like, I want to start a band that I can't get kicked out of.
Like, you know what I mean? Like, I want to start something that no matter who is involved, they can come and they can leave, but like, I'm going to do this.
Yeah.
And, and like, with far less, like, I would take ideas in, you know, like, on the last record, we did far less, did I wrote like three of the songs, which is like a huge deal.
Because before that, it just be a riff here and there that I would like, you know, I would help with.
But with this, it was like, oh man, like, I'm going to write everything, which was brand new to me. So I, I, like, I hit the books.
I literally studied, you know, all of the Bumanshu records. I, I, I, I stuck like, I, I knew I wanted to go in like a, like a grunge and like, stoner rock.
Like, you know, like, that's where I wanted to go with this. So, you know, I sat down, I learned a ton of songs from bands that I absolutely love from the genre.
And I did, I just went for it, which is totally different than what it was like back and far less.
Back and far less. Yeah. Well, you know, and you brought up stoner rock and grunge yet, you know who you guys kind of remind me of is masters of reality.
Awesome. You know, you know, Chris Goss is project. Yeah. That's kind of, you know, for those of you who don't know what that is, like we, if you, if you lived in LA or if you're on the West Coast, we call it kind of like high desert rock.
Like Chris Goss is from Palm Springs, Palm Desert Riverside area.
Josh, what's the name of Josh is band?
Yeah, Hummy. Yeah. Queens of the Stone Age. Queens of the, Queens of the Stone Age.
Like in Kaya's. Yeah. Things like that. Yeah. Yeah. That's kind of like what you guys, what, what I wrote, what reminds me of.
I was like, I want to sound, I want to sound like sound garden and boom, and you and Queens of the Stone Age. And I even want to bring in like little elements of like kind of like mastodon or like.
But I want to sing and not scream. Yeah. You know what I mean?
Like I wanted it to be melodic and I wanted it to be like the stuff I grew up listening to.
Let me comment on two things like the melody. And I wish I had my piano turned on. I don't have it turned on and running through here. But like if you go back and listen to.
I actually reviewed the ride or they ride. Excuse me.
I heard it, man. On episode four of the review. And that melody.
I was like, look into it. That little minor second. It's like that bastard. Like that's so clever. I love that. I really appreciate that.
When I heard that, you know, I mean, I was like, Pilly, dude, I was like, you got to hear this man.
This guy's like breaking down our song and it just, it makes us sound so cool.
You know, it makes us sound like we know what we're doing.
I'm sure it's how do, man, because like in the other thing, like I can sit here and I know, like, I don't know if it's fever or exile, but the one that starts.
The morning.
Okay. Yeah. Yeah. The fever.
That melody just gets and I love the way the song starts. I got freaking goosebumps, man.
All start. You said it was. It's an all start, right?
Yeah. And who, who, for the love of all things, holy, who came up with that organ part at the end of the guitar solo in exile?
I was Billy, man. And that is brilliant. And that was really so damn good. And that, and that chord progression that that he uses to come out of the guitar solo.
Yeah. God. Damn. That's brilliant. That is so cool.
Billy's crazy creative. He's in like four bands, which makes it a little bit difficult sometimes to like for scheduling, but I mean, the dude just like believes songs.
It's insane and ideas, but we were in the studio and Billy was like, man, it would be cool to put a organ here. And Jamie just like doubt up an organ sound and Billy.
And I've got it all recorded on video like the three or four times he tried to just do it and like couldn't quite get it, you know, and he's like, damn it. And then like he nailed it, you know, like the fourth time that he played it or whatever.
I'm going to use that song at the end of the show. So people can hear it. Is that cool? And then I'll probably put whatever you want.
Right on. And then I'll put.
So that's exile. And I'll use fever at the beginning.
Cool. Okay. Cool. What's the name? I wrote what is it? Like international reasoning of hospitality agents. What is it?
So Uncle I wrote is the character from Avatar, the last airbender.
And he was like my favorite, he was like my favorite character in the show. Oh, now your Facebook, now your Facebook makes sense because I look at that and I'm like, what the hell is this?
Well, in ex house, the first song I wrote for the band, right? It's like the first song I wrote that I was like, man, I think this could be like I could turn a whole like record into this kind of style.
But laterally the song was originally about Avatar, like, and so for like a week, I was like, man, I'm going to make an EP about about Avatar.
But, and I stepped away from it for just long enough to come up with like this whole other idea. So I changed like one line in the song and then it worked perfectly for the concept of the record that, you know, for the rest of the record.
Because you know, you know, if you listen to the album, there's, you know, there's all these segues in between where, you know, because the album, it's like you're in a Dodge demon, listening to the radio during like a zombie apocalypse.
And so in between all the songs, you've got all the different radio stuff, right?
And I actually do, I reached out to Alex Jones to see if he would actually like be like the Seedman character in it. Of course, I never heard from him. So I had my friend Gary, who was the singer for the band Swift from North Carolina, who were like, just huge in this area, man.
I mean, like if they got together today to play a show, there'd be 800 people in the video, like I'm sure. And he was like, he can just do a voice that sounds like Alex Jones. So it was perfect. You know.
So I'm reading this. I think this is was from a bio I found online conceptually the ride is a literal ride like in a car, a 1972 Dodge demon to be precise.
All of the songs and the storyline parts are presented through this car radio listeners will join the main characters as they ride through the waist of South Eastern USA searching for signs of life and fighting the zombie hordes all to an excellent soundtrack.
You know, Brandon, could you come up with something a little more specific.
And you'd wake up from in the middle of the night, like, oh, wait, it's like, I got an idea for an EP. It kind of happened like that. You kind of happen like that.
It just fell, it all everything fell into place with the EP. It's it's pretty, pretty wow. How worked out.
Well, I'll say it again. I think the whole thing sounds fantastic and I love the hooks just from a let's talk gear a little bit.
Like are you tuned down in any this was was is all standard.
Yeah. So we're either in like a D standard, so like a whole step down, we'll step up and then some of the songs we are dropped C drop C.
Oh, meaty. Yeah. So which is a pain in the ass live because we play the record from start to finish live with all the segues.
And so about halfway through the show, we are tuning for every song.
Yeah. And I'm kind of excited to get out of that.
Yeah. So for the listener who is not a guitar player, what he's talking about is like, if you pick up a guitar, there's a standard tuning in the tension of the strings on the neck.
The way the guitar is designed, unless you're really strumming hard, you're not going to go attuned that far.
But what a lot of heavier sounding bands do is they will intentionally loosen the strings on their guitar to a lower key to giving heavier a meteor sound, darker sound.
And what that does in a live setting, because the guitar isn't necessarily designed for that type of tension in a live setting, you look in between every song, you got to stop and big and tune quickly or else the whole thing just sounds like garbage.
So it's hard. It's hard. But it's a great trick. And it's definitely a master's of reality trick. And it's not. I shouldn't use the word trick. It's a tool. It's a great tool.
Yeah. I mean, because you know, those low-retuning seem to just work better with my voice.
Yeah. Yeah. And I love the EQ separation between.
And when bands do this, it really creates a nice EQ separation between the guitarist, the guitarist, the bass, and the vocalist, especially if the vocalist like yourself has a really strong alto, to not like, you know, that that makes the job of the producer and the engineer and the mastering engineer makes it a little bit easier, because they got more EQ to play with.
Yeah. Yeah. Yeah. So, and by the way, send me a picture of your pedal board. And I will use that as the chapter.
Okay. Yeah. And like, you know, fountain or podverse or whatever. Right. So, you know, so we can geek out about pedals.
Oh, dude. I love to geek out about gear man. How big is your pedal board, by the way?
You would be surprised at how small my pedal. Not really. So live, I use one pedal, dude. And it's a three, a three-month 14 made by Rudtech who was out of Nashville.
And it is just the best fuzz pedal I've ever used in my whole life.
I've got a bunch of, dude, I have a bunch of pedals. I mean, don't get me wrong. I got a ton of pedals. Yeah.
And when we record, I only use two. I use the three month. And then I blend that, you know, I'll double track using a 420 fuzz fuzz rocious.
And I'll blend those two.
And the only other pedal I use, I used a creepy finger's, the ballch on, in X, trials.
So the jing jing jing jing jing jing jing, at the beginning of the song.
Like that fuzz, that's a ballch pedal.
It has been a lot of fun watching technology get better over the years.
Right. Like I was, I think you probably heard me say this.
Like I was in L.A., and 95 to 03, and I watched the transition of tape to pro
tools. I watched studios go down, right?
Yeah.
And I, um, and also at the same time, it was like the dawn of digital amps, right?
Like, oh, yeah.
I had a line six that I toured with and, and you know, it had two 15s and then it
pissed loud, you know, I love that.
I loved it, right?
But the technology on those things has gotten so much better.
It's the quality of the digital amps and the, and the boards and everything has, has
gotten so much better.
Now I'm still a big analog geek, like I would, I would prefer to record to tape.
Yeah.
I don't like, I've got, but, you know, like my Jordan from far less and Brandon, who joined
far less later, he's a good friend of ours.
Those guys, you know, they'll use like digital stuff and they'll make it sound so good.
I mean, and at this point, the stuff sounds basically like analog amps, but man, I, you
cannot get me, you, you will have to pry analog gear from my cold dead hands.
I, I, I don't want to learn the digital amps and stuff.
Yeah.
I, you know what I mean?
Yeah.
I don't want to learn that.
It is fascinating.
I've got a bunch of buddies who tour and they go out on the road, you know, and they,
they go out with the guitar, a backpack, and they're camper.
I know.
And it sounds great.
And it sounds brilliant.
And, and, and, and, and like the really ballsy ones, they, they will get a one of those padded
guitar cases that holds two guitars.
Mm-hmm.
And they'll only put one guitar in there.
And then they use the other half for all their clothes.
Oh, that's the great idea.
You're only going out with one guitar.
I'll break a lot of strings.
But the, like the, the, the camper, even on the, even for the base, like I've got buddies who
are touring big national things.
I'm like, yeah, like using any amp-song stages, like, you know, like,
I don't know how one with one stinking board.
I, I, I can't get over it.
No, it is cool, man.
And people can make it sound great.
But there, to me, there's nothing like the way, and like a speaker cabinet feels and an amp
feels like, I don't know how to explain it.
And I'm not some, I'm not a great guitar player.
I've played for a long time or whatever, but God, I love it.
And, you know, and now I've got an 86 JCM 800,
uh, that I used through.
I got a Mojo tone, two 12 cabinet that it's like, dude, at this, I don't want any other
any other gear.
I like, I've got my, like, my dream rig.
It sounds exactly the way I want it to.
And that's, that's what I use.
Yeah, it's not, it's not what I recorded.
I had an orange rocker verb 50, this what I recorded they ride with.
Okay.
That makes sense.
Yeah.
And, and I loved it.
But the thing about it is that amp hated my fuzz pedals, man.
Like it, it hated them.
I, when we recorded, I actually had to run my fuzz pedals through like, uh,
like the effects, you know, like, uh, loop.
I think on the amp just so it wouldn't make these weird noises.
I don't know what it is about that orange, but it didn't like them.
Um, and Billy used AC 15.
Yeah.
And then did his double tracks with the 50 one 50.
Oh, really?
Yeah.
Interesting. You know, I'm not a, I'm, I'm, I'm, I'm, I mean, with all due respect to, uh,
Edward Van Halen, Reston piece, I am just not a fan of PV's, man.
I just, man, I love the 50 one 50.
Like, uh, really, the first one is like a tube, right?
It's tube.
Mm-hmm.
Oh, yeah.
And, you know, early sound garden, um, they used a, whatever was the pre cursor to the
50 one 50.
It was called something else, but it was basically the same amp, uh, during like the bad
motor finger era and stuff like that.
So, uh, I'm partial to it.
You know, there are metal bands.
So many metal bands that grew up love in the play 51 50.
So there's some, the, we don't own one.
I mean, Billy uses a live.
He uses a orange, um, what it, it's one of those lunchbox amps.
Oh, they're, yeah.
I can't remember what one, like, I can't remember which one it is though.
Yeah.
Um, he uses, he uses that and I use, you know, my Marshall.
Yeah.
But yeah, other than that, I mean, other than 51 50 PV doesn't do it for me.
Yeah, they just do.
Yeah, just, it's a little too tiny for me.
All right.
Let's, let's get into value for value.
Like, how did you guys find or you, how, how did you find Wablake?
How did you find value for value?
How'd you get into, uh, into, into this whole world?
Um, I've been a no agenda listener since like episode one, you know, and, okay.
For a long time.
And, uh, so, uh, Adam Curry was, you know, he, he'll always talk about, he, he brought up
Wablake at one point on the show and, you know, what?
Before that, I had emailed him and I was, you know, just like, hey, man, I wrote this record,
like, check it out and he, it's, he said, you know, there's something common.
There's something common that you're going to be able to like upload your stuff.
It's going to be totally value for value.
And then we know once Wablake hit and he started talking about it, I, as soon as our record
was done, I uploaded it to Wablake.
Uh, nice.
But because I, you know, even being in far less, dude, you know, I'll get emails every, you
know, month or whatever, like you've had, you know, X thousand listeners, you know,
to your, your record on Spotify, you know, and then every quarter, I'll get, you know,
a direct deposit of like a dollar, you know, if I'm lucky, you know, and, and I was just
like, man, this is dumb.
Yeah.
This is, like, this is stupid.
Like it, it, it doesn't make any sense.
Like, you know, if, because there's so, there's so much going on and Spotify anyways,
it's hard for people to find your music or, or discover your band if they don't know it.
And then like the pace sucks.
Yeah.
And even, I don't know, man, even with, uh, with, with like something like Wablake, I just,
I feel more heard if that makes sense.
You know what I mean?
Like, yeah.
I feel like the music is actually getting to somebody.
That interaction that you get is invaluable, you know, because, you know, you can log into
your account and you can see what shows are boosting you.
Yeah.
People digging your shit.
Yeah.
And I mean, it's such a great feeling, man.
And, and, and Spotify and Apple and all that, like, they don't, just nothing about it makes me feel good.
Yeah.
Honestly, it just doesn't like, I, I'll log into Wablake and you can see that people have boosted,
you know, your, your music and stuff.
And it's just like, man, all right, people are listening.
People like people are hearing this.
Yeah.
And I, and I, I'm telling artists, I'm like, you know, don't, um,
you know, don't not put your stuff up on Spotify.
Like you should, like, in many respects, it's a necessary evil.
Right.
But like, I love what Joe Martin did.
Joe Martin is a Americana singer, songwriter, out of, um, middle England.
He's like two or three hours north of Blondom and he's kind of, he's got a beautiful voice.
He's on, he's on a wavelength.
Um, but he started dropping his new releases on, you know, into RSS seeds first.
And then, you know, so like next to, you know, with, with your next, uh, singles, um, you know, I mean,
yes, I can find your music on, on Spotify.
I can find this whole EP on Spotify.
But as a way to kind of capitalize on the market and drive some traffic, maybe you think about,
Hey, you know what? I'll, I'll put it up in the RSS feeds first and then, you know, one month later, you'll,
you'll get, well, it man.
It's, it's, it's fun.
That's one of you mentioned that is I reached out, you know, on Instagram,
just whoever, like the wave, like Instagram.
And I was like, Hey, do you ever do any kind of like premieres or anything like that?
Because I would love for our next single to be premiered that way.
And, you know, first, yeah, uh, you know, and they were like, well, you know, we can put it in, like, you know,
they, they do a newsletter.
So they're like, we can talk about it on the newsletter or something like that.
But like, it's cool.
You mentioned that because that, that's, that was already sort of floating around.
Like, I, I want to use value for value.
Like, I want to try to drive some kind of like traffic that, that direction, you know,
yeah, like an exposed people to what, what's going on?
Yeah.
I mean, I firmly believe that that's, that's the future, man.
I, yeah, I, I do too.
Obviously with, I mean, we launched a new website this week to help bring in artists to,
to teach them about this and, and to get more of them into this.
And what I would say to you is get, you know, as much as we all hate social media,
it still is a good tool to promote.
And, and I would get in, um, noster, if I were you, because there's a lot of, uh,
there's a lot of the way of like, crew in there, um, you know, and, and it's going to be,
you know, noster is, is primarily the Bitcoin devs and the noster devs,
you know, talking back and forth, but there's not a lot of musicians in that space.
Uh, so that's a good opportunity for you to kind of promote the band.
Number two, I think that the music aligns with, uh, what a lot of the devs listen to,
like if, like, just as somebody who promotes in that space, I see, you know,
I'll put up a song or I'll put up, uh, you know, notification of a song and I can see the response
that it gets, but then when somebody puts up, Hey, this is a heavier band or this is a metal,
like people are like, you know,
so I would look into noster.
I think it's a more aligned, um, number two is I would, um, get active on Twitter as well.
I hate to say it, but I would get active on Twitter and really try to interact with the way
of Lake account, things like that.
You know, I mean, we hate, we hate social media in terms of the fact that it makes us content creators
and we have to, and it takes away from our art.
And it's, as you know, with your design degree, being a content creator for, uh,
social media is, is a very different skill set than being a songwriter.
Oh, yeah.
But I, I would promote it there.
I'd also look into telegram too, like there's some, you know, there's some telegram groups, um,
that, you know, something that, that could help, but, um, and I agree with you.
It's, I mean, it's the future.
Now this is like preseason, maybe, like, um, sure.
This is so early, you know, and I had a conversation yesterday with a gal here in Nashville
that's going to come out on Monday of this week and we were actually talking about, um,
Ethereum and, and NFTs, um, and she was saying the exact same thing about that side of the
equation, like it's just so early, right?
So, yeah.
So, so, well, you being a no-agent, so I, I'm sorry, go ahead.
No, I'm just, I'm really so happy that I could get involved in this, like, from like the start.
Like, you know, from like the, the beginning of, you know, wave, like, and the value for value.
It's, uh, it's, it feels awesome.
You know what I mean?
It's like, like, like, like, like, like, you're helping to like, pioneer something that's like really going to change the industry.
Yeah.
Again, as it were.
And the direct relationship that you can have with the listeners with the, you know, if, if the listener says,
oh my god, I love they ride.
Here's three thousand cetotias.
Here's five.
Well, it's like what I would like to be able to do.
So, you know, if wave, like, if you, if the devs are listening, if my dude's name ban or out there listening, uh,
I would love to be able to talk to people that are boosting our music.
Like, somebody, like, I'll see that somebody's boosting, you know, boosted something on wave length and wave,
like, and they've got like a comment.
And I would love to just be able to be like, I love you.
Thank you so much for listening.
Can't you go in and reply to their comments and wave like,
I, it, and if I can, then I'm just, I'm sure you can.
I'm pretty sure you can.
I, I see Joe Martin do it.
I see Anzaly Castello doing it.
Really?
Yeah.
Here, let me pull it up here.
I've got it like, I've got it right here.
Actually, I, I'll do this after we talk.
Um, yeah.
But yeah, I mean, cause like, you know, you can see where people are like,
and I just want to be like, I love you.
Thank you so much for listening to us.
Yeah.
Yeah, you might have an older version of the app on your phone.
Maybe so.
But yeah, you know, Sam and Michael, they're, they're good dudes.
You could reach out to them.
I'm, I'm, I'm, you know, I'm, I'm not a dev.
Um, but, um, you know, they'll probably listen in and, and, and respond.
But yeah, man, it like, you're such a boomer, I'm such a boomer
when it comes to technology.
My wife laughs at me all the time.
I'm constantly handing her my phone.
Like, why is it doing this?
Like, I don't know.
- Bameth, I just want to watch Matt Lock.
- It's probably something so simple that I've overlooked.
- Yeah.
- Yeah, I mean, you being a no agenda listener,
it's obvious that like, you know, didn't take you long
to jump in on this.
- Oh man, this suit, I mean, as soon as our record was done,
I was like, man, I'm putting this thing up one way, like,
I couldn't wait.
- Yeah.
All right, let's have, all right, here's a couple of fun,
fun questions.
- Okay.
- All right.
Take a song like, all right, I'm gonna take,
they ride.
Who would you like to see cover this song?
But they cannot be in the Grunge Rock, Stone Rock genre.
- Oh wow.
- Like, here's an idea, here's an idea,
and you're from the rap rock world a little bit, right?
Like, like, Nicki Minaj, like, what would that sound like?
- It would be, I'm sure that would be crazy.
- Yeah, okay.
- Right?
- So give me a minute.
- Who would you like to see outside of you?
- Yeah, I would want some like phenomenal,
like, singer pop star to do it.
Like, you know what, I would like a Dell to sing they ride.
That's what I would like to hear.
- Ooh.
- Just with her in the piano.
- Yeah, somebody with some like, just like, crazy pipes.
That's what I would like to hear.
- Ariana Grande.
- Just completely rewrite, rewrite the song, you know what I mean?
Redo it, and let's just hear your version of it.
- Cool.
- Best gig and worst gig.
Best gig you ever had?
- Worst gig you ever had.
- Okay.
You know, oh man, oh man.
The best gig I ever had.
I've had a lot of good gigs, man.
You know, every show we ever played at the Avalon
in Salt Lake was really good.
Back in the day, I mean, there was always like a thousand people
there.
There weren't there for us, but we got to play in front
of a thousand people, which was super cool.
- Yeah.
- Yeah, the worst gig ever.
We played this plays, I can't even remember it was.
I want to say Ohio, but I could be wrong.
I was smoking a lot of weed at that point,
so things get kind of blurry.
When we were doing DIY tours in Far Alaskan,
we played this place called Orange Street.
And I remember the last time we played there,
dude, there was like two people there.
And like we got the band, we got this huge fight
because it was just like we are just bleeding money,
traveling, playing in front of nobody.
Like what are we doing?
But you know, the most recent show we played in Blacksburg
with IRO, there was probably about 60 people there.
And man, it's like some of the most fun I've had in my whole life.
Like a dude, the crowd surfed.
- Nice.
- There was a dude in the audience, he ate a cigarette.
Like people were just like, like, wiling out.
And I haven't seen anything like that since I was in my 20s.
So.
- Yeah, that's pretty cool.
- Worst load in that you can remember.
- Okay, and Philly, we played this club.
Can't remember the name of it, but it was like,
I don't want to say it was like three flights of stairs
up to this club.
Easily the worst load in because our base player Joseph
had one of these base cabinets.
It was like like eight tens or something.
- Yeah, you know something.
- And it was a big ampag or something.
Oh yes, it was just such a pain, man.
It like, I'll never forget.
I will never forget that load in as matter of fact.
- My worst load in was, I don't know if it was Everett
or Bellingham, Washington.
You had to go down a brick flight of stairs to a landing
and then do a 180 and then go up a stairs and then
and get onto the stage.
And I'm like, why in the hell don't you guys just knock
a hole in the wall back here?
- It's so terrible.
- It make matters worse.
The day we got there and there was only two people
at the show, somebody had defecated at the landing.
- Oh, that's fantastic.
- That was fun.
- That's great.
- That was the worst load in.
- The masquerade in Atlanta is also not a fun load in.
I don't know if you're familiar with that.
I mean, that's like a famous venue,
but you load everything onto like this elevator outside
that takes it like up into the venue and then you gotta go
up and then you start and I never enjoyed that personally.
- There's one in Tacoma, there's a great set of clubs out
on the West Coast based out of Portland or Seattle,
one of the two, they're called Mick Minimans
and what they've done, they're beautiful clubs.
What these guys have done is they take old buildings
like literally old schools or the old alx lodge or whatever
and they completely refabit, but they do it honoring
what the building was.
If it was an old school, then this place is gonna have a school
theme.
If it was the alx lodge, it's gonna have the old ballroom
from the 1920s, right?
And they are a micro-brew and I hear their stuff is great
and they are a hotel.
So they've got a whole series of venues on the West Coast
that have beautiful stages, great food, great beer
and it's a hotel, it's called Mick Minimans,
they're fantastic, they're great places to play,
great places to play.
In Tacoma, the Spanish ballroom,
the Lodin literally is like good fellas.
Like you're down on the ground floor and you go through
like I was wheeling my keyboard like through the kitchen
and then I got to go around a corner
and then you go up the stairs and it's a really hard Lodin,
but I love it because like every time it reminds me
of good fellas in Raleota, like I'm gonna come around
the corner and be like every time you two, every time.
(laughing)
So anyways, well Brandon thank you so much for joining us.
Really appreciate the conversation.
I think we've got a lot in common as far as being out
in the road and burning out and wondering what the hell
we were doing.
- Oh, look, I will talk to you anytime man.
Like off the record, like whatever,
this was really, really enjoyable experience for me.
- My pleasure.
- I really appreciate it.
I appreciate the love so much.
I mean, because starting over from scratch without a label
and without a lot of the buddies that would have been there
to kind of help, has been really difficult for us.
But I mean, it's a challenge that like I'm down for it.
You know, and just, I thank you so much man
for playing our music and for talking about it.
- It means a lot, dude.
- Yeah man, love it.
And I mean, you're not that far away.
I hope I can come out and see you guys soon.
- That's awesome.
And you know, once we get off of here man,
I'll send you the two songs that we just got back.
- Oh yeah.
- One of them is a CCR cover that we did.
- Oh really, what did you cover?
- Sandister Purpose.
- Oh nice choice.
- And we made a heavy dude.
- Nice choice.
- Thank you.
- Thank you for going deep into the B-sides
and not sticking to like what the general public would do.
- That's it.
- And that was Billy thing.
Billy hit me up and he was like, man,
because he loved CCR and he was just like dude,
lyrically this song, it could slide right into they ride.
- Man, and I was like, let's do it.
- Love it.
Love it.
I look forward to hearing it.
We will wrap up this show with exile and again,
like all you listeners out there,
send these guys some sats man,
send Brandon some sats and we'll see you soon.
- Yeah man, thank you so much.
- Hey you bet, stick around.
We'll talk offline for a second.
- Awesome.
(upbeat music)
♪ In exile, get on down and feel survival ♪
♪ You're in putation to live ♪
♪ No, I don't, now I don't know ♪
♪ Feel so hollow ♪
♪ In bite the fire to burn ♪
♪ I can see your faces in the dark ♪
♪ I can't tell my friends were born ♪
♪ Let me, you're my life to die ♪
♪ I can't tell my friends were born ♪
♪ I don't know if I'm born ♪
♪ When this hour is love and fear is comfort ♪
♪ I'm chased that evil soul long ♪
♪ I don't stop, I don't stop ♪
♪ I will seek redemption ♪
♪ I'm trailing hatred for love ♪
♪ But again, I can't see your faces in the dark ♪
♪ I can't tell my friends were born ♪
♪ Let me, you're my life to die ♪
♪ I can't tell my friends were born ♪
♪ I can't see your faces in the dark ♪
♪ I can't tell my friends were born ♪
Well, if that doesn't wake you up, I don't know what will.
Hey, I wanted to share one more clip of this conversation
that I had with him today.
And this happened after we had concluded the interview,
but we were talking about value for value,
and we were talking about how amazing this whole movement is
and how valuable it is for musicians.
So here he is again talking specifically
about value for value.
Check it out.
And I try to talk about as much as I can, you know,
to artists that will listen, because, you know,
you get so trapped into the, I mean,
you just end up getting boxed into the major platforms
or that's it.
It's just like some people will only think of the internet as Facebook.
You know what I mean?
It's like music is Spotify.
You know, people think like it.
And it's just like, no, no, there's something way better,
not only for you, but for the people making the music too.
And that's the value for value model.
Yeah.
It's the best thing for everyone involved.
Well said.
The internet is not just Facebook.
The music industry, God help us, is not just Spotify.
And what value for value is doing for musicians is amazing.
Not just musicians, but podcast hosts, even artists, authors.
That direct exchange of value that is available,
because of Bitcoin and because of RSS feeds.
It's fantastic stuff and nocturne too.
So thank you guys very much for listening to the Phantom Power artist hour.
It is Sunday, February 4th.
Tomorrow we are going to be talking with an amazing artist here in town in Nashville
who is primarily in the Ethereum and NFT space.
And her name is VLetta Zeroni.
She's going to be on the show tomorrow for the business hour.
We got the music hour coming up on Wednesday and then on Friday of course
is the Phantom Power music review.
Cool questions?
You can find us on Noster, you can find us on Telegram, you can find us on Twitter.
And as always, smile for your mug shot.
It's probably the best advice I could give you.
See you guys.
[Music]