Sleeping on the Interstate

And that's worth it to me. That's worth sitting here in the parking lot outside of a venue I'm about to play, turning on the microphone in my computer and telling some stories. I want to talk about some new things coming up here this fall. I want to talk about the continuation of a story that I've been telling throughout all of these podcasts one through thirteen, and that's how I got to be the artist that you found, whether it was YouTube or social media, or at a

concert or on the radio. I left off my story about two thousand and nine ten. I had just met Amber in a music video, and I was working on a new album called Poets and Prisoners. Sitting here looking out the window in the parking lot and the opening band just pulled up, and they pulled up in a van just like the one that I drove for so many years, beating up that highway. And it's only appropriate that now I'm talking about those years. Those years made

me who I am today. I hear people all the time. They'll say, maybe on a radio interview, they'll say, you've been doing this for a long time. You know, you've been doing this ten, fifteen, twenty years. You've been doing this a long time, and they almost say it in an negative way, and I always try to spin it back to them and say, those years made me who

I am. I'm nothing without those years, without that van and those miles and all of those shows with no one coming, and my brother and I who's still my manager, forcing ourselves to be innovative and to be creative and to think out of the box. I'm nothing without those years. And just like I'm doing right now looking out this window at this opening band and their van, which I'm going to go down and meet these guys in a minute,

but I'm constantly reminded of those years. Every day could be in me on it, son, boys, I got the first round could be the last second hell Mary game winning, touched them, could be hitting off the one that you're hitting No, turning the page new day, finally move in

on whatever it is. Yeah, whatever it is. If you got a question for me that you want me to answer on one of these podcasts, and go to social media and hashtag Granger Smith podcast, ask your question, I'll search for it, just like I'm doing right now and searching Twitter here. I see a lot of questions about this because last podcast I talked about a throwback concert, a concert where I play essentially a request list from all my fans that want to hear some of my

older music, from all the older albums. I think that would be awesome, and I really think that's gonna happen, And we have toy Burkincamp says, Hey, at Granger Smith, you better be serious about that throwback concert we have, Anne Marie. She says, retweet if you were to attend a Granger Smith throwback show. Trying to prove a point. Even Mitch Conall, my old keyboard player. He talks about let me know and I'll be there. So obviously this is something you guys are interested in me playing a

throwback concert. And I've already been talking to a bunch of people about actually doing it, talking to venues, finding a city that you could have an easy airport access, so you could come in from wherever, submit your your set list, and we will play whatever you want, and then maybe we'll end the concert with some of our newer songs, some of our newer singles, and of course Earl Divils Junior. I think that would be so fun.

A little tradition I started a few episodes ago in this podcast was playing you guys brand new music that no one has heard before. They're really just demos, they're not even recorded records, but I have so many of them that I think this podcast is kind of a cool place to debut them. And I know that in meet and greets. I've had a lot of you come up to me in a meet and greet and say, oh, I heard this so and so song in your podcast.

And a couple of episodes ago, I talked about a song called I'm a Fan, and I got so many responses about that song I'm a Fan that I'm going to be releasing that very soon, and very soon i'll tell you how. But I'm also going to release a brand new one. I'm going to preview a brand new one for you on this one episode fourteen. I wrote this with some friends Corey Crowter and Stephen Lee Olsen on my bus. It's called I Want It. I want a Saturday. I want to read you, I want my

bare feet bottom of a bass book. I want to take a trip, take out a stack of twenties. I want to rule the dish down in Atlantic City. But one thing I'd rather do that's everything. If it's mixed, do you. I don't need a reading lead in a kiss and second I leave you, O and miss they're in a new and you. It's whack. But I want you. A got a twin my to keep it ready. I dished my plans because I'm on the back. You don't ask you if I get you true why, I'm gonna

stay right here and love you because I want. I wrote that song this past summer twenty eighteen with those guys, and we wrote another song that same day called why Wouldn't We? And I preview that a few podcasts ago. So I talked about having this throwback concert, but there's another kind of concert that I want to introduce. In twenty nineteen and that is ee Fest. This is a

long time coming. This is something that's been a dream of my brothers and I for a while, to have our own festival and to have the whole environment be sculpted by us and what we want out of a concert. This is the first time I've ever talked about it. I've never had an interview about this. I've never spoken about this on the radio, but I want to bring it up in the podcast first because I want to hear from you guys. Is ee Fest a good idea?

What other bands should we bring and maybe most importantly, what cities should ee Fest travel to if it's more than one city. I think this potentially could be a great idea and ultimately a place that ye nation could come together from all over with like interest and just have a huge party. Speaking of party, next year, we're going to be on the Cane Brown Tour. That's January, early January through the end of March. And we put these pre sale tickets up and you guys did amazing.

You bought thousands and thousands of tickets using the EEE promo code. You did that before most of these shows sold out, And I just wanted to say thank you for that. I cannot wait to see you all in these cities. This podcast is brought to you by ee Energy that is a non official official sponsor of mine. Because it's my energy drink. I talk about it all the time on these podcasts, and I'm telling you the

truth that this is my favorite drink. And I'm also very biased because yes, me and my brothers built this recipe from the ground up. The exciting thing to tell you about all this is that we are in the works right now with a sugar free version. We've had so many people talking about having a sugar free EEE Energy and so yeah, we're working on that. It just costs a lot of money and it's a lot of the logistics. As you could probably imagine. We don't really

make a profit on this. It's just an extension of the brand and it's growing the brand and the awareness. Plus it's a really awesome energy drink that we have available on Amazon Prime or my website grangersmith dot com. Try some see what you think. All right, it's time to get to the story. This is the story that I've been telling since episode one and it's taken me fourteen episodes so far. And I'm still even close to

the present day. But I'm trying to tell everyone the story of where I came from musically in my career, how I started, and how I got to where I am now. And maybe I didn't even realize how long this story was, that it was going to take me fourteen episodes of a podcast. Now. I know that I talk about other things in this podcast too, but right now I am sitting on the back of my bus Wildflower,

and we are in Florida. We're in Pensacola, Florida, and well, we've come a long way since I started this podcast episode in Ohio. I can't even remember the cities that we've been to since then. But I get distracted. I have to go to work, I have to go to meet and greets, I have to sing demos, write songs, and I kind of start neglecting these podcasts. Me and Paul are always making videos. I'm sorry. I wish I

could do these podcasts every day. I wish I could continue to just put them out in every city I'm in, but unfortunately I have to find kind of find these little time pockets, and I have it right now. I'll tell you what we did this morning. And this is something that I've been doing for gosh, probably fifteen years now. I figured out a long time ago that I have to take care of my mental health as a musician, whether it's the highs of being a musician or the

lows of being a musician. I have to work to stay grounded because this business is very different than a normal job, and it can affect you. And I have seen it affect many people around me over the years in a negative way. And you know, you always hear people say, oh, fame changed him, And it's not just fame.

It happens at the small level of music too. It happens with the guys that are struggling, the musicians that are struggling, because there's this feeling of trying to bring your art to the world, and if the world accepts it and loves it, that can go to your head. That can affect you. If the world doesn't accept it and they reject you, as in they don't go to your shows, they don't buy any music, maybe it even

boo you on the stage. But regardless, if that's the reaction, that could affect you too, because then you go back and you get inside your head and you say, I hate this. I have created this, and no one likes I said, I suck, I'm terrible. And so point being fifteen years ago, I discovered one of the hacks away around it. And then there's many things that I do to try to keep this mental health together. But one of the things I discovered is going to a nursing home.

I don't remember exactly how this happened the first time, but I remember we were having a bad day on the road. The band was in a terrible mood. I was in a terrible mood. We were traveling long distances, no one was reacting to the music, and I thought to myself, I have to make a change. So I got out the you know, the phone, and pulled out a map and typed in nursing home. And I remember there was you know, probably seven or eight wherever we were at the time. I think it was in North Texas.

There was seven or eight that popped up, and I just started calling these numbers and I said, Hi, I'm a musician, I'm I'm in a band. Would you mind if we stopped by and played some music to the folks there in the nursing home? And the reaction is always what you know, what's the what's the catch? Why would you want to do that? And then after I kind of explained the story a little bit and just say, hey, there's no catch. We just we have our guitars and do you mind if we stop by and play a

few tunes? And they usually say well, yeah, sure. So long story short, I've done that almost once or twice a year for fifteen years, and I did it today. We just got back. I just came back from that in Pensacola. We had some time. I know that somebody out there at one of these nursing homes always needs it more than I do, and there's always somebody I never know who it is, but I have to believe that everything happens for a reason, and that someone out

there needed me to come. And I don't. I don't

say up there and play my radio singles. I might play one of my songs, but usually it's Todd and I am my guitar player, and we start playing things like You Are My Sunshine and Old Hank Senior and Elvis, and today we played like Lean On Me and we basically say does anyone have a request, and they're all out there in their chairs, and they're usually not too talkative, but you could see them light up when you play guitar, when you sing a little bit, you could just see

it in their eyes. And music is such a powerful thing. And when someone smiles, I could just feel my brain healing. I could feel the power of that purpose. It's like we have a purpose. It's greater than a radio single or a chart position or an album sale. This is way bigger than that. This is music, at its fundamental level, helping people. And when it helps people, guess what it helps the musician. It helps me. It help me remember

where I came from and why I'm doing this. I remember one time, several years ago, playing one and there was just the sweetest lady in there, and she was in her nineties and it was her birthday, and she had a couple balloons tied to the back of her wheelchair and she swore that her son set this up for her because it was her birthday. Her son called and had a band come in and played for her, and she said, I knew it. I knew he was going to do something. I knew my boy was going

to do something for my birthday. But The sad thing is the nurses later told me that they don't even know who her son is. He's never been in there. They don't even know if she has a son, or if he's even alive anymore. But because we came, she lit up. And I don't want to give any credit to myself. It wasn't about talent. It wasn't It wasn't because I sang good or played guitar or good. It was it was just that we went there and just

delivered music. I love it. I also want to say that I don't talk about this or release videos of me doing stuff like this. I don't do it so that there's glory behind. Oh he's such a sweet, nice guy. I don't need that kind of external gratification to keep going. I repeat these stories publicly because I hope if someone out there is listening, maybe it's a musician, maybe it's a band at any level, is listening to this, or sees me in some kind of post or video and

it inspires them to try it. And so here I am saying, if you are listening, I challenge you to use your gift in a way like this, And it's super easy. It's very hard to believe that a nursing home would turn you down if you called and made this kind of request. And if they did for whatever reason, maybe they're too busy, then there's always one just down

the street, there's another one. You have to go in realizing that they're not going to make eye contact with you constantly, they're not going to stand up and cheer. You have to do the work. You have to float the room. You have to go to them and play your music. And if you don't see visibly see them lighting up, that could be doing it on the inside. Don't worry about that, because they're hearing you and that's what matters. So I challenge you to try this or

something like this, and then hit me up. Either tag me on social media with a video of you doing it or a picture of you doing it, or hashtag Grangersmith podcast. I would love to spread this. I would love for this to become a thing where people are sharing their talents in a positive, non glorifying way. It's such healing, not only for those people listening in the nursing home, but for us. It's worth it. Everybody's got a first kiss, but not everybody makes it last everybody's

got a long list. Some someday I'm gonna do that bo but nobody needs time to let run's out. Oh so why I take a left when you can take a ride. Now. Everybody's got a beuture, but not everybody makes a beast. Everybody's got a chance to take and some don't take till it's too ain't the taken back. Everybody's got a last friend, but not everybody brings it in. Everybody dies, but not everybody left. See, I got way

off from this tangent. I was going to start back on my story, and then I started talking about this. But that does tie back because back in the story about twenty ten was a time when we were cruising in the van and we were beating up the road really hard, and we needed days like going to play in a nursing home to fuel us. So, if I'm going to talk about my career after the album Don't Listen to the Radio, which really helped propel me on

a small level in the regional Texas scene. If I'm going to talk about that, then the beginning of the next phase for me, the next album, which eventually became Poets and Prisoners. It all started with a song, and it was a song that encapsulated where I was. And I was playing farther away from home, traveling greater distances than I had done the previous ten years before that, and we were doing it all in a van, and

we outfitted this van with bunks. I was. It took me a long time to figure out exactly how to do it, but I knew that I could. I could make custom bunks for a Chevrolet van. And I went to a welding friend of mine and I told him what I needed, and we took the van. We opened up the back doors, we took the back two three seats out through two seats out, and we looked at all the different crevices, you know, in the back of

the van. And so he custom built these bunks to go and insert themselves and then to latch onto the Chevy van, and there was four bunks, and it was a total lifesaver because we were able then to travel greater distances at night and switch off driving. Now, what we did was we would obviously we're always sleeping in hotel after load in or soundcheck, we would go and take a nap. We'd get our hotel keys and by the way, we would get many times one room. One

hotel room was all we could afford. So we would get one hotel room and with two queen beds. This is not advised, by the way, but we get one room with two queen beds, and we would take the mattresses off so that you could have two people sleep on the box springs. Two people sleep on the queen mattress, and then two on the other box ring, two in the other mattress, so you could sleep eight in one room.

And we would you know, some people liked the box spring because they liked to sleep on a harder mattress anyway, but it wasn't ideal, but it worked. We just had to sneak each other in and out because the hotel clerks don't want that kind of thing happening. So we would take our keys and each person would write their name on the back of a hotel key. So then in the day we would draw names. We would draw pairs and those were the teams that were going to

drive that night. So we would say, okay, team one is Frank and Johnny, the team two is Granger and Todd, Team three, et cetera, and the team had to get up and drive, and it was up to the team to decide who was going to drive and who was going to navigate, and you could switch off as many times as you want. The only rule was you had to go for two hours. You had to fill up that two hour space, and so if you were so tired that you could only drive for five minutes, then

you pulled over. Your copilot gets over and he drives until he starts feeling sleepy. You stop again, even if that was just fifteen minutes. But that was the rule. The really bad shift was Team two. That was the bad shift because Team one, they get in right after the show. You have this energy. You're going to drive for two hours right after the show, which usually gets you to about what you know, three o'clock in the morning.

Then you're really tired. You go to bed. But Team two say they only got to sleep for two hours, but it wasn't really asleep because you're you still have all this energy from the show. So they have to get in there at about three am and start driving, and they drive till five am, which is the worst time to drive, right when the sun's coming up. Then Team three gets in a team three. That's not too bad. I mean, you've you've been You've gotten to lay down

for four hours. However you look at it, this was a very tough system and this was the life we were living. This this is what we signed up for, and this is just what we had to do to survive at this point in my music career. And it was during these times. It was during one of the drives. It was during a team two by the way drive. So It's about four o'clock in the morning, and I'm sitting up there with my navigator and everyone else is

asleep in the back. I believe we're coming back from El Paso, and these lyrics started coming into my head, and those lyrics eventually became a song, and the song ended up being the foundation of an album. And when I listened back to it, it still takes me back to that very moment exactly how I felt. Here it is for a five piece begets are in a Chevrolet Man running the lane. So we're sleeping on the interstate. We're a left lane friend threading the cars, passing them,

black sate lights and stars. We pulled away, sleeping on the interstate wide lasttching like a yellow back road and change it down, hurry up, we never gonna stop. Yes, and the tank music in the song here we Go, Here we Go, connecting my glass like ports pressers, trying to live more like a lober than center and slave the trees so far away sourcebly Interstate. This song is

called Sleeping on the Interstate. And it's interesting because in the next verse I was writing right there on the road, and the first line says, freedom is the fuel making eight wheels roll, and that had all kinds of meanings because we were barely making enough money to put gas in that van. But ironically, freedom is also the name of my first bus that I would buy three years later.

It was it's almost like a precursor. The back half of the verse talks about these bunks that we were sleeping in in the van and they were so hard to get good rest because they were so bumby. It goes like this, we need missed the fuel making eight wheels roll. We close our eyes, think about home. So it's okay sleepin on the interstage and there's me in the back and a six foot bunk getting used to the racks of the road. It's tough, but how finally

sleepin on the interstag. If you want to kind of get a picture of who I was at that time, you can go to YouTube. There's a music video called Granger Smith Sleeping on the Interstate official video. And I filmed a lot of this and then I had someone if I was in the video myself, that's a band

member holding the camera, and then I edited this. I think this is my first music video that I made all by myself, and it's funny because it's a great little collage of who I was at the time, and me and the band and where we were and that old van and the days that we had. The video itself has one hundred and seventy two thousand views. To put that in perspective of how how tiny those views are, more people will hear this podcast in just a few

days than the entire views this YouTube video. And that encapsulates the fact that nobody was watching me back then. Nobody paid attention. A lot of people tell me now that I've been following you for ten years, Well you're if you were then, you're only a few these people that even watched that music video or listened to that song. But regardless, it was a very important part of my career, and that song sparked an entire album called Poets and Prisoners,

the title taken from that song. And that song and the rest of the album was recorded in a little house in Round Rock, Texas, in the Downtown Historic district. This was a house built in the nineteen twenties and Amber and I was just a two bedroom house, and Amber and I were living in there, and it was such a cool old house, and one of the bedrooms

was the studio where I recorded Poets and Prisoners. Most of the songs were written at that house, right there on this old front porch, and I did a lot of my writing late at night, and sometimes I would write a song and go right into recording it. And some places on that album you could still hear the crickets because the crickets were so loud late at night at that house, and you could hear it either from the front porch or from the windows in that studio.

Fun fact about this album, too, is the backup singer for this record was this young girl that I'd met through a couple of shows in Texas, and her name was Maren Morris. Does that name sound familiar? Maren has gone off and built an incredible name for herself, and she was so talented back then, just nobody knew about

it yet. It's funny looking back now thinking about Marion pulling up in that little car and in front of Amber and I's house and coming in there and spending the day singing background vocals on me, who was a nobody's record at the time. That's an interesting part of history for me. There are so many stories about these songs on this album, just looking at all the titles.

Letters to London, Saturday Night means Sunday morning, oxygen, sleeping on the Interstate red dirt, element number ten, nothing to proves, so surrounded to my tongue, Sunset, Merry Go Round the Old Rock Church, I'm wearing black. I could tell you a story about every single one of these songs, how they came, about the meetings behind them, but that would make this podcast way too long, so I'll pick a

few Letters to London. That's interesting because people have asked me a lot that you understand that my daughter's name is London, but this song was written before her. This was actually a title ambergate to me and she said, hey, I got a great title. For you. It's called Letters to London, and I said what does it mean? And she said, I don't know. I just think it sounds cool. So I kind of put this thing together where he's writing a song about a girl and her name is London.

We have a lot of connections with that town. Amber's families from London. We got engaged in York, England, which is a very very special town to us, and so maybe it was because of that, or maybe it was because of the song, but regardless, that was a big influence on naming our daughter London. So what came first, the name or the song? It was the song, but her little spirit was still with me. I say a Hollywood kids, when soft Finger tim Throll that tears down

my scheme didn't take care a beautiful love? Oh my god, what have I done right? Let it be come Letters to Love geez. Looking back this album, it really meant a lot to me. There's another song that's pretty special, and that was a song called Oxygen. I wrote this song for Amber for our first dance because we didn't have a first dance and we thought about what we should dance to and it felt awkward for me to dance as a songwriter to dance to someone else's lyrics

at our wedding. So I sat down one day and I wrote the song for her. She is the Lighthouse on Mescy. I loved my heart, she fell the key. She's want this feeling suppost to be. She speaks the love, but leave. I don't ever make a move without her right there too, seas in the brath delivery. She's in my heart. It beat. She's my life been to take her like as a jell. During this time, I did a lot of music videos for a lot of these songs, including Red Dirt. That's an interesting one that that I

filmed by we built at a Dolly. We built this whole little uh music vide system. My brother and I and we went out in front of a tour date in Oklahoma and we found this kind of mountain scene in northern Oklahoma where it was a lot of red rocks, and we set out there and we filmed this music video. The problem was it was nineteen degrees it was so cold,

we were freezing. All we had was a van with a heater running, so we just left the van running the whole time, full blast heater, and we would shoot for you know, forty five minutes and then go back and try to throw our hands out. But if you go to YouTube and watch the music video for Red Dirt, you might be able to see just how cold we were. But that was another zero budget music video that Tyler and I shot. I think my favorite music video to shoot out of this group was I'm Wearing Black? Who

Let's raise a glass? So slaunch Johnny cashiers to Forginner and I've been things better and it would be really hard to talk about poets and prisoners and not mention I'm Wearing Black. That song did really well for us for several years live. In fact, I wish I could do it live now. Maybe if more people knew it, I could play it again, just saying so. By this time, I had been van and trailer touring for about six years, five to six years, but it wasn't until this time

in my career when we truly became road dogs. I remember one time we got an offer to play a festival in Oregon. I'd never been to the state in Oregon before, and they were offering to pay us three thousand dollars. That's a lot of money if I was just playing just down the street in Texas. That would be a whole lot of money, but in reality, it's not that much money if you're going to drive from Texas to Oregon in a van and you're barely going

to break even with fuel and hotels and food. But we took it because it sounded like a great adventure. So we drove pretty much straight through. It was about thirty two hours, maybe a little more. We were taking turns, you know, drawing our names, going in teams, sleeping in the bunks, and we made it all the way to Oregon and we played the festival and we had an absolute blast. On the way back home, we picked up

a little show in Colorado. So we were cutting through Idaho once again, a state I had never been to, in a state that over the years now all of those states in the Northwest, I have grown to love so much. But the reason that impacted me that particular

trip was it was the middle of the night. We were driving once again, and the moon was full and so bright, and we were driving through the desert in this little road in Idaho, through the mountains, through this canyon, and it was so impactful for me that I had to pull over and put the van in park and step out and just take this moment in because here was this canyon lit up by this beautiful full moon, split into a V and we were driving right to the center of that v. It made such an impact

on me that day that when I put out the album Poets and Prisoners, I wanted the album cover to be that moment in my head. So we hired an artist to draw that image of what I told him. So if you look at the album of Pots and Prisoners, that's that moment. That's what that was, and that really encapsulates that time of my life. The cover of Pots and Prisoners six string Poet Who I Am? I picked it to be in this remalend Man, There's not another time I love more. When set Sunday morning, super around

and see now God rest this American town. F Rene go to Warwind Saturday night eats Sunday morning, super around the seed Now God rested this American town. I Renes go to war Wind Saturday night, met Sunday mo. Now. I can get into more stories about this album, but I think this podcast would get a little long winded if I did. I can tell you about another special song called the old rock church. That is a true story,

and it's Amber is the ghost on that song. By the way, everything that she said I reversed on the record, so that it sounds very mysterious. If you want to really know who I am and where I came from, listen to Poets and Prisoners top to bottom. Hear those stories. They're all such a piece of my life. Then about twenty ten, if you don't have Spotify or iTunes or anything like that, you could just stream them right off of YouTube. All the songs are. They have the audio

tracks on YouTube. But most importantly, what I want to tell you about this album is how well it did not do. It wasn't received very well, and in fact, I was on a pretty good string of top ten radio single was in the Texas Country regional market from the album Don't Listen to the Radio. But when Poets and Prisoners came out, none of those singles did well.

They didn't even get into the twenties, and the album didn't sell very well, and people started slowly writing me off, like, hey, we thought he was kind of bubbling up a little bit with Don't Listen to the Radio album, but then he's kind of gone another direction with Poets and Prisoners, and maybe they were right, maybe I had gone maybe these stories were a little too personal. But it took that album to set me on the path that I'm

on now. It took learning from that record. It all boiled down to one meeting I had with a record label, a small independent record label, and that was the first time I had had serious talks with a record label since the days I lived in Nashville. But here's the kicker. It wasn't a country record label. It was a rock label and the indie rock label. And I met with the owners of the label and it was partners with this band called Blue October and their bass player was

part owners in this company. He was a great dude, and these are really smart guys. But they sat me down and they said, man, we've been listening to this album, Poets and Prisoners, and we love it. It really speaks to us, and we think that it kind of crosses all genres. We think that you can't just label it country or rock or pop or whatever. This is. This is just something that covers all genres. This is for

all kinds of people. And I was like, wow, thank you, that's amazing to hear from a songwriter and a producers, that's a great compliment. And Tyler was with me, my manager, and we left and I went home, And the more and more I thought about that that conversation, the more I became very uncomfortable with that conversation because I'm a country guy. I grew up on George Strait, Garth Brooks and Alan Jackson, and I didn't want someone to tell me that my music was starting to sound more and

more like it could cross all genres. As grateful as I was to hear that, my mind was starting a journey on a new path. My gears were turning, and I wanted to make a record that made everyone damn sure know I was singing for the country people, because that's who I was. And everything came down to one show when I figured it out, when it hit me. I'm gonna tell you all about that on the next podcast.

Things were changing, changing for the good in a lot of ways, and it came from poets and prisoners, and I'm so thankful for that lost in her view last Yeah, when it happens like that, nothing to lose turns right into you. Julie. All you can do just to keep her around till the moon goes down in her back into your house. One thing looks to another, you loving each other. When looking, you never look back. It happens

like that. Thanks for listening. If you want to support me or any other artist, the best way is to see us on tour. Go to grangersmith dot com backslash tour, See you down the road.