Perta: Life Just Before Rock Stardom

thrilling moment for any great band. This track is called from Fire, and it's the only song they've released in the Beatles timeline. It's after the Kasba Coffee Club, but before George Martin. They're represented by William Morris, but the frontman still works at Starbucks. They had a profile and paper magazine, but the guitarist mom drove them to our interview. Perda's frontman is Matt Bazulka, and there are only a handful of people in a generation with his talent and

stage presence. Within a year, maybe two, you will know his name. But joined by the band's founder, Colin Kenrick in a small l a studio for our conversation. He's still just a normal kid, well not normal exactly. Something his parents accommodated. I wanted to perform since I was very young. Um, they had me trying different sports out and then um, one day during wrestling match, I got like flipped over and lost of tooth and they were like,

maybe we should dry the art. And Pennsylvania like rural Pennsylvania. It's called the Lehigh Valley. Yeah, it's a small collection of towns. I remember I made like the front page of the newspaper when I was eight years old because I was the only male dancer in like the entire alley. Well, when I listened to you is when you're there, You're

at the gig, at the troubadour. Where's the one where you're wearing the white and I'm sitting there watch and you stand up, you like make an entrance, even they were already there. You stand up, and I'll let you describe it. I don't want to say it's Elvis. I don't want to say it. Share that white jumpsuits split open to the navel, the fringes I'm going look at this guy originally was not actually to the navel, but

they didn't have air conditioning. Yeah, and you opened your mouth and I thought I was going to pass out. Did you train? I mean I took a year of lessons when I was like eleven. Whose idea was it? My mom? You and you left there when you were how old? Right after I graduated high school to go where here? Yeah? Well that's the thing is, it's like I have this kind of ignorance, is bliss way about like finding things in life. And I just kind of

followed this one teacher that I really trusted. She's like, there's a school called Calerts that I think you'll really love. I had never even been to the West Coast. I hadn't even really traveled. My first day in California was my first day of school. Did you like it right away? Yeah? Absolutely? I was all weirdo in high school, so I felt like I fit right in. Yeah. And for training, I

mean like they went for acting. So the voice training that they did was for speech and distinction like theater the right and for you talking to Colin ken Rick, now, for you, what was music in your life? Was a child? Like what did you listen to? Were you rapidly into music? What's what's your musical? D n A. So music was the connection to my dad. I was raised on the classic songwriters, you know, Paul Simon, Bob Dylan, w local Il, A kid in the suburbs and going up my dad.

I remember him showing me a Dylan song when I was thirteen. It was Spanish Boots of Spanish Leather by Bob Dylan, and that was a song that it was like a sailor song. For some reason, this story really spoke to me. And then when I started playing music, you picked up a what I picked up a guitar. I picked up a guitar and fumbled through some chords. So I started with that and I eventually moved on to you know, people like Ellett Smith, just kind of

the classic songwriters, really angsty. That was my bag. So shifting this project, it's very much away from what I used to write because it's not really worked in my bed. How old do you know? I six? Right? Did you have another band before the span high school band? You know nothing to you know, nothing to write home about. Someone's laughing mockingly. It's not me. No, they're wonderful videos

on YouTube. We're not talking about this. I can't wait. Yeah, So I went to school for this and I started doing songwriting and I wasn't really sure what I wanted to do when I When I left and we both went to cal Arts, to California's through the Arts up in Valencia, California. Great place. And did you meet there? Sort of? We knew each other. We were in one class I remember. Yeah, I don't remember that class because you were hot and it was a science quote unquote class.

But what about music of your generation? Beyond the Beatles and Simon and graphical whatever. What did you listen to? What did you love? Oh? Man, I don't know if there's anything I really loved. I think it was just a matter of influence for me from you know, where I was receiving music from, you know, mostly my dad and kind of his group of friends, and you're raised on something else. Oh yeah, absolutely? What was this music of your generation? What was it missing? As far as

you were concerned? I think it really was missing the storytelling, the structure of a song explaining a story, whereas it just felt like an even more so now about the hooks and the catchiness and repetitiveness. Yeah, what's the first time that you sang, this is always intriguing to me because I had this. I had this wonderful conversation with Tom York about this. Tom York sits here with me in our studio when York and says, you know that he hated his voice. He didn't think he could sing.

When did you first? How old were you and where were you when people first said to you you could do this. We went in the bathroom and like a share outfit with a brush in your hand. Do you believe that Sarah wasn't my da? I mean, of course, you know, honor and respect her. But Britney spears, no, no, it's perfect, It's perfect. Again in the bathroom of distinctly, I got her CD. Oh god, I think it was the second one. I wanted it so bad for Christmas, and my grandma bought it for me, but she she

the way she handed it to me. So how we did is we unwrapped gifts and then we went up and had to say thank you, So I like, unwrapped the gift anyway, just saying thank you, and she's like, oh that trash, and my mom just yelled from the other room. He likes what he likes. Leave him alone, always my whole childhood, my mom. Yeah, I don't know,

but that was the beginning. Well yeah, I mean honestly, like my siblings and I would put on productions at my grandparents house in the summertime, and I was like the one who was into performing. So I was like the director and like stars. I was in the nicolas um, you know. I I think I pursued acting because I didn't really I remember there was a moment in high school when I was really starting to think about music seriously, and there was somebody who asked me. They're like, well,

do you understand music theory? And I think that deterred me because my mind couldn't really grasp chord progressions, and so I was just like, I don't know. I I I honestly thought of music as like magic, and I was just like, Okay, well that's out of reach, but like, how can I continue to express myself? And I really love dissecting plays and like reading them. And she's still on the fence about whether you want to keep up

acting and do this full time. No, you know, thanks to Colin, like I feel a lot more confident about doing this and and I get the best of both worlds. So like with the songwriting process, the lyrics are very like story driven. Um, we only have the one song out now, but a lot of the songs that are from Fire and the like, trust that one's about growing up in Pennsylvania, that one's about not having much money. I'm gonna get to the songwriting thing after I ask

you described me. How did the whole group come together. It's kind of a long road. So, like I said, we kind of knew each other in college, and you knew we could sing. No, no, I had no idea nothing of the start. So I left cal Arts. I got a great education, but I was very deterred from music making. I was very self conscious about my own process. Um, I was looking around and Cal Arts is the best of everybody, right, It's like the best of every town

in the country coming together. So you get there and all of a sudden you're like, wow, I thought I was great, but this guy is super good at this, and this guy is really good at this, and it deterred me from my own process because I was trying to do what everyone else was doing. So by the time I graduated, I thought I was done with music. I thought music was like behind me. I went into music management, you know. I got a job at a

music management company. I eventually end up working as a talent agent for a little bit where I worked at a place called First Artist Management and shout out to them. It's a small boutique UH composer agency for film and television composers. But I was managing another group out of college,

Um and Matt. We put them in a warehouse show for them and Super Illegal and Matt very opened for the band that I was working with, and he came on stage with the producers a guy on a computer and like opened his mouth and I had the same reaction you did. I just like stopped. I walked up to him immediately after the show. I was just like, d how do I not know this about you? You know, how do I not know you're this kind of singer? And I just said, let me take you to dinner tomorrow.

It was like the next day, I was like, let me take you to dinner. Did you have the money to take him to dinner? Did you actually have them? I pretended, absolutely pretending because all we got was appetizers. I got drinks. It's a very nice place, so we sat down and I said, you know, you're amazing. What do you wanted of music? What is it that you need?

And we both kind of simultaneously came to the conclusion that he needed live musicians because being on stage by yourself with a guy on a computer didn't feel like it fulfilled his vision. I find this facet you began to conceive is going to bet you with a synthesizer. It was just we wanted to We wanted a band because he because he was so dynamic on stage, and I got the sense that he was a little bit bored because he didn't have the ability to interact with people.

It felt it was it was it was lonely to be honest, like like it was. It was a very no I mean yeah, I mean I was. I'm just like used to like being an ensemble and like it was a lonely process and like, um, there was a lot of times where I wanted to change something, but I didn't necessarily have the vocabulary. And now, like being in a room full of like live musicians, I can be like it should you know, if it could feel

like this, that would be amazing. And like Danny our bass player can be like Okay, well, what if we try you know what I mean? Sometimes all I can use is like imagery for that kind of stuff because I don't have the vocabulary that they have. So the two of you go out and get who what happens now? So after we talk, I texted a lot of the guys who you know are now in the group, and I made a joke. I'm like, I'm starting supergroup right around this lead singer. Here's like a voice moment on

an iPhone, maybe a thirty second clip of him singing. Right. So I texted, you know, Daniel Zuktar bass player, Justin Siegel are drummer, and I was like, tomorrow my bedroom, everybody meet, bring your instruments. And it was the next day. They were like, yeah, I'm in sounds great? Was that like for you? I was so embarrassed because they like actually joyed that clip enough to like come in. And I also like, growing up, I didn't have a lot of guy friends, so it was like I was very

very nervous. In fact, I had one guy friend, Um and Colin made everything really really comfortable and the guys were super super chill, and but I was nervous because, like I just didn't know if they were interested in the thing or if they thought something was like stupid or um and I, you know, I just I don't know. I was very like on edge about the whole thing.

But then like as soon as we got into the room and there was this the first song UM written was a song called Skittles and UM, we just started playing it together there they're Colin was like, let's just jam on it, and I was like, that's I had like a kind of like a I was like this. I was like, this is it. This is like never jammed before, never had and so I don't know, it was cool. It was cool, It was it felt fun. It was before actually had a different guitar player at

the time. Interesting, how do you tell someone but it's not he's so sweet, like a very sweet I think what happened ultimately was it's nothing to do with reflection of anybody's ability or talent. It became clear just at that point in our lives, at the four of us, you know, we were the ones who are like this is this is it for us? This was kind of are all in. There was no like backup options. It was just for a bunch of young men. Where do

you rehearse? Where do you right? How do you get out of the garage and into the club and performing? We're still in the kitchen. That's were the bedroom band to a kitchen band because there was another place. But in an ideal world, is there another place you should be rehearsing? Yeah, certainly, I just think, Uh, there's an endless amount of studio space in l A. It's just to rehearse, to rehearse. It's just it's expensive and unfortunately

that's the process. I mean, we're pretty young as a band, and we've been incredibly fortunate um for a lot of the opportunities we received. You know, we started out playing like the smallest bars and clubs you've never heard of, right like where Yeah, like the State Social House, you know what I mean. We're like in West Hollywood, Like this is all like many seats, we're playing to a wall and the people the literally very small and like this is the stage was as big as this stage.

Imagine like a drum kit, basis, a keyboard, everything was on and you were one of how many acts on the show That meant oh that was just us. It was just thirty five minutes. Yeah, we did our best. Yeah, the sound guy took a phone call and yeah, exactly, it was amazing. That's why it's it's interesting to the process like where we started and obviously we have a long way to go, but you know, we've been really lucky about you know, we headlined the Trooper Door at

some point because we got an option. Did that happened? So we got an opportunity to open for We played there twice beforehand. You would play there a couple of times before. How do you first get into the Trooper Door? Okay, so you send up a tape. Usually came to the little club that you were in. The first opportunity was our bass player played in another band, kind of local.

They've since disbanded um and they were playing and they wanted an opening act, right, They had a couple of bands playing, three or four bands playing, so we played. Then the next time one of the acts was there and saw us. Him and his manager approached us because they thought we fit their style and they really liked our show and like, will you guys be our opener? And after that show, I got in pretty close with

the booker at the Troubador. His name is Amy. She like emailed me the next day like hey, great show, Like when we booked Purda for a headlining show, and then that was it. And then from there we did our headlining show and someone from w OM came because he knew Amy really well, and she's like, you gotta come check out the show, and you know, we we

did a couple of creative things. My roommate actually works at WOM, so he went to the A and R people secretly without mentioning our relationship, was like, listen, you gotta cover this show. I promise you'd be great. So they sent a couple of agents who had no expectations like all right, some local band whatever. And after the show, like they all came up to me, and you know, our agent, Ben Schiffer was just kind of like this

is amazing, um, like can how do we talk? The reason I love this because this is something I'm kind of obsessed with is I'm always saying to people like when they'rever I've taught acting, they get right to the career question. If we do a Q and A. They don't want to talk about lighting in films and they don't want to have anything technical. They're like, how do I get an agent, how do I make it? You know?

For their version of that, And I'll say to them, you know, be in anything like, you got to just put it out there. You gotta play in the shitty little club that's got like we're just playing to a wall. You've got to put it out there and it's going to come back to you. And if you don't, it might take some time. And if it doesn't come back to you and you put it out there, then you know you tried. This is not what our My guests are lead singer Matt Basolka and keyboardist slash manager Colin

Kenrick of the band Perta. This is their song still Unrelieved, East the Woods on the Brier. Nobody had an eye for the big act like Ron Delsoner New York's foremost concert promoter for more than forty years. It's a huge and poorly understood job. I had this show at p eighty four, which has appeared that the long showman control that. I didn't really know that until they said, hey, we've got to help you here. A lot of the guys day will connect the who cares. I'll tell you about

that later when the guy dies he's still alive. The rest of that conversation in our archive that here's the thing dot org after the break. What it's like having major label A and R court you at night, then serving Latte's in the morning and come do this let that game. This is Alec Baldwin and you're listening to here's the thing. I'm gonna take flight off the chi

because I can feel in my bones. I've got that East Coast thunderfol cats in the valley on my pelvis, and I got in my family's faith and I gave it to me. I gotta trust funds like it doesn't love trust fund from the band Perta, which includes my two guests today, Colin Kenrick and Matt Basalka, who are still figuring out how to overcome stage fright. This is Matt.

I do very very nervous, but I have this thing I haven't told anybody yet, but I like pretend like I'm walking into warm water and that really helps me. And I always try to make an entrance um one for the theatricality of it, but like also because fans demanded right exactly all three of them. Um. It just helps me like kind of like click into place I can fall back on the technical if I need to, But I end up always kind of after at least

the first song. I I always kind of get lost and like I don't know, like I said, when I was growing up and I was performing those shows for my grandparents, it was always just such bliss and freedom and like um and we were running amuck around the house and like all of the crafts were available to us from the basement, so we were able to make these costumes. And because the lights are in my eyes are like it really feels like I'm going back to

like those times. If I would do a movie, it was always like what can I do to stay in a certain state that is symbiotic with the work I'm doing. So if I'm doing something very light, the hardest thing is to be as light and free and funny and warm and generous of spirit. So I was doing like a comedy. I go in my room and I'd watch like Dopeye comedies on the TV. I'd watch something like it Hot, and I'd watch Nothing to Take to blow

the wind, you know. My sales in any direction that was like heavy, so that when they say, okay, we're ready for you, they knock up the trail and they go We're ready for you, and I go out and be like, hey, I'm ready and whatever my thing is.

And then if it was the opposite, if I was doing something really heavy and really dark, We're watching Scarface on a loop like for nine hours old and wanted to stay in that zone of like you want to funk with me, you want to funk with me, okay, but then I want to paddle back into that current in front of the camera. So for you, you try to relax and get yourself in some zones. Yeah, I usually spend the day like being alone. I have to.

I have to like interesting. Yeah, even in New York, like the boys stayed in one house and I got to see you when you were barbed, like don't come in. You never's quiet, and then the day of the show comes and it's just like silent. It's you know what I mean. He doesn't want to talk to anybody. It's like very like you whisper to him. He's the maestro. He's drinking teen Like all right, so talk to me about songwriting. Do you have an album's worth the songs together?

At this point, we probably have an album's worth if not a little bit more. How many songs is an album now? I mean, yeah, we have more than that. I mean we probably, but like finished from this yeah, finished, unfinished the twentiesomething songs fire. You wrote that song? Yeah, lyric and melody, not chord progression, Like that's all these boys? Now? Why is that the song that's out there that you

released in social media? It was our like groovyoust most upbeat thing um, which I mean, and also like what I love about it now, which is not something that we're thinking about at the time, but I think it is like the truth testament of like how we function as a band. So like I originally had written that on my shitty guitar and brought it and it was a ballad. It was like a very Jeff Buckley like ballad. And for for maybe the first year we were trying

to like figure out where that song should land. We performed a different ways and we did the rock ballad version, and you know, at the end of it, everybody was like, it doesn't feel right. And then I think it was Justin Justin he was like, um, our drummer, he said, he was like, uh, Danny, why don't you try to like funking it up, because Danny was like, we're he They were just jamming before rehearsal to warm up, and he was like doing some funk stuff. He's like, what

if we funked up from fire? That's the beauty of this kind of collaboration is, you know, if you listen to the lyrics, the lyrics aren't necessarily as upbeat um as the feeling of it is. But I think that it represents how these boys and I interact and how I can trust them with like feelings and stuff. Yeah, I think I think at the time it was the song that where it felt like everything clicked for us.

You know, when you started as a band, we all have very different backgrounds musically, you know, and I think it was the one where we all kind of came together and like, oh, this is our sound. This is what we've been kind of searching for that satisfies everybody's musical background and feels right. So when that song came together in its current rendition, it was just one that

made sense. You mentioned that Justin was the one that said, funk this somebody, So it's collaborative in that sense, but is somebody the decider No, it's a group. Weally have this conversation last night because I mean that's the beauty of being with a bunch of emotionally intelligent people, is like our our fights aren't really fights, their their conversations. I told Justin I was to smack the ship out of him, and then they had a huge fight and now here don't do that. No, we just i mean

had like a little moment of disagreement. We're like, okay, so like, how have we been deciding about things? But you're you're you're function as a road manager for the band. Yeah, yeah for now. I mean since we've been doing this, I've been you know, I'm the guy in the emails basically, but there was somebody who is the goal to get somebody external from the band to take Yeah, that's advisable. Yeah initially, I mean when we started this band, I

was only the manager. I wasn't even the keyboard player, you know what I mean. I started playing what year ago. That's an incredible thing is he's as good as he is now and has only been playing for a year. He plays drums, drums, and who's the other one, Daniel is the bass player bass. She's still the keyboard. Yeah, you're the one that cut the throat of the other keyboard player and came to me. Looks at me and

they're like, how are you gonna do this? Man? But you want to get no pun intended, but you want the Brian Epstein who's on the outside. We're also looking for George Martin. How do you at this stage? I mean, you guys haven't taken off yet so to speak, but how do you integrate everybody's musicianship? Meaning do you sit there and go we need to get him a solo. We need to talk about each person. I think the good thing about this band is everybody has strengths and weaknesses,

but they compliment each other really nicely. So there's not like we am we leaning each other for those things, you know what I mean? There are certain things where you know, I'm not as technically proficient as a lot of these guys in this band, but but I'm a songwriter, Like that's where I grew up doing, so I have a sense of how to craft songs and you know what, we're knowledge of music theory and I think I work

as Matt's editor. He'll write something and I'm kind of like Okay, that's great, or like that's too many words. Can we consolidate them a little bit? That is not enough with him. Sometimes I will be like I have to go with my gut on this, and he respects that. It's tedious sometimes because you get so like solidified on something. But you know when you spend time away from it and you listen back to a rehearsal recording and I'm like, Okay, that's a lot of syllables. What would you do now?

Like what would you do? Like like if you could afford it financially. More rehearsal time is like getting in the room and just playing and playing and exploring together. I think the more recording time, honestly, I mean we've been we've been in a nicer facility. Well, well right now we're kind of making do with what we can. You know what I mean? Were you recording now? We work at the producer named Dan wideland shout out Dan. So from Fire was recorded in his studio in the

studio in about fifteen hours. We did that and you have to pay for that. Yeah, that's why we did in one day. For a week we would have met it. You know, you have an even better song. So here's what's interesting to me. If someone dropped a chunk of money on you, you're gonna go and have a nice place to record. Is that like a dream for you to have? But have the freedom or you all have to work? You're working? How many jobs you're working down, I'd say two and a half. And what are they?

If you want to say, um, I do work for Starbucks, that one is probably the one I'm ready to get rid of the most. I love them, They're a great company, But four thirty in the morning, five days a week, it's no fucking hard. Yeah, usual days like four thirty to one, and then um, I work in an after school program. Was actually is one of my favorite jobs because I've worked with kids um in different aspects UM.

At the LGBT Center, I worked for two years in a program there with why honestly, I graduated uh cal arts and UM, I like there was a lot about queer culture that I was not familiar with. There was a lot of like stuff um internally that I wasn't dealing with healthily, and so I honestly joined that program because as much for yourself, Yeah, yeah, honestly, just because

I wanted to want. It's so it's an educational program called Community Actually Network, and they go to high schools and middle schools and they educate the kids on their gender sexuality alliances. They organized them especially in the lower budget schools that like no teachers, and you felt you weren't taking care of yourself in that regard because I was learning. I was learning so so much. I was learning about transgender people and and and and activists that

I had no idea existed before. When you grew up in the Lehigh Valley was an easier I commuted to a performing arts high school. Before then it was I had a very difficult time making friends. Um, yeah, the art school. Yeah, And you know, and I remember I got to high school and my main focus was trust, trying to make friends, and so I kind of I was talking to my mom about this the other day.

It was a little bit of like an identity crisis just because I was I was saying yes to everything, and like, um, I remember my dad when we were growing up, was always playing kind of similar to Collin's. Dad was playing like the classics, like Bob Dylan, Tom Petty and the Heartbreakers and like and I loved that music. I loved hearing it um but I I also loved singing Indian and Britney spears, and those were my things.

And then I got high school and it was like me, my all of my friends were listening to pop music. And I did enjoy it. But I kind of like turned my shoulder on my dad because I was just like, well, he doesn't know what it's cool, you know. And actually,

and I really regretted. I really regretted because I but but there's a part of me that feels like I'm becoming conscious again and like re hearing all this music and like, you know, Colin will tell me somebody like that I should have known years ago, and he'll be like, you should listen to this song or this song. And so the past two years have been a little bit of like a what did you call this bridge over troubled water? But I can like feel it. I like, no,

I've heard it before. And it's because my dad. I'm actually glad that Matt had, you know, was raised on that. You can hear it, you can hear it. And and so that's the weirdest part is like when we first started singing together, I literally was making vocal choices that I was like, where is this like guns and roses, like vibrato coming from? I got that from you when you sang the rock lead, the feminine and the masculine. And what's amazing is when you sing there's a power

to you singing. Where does that come from? It's literally my brothers and sisters growing up in a family of like three sisters and I'm the youngest, um and a brother who all ended up joining the military. They joined for a reason. Very aggressive people. There's a part of your growth too, I think, because when we started, your predisposition was to do kind of a falsetto like a hot higher that's kind of what you grew up on.

It was pretty as love like Jeff exactly, and I think it was like just like all of us in our process. And he eventually, like when he would get lower and kind of stuck that range, we kind of like do that more man, and then some sounds great. He did something he like growled, and I was like, yo, like that is to do that every song, you know what I mean, just like sing from that area. And it's just like it's been a growth for all of us, you know, what I mean, just like our musical journey,

his journey with discovering his voice. He's always been a great singer, but now he's really discovering his voice. Was there were a fear that if like a producer came along and was like, hey, man, you're you're you're, you're at that next show and the next person wokes up, that's going to care you over the next river, and and fill so and so walks and said, man, you guys great, I'm gonna do my camp be versions. You

guys have finished. I want you to call me yet you know x y Z records in the morning seeing and then you call him. It's like he's just gonna

funk with your show. And are you worried about that? That That people gonna go you just change this, do this, I mean, I think to make it the nice things when we sign with with William Morris, who when we love our agents over there is that they were kind of like, do whatever you're doing, just keep doing it, Like we want to help with the business aspect of things, but like your show is why we signed you, Like we do not want any part of the creative process.

And I think, I mean, I think like anything, there's a given take. You know, I don't want us to assume that we know best because we are so young. You're doing this. You'll take the good ideas wherever they come. Have the text certain aspects that we don't want to lose. You know, we're not I mean, like I work, those don't have jobs. But I'd rather keep doing that than

you know, be singing songs that don't mean it interesting. Absolutely, we got so we could ask all the time that like, would you work with you know, if if we had a you know, not from anybody up top, but just saying, you know, would you have a songwriter come in? Do you want to have someone write your songs for you and then to kind of sing them? And unanimously we're

all like no, Like that's just not the fun. Part of this is that we get to write around music, you know what I mean, Like if we're a cover band, we could just do covers. You know, what's the point if you're not really writing your own music. So even though if you eventually do sell out completely to make it today as of today your vowing not to, you're taking that vow today as of today. You're gonna throw that in the garbage maybe, but for today, today, today,

recording this show, you are purely my heart. What's the next step to go to the next You have an agent at William Marks. What are they doing for you?

Booking you in shows? So yeah, they booked us these two showcases for managers and labels, and as far as we know, people have reached out and there's a general in the street interest about us, and you know, at their advice, they're like, you know, we're not going to take anything right now because it's gonna be a bad deal, you know, like it's who knows what they're people are gonna try and screw you over. I mean, luckily we

have a fantastic lawyer. Shout out Ken hurts very good like Congress, and I'm gonna get in texts seeing like you didn't shout me out, you know. So um So I think the next step for us, I think it's just more about back to songwriting, back to songwriting, really getting to the heart of what we do and playing as many time for that. Yeah, we need more to

I mean, honestly, you can take a break. What's your data? Dad, job up until the end of January was a talent agent and now I'm doing this band full time answering emails. And you come from a rich family, Oh I wish, but I come from very resilient family. Yeah, I like that. I like that. Well. I just want to say that that you know, the chance to divert towards the commercial and make a lot of money, But there's nothing wrong

with that. See I disagree with you where you say I'd rather not sing songs, I don't want to sing and stay at Starbucks for the next several years, where I think I'd rather you sing things that are commercial to make money, so they can do it. So long as you stick to you, you pivot back to the other, as long as you're always one for them, one for me,

one for them, one from it. It's less about saying like, we don't mind writing something that is a little bit more, you know, for chord progression, like something a little more catchy and something, but we want to make sure that it always has like a little bit of I mean a lot of bit of like us in it, so

that it is still kind of stands apart. So simplifying is not something I'm afraid of as much as like singing a pop hit written by somebody and maybe it flops, and then that's out there in the world for us. When the show, and let's assume the show goes well, you guys have a good show and you're in a nice room, you walk off stage, how do you feel whatsover? How do you feel? Are you ever happy? It's weird.

Being on stages for me is like the most electrifying feeling that you can have, you know, especially you know, we haven't done that many shows, and we're walking out on shows these days, and like there's actually people who come to see us. It's not just like when you start out it's like friends and family and all that stuff. And now we go there and there are people we've never met before saying, like, you know, screaming and wanting

to be there. So that's an amazing feeling. As a musician, I always get off stage and I think, you know what, I could have done this better again, and yeah, like can't just go do that one right again? So and I don't think that will ever change. And I think that's just the nature of trying to be creative and being artists. For you, Matthew, I mean, I'm watching you in this song. I mean to me, there's nothing wrong with all the celebration of Freddie Mercury and Bohemian Rhapsody.

But what I was excited about when I saw you as I was like, okay, well where's the next Freddie Mercury rather than us sitting here and to me, you are the next Freddie Mercury. You were like Bowie and I want to know, are you ever satisfied? It's the same as Colin, and we kind of bound about that fact that we walked off the stage in New York Babies all right, and um this one and from like sound or something drunkenly cornered me and I was like already in a state of like I sucked this up.

I sucked this up. And I also strained and pushed during the sound check, and so I was a little raspier and so um my mom always says like you're your toughest critic. But I mean, honestly, I think that's what keeps making us like better and better. Why would we not, why would you you know? But I mean then we do enjoy. It's not like we sit there and like that was sitty. It's like you get off and you're like this this and this I'm gonna like focus on for the next show. Now, let's enjoy, you know,

I think that's yeah. Oh, by the way, where did the name come from? Purchas is actually one of my favorite place. It's called Bertie by Naomi Wallace. It's an adaptation of a novel um and it's it's this bird that this boy from Pennsylvania who is battling his identity crisis of being a gay young man in you know this from the book novel adapted into a play by Naomi Wallace and and and that's cold m Bertie Bertie. Yeah,

And is the bird the boy. It's really a psychological thing where he like puts the his like his confidence into a bird and the bird really like tells him like she was like Equis, but rather than a horse the bird. Yes, And I'm Daniel Rudcla. Okay, that's the moment I was mad about I love you naked with a bird? They news me game and you forgot to Benny bit you want the truth, you need a big cut and never felt but I get a dress. Colin

Kenrick and Matt Bazonka of Perta. This is their track Bad Newsman Perta as you'll know by heart in a few months is vocals by Matt Basolka, Daniel Zuker on bass, Colin Kenrick on keyboard, Justin Siegel on drums, and guitarist Chance Taylor. Check them out at perda music dot com that's p E r t A or at PERA Music on Instagram. Everything that I Wanted This is Alec Baldwin and you're listening to Here's the Thing that a ho Let the left floor, Come on, give me when the you're bad. Newstan