ITS Home Edition: Ryan Tedder

prolific is Ryan Tatter? He just released two tracks recorded during Lockdown, Let's Lose Somebody with Kago in Better Days with One Republic. But he also told Jordan that during the first one and twenty days of Quarantine he wrote more songs than he had in the previous nine or ten months. Except it's what else he had to say

about the impact of this time. That a big reason that we started this whole home edition of Inside the Studio to let you know how artists were coping with this moment, how it's impacting not just the way they make music, but their lives. And Ryan really let us inside all of that. What he is to say is fascinating. So if you enjoy this episode, be sure to listen to the I Heart Radio podcast that Jordan's hosts, which is called Rivals Music's Greatest Feuds, and which is available

wherever you get your podcasts. Hello, everybody, My name is Jordan Runt Doug, But enough about me. My guest today has been called the undercover King of Pop by Billboard Magazine. He's one of the most gifted songwriters of our time, crafting hits for Beyonce, Adele, Taylor Swift, the Jonas Brothers, Paul McCartney, Lady Gaga. And that's when he's not fronting his own multi platinum rock band One Republic. The group

repoised to release their fifth album Human this spring. With the pandemic out other plants, the album's delayed, but he has plenty more on his plate. He just wrapped up the second season of saw Land, launched the CBD drink called Mad Tasty, and it's in the midst of developing a movie music with Margot Robbie, and he's still writing more songs than ever. Frankly, I don't know how he's made time to be here today, but I'm so glad he has. Ryan Tedder Welcome thank you so much for

joining me and thanks for having me. How are you today? How does this day in Lockdown find you? I'm good, I mean, you know, I'm okay. I to be honest, man, I kind of like I was doing really really good, uh and and probably almost like irrationally good, irrationally well during the COVID craisiness since the middle of March and decided to make lemonade out of lemons. You know. Have have easily written more songs in in the last hundred and ten twenty days than I had in the previous

nine months. To be quite frank, I mean I just pretty much four or five sessions a day, sometimes too a day. Um, got some great cuts on some big artists coming some great stuff in the in the you know, in the Hopper and dough head, first into TV and film rated a handful of TV shows back going back to March and April, and then it finally slowed down this last week and it all kind of hit me and all of a sudden, I got I like, had four months worth of being bummed all in like forty

eight hours. So yeah, so today I'm just like I'm over it. I'm just over the pandemic. I'm like, I'm over the constant news like changing every day. You know. I I know about eighteen people that have gotten it. I know three people that have died from it, So um, you know, I'm over dealing with people in parts of the country that don't think it's real. I was just texting with my stepsister and my and what she said

was so true. She she lives in Oklahoma, and she's she's taking it very seriously, but a lot of friends and family aren't. And the reality is, if you don't know someone who got sick with it, you don't have context. You don't realize how bad this thing is until you're face timing one of your friends who's like gasping or hacking up along and hasn't moved in two weeks. And like, I've had so many of those facetimes in those calls with people have gotten it that I can't not take

it seriously. But the kind of like selfish, just like self centered part of me has finally kicked in and it's just like I don't want to deal with it anymore. I want to get on a plane and fly to Denmark or Hawaii or New Zealand. I want to stop being scared of infecting my sixty year old mother in law. I'm a prime candidate for that. So I'm trying to tell myself, you know this two shell pass and uh and try and getting the headspace to be creative again.

But sometimes you just have to, like, you know, process whatever you're going through and let it. If you're if you're upset or depressed for a couple of days, be depressed, you know, yeah, just just go through it. What's that Winston Church? Alive and going through hell? Keep going. If you're going through hell, keep going. The other thing you also said is democracy is the worst form of government

except for all the other forms we've tried. Yeah, pretty much. Obviously, this is just a whole new frontier in terms of anxiety and and and you know, rational fear. That's the scariest part. I mean, what's that frame? You know, just just because your paranoia doesn't mean you're wrong. What do you do in the past when you've been in this kind of headspace, Like what's helped you move through it? Is it music? Is it family? Is it all the above?

Is it exercise? In the past? Two things exercises my kind of go to because it's free and it's there, and it's like, you're foolish not to um. But honestly, the other one is a change of scenery. I've been touring for fifteen years and and NonStop, like if I'll

do four hundred thousand miles in a year. So I think part of it is to be so accustomed to being around the world and seeing all these different things and having the stimulation and the interaction and friends and different cities around the world that I always get to see. It's addictive and like to go from from that to literally a dead stop, like nobody does that, like it's crazy, and so I have done that. So I think part of it's that I'm part of that. Like my brain

is going like where could I be right now? Like okay, like let's you know, like it's it's New Zealand, it's beautiful there, Let's go there. You released a new song I think the end of March called Better Days, which I had so much hope in it. You know, it's such a hopeful message in the face of COVID. Was that inspired directly by the pandemic or that been brewing a little bit beforehand, and the words took on a

new meeting. The chorus was written probably nine to twelve months beforehand, but all of the verse lyrics and the rest of the song, the meat of the song was written um during the pandemic, during the first during the two weeks that I was quarantined at at this studio UM with a couple of band members. Uh, it just

it's all. It was also new and also it felt like a wave crashing, you know, over America, and so it's all I could think about, and and you know, the news I've now For anybody listening, I highly recommend if you are as sick of the news as I am. Uh, CNN, Fox News. I don't care which side of which. It's hilarious at this point. To call either of those companies like quote unquote news channels is just a joke. Um, they should be called op ed channels because their opinion

pieces I've now been relegated to. It's so boring. But if you want to know what's going on without any spin, it's the Associated Press. I go to Associated Press or Reuters. And that's been my new thing because I just kept going, like after like three months of CNN and then for out of for fun, just to know what my family in Oklahoma was watched, like what news they were getting. I go to Fox News and see a completely different set of facts reported with completely different color. UM. And

watching both of those, I've now realized. Then I go to the source of the news articles, which is the Associated Press and Reuters, and read the report which is as it happened without color. I'm I'm trying to focus on reading books, like I'm reading three books at the same time right now. UM, I am. I downloaded the call map, which actually works. By the way, the meditation app UM, big shout out. I'm not sponsored by them, the big shout out com and UM. And I'll tell

you what. There is a vaccine for trapped in a cage island fever during a pandemic, and it's called wine. I was gonna say, I've been following um quarantine cuisine. Oh yeah, I kept that up for about three weeks. I did, I did. I did it for like three weeks, quarantine cuisine. UM and I just if I didn't have a life, I would have kept doing it. I didn't have a wife and kiss my my I got on my wife was like, you are not gonna do quarantine. We're not that's doing. That's not happening every now. Um.

But I didn't stop cooking. I've actually got way better at cooking. And they funny you mentioned that that is the other thing that helps me keep my sanity. Everything in the music industry has been paused so tremendously. I developed a TV show, which I will talk about now, just to warn anybody else off from from doing the

same thing. But I developed a created shows being in a pandemic, and I thought, Okay, what if there was a TV series that was super high depth, super high end that every artist that wants to release an album or single they don't have an anchor to release it with. So I just worked backwards from like, what would one

republic want? I would like a concert special where we play all of our hits and then I go into detail telling the stories behind those hits, like and I talked about where this idea came from and when, where I was when I wrote this, and how did I come up with that lyric? And how did I come up with you know, the phrase counting stars? Where did

I think of that? And apologize who's it about? Like you know, and go into those songs and go behind the hits and then at the very end of the concert play our new single and launch our new single and album off of a TV special. And I was like, what would that look like and how many artists would want to do it? Well, every artist is at home doing nothing, but all these venues are sitting empty. So anyway, I've been working very quickly on getting this show together

and right now we have it. That sounds incredible. I mean, you mentioned having three four songwriting sessions a day as well on top of all of this. How has you know zoom songwriting affected your process or has it? It's made my process way more efficient. When I said earlier than I thrived in the first part of COVID, it was because of the zoom sessions. Like I, it's because the barrier to entry is so low, the value proposition is so high. So here's what happens in reality. I'm

in West Hollywood. Let's say I have a session today at three pm and one of the one of the writers or monsters and strangers, whether we're over in Sherman Oaks, right, So that's gonna be that's gonna take them thirty forty minutes, easy, to get here. Let's say I have I want Michael Pollock, who's who wrote Marion five Memories and a bunch of other songs. I write with them all the time. Okay, he lives in like I don't even know a thousand oaks or something like like, that's gonna take him an

hour to get here. Okay, so already that's a time traffic stress driving. Everybody shows up on the scene. And then what happens is not every day, no matter how good you are, are you going to write a smash. It's just not gonna happen. You're gonna write a lot of like like A minus and A songs. But really, the A plus songs are the only ones in the anomaly. Hits are pretty much the only ones that exists anymore, just a great song. Where you used to be able

to just work a great song. Those are a lot harder to be successful at radio and streaming these days because they get drowned out by one TikTok video that just goes viral. But you know, I've really diagnosed why, because me and a few other friends have actually done better in the Zoom sessions than before, Like we enjoy them more and we were thinking, well, because in a zoom session, if a song is just not turning out great, people don't hesitate to be like, guys, I'm not I'm

not loving this. Let's start something else. So let's just pick it up tomorrow. Right, Well, if I drove an hour and he drove an hour and a half and I'm gonna fight traffic going home, We're finish in this

damn song even if it sucks. And like that type of thing is actually not it's actually contrary to healthy songwriting because you're you're now letting the fact that you're there, you drove, and these other ancillary factors that have nothing to do with the quality of a song influence your decision to finish that song and to like dig your heels in and I've done it. I've done it countless time. So well, they drove all the way here. I don't really think this song is like a smash, but you

know what, let's just finish it. And and like in a zoom session, man, you just pull that rip chord. You pull the rip chord and you start a new song or you or you see, guys, let's pick it up tomorrow, and you don't feel like you've put out four people that drove halfway across town, Like I missed the camaraderie and I missed the interaction of people in person. But I think almost every rider you talked to would tell you that we are really good at wasting a

lot of time in a session. I mean, because half half the fun. Ross Golan, who hosts you know, the the Penultimate Songwriter blah Our podcast, will tell you he's always that like I enjoy. The reason I like songwriting is the hang. I like to hang, and that's that's half the fun of it. If you end up with a hit, great, but it's it's all about the hang. Is there a place when you're actually writing the song, once the conversations is over and everything that you always

start like is there? I don't know if it's like a ritual, even like a mental ritual that you begin when you're when you're really sitting down the start the actual act of writing. I don't think there's a I light a candle. I've always done that. I have. I'm big on anyone who knows me knows I'm like my candle game is strong. It's probably one of my biggest

budgetary allowances annually big on candles. So that's that'd be one thing I want the room to the room needs to be clean and like and like and like together clean and smell good. That's about my only like no bad smells good, smell good natural lighting. Um gone is the day that I work in dark studios like that,

I do that type of stuff. I'm just not. I spent years in dark studios, years and years and years and studios without windows, and I finally I just drew line of sand um a few years ago and just I can't do this anymore. I even built one. I built like the most extraordinary student studio imaginable in Colorado. I used it for four years and then I was like, I'm depressed. I can't be down here anymore. Like I need natural I'm a big, big, big sun natural light person.

So my studio now is tons of natural light. Also if it's an if it's a cool and if it's like seventy two or below, I'll open the doors. The whole thing just opens. So like it's like you're writing indoors and outdoors at the same time. And vibe. Vibe is my ritual. Vibe is my ritual man um ritual wise, if it's with an artist, I get them talking. I get them talking. I asked them how they're doing, what's going on in life, what have they been listening to?

If they're in a relationship, I kind of you know, I I leaned in on that a little bit, because nine times out of ten that there's the song. I did a whole run of sessions with Miley Cyrus, with Ali Tempos and Andrew Watt, Louis Bell back right before COVID, and that's all we ever did. Miley blah blah blah blah, what's up? And Miley can talk, so then it's just like, you know, she gives you everything. Really good artists. Good

artists are vulnerable. Good artists know themselves the best ones, and them talking gives you all the fodder that you need for that day. UM. If you don't get that, because there's a lot of times where you don't, UM, then you kind of hope. I mean, I'm a firm believer and I used to be much better at this, and I should probably start doing this again now. But back in the day, I was the guy. UM when I started writing, I made it. I just you know, I didn't learn this anywhere. I just kind of thought

it up. I guess myself. I thought, I will always have two or three titles and concepts in the back of my pocket that are bulletproof, so no matter what, so I lean into whatever the other writers and the artist wants to do. But if anyone gets stuck, I go, guys, I got a singer, check this one out, and I just drop it like Mike drop in. I'd done that for years. So that's my other rituals. Do I have

a fallback plan? Do I have something? You know, if everyone gets all weird and insecure because nothing great is happening, do you have a parachute? Um? And so, yeah, that's that's pretty much it. I don't have any other kind of ritual. I don't like to listen to the people unless I'm referencing something. Um, you know, I might we might play a couple of songs like oh remember that like me and Julio down by the schoolyard. I want to do a song it sounds like that, like let's

play that, you know what I mean? And then you you get a little bit of a you get it in your in the air, you get the sound of it in the air. Um, I'm very careful with that stuff. They all play a song one time, and usually I'll play like fifteen seconds of it because you don't want to accidentally, you know, interpolate something and end up in

a sticky situation. I was lucky enough to speak to to the wonderful singer Ash recently and she she hosted a pet Sounds fifty four anniversary live stream that that you were involved with the absolutely incredible version of God Only Knows. I was amazing. What is it about that album that that speaks to you? Um? Well, me specifically, the first album that I ever had, that was ever given to me was Beach Boys. So my earliest memory of music is the Beach Boys. I was five years old.

It's so playful. Their music is so playful. Their melodies are so playful that I had no concept how absolutely insanely complicated and difficult the arrange each mens were that Brian Wilson was doing. Honestly, until God only knows, I, I sat down. I did definitely did not get I definitely procrastinated, but I sat down the day before it was due that I had to hand in that video.

I sat down to learn it. It's pretty it's pretty much like the day before it aired, Like I sat down to learn God only knows, thinking, oh, I'll just sit down and hammer this out in five seconds. And then I sat down and just like God value uh. Like he's changing keys every single phrase. He doesn't the note that I thought my whole life he was landing on he wasn't, and and changing the chord underneath the support, the new voicing. It's this constant change. The bass parts

are crazy, insane like it is. He's such a better writer whever than I am. Brian Wilson Um And look, I mean, I've said this for years, no no, no offense to to myself and every other modern musician and writer, but we are all anyone. If you're in your twenties or thirties, your your forties right now, you're just a hack. Like we're all hacks. Compared to the musicians and writers of the sixties and seventies, you had to be a beast. Listen to Stevie Wonder songs in the Key of Life,

you know, back to back album of the year. I've produced Stevie Wonder, I've written with him, I have seen his genius firsthand. No one comes club, no one comes close to him, Like, there's not you. All right, you might have one singer alive now that's a signed recording artist that maybe can sing as well as he is. Maybe, but I don't even think that exists. Like in terms of male vocalists, I can't in anyone right now that

that can do the stuff he can. Then you combine it with the fact that he knows every single note in the universe and how to combine all of them. He's Jacob Collier level U piano player and keyboard player. You know. To all you musos Jacob Coller fans out there, um, he's as good as John Mayer is on guitar. He's that good on that that little harpsichord thing that he plays, the autoheart whatever that thing is, like there is there are no comparables anymore to the level of musicianship you

had to have in the sixteen seventies. And McCartney told me, he said, the reason you had to be good back then was it was too expensive to not be recording studio time was so expensive and tape was so expensive that if you didn't nail it on the first or second take, you were out the door. So every all your signed recording artists were glorified studio. They were studio musicians like you know most look, I mean, you know,

I'm thinking about Fleetwood Mac. Like any one of them would have been a session player by themselves if they weren't in Fleetwood Mac. You could take apart most of the bands in the sixties and seventies, especially all the artists on the Wrecking Crew era. Almost every artist was good enough to be a session player, Like they were

like interchangeable, and that just doesn't exist anymore. Like I know, like half producers I know don't play a single instrument, and yet they can still do hits because now it's more about taste and like sampling and and it's just a different era. It's a it's a completely different era. I mean writing with McCartney, I as a songwriter, I can't even imagine being in sort of the if I made the John Lennon seat, Like what was it like being up close writing with him? Did he do things differently?

Like is there anything did he approach it in a way that was completely different to you? Or was it just magic? I still kind of couldn't believe as is walking to the door. Is like there was that sense of like, oh my god, I'm about to work with and apparently from his manager, so that a lot of people it doesn't work with him because they might get in the room with him and they just can't like can't function because it's McCartney and he's the single most

successful greatest songwriter of all time, like period, full stop. UM, And I kind of knew that, but I just I've learned. I learned years ago to start telling myself when I'm like I shouldn't be here, Why am I here? How how is this happening? Said No, you actually deserve to be here. I've worked with and I was going down the list of my head going well, who else is

going to work with them? Like I mean, once I got to the end of it, I was like, I was like, ironically, I might be very like the maybe the most qualified or one of the most qualified people to work with him. And so anyway, the first day we were feeling each other out, and um, I was like, play me your scraps, play me like just ideas you have floating around, and let me see if I can turn one of them into a song, which is how a lot of the more UM, honestly older artists, but

more like traditional UM. It's an old school way of producing, right, rolling stones UM. Even with you two, a lot of times, you know, Bono and Edge would just play me jam sessions. Here's a here's a fifteen minute jam session. There's some melodies over here, there's a guitar thing over here, there's

some drums over here. And then it's kind of like I sit down and go listen to it, and I just i'd like, I like tap a mark or whenever I hear something I think is sticky or cool, and then I have to frankenstein that into a song and kind of go, here's what I think is the basic structure of what you did UM in a three and a half four minute song, And more or less that's

what I did on the first song with McCartney. And then by the second day we had more of a camaraderie and you know, and I'm I'm high energy and take the piss out of myself and everybody else, so like I'm not people don't. The people realize pretty quickly, I don't take myself too seriously, and you know, it kind of just evolved and then then by the final couple of days, I just once we had a song mapped out like a basically, I have him go on the piano and just play as I just play for

thirty minutes, and he would he'd play. I'd set the tempo and he'd play chords. UM. I remember I played him Grizzly Bear two weeks, which is one of my favorite songs, and and I just said, hey, um, I just said, hey, uh, these guys. I was like, there's a lot of modern indie bands that basically sound like they're doing their version of what you would have done. So I said, I think it'd be funny to do your version of their version of what you would have done.

And so we had fun with that. I played him some stuff that that I thought was pretty Beatles inspired. UM, and I just hit record man, and then once he'd stumble into a chord progression I liked, I would just I'd be like, yo, just do that again, do that again, do that one, and then we we'd make that into a section and then map out the whole song, and

then i'd help him with melody. A lot of mel melody seems to be when I'm working with the more like like storied, like like beloved acts like the the you twos of the world and the Peters and the Gabriels and the The thing that I know that they treasure is their lyrics, right, and so I really I'm very careful unless I have it just a stone cold killer lyric or obvious concept. That much is very indelibly tied to who they are and their characters. So I

try to help with melody as much as possible. Um, but it's all about bedside manner, like you don't want to push too hard, like my way or the highway, like you know, it's very much trying to serve. You're trying to serve them. And um, you know, by the by the last couple of days, man, the last day I just told Paul, it was like, all right, go let's track the bass. He tracked the bass, and then he'd run to the other start of the room, alright, track guitar. Then he sat down to the drums, did

the entire drums. Then he went over the meltron, then he went over the harpsichord, and like so every single instrument is McCartney um, and and then I'm singing background vocals with them. You know, somewhere there's footage of all this stuff. I was too scared to put my phone out and film anything, but um, he has a footage because there was a camera either. Um. But yeah, man, it was wild. It was my favorite sessions in my lifetime, you know. And his little tiny village in England. It

was incredible. What are you working on now musically that you were the most excited about? Um, Musically that I'm the most excited about right now. I'm trying to think musically, what about what am I playing right now? We have a one Republic song that I'm obsessed with that's extremely different and it feels like a bit of a unicorn that I'm very happy with called West Coast that just it's it's my it's our owed to the Mamas of the papas, and it is like and I feel like

we kind of nailed it. Like it's like it's crazy. It is maybe one of my favorite songs I've ever done in this band. Um, So I'm excited about that. I'm excited about I can't talk about it like I did a lot of the Miley so I can tell you what I have done. I've done a bunch of Sam Smith stuff that I'm very proud of. That's new. A bunch of new Miley Cyrus stuff, um that I'm proud of, uh, you know, through my hat, through my name in the hat. Um on a couple of Baber songs.

We'll see if they make the cut, because I know he's recorded a lot of songs and I'm not holding my breath. But but I did did do one with Scrillis that I'm pretty happy about. Um, I'm I'm excited about. Um what else? What else? What else? Um? I'd like to do something with Calvin Harris. I feel like he

and I would be would do something cool together. Um. And as far as new artists that I'm trying to think of, like new artists in the new artist world, Um, it's so hard because it's like it's like I can't pronounce half the names of the artists are out now, Like there's the new Like I'm just gonna be straight, Like I look at Top fifty and it's six or seven artists that we all know, and then like it feels like already won hit Wonders And like I thought it was just me who felt that way. Okay, Okay,

So I'm not I I don't. I'm not trying to come off like an asshole. I'm just trying to come off like I open it, I click it. I look for the Caigo record I have out right now. I see a few of my friends other songs like my my friends, Um, you know what temposey Monster Strangers, who did that awesome do a leap a record? I see Roddy Rich. You know, I'm actually trying to sign a writer right now who's a big who produced the last Ready Rich single? Like I'm actively looking for um uh

like hip hop producers. I'm trying to get more versed than that. I love hip hop. I started as a hip hop producer, like I started. That was my first two or three years. Yeah, but even all the first songs and beats that I sold in l A, when I was making you know, thousand bucks here, five thousand here, I was doing, Uh, it was it was all like rap. Like everybody was working with was a rapper. I was doing hip hop session starting at ten pm, go until five am, six am. Um. It was a different world.

So I'm I'm getting back into that a little bit. Since since coronavirus I'm I'm just haven't. I haven't been scouring for new artists. I've been honestly listening to old things that make me feel good. And I think the trend in streaming the last four months has very much been that way to uptick in catalog artists since covid Um. Yeah, So, like I put on Best I'm not even like I wasn't live. I don't I didn't grow up in the seventies.

But like I put on the Best of the seventies the other day and I listened to it for four hours. You know, I've been listening to um like Fleet Foxes and like Cage the Elephant and Vampire Weekend and Old Killers. That's my that's the stuff that I act actively listen to old Kanye Um in Rainbows, you know. I mean that's totally sound like the absolute lamist old white guy

in Rainbows, Like let me just give you that quote. Um. But uh yeah man, And then you know, h uh, when I'm hoping that some new stuff pops off the next few minutes, I've been listening to my all my old high school mixed CDs with like the Darkness on it and stuff. Yes, yeah, the best is take your hands off, by woman. Mother fuck they're they're amazing. My last question, if you could snap your fingers, have all of us be over, have everything to be back the

way it was, no corona, no quarantine. What's the first thing you do? Play trip, you'd take person, you'd hug, thing you do? What is it? Um? The first thing I would do. I would take my family for like two months pretty much, and I would make up for the spring break that we canceled. It was going to be the single greatest trip of our lifetime. We're going

to Tokyo Kyoto, um. And I would go to Japan for like two weeks, and then I'd go to the south of France, uh in Italy for like six weeks, and I would ball out the one thing that that and I do it tomorrow. I would do it. I would literally like, give me the playing, give me the give me the hotels, whatever, let's go. Spare no expense. You know, I've worked. I've had an insatiable work ethic my whole life. I worked too hard. I worked too much. Like I'm aware of that, and I don't. Uh, I've

done very well, but I don't. Actually I'm one of those people that's guilty of like not enjoying it enough. I like, I don't. I'm not a flashy guy. I don't, I don't ball out. I don't really spend it, you know what I mean, as they say, And and the one thing that that is justified and worth spending is on experiences more than objects, Like I like art. I've got cool art pieces and like a couple of nice

watches and those things. And I'm kind of like, I'm pretty much you know, uh, I don't sit around obsessing over it. I'm I'm, I'm I'm, I'm okay there, I'm not I'm not sitting around thinking, oh, I need more things. I'm thinking I need more experiences with my family. And I wanted to be able to take I want to be able to take um, you know, uh, the whole family and extended family on crazy lifetime experiences and trips.

So that's what I want to do. Go to south of France, you know, when it's not a million degrees. I want to do the Maharajah Express train through India, UM, which is super dope. It's kind of like the Orient Express but for India, super nice, like like high class old world turn of the century style UM train through through all the regions in India. UM. I want to do the Orient Express. I want to I want to do some more travel with my family is and I would like to do it. I'd like the pandemic to

be done tomorrow so I can do that, right. Thank you so much for your time today, your music. It means the world to me people I love so many others. Thank you so much. Thanks man, I appreciate it. We hope you enjoyed this episode of Inside the Studio Home Edition, a production of I Heart Radio. For more episodes of Inside the Studio and other shows from I Heart Radio, check out the I Heart Radio app, Apple Podcasts, or wherever you get your podcasts,