The greatest enemy of success

that a lot of you are commuting again. If you weren't working before, I hope that you are working again as these states are slowly starting to open up and we're seeing hope, and we are seeing what we knew was going to happen all along. That's only a matter of when, not if, we get back to normal. We like to reject the idea of the new normal and

the new way of life that is false. Reject that we're going to get back to just the way we were, because that's what we will believe, and the majority of us will believe that we'll make it through this, be better for it, and be back to normal. So thank you, guys. I want to tell you that some exciting things going on with me and the band. We are going to be starting live stream shows starting tonight Monday night, starting tonight.

If you're watching this or listening to this podcast real time, uh, we will be doing this live stream tonight and we're very excited to be able to give you a free viewing of a show. We are going to offer a virtual tip jar, a virtual pickle jar, as I'll probably say, because back in the old days, we only we only lived on tips, and so we would pass around a pickle jar with said band tips on the side. And we're kind of we've resorted, We've we've gone back to that. So, uh,

I'm almost embarrassed. I get I get clamming when I start talking about it, but I got to ask for tips again. That's that's the state of the world, at least a state of touring and what it's come down to. So this is this is going straight to the band. We've done well. I like to say, we've done well, but we haven't done well enough to maintain twelve weeks or whatever it's been since the last gig and continue to pay health insurance and everything that these guys need

to survive. So we'll be passing around a virtual tip jar in the form of Venmo. I created a Venmo account at granger Smith and so you could you can go to at Grangersmith on Vinco or venmo dot com forward slash granger Smith a dollar or two as you watch the show. If you don't like the show, you

don't have to donate anything. But in otherwise it's not it's it's not required or anything, or we're gonna We're gonna offer it for free because I know this is a crazy time, but I'd like to say that it's it's important that also that we just get together and play. You know that we go through some of these songs and we take request. If you have a request, comment below. If you're watching on YouTube, comment below. And we'll try

to build the set list each week. If we do, say Monday today, if we do one Thursday day, and I think that might be a good pattern. It's like Mondays and Thursdays. We'll do a set and we will make it where we change environments all at the Eyegee Farm, and we change instrumentations. So we might do a full band, we might do acoustics, we might do some older throwback songs. It's gonna be really fun. It's gonna be really fun.

So speaking of live concerts and tips. It's very, very very important to know that if we're going to do a live stream and if I'm gonna ask for tips, you're gonna hear it from me personally through the podcast or through social media or on my website. You will

hear it from me. And the reason I say that is we did hear about at least one scam, and I'm sure there's others of people impersonating me or impersonating other celebrities and asking for tips or some kind of charity support, or that they're going to do a live stream. I think there was one we heard of that was a live stream that was actually all a big hoax. It wasn't me at all. So if you see something come up with me as a live stream, it's fake. Get out of it. You know, if you see something

about me asking money for a charity, it's fake. You're only going to hear that from my mouth on my socials with the blue check. Always look for the blue check. All that being said, we're pumped if we make zero dollar tips where it's worth it for us just to play and have fun and get back with the guys and play some music again. You know, something that we've all been doing for decades that suddenly has stopped. So we'll be back and all that is going to transition

into today's podcast. I'm bringing Dusty Saxon on here, and you guys are going to love to hear what he has to say. He is a very interesting guy. He's actually a really funny guy in certain environments. One of the funniest guys I've ever met. If you get to know him and you listen to him long enough, he will say he's very smart, very witty, and he has to be smart and witty to know how he does

these drums, how he operates. It's multitasking all these drums, running a laptop computer at the same time and remembering everything. He never forgets. If you've seen us play, he never forgets. I do all the time. So he's an interesting dude, small town guy from Loreena, Texas. Without further ado, you guys are gonna like this one. Dusty Saxon time, long line,

humping down, going back, crazy cool shun. When Earl Didviles Junior was kind of on the rise, and people do interviews with me and they would be like, man, you're so funny. I can't believe it's so funny where it's all laughing. You know, were you always like the funniest guy in your class? Were you like the class clown growing up? And I would always say, man, I'm not even like the third or fourth funniest guy on my bus. And so if I was gonna rank the funny guys,

I think you'd be number one. But you're the most unassuming funny guy because you're generally kind of quiet, and people almost have to get to know you. Don't you think, yeah, I'm not just funny any just all the time. I guess my my Instagram bio actually says sometimes funny, So that explains it. So you're unassuming funny, But also you don't. You don't come to the world and say, listen, I want to be a I want to be a comedian. But those that know Dusty Saxon, well, I've spent time

with you. It's like these moments late at night, late on the bus, when it's quiet, when there's a bunch of people and no one say anything. You're always the one that has their the words that just get everyone rolling. Well, I I'm never I'm not just funny without I'm not just funny. I have to be. I take something someone says and it'll trigger something funny in my mind, or like even with even with music, I can't write a song, but I could take a song and make it better

like I could. Somebody might say something that that makes me think of something funny, and I'll take it the rest of the way. I don't know. I can't just walk into a room and be funny like a comedian, but I could walk into a room with my friends and jump into a conversation and turn that conversation into something funny. Yeah, it's interesting that it's like different, there's different forms of comedy, and yours is definitely not the walk in the room class clown, Like you weren't class

clown in high school. I'm sure, no, definitely not. But we so a lot of people don't know. We have something in the band called the quote Book, and it's something we've kept over several years, and we sometimes it's written, sometimes we have it on our phones, but regardless, we collect funny things that have been said and random times. And you probably are the king of quote books, like you're the king of one liners. And maybe one day we'll go through and do a different podcast. It's like

Dusty Saxon quotes. Yeah, but tell me, like your story is always so fascinating and I always learn more Abouue. I've known you for about almost ten years now, yeah, almost ten. Yeah, I've been in the band almost eight. We met you were playing with the country act Brandon Ryder, and but I'd known you before that. Our sound guy Frank had worked with you in a band called Ember, a rock band, and so I'd always heard these legendary stories of you as this crazy drummer. That's that's very outgoing.

You know, you throw sticks up, you catch them, you twirl them, you like make faces to the crowd, you point at people. You you are very a big, huge personality on stage, but then when you talk to you one on one, you're a pretty reserved, pretty quiet. So so tell me the story of how Dustin turned it

into the legendary Dusty Saxon rock star. That's That's It's funny that you bring up that way because I've actually when I was younger, like in high school, I would kind of refer to it in my head as the Dusty Saxton switch, Like when you turn on Dusty and when you turn it off. And that came from when when I was in I've always I was born to be in a band. I was born to be a musician.

I was from I mean, I started playing drums when I was two, and no one in my house ever told me to stop or told me to turn it down, even when I was out of high school and struck out to join any band, no matter what type of music. I just wanted to be in a band that was serious. But where at some point in your life someone in your family steps up and says, hey, do you really want to do this the rest of your life? Or like,

is this really going anywhere? And for some reason, no one in my family ever ever stopped me from doing it. Nobody ever, nobody ever told me, hey, maybe this isn't going to work out, or maybe you shouldn't. And it

wasn't working out. It was a long enough, it was a long, a long road, And to me, it was always when it really got bad, when there were no gigs or I was ultimately broke, the fear of not doing it, the fear of going back to a day job, or the fear of giving up, was always worse than whatever situation I was currently in that's the truth right there. So I just never, like even at the like at the end of a hard day or at the end of a hard week, I was always I just I

guess I would just never. I don't know when you when you finally find what path you want to go down, you if you can't let yourself give up, or you

can't let yourself even think about giving up. And that's the story man behind so much, so much, whether it's athletes, musicians, anybody that has really good success, you hear that same thing, that that the fear of not doing your dream and living out what you've always thought you were supposed to do is always greater than the worst day, the worst practice if you're athlete, the worst gig if you're a musician. And that's what has people ask me like, how do

you what's your key to success? I was just like, I just never stopped. I wasn't more talented, I wasn't smarter. I just went longer than all my friends that were doing it exactly, And you don't you have to not surround yourself with people that make you want to stop. Because I was so dedicated to my dream or my idea, my path that I wanted to live. That it was hard to be friends with me if you weren't also

on that same page. So like I you know, people that other musicians or even other bands I was in that where the other members, whether they weren't quite as motivated as me, or even if they just were motivated to do other things like have a family or a house or anything else like the I just I didn't attract friends that. I mean, it was very hard to be friends with me if you weren't on board with or or if you couldn't understand what it's like to

be fully on board date with something really hard. So that that brings up a point. Tell me about the amount of time you've spent homeless on purpose, like not not sidewalk homeless multiple times multiple times in my life you've made a living or you've made a lifestyle at some point, not now, but in your past literally living

on friends couches. Yeah, I mean when I was, like I said, from from a from a very young age, I mean from kindergarten, I wanted to be a drummer in a band, and my whole childhood I struggled with what does that even mean? How do you you just find a band, do you start a band? And like I said, I'm not the type of person who is

I don't have these original ideas from the beginning. I don't have a lot of I don't have a lot of ideas that start from the ground up, or if I do, they start from the ground up and they go a quarter of the way. But I can, like from a I didn't know. I had no concept in my mind of how to start a career as a drummer. And then once I was in once I was in high school, I started playing in bands, but we didn't make any money, and our shows were in high school

gyms and parking lots and things. And when when I discovered I remember the first gig I ever got paid to play, and it was in college station and I was playing bass for a reggae band and the singer came up at the end of the show and the singer gave me twenty bucks and he said, I said, what's this for it? And he said, well, the bar said, we sold this much alcohol while we were playing, and they paid us one hundred bucks. So we split it

five ways. Each one of us gets twenty bucks. And I was like, wow, because honestly, that night, I had driven to college station and I didn't have enough gas to get home, so I was going to have to, like I don't know, drive my car till it ran out of gas and call someone to come pick me up. And that twenty bucks, that unexpected twenty bucks, was what got me home that night. And then when once I, once I moved moved away from home and joined my serious rock band, I was only twenty years old or

twenty one years old, so I wasn't I was. I wasn't making much money as a twenty one year old, so I never really got the taste of what it's like to live in your own house or buy your own car. I was living off of nothing. I was already broke. So to go from a broke kid working a job you hate, to go from an equally to go to an equally broke kid working a job that you love, it was there was no question in my mind, like I didn't want to go back to working a

day job. I wanted to continue doing what I was doing.

So when when the the rock band got started, you know, took off to a certain point, it got more and more successful, to the point where I didn't have I didn't have a day job, which, of course in rock bands once you get once you reach that point, it starts going downhill, right, and you know, the shows, The shows got fewer and more far between, the crowd started getting thinner, and the paychecks got smaller, and I had to move out of the house that I was living

in and for the first time had to be homeless, living in you know, living in my car. But the way I did it was the band still had shows Thursday, Friday, Saturday, and Sunday. We played acoustic shows on Sunday, so I would only have to I would only have to find somewhere to sleep Monday night, Tuesday night, Wednesday night, because

Thursday we'd be back on the road. So it really was it was like, I can't afford the house I'm living in now I have to move out, So there's no way I'm going to be able to afford my own place and I'm only going to be there three days a week. Yeah, And so that began the mindset that would follow me throughout my whole life of why am I going to pay rent on an apartment that I'm never at? Yeah, And the biggest enemy of success

in that way is a fallback plan. Yeah, like my father in law's got a job, my dad's got a job for me waiting, or I've got a really nice place to stay yet I don't really want to hit the road again. But when you don't have a fall fallback plan, or you seriously reject that fallback plan, you just do it. You did whatever cost. Yeah, No, Drums was always my main, main dream, my main objective. I mean, and I tried to be a guitar player. I tried

to be a bass player. But when it really came down to it and I was like, Okay, I want to actually make a living with my talent or make a living with my hobby, I had to really pick the thing that I was most naturally talented at that was gonna, you know, the thing that I felt like I was actually born to do. Obviously, I wanted to make them. I want to I want to make a living playing music, and I could do it any so

many different ways. I had to pick the one that was the most natural for me, the one that was the one that where I had to think the less and I think the least, and drums was the it was the most natural way for me to do that. And but you also actually really are a talented guitar player, bass player, singer, and you have probably more than all that. You have a really good ear and you could hear notes and melodies and where everyone knows you you know,

beats and rhythm, but you have really good ear. And and so, for for instance, our song America, me and you kind of wrote that and then you took it. And there was an old rock song that you had written, don't know that, don't do that. And you played all those guitars. So the demo of America was actually you playing all the instruments. Yeah, and yeah, the instruments, the solo, yeah, yeah, everything. So what made you lock in on drums? I mean, drums is by far the hardest to set up and

carry and play. It takes a huge endurance to play. And when we play hot shows, I'm always looking back at you and I'm thinking I'm hot, and then I remember you're back there slamming drums. Yeah. Wells it was you know when I moved, when I moved away from home, moved to Austin to be a professional musician. There, I would I met some guitar players that had moved to Austin to do the same thing, and I was. Even though I may have been able to play, you know,

I was a good player. I didn't have the mind of a guitar player. I couldn't communicate the two other guitar players. I didn't know the notes, I didn't know all the chords. I could probably jump in with a guitar and jump into your band and do a good job, but compared to other guitar players, I really was not up to part. But on drums, I had been in drumline and a high school band, so I knew. I knew what rudiments were, I knew what I knew what

time signatures were, I knew what tempo was. How I knew more about drums, so that if I was gonna jump into the professional music world, I knew that I could communicate better on drums. I knew that I would excel more on drums. It was just what I naturally played.

It's almost like if you were a baseball player or a football player, and you were a naturally good pitcher or a naturally good quarterback or a naturally good receiver, or if you had really good speed, you wouldn't want to have a dream of being a lineman or something, you know, Like I had to really focus on what am I naturally good at, the best at what is going to take me the furthest and drums was that

and that's why I always settled on it. It's also why I play have always played a crazy big drum set, because one it reminds me of high school band ays where you had to assemble your percussion section based off of what songs you played, not just show up to a gig with the same drum set. Like when our shows got bigger and crazier, my drum set got bigger and crazier. When the shows are smaller and quieter, I

sometimes try to play a smaller, quieter drum set. I try to play to the room and to the crowd, and that just become that just is from me not wanting to be an annoying drummer. I don't want to be the drummer that shows up to the dinner gig with a massive loud you know, and play too loud. And that that comes from being a guitar player and being a drummer in other bands with or being you know,

in other bands where I wasn't playing drums. One of my greatest accomplishments in my music career is keeping Dusty Saxon in the band. I remember when I when I first got you, I was kind of in a bind, and you just happened to be in between gigs you were. You were just off the road with Evans Blue, yep, and so you had like a month that you could pick up some gigs and make some cash. And so I wasn't thinking long term as you my drummer. I was thinking, this is going to buy me some time.

In fact, we were auditioning drummers with you in the band, like you were the sit in drummer that was also all of our friend and you were going to help us find a drummer. It just so happened that along the way we were gaining popularity quickly, and like the stars aligned where your Evans Blue gig ran out. And I remember one time somewhere in some town, in some crappy green room, you said I'm gonna play Arenas, whether it's with you or not. And I remember thinking, God, challenge,

challenge accepted. And you didn't say that like in a demeaning way to us, You're just kind of letting me know my hey man, my goal is to play drums in an arena, and I will go there and I will find a way to do that, whether you're the train I'm on or not. I think that I'm trying to remember the context of that. I think it was Tyler.

I think Tyler was saying something about how Tyler was taught was I think Tyler was saying something about like, how do we get to this level, or how do we want to do this someday or you know, if you're not, if you're not dreaming of that level now, then you need to get out because this is this is where we want to be. And I think that was My response was, well, I'm going to play arenas,

whether it's with this band or not. Because when my rock band ended, a lot of a lot of musicians from If you're not from a music city, if you're not from Nashville or New York or La or I guess Austin, you can't. You You get like people don't know how musicians work outside of being in a band, and you have like the idea of being truly freelance, A truly freelance drummer was totally foreign to me. In the beginning. I thought you had to join a band, and your band had to be successful, and if the

band ended, you ended. And I had to learn how to how to become just Dusty Saxon the drummer, not Dusty Saxon the drummer of this band or of that band. Right, you built a brand yourself, like you came up with the logo, a website, the whole bit. You branded yourself. Yeah, and that I learned that from being on a on a you know, when I was a kid, I was on a soccer team and even if if you only you know, if the team did bad, everybody did bad or you know. And when I joined a band, my

first rock band, that's kind of how it felt. It was like if the band, if the band takes a dive, we all take a dive. And I wanted something that would have more longevity to it. And I had to learn how to survive without a band and get gig get gigs. Just had to figure out how to make people call, how to make these back. There was no fallback plan, and so when when the when my paycheck got too small or quit quit at all, quit coming

at all. I had to figure out like there were some weeks where when I had my last gig on Sunday, if I didn't have another gig till Thursday, I would just be like, well, I've just got to sit and do nothing for three days or four days. And that's that's I think the number one reason that I could have given up was just waiting it out. Because when you're when you're trying to make your freelance talent a career, you don't always have gigs coming in in the beginning.

And they come, they come so sporadically. You might have you might have only Fridays and Saturdays, and so what are you going to do in the meantime? What are you going to do? Waiting all week for your for your you know, your gig or your show. And to me,

that was sit and look for other shows. It wasn't you know, And literally I would I would I would sleep somewhere in my car, wake up, go to the first bar or restaurant that had an outdoor patio and sit outside and drink doctor pepper and remember that and look and just literally have my computer wide open, reloading Facebook every ten minutes, looking for people posting about drummer gigs, and I didn't care how much it paid because I was just sitting doing nothing and I had I had,

you know, my Friday Saturday gigs that would pay me enough to eat all week. But if you know, I was making impressions on new musicians was way more important than getting paid, because if I could, if I could play a show with a new group of musicians I'd never played with before, there was a good chance that one of those guys was going to call me for

something in the future. And when I look back on it now, not one gig that I ever took was pointless because even when I was playing blues gigs downtown Sixth Street on Austin for no guaranteed money, now that I look back, it was like, oh, the first show I played downtown on Sixth Street, I was filling in on drums, but the bass player was also filling in, and he didn't play for that band. He played for a different band that was also just had some slow times.

And eventually, you know, two months down the road, that bass player would call me because his other band needed a fill in drummer. I remember a guy I played on Sixth Street. Because when as a drummer, if you can step in and help a band out when they when they're stranded and don't have someone, then that they'll

never forget that. And everyone in that band that I just caught a random blues gig with, everyone in that band called me again to do the same thing at some point, and you know, and maybe I didn't make any money that night, but it got me. He made the impression. Yeah, I made the impression. And people say, oh, I don't want to get up off the couch unless it pays one hundred bucks. I didn't even have a couch. I was in my car. I was sitting. I would be sleeping in my car somewhere so good with the

drums in the trunk. I mean, I'm amazed that my drums never got stolen out of my car. I mean they probably because you were sleeping with them. I know I was sleeping sleeping with them. And you've continued to this day to grow that brand. And right now on your YouTube channel, you have some really good videos that you've been making that I've never really known this side. I mean, you're pretty good at anything you do, especially tech stuff or or music stuff. But I was really

blown away by these videos. What's your YouTube page? Just Dusty Sacks, Dusty Sacked, and you and and you're you've been doing these these rig rundowns your your whole drum set, but they're built in a way that incorporates storytelling of where you came from and how you became a drummer, and you are elaborating on It's basically like an autobiography built into how you're building your drum set over the years as it's changed with different bands. And that's like

the last one you put out. I sat there and at the end of it, I was like, I just watched ten minutes of Dusty telling me about his life. And I've known this guy for ten years and I just watched it for ten minutes. So it's really good. If you guys want to see that, it's put together really well. Yeah, I've got I've got more come in. I've got another one, part three, which will finally wrap up the rig rundown about the actual current drum set.

Like you said, I've I've I've always wanted to tell these stories, but I guess I never thought that I had reached a level where anyone would actually learn from me, because I was still learning. But now with everything, with all the touring shut down and the industry kind of at a halt, I've been thinking like, Wow, if this had happened at any earlier point in my career, I don't know if I would be able to make it

through this or even to start back up again. Like if this had happened in two thousand and eight or nine or ten, when I was on a couch somewhere and had no money and then all of a sudden all the gigs stopped, I don't know what I would have done. I don't know if I would have ever

started back up again. But looking back, there was nothing as big, and there was nothing as big as what's currently happening, But there were other things that happened, whether you know, when I had to move out and had to decide am I gonna Am I going to abandon everything and go get a job at Guitar Center and quit touring and not be available for all these gigs? Or am I gonna figure out a way to keep going and figure out a way to survive through whatever

little thing this is. And as the band's got bigger, problems got bigger. I mean, you know, it's like Tyler always says, you got to get bigger problems exactly. Hey, we run out, how we take a quick record? Be right back, guys. I hope you're liking this podcast with Dusty. What a crazy guy. So many stories I want to tell you about our yee Ye Apparel summer launch June twelfth. This is gonna be crazy and as we've seen from

the past with these launches, everything goes really quick. So go to yee dot com or ye apparel dot com, log in and make sure you see it. Go live at ten am. At ten am, find your favorite things, log out. You got it. I just don't want you guys to miss out. It's gonna go pretty quick. Love y'all.

Back to Dusty. A lot of people don't know also that you're you're not only have you you balance this act of trying to build your brand and play drums and and keep your personality on stage and you make your faces to the crowd and throw up drumsticks, but you're also controlling every song through through the drumcat, which is a MIDI controller that then controls a laptop. So if you've ever seen. If you've seen any rock drummer, I wouldn't even say country drummer because you're you don't

really qualify for that. But if you have seen any rock drummer, and you've seen they have to use both feet and both arms all the time, every song constantly. Can so imagine seeing that, and then also imagine running

the songs with a MIDI controller with a drumstick. So on his right hand he hits this controller with a drumstick that advances to the next song on the set list, and in our ears we could hear the count off and the click, and if we mess up, which happens sometimes, he has to find the next chorus of the song, he advances it forward and has to catch up to where we messed up. All this is happening, and nobody in the crowd knows it's happening. Yeah, just the five

of us on stage and you're back there. I mean, it's like the craziest multitasking that you could imagine. I've even I've explained it to other drummers before, and half of them don't understand it at all, And the other half of them that do understand it are like if you ever tell my boss about this. I will come beat you because they don't want to. They don't want

to to take on the challenge. I mean it's very challenging, but I mean I've my whole career, I've been playing playing songs with bands with computers, and when something goes wrong, you always have to just when something goes wrong, you have to just stop everything, and it becomes very obvious that something's wrong. Like I remember we played a show in Traverse City, Michigan, which was the last straw, and I knew I had to find a way to fix this.

But we started the first song and you came up on stage and you went to sing, and your microphone batteries were dead. In the very first song of the of the show, and you went to sing, no vocal came out. And I was like, okay, well, you know, the computer is running the click, it's running the lights, and if you don't start singing, if we don't do everything perfect the same way, every time we are now wrong, the click's going to end before we do, and the

lights are going to turn off the light. So what you have to do in that situation back in the old days was just hit spacebar and stop the whole computer. And when I did that that day, I hit the space bar after a split second blackout and all the lights went out, and so we finished the rest of the song in total darkness. And it was so awkward and so obvious. And so when we went home from that little run, I committed myself to finding a way.

There's got to be a way to stop the computer and start it again during a song, or there's got to be a way to make our mistakes. Like we are experienced musicians. We've played in bar bands, we played in cover bands, we've jammed and garages. We know how as a band to just jam through a moment and get back on track and continue the song. But a computer can't do that. So I knew there had to be a way to stop the computer and start it

during the song. You guys have any idea this was going on, I'm sure, And so that, yeah, that one winter we went home. Everything's telling me, we're doing a good podcast. We're talking a long time. This is good. But I figured out how to how to do it, and then I didn't really realize that it would kind of take over and become the way that we run things now, like now, if we want to do a song differently, we can just do it differently because I have so many ways to run the song in the computer.

Since now, let me give them an example. We use like America for example. Yeah, so say we're at a big festival. There's ten thousand people. I'm out on the catwalk singing America. If I don't get to that chorus or those verses at a certain time, the clip's going to run out. Lights are going to change, things change in the song. So I'm reaching down and i'm you know, I'm signing some ladies, you know, hat And then I don't get back up in time, and I missed the

top of that second verse. So you guys don't notice it, but the band's gonna do. So Dusty realizes I didn't make the top of that verse. So Dusty then commands to the whole band, hold right here, hold right here, wait for me, so and then he'll count us. And then when I'm ready and he knows I'm back on the catwalk and I'm ready to sing. He realizes that while playing all this crazy stuff on the drums. Then

he gets back to that second verse. The top the second verse and then counts us in right here, one, two, three, hits it and then I start singing. It's kind of I mean, and no one knows. We try to compare our band to a football team a lot, and in that situation, I don't really know who's the quarterback, if it's me or if it's you. But it's kind of like we were. It's like when something goes wrong, I have to stop and get us into a loop, and then I just have to kind of watch and listen.

And then sometimes I'll see you going for the mic and I'll be like, all right, verse verse two or chorus two. But other times I don't really know what you're gonna do. Sometimes you look like you're about to sing, but you start talking and then I'll have to wait. But then some you know it's but it's awesome because it gives us back that jam band flexibility, right, that you lose when you start programming your lights, yeah, and programming your clicks. It's those moments to keep us excited.

Oh and then we got the stage and we high five each other. We're like, dude, that was crazy. We almost messed up saying that like Sayersville, New Jersey during America where the power went out. Yeah, and America keeps getting brought up today. I looked back on some video from there, and the power was out for like twelve to fifteen minutes. But so, like, what are we going to do in that situation when the power goes out?

Are you just gonna all kind of die off stage and then just eventually stop and then the band stand up and leave and wait for you know, the crew guys to fix the problem, and then all come back out and be like, oh hey, sorry, now we'll start that song over again. No, what we did the power goes out, you still had you have no you have no amps, you've got no microphones, you've got no no pa in that situation, but you still had a sold out venue full of rowdy music fans and a drum

set on stage. They can still hear the drums, and so I just kept playing and the crowd kept clapping, started chanting, and over those ten to twelve minutes, you if when the drummer stops, you really have a problem. I always always say that any instrument can stop on stage and you it doesn't make it obvious that there's something wrong. But when the drummer stops. That's when you admit, okay, we can't fix what's wrong up here, and you know,

it becomes it becomes the crowds problem. Then that is and I kind of said this, and you might y'all might not have understood. But when we talk to each other and Dusty's saying one, two, three, he actually has a microphone on his drum kit that talks to our ears, So it's like a what do they call that? And yeah, we called a talkbacker whatever they call it in broadcasting.

You know you have you have a C mike, So we're we could listen to Dusty and then I have one right in front of his drum kit, and then Johnny are bass player has one, so there's three on the stage. If the guitar player has a big problem, he could run to that Q mic, same with bass player. And then Dusty's always talking. And sometimes it's a joke, you know, sometimes I'm just making a smile of a joke.

But in emergency situations, and I'm talking Lake Shake, Chicago, twenty five thousand people, I'm out on the catwalk, which could be fifty feet from you. Yeah, we have to talk to each other. He can't see my hand signals. It's not like it was in the days of the clubs, so that's our saving grace. I should probably wrap this up. If you guys want to hear more, Dusty comment below. I think we could probably do three or four of

these podcasts and still get interesting stories. He's one of the most interesting people I know and one of the funniest guys I know. But anyway, dude, thanks for being on here. Let's go work on that truck. Yeah's see you guys.