CHVRCHES

Their latest album, Screen Violence, is told through the refracted lens of a horror story. It's not quite a concept album, but the affectionate nod to eighties slasher classics doubles as a biting commentary on our modern screen centric existence. It also spotlights the constant abuse and harassment that women are regularly subjected to online end in real life. Tracks like He Said, She Said, Good Girls and Final Girl all grapple with themes of misogyny, abuse of power, and gender standards.

These issues are tackled from a place of strength, with a lyrical intellect that's become part of the group's trademark. I'm so happy to welcome Lauren Maybury, Martin Doherty and in Cook of churches. The new record is incredible. I can't wait to to go deep on that. But to begin with, I want to ask you a simple question, which is one that's taken on a new residence, i'd say, on the last eighteen months, which is, how are you? How are you guys doing today? I mean, it comes

and it goes, isn't it I suppose for everybody? But yeah, we feel good. I feel good that the record is finally out and that people have been really responsive to it. And you know, it's not always given, especially in these times. So I think we feel I feel thankful for that. Oh that is wonderful to hear. I mean the new album is called Screen Violence, and much of it was made through screens during during lockdown, when you were all

separated in some cases by an ocean. Was it challenging making this record in such a segmented way effectively, you know, in your own individual vacuums. Yeah, I mean we definitely had to adapt and think on our feet and sort of really shake up the way that we were used

to working in order to get it done. But eventually we we sort of figured out ways that we could make the technology work, and the time zones work, and uh and and ultimately got to a place where we were working really efficiently and really creatively, just as we would sort of normally. So I guess we're lucky in that regard to have managed to figure that out. But yeah, I definitely had its challenges. But you know, I guess, as they say, the proof is in the pudding. And

I'm so proud of this album. And I think whatever we did, we did something right. That's amazing. I mean, none of those challenges come across at all listening to. I mean, it's also cohesive. It's amazing to think of how you did put this all together. It's really incredible. I mean, we've relied on our screens so much more in the last eighteen months, I mean, for being connected for entertainment, for information. Has this weird period changed your

relationship with technology in anyway? Um, I feel like I'm always learning about new audio programs I never heard of before. To be honest, like still to this day, we didn't interview yesterday and they used to program I've never heard of in my life, and I was that, well, it's just a whole world that I don't understand. But yeah, I feel like touring and stuff. I definitely appreciate smart full and video calling in those things anyway, but especially

in the last year, wheneveryone's been so disconnected. Yeah, if we didn't have any of those things, I think all of this would have been a lot more isolating and lonely, and it would have been basically impossible to make a record without it, I think. So it's funny. I've been talking to a number of musicians in the last year and a half, and so many seem to have leaned in with their music to sort of up tempo, optimistic, sunny positive. You seem to have embraced the darkness in

an awesome way and embraced the ambiguity of life. I guess in a in a way the record that opens with the line I don't want to say I'm afraid to die on the opening track asking for a friend,

would you say that you're a band of optimists? I mean in the date, like I guess you know, we've made songs that are sunny ear and songs that are not as sunny, and I feel like it's just about trying to figure out where you're at when you make things like if you try and push yourself to do one thing or the other, then it's not going to

come out quite right. So yeah, I think that we were just kind of ready for a bit more of the gasthy darkness when it came time for this, And you know, in a way lucky to have had that template going in, because I think it would be really difficult to make super cheery, smiley music last year when nobody feels like that. I don't think it's already mining something that was then you felt more of when you're

locked in your house. It's definitely a point where our management we're kind of urging us to write happier because you know, it's like if everybody's going through the same really dark time, and the fear, I guess is that like there will be a flood of sort of miserable, depressing music. But no, I think I think you can only really write what's true and authentic to yourself at

the time. And I think for us to write like sunny, happy pop music and ignore the fact that you know that we're grounded and where we're at it is like it would have been a really difficult thing, like a really difficult thing for us to go off, and I'm glad that we saw because I do think that even though the music is quite melancholy and the lyrics are are quite sad in places, I do think that there's always with this band, like a kind of optimistic like

ray of unshine in there as well, you know what I mean. Balance, Yeah, absolutely, I mean again, it's it's much more, I think, emotionally authentic to what people were feeling in the last year and a half and to pretend that, you know, did you have a p pure escapism? Would ask you about the title because on the surface, when I first heard, I thought, oh my gosh, what a way to crystallize the last year and a half

screen violence, everybody on the screens. I didn't realize that that was in the running to be a band name. When you when you formed a decade ago, Can you tell me more about how you landed on that as the as a title. I guess it was kind of a happy unhappy accident. They ended up being more poignant

than we intended. But yeah, it was a band name that we've talked about in like two eleven twelve, Like we all really loved the imagery of it and what it's referring to like that year of cinema and horror movies, but it felt maybe it just wasn't right for a band name. But we were touring in twenty nine and re found this list of names and it just seems like a very vivid, not concept but writing starting point

to go off of. And it's been really fun, especially with the visuals and like the little tonic tongue and cheap references on the record. It's been fun to play with those kind of things and have those elements be more escapist, even though the songs are still I feel personal to all of usn't a grounded in that space? Yeah, how did the horror motif come through? How did that

idea take route? Yeah? I guess it was the screen violence concept, and now that it's a concept album per se, it gave us a kind of like lens to focus the music through and the and the lyrics through, you

know what I mean. It was it's like we've all been such big fans of of horror movies and sort of sci fi movies growing up, and and musically a lot of those things were formative, you know, like watching videos of like The Terminator and Ghostbusters and Nightmare on the Street as kids, and of course that they're not just the film stick with you, but the music sticks

with you in the atmosphere that music creates. And that's something that we were definitely quite keen to sort of experiment with, leaning into a little bit more because you know, it's fun more than anything else. How much it's true, I mean, just how indelible it is to the to the story of your band. Didn't you meet at a screening of The Exorcist? But yeah, learning I um, that's I think the first thing that we met. Yeah, she

was working at the cinema. Yeah, And it's funny, I guess like each of us individually and together have memories of those things too. And then remember on the first record, I was looking for a bunch of photos the day and I found a picture of us all watching Buffy the band first there on the bus, like on the first first buster that we did. And I feel like it's always been part of what we love as people on as a band, and it's nice, nice in a way,

it's quite poetic that came right background to that. You know, a lot of making music we take seriously, but it's fun in a way. To not have to be so serious about certain things, and like there's always been that element to the band when you guys have been putting in certain references or certain bits are left in the music which are supposed to you know, which are not.

Which your references is something or fun in jokes to things, and it was nice to be able to do that in a way on this record, which on the face of it can be quite serious, but in another way it's quite knowing and tongue in cheek I suppose, I mean taking it back to the very beginning. I've read that you actually used visual cues and mood boards before, like when you at the very beginning of these sessions. Can you tell me more about how that factored in

into the music. Well, I don't. I think that's definitely something that I've started doing in the last few years, probably the first the third album was the first time we started sending those kinds of things around. But some of the visuals on that record are really cool, but some of them didn't really end up how we intended them too. And I think going into this, because we knew there was more thematic stuff going on around it, it felt like, oh, maybe this will be fun to

plan in terms of just giving the ideas. I didn't really think this will end up being a brief for what happens, but you know, happy accident, I suppose. But I feel like for lyrics especially, that's always how it's helpful for me to start like taking in lots of other art, whether it's films or books or actual physical art.

And I love I love a good interest board. These kids that like look at my twelve interest boards about definitely different things to do this albums, but some gets sometimes I feel like like they don't want to see my multiple bost if nobody wants to see the Pinchess board about March should, I feel like I enjoy it,

like it's nice. That's funny you mention that I was a screenwriting major in college, and whenever I was stuck on a plot point or a scene, I would go for a walk and listen to music, and either the mood of the music or a lyric line would inspire a part of the dialogue or something. It would always kind of re prime the pump and kind of fix whatever was blocked in my head. So it's funny that kind of goes both ways by using visuals for for

audio cues. Yeah, and I feel like it's never I'm always often a fred almost to listen to other music when I'm trying to write music, just in case something seeps into your brain literally that you shouldn't so well. If anything, I feel like it has to be other

art forms that do that. And I listened to our podcast with Sophia Coplow where she was talking about that, and she was talking about all the soundtracks in her films and why they're so important to the stories, where she says that when she writes, she always going to sets of a mood with like a playlist in the background of what she thinks she wants to channel. And I was like, oh, she doesn't too, so capital well, like she's obviously mining really interesting things of that. So

interesting how the different art forms feed into another. And your last album you worked with producer Greg Kurston, who's worked with everybody at the All Food Fighters. Was it always the plan to to get back to producing this album completely on your own or did the pandemic kind of make it so that that just sort of made more sense from a practical standpoint to just keep it

among yourselves. Yeah, it was something that we that we had decided on before before we were sort of taken down by the pandemic, you know, the last album was we decided to experiment with you know, honestly, we had a sort of six to eight month period in New York where we were writing on our own and the things weren't like really there wasn't like any real momentum, and the songs weren't amazing, and we kind of decided to kind of cast the net wide and see what

working with other people would bring in terms of inspiration and sort of you know, fresh ideas. But I think when you when we particularly work with other people, were always kind of like trying to steal there the techniques, not their ideas, but their techniques, and and I think that was really eye opening ou a lot of ways. And we took a lot of stuff from that back to home base and sort of processed it in a

way that suited us. And that's a lot of the reason why I think we feel so happy with the way this album came out, because it's like the product of all the stuff that we've learned since over the last ten years working with us, working with other people, and being able to sort of channel that back into the original open home based set up. You know, Martin, I know, well the rest of us in Lockdown, we're making sour to bread and banana bread. I'd read that

you were making guitar pedals. Did any of that experimentation come to to bear on on this new album? I made some sort o bread to, Yeah, but I had to start making surtle bread because I was eating it, and uh, Lockdown, I'm not as you know, as active as you might be in regular life. So first I started building a pedal board because I thought it would be fun to have a few guitar pedals to mess around with. And then in that process also I thought, oh, it would be nice and cool if I finally learned

how to solder cables. So I cut all the cables and solder to all the cables and put together this gargantuan guitar pedal board. The beast this So I thought it was really fun and a really great tool in the studio. But once I guess, like any ambitious person or any kind of natural scholar, once you get to the end of that process, you go, oh, well, what does the next level look like? So I started opening up the pedals that I bought and looking at them

and going, oh, that's interesting. This distortion pedal has only like this a very simple circuit instead of here. And then next thing you know, you're looking at schematics online and one thing leads to another. Now I have a like a bunch of pedals that I made myself that are based off of old and rare guitar pedals that

it's hard to come by now. So I sort of turned it into a money saving experiment because I don't have to pay thousands of dollars for these weird, rare, rare pedals and be like a learning experience, but they and and also a creative tool because those the product of that learning. If you're a musician or a creative then the product of that learning ends up on in

the music that you make. You know. Then I got a dog, which is like what everyone does in the pandemic, and I had to stop building pedals because she was always trying to run around near there are tuning the wires and like and then I'll be like, oh great, my dog has a tiny transistor in her mouth and I'm chasing her around the house stab herself. So yeah, that unfortunately, but it's probably maybe it's for the best, because by now this this would be cool of things

that I've made. In fact, I built this microphone that we're using as well, which is wow. But I had to stop. Can you walk me through what is the process for you of actually beginning a song? What what are the bare bones you begin with? I mean, I guess it depends. I don't know. It's kind of different

for certain albums and for certain songs. And this instance, I think about half the songs of the album came from maybe just over half came from demos that had done before we got together, and then we wrote some in the room together and we finished most of it over lockdown. Sometimes the start can be a very solitary process, and that's a good thing, but I think I prefer

to write when there's other people there. In this instance, the way that things worked out, the way that we were not together as much, it was like, oh, well, we've written four songs together. That's awesome, but now Ian's in Scotland and we have to find an album, so we either like right and Lauren I can hang out. So it was basically just like, here's everything that I have do you want to make an album out of it,

and we basically the produced out from there. Do you find that the best songs come the fastest or is it more fulfilling to have the ones that you really build up piece by piece. I've experienced both sides of the coin. I mean, I can say the biggest songs come the fastest usually, but the ones that I like the most don't necessarily come the fastest. So I don't know. Maybe that's a that's a that's a tricky question to answer. You can write, let its write melody and and and

a beat and like music. You could write four of those a day very easily, but let its take a lot longer if you want them to be good. I wanted to ask you about the lyrics on on this album, and there's been a lot of reviews that have noted that the lyrics on this album addressed themes of misogyny and abuse of power and gender standards in a way that hasn't cropped up so much in your music, although it's addressed in your interviews and in in op ed pieces.

It right, Lauren, Uh, what do you make of that? First of all, I wanted to ask you if you agree with that assessment, and then secondly, if so, what led you to address these these topics in your music on this album, Like it's just a natural by product of where we're at in life. Probably, Like, you're definitely right that gender and feminism have always been part of the conversation around around the band and in every single interview all the time. That's what people ask is about.

But it's not really anything we were writing about, necessarily, say, other than the fact that a lot of my lyrics are from my point of view, which is a female point of view. But yeah, I feel like you write about things that you know and what your experience have been. So it's like chicken and egg kind of thing, like a self fulfillient prophecy that that would make its way

into the music somewhere. But I don't think when I was sitting down to write songs that I was consciously thinking we should make more reference to those themes on this album. It just kind of happened over the course of it. And yeah, you never want something to feel preachy or didactic or any of those things. I feel like it has to be just a personal perspective on something. And then with enough in dree and fiction around it to make it feel not fun for people. But you

know what I mean. I feel like, when you're writing, it should be personal to you, but it can't be so completely about that situation that people can't find themselves in it. And I guess that was what was fun, especially with the horror imagery, because there's so many things you can dig into and horror films in terms of how women are written and what stories they get, how

the how female viewers of horror feel. And I feel like that was definitely Maybe that's very academic, but that's something I was thinking about when I was writing it, especially something like Final Girl and my Okay. That's definitely leaning into that world. But it's not literally a song about a Final Girl. It's just having fun with that can imagery. Yeah, it's interesting you mentioned that. I mean, I was speaking to two women friends of mine who

are extremely into horror fans. They collect old eight s, VHS types of it, and I was asking about it and they said that it resonates with them, and I imagine many women because the women in those movies are the objectification and the way that that sort of putting these impossible positions where they can't win in the violence. That's not an abstract notion that to them, that's something that you know, it is part of their you know,

daily lives unfortunately in some ways. And it really was a way that they could feel uh seen, I think was sort of how they put it, which I thought was not a way that I had looked at those movies and embarrassed to say, but it was definitely educational

to to speak to them about that. Well. Yeah, And I think that it's just I hate that really basic argument of horror as a genre as misogynists, because only will any film in any genre could be misogynists or come from that lens depending on who made made it and what you're trying to see. But I do feel like, especially over the course the last couple of years, like underwriting this record, I've watched a lot of we all watched a lot of horror films to kind of reunite

that part of her brains. And like, yeah, for me, when I'm watching it and I feel like there is something that you're unpacking in your subconscious And I've said this quote many times, but I think it's true. I'm like all women can relate to the feeling of bargaining for their own space, their own existence, to their own life in some way. You you know what it is to feel watched, to feel under observation, under attack. So I don't of course people are gonna want to process

those things through fiction, because that's how we process everything. Basically. I think you mentioned wanting to do it in a way that was fun. It was not the right word, but the way that that you sort of you're able to process other people are able to to to put their heads there. And I think that he said, she said is just an incredible song. I don't think I've

heard gas lighting portrayed so effectively in music. I think that it is absolutely amazing song, really illustrating that the expectations placed on women in society are you know, maddening. I'm in line in the song, I feel in saying I want to ask you more about about that track where you're effectively duetting with yourself as a sort of the male perspective and the female perspective. It's I think

my favorite track on the album. An incredible song. Thanks dude. Well, yeah, that was actually the first song that got written in the room, so Obviously we had all these pre existing demos that the guys have done, but that was the first fresh both writing that was done and the hooks's and the chorus they feel like I'm lives in my mind. Thing was in from the first day, I think, and the call in response auto tune and stuff. When we were talking about the production and the guys were working

on that. It was meant to be like a kind of call and response between yourself and the voice that you're talking about in your head, if that makes sense. I think. I mean they'll be able to speak more on that, but yeah, I feel like it's fun to have those kinds of it's like it's musical imagery as well as that links with the lyrics, and I think that's really clever. Now it was love it to my years.

I thought that Good Girls was almost a companion piece in so many ways, rejecting the rules that are laid out. And he said, she said, I think that's an amazing song too. I wanted to ask you more about Good Girls as well. Next man, Like, I feel like when I think about those songs and like it's almost like I rate from two different perspectives. But I think that

a lot of people can relate to that. Like, I feel like those songs are written as I wish that this is what I did every day, and this is actually the standard I held myself do and this is how I went through the world. But it's not necessarily all the time, but it's what I can hope for. Yeah, I feel like those songs are cathartic to write, but there's coming from a more kind of formative character space,

if that makes sense. But it's really amazing when people said that they found something in those songs, because I think everybody we never set out to write a song that will do that, and I hope, like what everyone ever have. I think it's all like we've always gone back and change the lyrics because it's felt too preachy or not quite right. Yeah. I guess it goes to show you can't over plan something in advanced It just

has to happen when it's going to happen. That's what's cool about music and making things for me anyways, that like, we spend so much of our time being like facts not feelings, and then creation is mostly feelings not facts, And I think that that's it's nice to have that blood tide. You spend time as a music journalist earlier in your career. I mean it's rare that I've read interviews with the band or spoken new band that I think is so sort of aware of where they sit

musically and their narrative. Is that sort of hard to kind of silence that static of sort of like, you know, thinking about how something might be reviewed or or things would would play online. Is it hard to just sort of silence all that and just focus on what you hear inside? I mean, I feel like the media stuff for me is more just like I wouldn't think we

bring that into the creative space. I don't think. I guess it's more of being like when we're out doing interviews or when we're on the road and there needs stuff to be done in that kind of administrative promo sense. I don't think that being a journalist taught me anything about making art really. If anything, it taught me more that it's all completely subjective and nobody, you know, everyone has a different opinion than Yeah, I don't. I feel

like it should be music first, marketing second. Yes, my my feeling. I gotta ask you got John Carpenter to do the remix on Good Girls, How horror fans give us the Giet and Gun in the Heaven? How was that? It was pretty cool. Yeah, he's um. You know, he's responsible for some of my favorite films. You know, some of those movies that were actually influential to me as a creator and musician as I was growing up, something

that he hat touched on earlier. You know, those movies that like a hold a special place in your heart. John Kupert has made some of those films for me, So it was it was pretty awesome to have him put a spin on some of our work. Even more fun was to trade the remix with him, you know, like he was he said, well, you can pay me or you can remix me, And well we chose remix. I mean, it's out now so you can hear the results.

But like, we didn't want to go up against him as like a synth neer, because I mean, he has a lot more experienced than us, and he's more celebrated,

and we're not idiots. So we decided to take his song in a more organic direction, you know, like what is the John Carpet or like electronic piece unlike, but it's more of a orderline like post rock thing, and it was I thought that was kind of a lot of fun because he he really breathed new life and good girls as well, and really respect what he did and have tremendous respect for what he has accomplished over the years. And of course I can't mention special guests

on this album without mentioning the great Robert Smith. What was that like for you? Having him with you on How Not to Drown? My God? I mean, I know you're massive Cure fans. How did that come about? We're all massive Cure fans again, Like that band really formed such a part of our musical language growing up, you know. Yeah, it sort of came about in a really sort of I don't don't want to say boring, but like not

not not from a place of inspiration per se. But our manager had heard that The Cure would be playing some shows next year with some new music out, and had got in touch with their management to say, you know, throw that throwing our hat in the ring for potential support spots as as you did as a good manager, you know. But but apparently Robert doesn't work with a manager anymore. So he got back to Campbell and said, Hi, Campbell, what do you want? The message doesn't was like guys, guys,

what do we want from Robert Smith? And we were just like, I don't know. Like so we had we had most of the album sort of in the bag or thereabouts by that point, and and so we just took the chance and sent him like maybe six songs and and said, if you fancy this is what we're doing, this is where we're at. If you fancy doing anything anything, then you know, feel free to to just give it a go. And he wrote back he was like, yeah, I really love I love all of this stuff, but

this one time not to drown. I feel like I could maybe do something with And so a couple of months went by and me thought, you know, it's we've we've missed the chance. He's maybe like going on something else. Are he's too busy or just doesn't feel in it. But then on Halloween night last year and we were all night, no no joke, we were we were about to go and watch a horror film here and drink some wine, and we got the email through with his demo and we're just like, it's just a dream come true.

So it still doesn't even feel real to us. You know, it's just it's just an incredible things have happened in our world. Was he very hands on? Like I imagine he probably has like a lot of thoughts on how he wants things to to sound. Indeed, what was he like just as a collaborator, his hands on? Yeah, yeah, very hands on, which is kind of an amazing co sign in a lot of ways, you know, Like it's not just he turned up, delivered the vocal and then left. He he stayed in the process all the way to

the end. Right down in the mix, he was asking for really esoteric changes, which I can hear. I can hear that's like awesome. When you're going, well, Robert wants like and to notch out some high frequency at like four K on the symbols, I'm like, okay, well, well if that's how Robert, here's it, then I'm gonna notch you out and exactly the way that he asked for.

Right until the end, he was still sending over parts and going, oh, do you think this could use some extra guitar here, or do you think this could use some bits and bobs, And he was really involved in the process in a way that you know, none of us expected or beyond anything we could have hoped for, to be honest, Now we have this thing that has his creativity on it, and that is like lives forever, and whatever happens from now the band's going forward will

always that. That's so cool. I mean that did he care that much to like get all them the sounds of the symbols and everything. That's that's so wonderful. I hope that makes you you feel wonderful. I mean, he I've got like notes from Robert and I'm sure he wouldn't mind me saying this where he's like one point five dB off the base at like this time frame and the song things like that, You just don't you just read those thoughts and you action them right away.

Just don't even talk about it. There's no I think it could be maybe no, not when it's Robert Smith. Just chat up and then send it back to him and he's like, that's great. Nothing, Yeah, that's great. I mean, that's that's better than gold right there. Yeah, that's great from Robert Smith. I'm struggling to think of a band who's done a song with Robert Smith and also Marshmallow.

I mean you exist in such a fascinating place musically of having this like d I y punk background but also these incredible dance sith bangers that you hear at a club. I mean, is it ever a struggle straddling that line between those two seemingly very diverse sonic worlds or is it just, you know, not something that you consciously do, it's just what you want to hear. That's a struggle. Yeah, Yeah, totally is a struggle. We don't always agree on things, but that duality has been in

the band from day one. Like the whole thing was we want to be creative, we want to be expansive, we want to be forward thinking, but there's also nothing wrong with being honest and being like delivering like direct music that can be on the radio as well. It's just two sides of the band. It was always there. But I'll be lying if we said if I said we agreed on all of them because we There was a line on on California that that really stuck with

me because it's so not a California sentiment. I feel like no one ever tells you there's a freedom and failure, which I think is so much to impact there's such a fast standing line. But again, especially in a song called California, it was just such a results oriented place. I guess it's probably a kind way to say it, how did you learn that hard fought lesson? I found it a very inspiring line as as as I want to be creative and somebody that you know sometimes struggles

with that. I thought that was something that was very inspiring. I just wanted to ask you more about about that line. Well, I don't know. I guess we all had a lot of time to reflect last year, for better or worse, whether we wanted to or not. And I don't know. I think like when I look back on things in my life, especially personal life, which I'm like, oh, I feel that that that was a failure, that situation didn't go I did badly, that went badly. Like I look

at those things a lot. That was kind of about how you define it, and like if everything was amazing all the time, and all you ever did was successful in any space in your life, you do don't learn anything from that. I don't think you know. And often times I think I have a bad habit of holding onto things that I shouldn't and like being I don't. I hate this idea of being a dead horse, but the metaphor of being a dead horse, because I don't want to have failed at something like I hate failing.

It's just a really bad personality trait. But when I look at those things and like, I think that for me, that lines like those freedom and letting go of those things and letting life take you where it's going to take you. I say that, but I don't know if I do I don't know what I do that, but I were tempting to at least. It's hard to take your own advice, but take the freedom and move forward with it and hope for the best. I mean. And

speaking of moving forward, what is next for you? I've heard that that you've got some some new songs in the can too already. I mean, yeah, we've started. We've started because I guess we finished the Masters were done in December, Violence and the English, so yeah, we've had a bunch of time to kind of try and think about what we might want to do next and just make use of the time. Really, because normally we'd be touring all the time, and I say, that's not happening.

So I'm just trying to think her and and see what I see where it takes us. I can't wait to hear it and can't wait to see out there sooner rather than later, I hope. Martin Lauren, thank you so much for your time to end your music. So grateful for your time, I really appreciate it. We hope you enjoyed this episode of Inside the Studio, a production

of I Heart Radio. For more episodes of Inside the Studio or other fantastic shows, check out the I Heart Radio app, Apple podcast, or wherever you listen to your favorite podcasts,