Loud and Quiet Presents Midnight Chats.
I'll get this straight out of the way. I've got a cold. Listeners, I've got a cold, but I'm not going to talk about that, because there's nothing more boring than hearing somebody talk about being ill or having a cold, especially on a podcast. Welcome to this evening's episode of Midnight Chats, number forty five. Thanks to those of you who checked out Stuart's chat with Graham Coxon from Blur last time out, it was great to have him on.
We've also got a couple of really good episodes that we've already recorded coming up soon, so we're excited about sharing those with you. If you are joining us for the first time on Midnight Chats, do subscribe. If you like what you're here, do RTUs do comment wherever you're listening to this, hopefully you like it. I'm not going to waste any time in getting into tonight's episode. Back at the beginning of March, my guest was making a
quick stop in London. Craig Finn, the leader of the Whole Steady, came by our office, the Brooklyn Bamber in town, playing three shows across three nights in the Capitol, two big ones and one tiny show. It was an approach They gave a go in New York at the end of twenty seventeen and that seemed to work well for them. They really enjoyed it, so they wanted to give it a go here. They are a group who've been coming to the UK regularly for well over a decade now.
Craig talks a bit about their first experiences of being in Europe when their third album, Boys and Girls in America, They're real breakthrough was taking off in two thousand and six, and relatively speaking, the whole steady have slowed things down for them at least a little bit over the past few years. They released five albums in the first seven years that we're together, but it's been four years since their last one, though Teeth Dreams. Fans will know that
Craig doesn't ever sit around twiddling his thumbs. He's always writing, and last year he released his third solo album We All Want the Same Things, that he took on tour and played a number of different types of shows that he'd never done before. Now we've got a knack for recording these conversations on occasions which seem to fit with a little bit of history. The final print edition of Enemy magazine came out on the same day that I
sat down with Craig. He mentions that, and it was also the same day that Loud and Quiet, the magazine that we every month, was relaunched in a new format. So maybe that was just a little footnote in the history of UK music press. You never know, Craig fans won't be surprised to hear was a gentleman. We covered
a bunch of different subjects during our chat. His attitudes to social media, memories of touring boys and Girls in America more than a decade ago, now, why it's important to look after the band's dedicated fan base that they have, and most importantly, I wanted to know about what he orders as part of a classic British roast dinner. So all of the important stuff covered. So here it is. Then I'm off to find some lemsip. This is Craig
Finn from the Old Steady on Midnight Chats. Enjoy, Welcome to Midnight Chats, thanks for joining us, Thanks for having me. Welcome back to London. Obviously you've been here many many times over the years, but you hate to play three small intimate shows with a hold Steady. Tell me about why you're attracted to doing a couple of small shows here. Is it kind of getting back into things after a little bit of time off.
Well, yeah, in some way, I mean we I mean, for one, London and the UK in general has been very important to the band for a long time. It's very supportive, and a couple of years ago, well, we kind of were didn't do much for a few years, and then we kind of came back a couple of years ago and we booked four shows in our hometown of Brooklyn to celebrate the tenth anniversary of Boys and Girls in America, And we did the weekend and we found it as a model that really it suited us.
We liked it. It made sense for several reasons. One is just like not moving the equipment, you know, and having people come to you kind of convenience is kind of awesome. Well, I mean, and it's not just because it's easy. It also allows us to sort of focus on the things that I think really matter, which is the music. The set lists. You know, we could play a lot of different songs where if you're you know, driving to the next gig, tearing it down, setting it up.
So much of your day it goes to that, so it kind of allowed us to kind of focus on the music more. And also there's been such a community around the whole study with the fans for since we started it. Really it allowed us to get people together and you know, do different shows each night and have you know, like people would go to you know, bar pub after and you know, there's certain these things with the fans that that took on its own life that
you know, it's almost aside from us. So we really like those weekends and we repeated it this year and over the summer. We didn't want in Chicago and we sort of said, like this is really something that we like, this this model from the get go. We've won to bring it to London because that seemed obvious like maybe the next place, you know, So it took us a
while to get there. It's not really on an innniversary of a record or anything, but we were able to find this time to do it and I'm excited to be here and the show's sold out and I think it'll be a lot of fun.
So doing three shows in London over the weekend, it finishes with a show at a venue called the Lexington on Sunday, and as part of that, in the afternoon you are going to have a traditional British roast with a bunch of fans. Where does that idea come from?
Well, I think Dave, our manager, thought of it. It was sort of modeling the weekend we did last summer in Chicago where we did two shows in a club roughly the size of the Electric Ballroom, and then we did one at the Empty Bottle, which is more like the size of electings than a smaller one. So we thought, you know, let's maybe do one that's just sort of
almost like too small, you know. But then we said, since it's a Sunday, you know, you can do a smaller Obviously the big shows on the weekends nights and Sundays for the diehards, right, so it's smaller, and we said, well, you know, let's how do we tie it in? And we thought the Sunday roast would be a cool thing that would make sense, and it might be a fun,
you know, angle to it. I don't know how much, you know, there's always a tricky thing about eating and playing music, so I don't know how much eating any of us can do, but we can certainly hang out and I think, like you know, over the years, I think we have settled into some Sunday roasts on days off over here and things like that. And funny enough, up from the Lexington on Pittonville Road there there's a
what used to be a Jury's in. I think it's a double tree now, but that was sort of headquarters for the whole steady for a long time. We'd always stay at that hotel and it saw some of our best and worst moments. So it's kind of funny. We've never played the Lexington before. It used to be something else. I think maybe it was always the Lexington. I don't know, we never played there before, but I've certainly been there a number of times.
So it's me about the traditional push where used to you fan? Then if you have you you on the menu and Sunday you've got You've got classic pork, you have some chicken on there, there's a vegan nut raast.
What what are you going to go for?
I well, if I if I eat, I think I would go for chicken. It seems like the best pre show. Uh protein and uh do you have.
To think strategically before shot.
Yeah, well, you know, I'm forty six at this point, so yeah, more so than ever, you have to kind of think of strategically about your your your food. I mean, you don't want to get up there and feel I feel like my best shows are when I'm hungry, uh and and so like I feel like there's if you're too sated, you know, I feel like you've had enough to eat, or if you're comfortable, like your mind wanders, and your mind wandering is like the last thing you
wanted on stage, because then you're forgetting lyrics. We have a lot of words. So I think like coming on stage a little bit hungry is best. So loading down with food I try. You know, I think most singers probably go for three hours before or something like that. You need to kind of give it a pretty good buffer and we'll see on that one it's but it'll be a lot of fun either way. I do every year I quit drinking for Lent, so but this kind of is right in the middle of Lent. So I
saw the I saw up ahead. So this year I started Lent two weeks early so I could take what I'm calling a European exception.
Taking a hiatus.
Yeah, well I'm going, I'm going my girlfriend's coming out, or were going to Paris and Amsterdam. I'm after so I figured it needed to lent, needed a break.
Talking about those early memories. End up coming over to London with the whole steady going, staying at what used to be the Jewelies in on Pennerville Road. For people listening to this, that's a hotel that a lot of bands often stay at when they come to London for the first time, international bands because it's right in the center of town. It's close to a lot of the venues that bands often come and play, and the hotel bar there. If wolves could speak, yeah, yeah, you're from staying there.
I mean, my favorite memory of staying there was there one morning where I'm sure the hotel one want us to say this, but we were up we'd gone to like the off license, and we were up drinking in the lobby and you know, we were trying to be polite, but we were there until right as the sun was coming up. The manager came over and said, guys, you've actually been fantastically quiet through this, and you know, it
really hasn't been a problem. But you are still drinking at six in the morning, and the breakfast people are gonna come down soon, and I don't want you to scare them, So if you could go back up two rooms now, we'd appreciate that.
That was a.
Reasonable rock and roll interaction. You know, we stayed up late, but we didn't cause too many problems, so that was pretty good. We had such like you know, seven is when Boys and Girls came out. We actually came over once before that. We played one show with les AaB fav at the Islington Academies. I think that's it's just literally around the cool Yeah, but we didn't really have a record out then over here, so we kind of came and never followed up. So there's this one isolated
show that happened and then nothing. But then we came over on Boys and Girls in America and it did quite well and and and it was really a whirlwind playing shows and people showing up repeatedly. In that first year especially, we did like a lot of cool things. We played with kings Lean over at the Historia. Was that what's called legendary yeah venue in London. Yeah, so we got center Town, we got that one under our belt.
You know, before I went down and UH and played a couple of shows at the Borderline that were kind of crazy really early on, and then UH, and then just kept coming back and made a lot of friends here. I think that's the biggest and most important thing. Made a lot of friends that always wanted us to keep coming back.
You already mentioned it, the whole steady community of fans. In a way, it's an unusual thing now to have the type of fandom the whole stead He has, because you have a really dedicated fan base who like to talk about the band, like to share stories, like to
come to see you. Like I imagine when you play this run of shows, they're probably fans are going to come in every night, and like you already said, they go meet up, they have a drink beforehand, they chat about memories, they chat about new records, things like that. How do you view that fandom of your band. Is it something that you really cherish and always want to nut, shows that you protective over it.
Yeah, it's a huge part of what we do. I mean, it's things, it's how we kind of arrange things, it's what we think about, it is what we talk about. It was from the get go something we wanted to foster. I was really into hardcore growing up, and I thought like, what if there was some of that community, the scene, so to speak, in a band that wasn't necessarily hardcore, like, you know, more a classic rock band, but had this
kind of thing. And pretty early on when we started playing shows for whatever reason, people started to travel, you know, and you'd say like, wow, that guy's been in the front row of four nights in a row. Let's see if he's here tomorrow, and you could kind of pick them out. And then a really cool thing happened at some point where there was a message board where fans would talk to each other, but everyone's using handles, you know.
So someone went to a show and said, I was there, but I didn't know what any of you guys looked like. And so someone else said, all right, well, I'm gonna put together T shirts. And it was called the Unified Scene, which is based on a lyric and if you give me your number, like you know, say you want number thirteen, and you give me your size, I'll send one to you free. And there were several runs of these where
people sort of payd it forward. Someone said I'll do the next round, and you could make a roster and you'd say, like, I'm number twelve, so I'm gonna wear my shirt at the show. If you're looking for me, you can see on the master list. Oh you know Craig Finns number twelve, or you know dog Guy or whatever you know, and you say, hey, dog Guy and I'm like, yay, you know, I'm Catman or whatever. And so then they know each other. And then that really grew the community a lot, and people really felt a
part of something. And you know, this weekend, well in Brooklyn, we had people from all over Europe, New Zealand, Australia, all over the US, Canada that flew in. They see each other, and you know, I know there's a lot of Americans in town tonight. There's people I know from Norway, from New Zealand, people from all over the world coming in this weekend. I think it's as much to be a part of that as to see the band, you know,
I mean, and that's something we've deliberately fostered. I think is very important.
When something as organic happens like that, has ever been like an instance of like a whole steady wedding that you're aware of, or anything like people that have met via coming together over the band who are still coming to shows together or anything like that.
All the time on social media people say send me photos of their wedding and say, like, you know, our first show was in Louisville, Kentucky four years ago, our first date. You know, it was a show we had an engagement of two fans in Chicago that we kind of facilitated from the stage, that kind of thing. So, yeah, there's old steady weddings, there's old steady.
Yeah.
Divorce yeah, well they probably will happen some well statistically, right.
When I was reading about the shows that you played in Brooklyn at the end of last year, you made reference to a guy called mosh Pitch.
Josh. Yeah, who's mush Pitch Josh.
Josh is our merch guy and Josh Gourdon and Josh's has worked for us a long time. He's become a great friend. But he had done merch for kind of a lot of more like Hate Breed and kill Switch, engaged some kind of heavier bands. Yeah, yeah, heavier bands. I think he so much has said when he started working us that he was happy to be on tour selling tea shirts, but the music wasn't really his thing.
But then cut to a few months later, he declared Hold Steady was his favorite band, and he got a Hold Steady tattoo, and now he occasionally, if the night's right, joins us on Stay Positive. He's able to kind of provide more of a hardcore feel. So this this song is kind of a homage to you know, eighties hardcore, and he's able to kind of bring it a little harder than I can. Rough voice, He's got a gruff voice, a gruff exterior. I would say we.
Talked a bit about the Hold Steady community. What about the Hold Steady yourselves as a band obviously where what fourteen fifteen years into the bout?
Yeah? Fifteen yeah, how does it still feel exciting?
Way?
He has to be in the Hold Steady every day. It does.
It does, and you know, partially because of a lot of it's because of the community. But you know, I feel like, you know, it's changed a little bit over the years. Obviously everyone's changed as people if you have to in fifteen years. But I think one of the most exciting things right now is that Franz went away for a while and we got Steve Salvage on guitar, so we added you know, Franz left, we had another guitar player. Now Franz is back. We're a six piece
lineup and it's really like, I'm not pandry. It is the best Hold Steady. So it's like we're in twenty eighteen and where we have the best lineup of the whole Steady we've ever had. So that's incredible. To have both Steve and Franz on stage is a blessing, and we were able to do some new songs, which is exciting too. So I mean, like it feels really good and we aren't doing two hundred and fifty dates anymore,
but that's fine. You know, we've done that and I think that, like what we're doing now makes a lot of sense and it has been really rewarding.
When you have a dedicated audience like you have with the Hold Steady, what fact does that have on your approach to writing new material. You've made six albums, so do you worry about the reaction that you might have from that that audience or do you think, you know what, I can only make music for myself or ourselves, right, the if we make a divisive record, if we do something a little bit different, if we split those people's opinions on new stuff, that's okay, that's pompossible.
Being in a band.
I think more of the latter, I think, and I guess I think that. There's my view on everything is there's some always more songs. When we started the whole study, one of the things I was kind of adamant about, or talked a lot about, was to keep music coming. And so, you know, not quite in the guided by voices pace, but something you know, an album a year was my and that's what we did for the first
four years. Yeah, And my thought is like if you wait too long, then you kind of have to come up with a masterpiece, right, you know, you have to come up with Sergeant Pepper's or something. And instead you can just be like, hey, we got ten songs. You want to hear them. So what we've done the last two you know, we just we put out we recorded four songs in November, we put two out before the show's in Brooklyn. We just put two out this week.
That's kind of connected to that logic. It's like, hey, here's two more songs, and you know, the way we've listened to music has changed a lot, with Spotify streaming all that that, it doesn't I think it's just kind of makes more sense at this point to not be going off for a month to record this album and then wait eight, you know, seven months to ramp up to put it out and then go on this tour. I think everything else has changed, so I sort of feel like our outlook has has to change too, about
how we put things out. And I don't know, I feel like you can look at it both ways. But having six records out, you know, and that people seem to like, or our fans really like, I don't think there's much we could do that would like at least erase those six you know, like you could have a misstep, but it wouldn't be huge.
Have you always been somebody who embraces change and see yourself as adaptable. You mentioned it there, the evolving ways that people consume music, they listen to their music. Even this week, there's been loads of chat about that in the UK because obviously in the music press, arena enemy the print magazine is that shoe comes out today.
I just got it.
You picked it up yeah, okay, probably looks different from the enemy that you first.
Yes, yes, quite a bit skinnier.
Yeah.
And it comes in the same week when other magazines have relaunched. Kerrang for example, was relaunch this week Loud and Quiet. We've literally just about our relaunch issue today. So that's things are always changing. Do you find that do you concern yourself about change or do you just think move with the times and you've been and you're quite lucid about that sort of thing.
Ah, you know, I wish I could say. I was like, I certainly don't see myself as a maverick or someone on on the on the forefront, because I think personally I'm slow to change. But I think you know, you're just sort of if you're out there, you can see
the reality of like wow, you know. I mean even like when you put out a record, people consume it so quickly, like you know, you work so hard, and then people are like, all right, one's the next one, And I was like, well that one is only ten days old, you know, Like so so maybe it makes
more sense to give people. I mean, I always like love bands, especially from over here from the eight like the Smiths would be the perfect example where they kind of had these singles come out and they were they looked similar, and there was like you know, or the class you know, like where you're really the singles thing and maybe you'd heard half the album by the time
it came out. But I like that. I think that's exciting, and there's B sides and there's that's an exciting model and maybe something that more bands might go towards rather than this album thing, because it feels like right now, it feels like on the on the business side of things, like a lot of bands get a lot of press the week their record comes out, and then someone else's record comes out, So to have a steady stream and I also think that maybe, like with the way that
we listen to music, would Spotify or the streaming, having a body of work might become more and more important.
You know, So somebody discovers the whole steady tomorrow and they go on Spotify, they there is an opportunity to listen to eighty songs if.
We put it all on shuffle and you know, you're all afternoon.
You know, is that even a small part of you that thinks, oh, but I meant I want people to listen to those ten songs in that order, because that's the narrative that runs through that record.
You do, but you realize that you're not in control of that. I mean, I think like when you if you were to put out an album like you know, sequence it, put it, record it, sequence it, put the artwork together, all that. Of course, you want people to experienced it in the way that you've worked towards. But once it's you know, like you know, when I think about Almost killed Me, Boys and Girls of America, Well that those records are ten years old. Now they can listen,
you know, if the song comes on the jukebox, I'm happy. Yeah, not when I'm there, you know.
Isn't it.
Most people feel like they want to just become invisible if they're in like a public space, in a shop or in a taxi, in their radio and it comes on the radio.
Does that feel it sounds.
Like I can't think. It sounds like I'm yelling in my own ear.
In between releasing albums with the whole study, You've made three so records you it seems like you rarely come off tour. Is there a year in the last fifteen or so where you haven't been out and played shows.
No, No, I mean some have been busier than others. But you know, I mean one of the reasons for the solo stuff is it allows me to work at the pace which I want to, which is a lot, you know. I mean there's the thing about getting a band together where the whole study is very much a band, so you know, like it doesn't happen unless we can organize, yeah,
organize it. So you know, with the solo records, it's kind of like I can just sort of record, you know, and make it and go on tour, whether it's with a band or myself solo or and allows me to do that, and it allows me to do musically different things too.
And going out on tour last year interesting turbulent times in not just American politics, international politics. What was your experience of getting out on the road last year. It was quite a unique year.
So when you were out and.
You were having conversations with fans or when you were traveling between states and big city He's what was the kind of feeding that left you with last year?
I did sort of an interesting thing. We did three different tours that were living room tours where we went into people's living rooms, and we did two over in the States, one in kind of the US, mainly the northeast, and one in the West coast, and then some over here too. And when I say living rooms, I mean
some living rooms. Especially over here, there were kind of more non traditional venues, some living rooms, but also like art galleries, record stores, there was some offices, you know, anywhere people out of space, and those were very interesting. And the first one happened during the inauguration of Donald Trump for the United States, and as well as the
first Women's March. We're all on that same weekend, one weekend, and I remember those felt very interesting because to invite people into your living room to hear music is you know, strangers is sort of revolutionary act on its own, and it felt made me feel better, and there were nice moments. I mean, I think the record I made last year,
we all want the same things. It was recorded and titled before the election and all that, but or at least mainly, but it was certainly a reaction to the election cycle in part, and the idea that it was supposed to be an empathetic record that a lot of people, you know, were feeling like they weren't hurt and trying to understand about people who kind of might be throwing some sort of hail Mary. But you know it's scary.
I mean, you see, you get to travel a lot, You get to see places that you wouldn't you know, you might not go on vacation and try to understand at least. But you know, I think we're all we're living in divided times, and I think it's seeping into everyone's art on some level or another.
Did to get a feed that people feel isolated because it's very easy to kind of live your life online and expect you express or not express your kind of feelings on the subject. But then coming to a show and being amongst other people is something different, isn't it. Yeah?
I think that's why I think as we go forward, these shows are more and more important. I think, you know, talking about either be the living room shows that I did last year, or the community that's around the whole study that getting in a room together with a bunch of people who like love rock and roll or I don't know, your football team or whatever it may be, is more and more important than it ever was because we can kind of fool ourselves into thinking or talking
to you know people. I was talking with someone, Brian Koppleman on another podcast, but a friend of mine, and he was talking about a friend of his that had passed away, and he said, you know, we hadn't gotten together because I was under the impression we'd caught up. Because they saw his Instagram and he could see you know, face whatever it was. They're like, oh, he's in, he's on.
You know, he went to the beach this weekend. But you know it's different than so I think like it's almost something that we have to work on now.
I think we're all guilty of presenting like our Internet version of ourselves.
It's almost it's social media is pr almost inherently right, Like no one's like clean the bathroom today, I want to see you know. It's like, no, I went to the beach, I climbed this mountain. Here I am at the top of this mountain, this amazing meal. You know, it's not just like you know, I ate what was left over in the fridge, want to see a picture of it. No one ever does that. So it's always this most heightened version of ourselves.
So it's important to step outside the front door.
And I think we're being in person is really really important. We all have those, Like, you know, I didn't know about that guy at first, but you know, it turns out he's really cool. I ended up talking to about this party.
You know.
I think that that the more the more of those we have, I think the world's probably better. But it's hard, Like, look, I'm not saying I'm above it. I'm I'm I struggle with it very much.
So it's a weird thing when you will naturally avate person. Yeah, but you exist in this space where you're almost expected to share certain things about you, and just by default, information is out there about you. Yeah.
Yeah, And so it.
Feels like it's kind of this awkward thing, isn't it, Where you're sort of forced into having to sort of present something, but maybe you don't want to present too much because ultimately you're just kind of like, wow, it's none of your business.
Yeah.
Well yeah, And I also like that everything's kind of permanent. So if you say like I don't like this, well, you know, you could say like I don't like this baseball team, and then someone you know that's out there, so then like two years later, it's like I guess you don't like that baseball team, and it's like, oh no, like this is what we're talking about still, like you know, like so you become kind of guarded in that sense.
Let's talk about the whole study then, and your plans for this year. You're hearing London, you're going to play these three shows. What does the next six months or so old for you? You're going to head back to Brooklyn and continue recording you know, tracks together when you fit inclined or is their plans to get together and make the next body of.
What it's all figured being figured out. I kind of like what we're doing now, it's just but we don't have any songs, so we have to write those first. But you know, I kind of like this approach we've been doing. I think I'd like to do more of these weekend kind of things. We don't have anything like to announce my ideas kind of like to proceed as we are, but with more of them, Like I'd like to go to more places, but it has to make sense.
Like obviously the cities like New York, London, Chicago are probably the ones that kind of can support it.
And with the numbers once you've done the traditional British roast, you're going to have to go to Rome and do the pizza party, to go to Australia and have the barbecue.
You do realize what you've started for.
Yeah, that gives us something to shoot for. Maybe we could partner with the Sunday. Maybe this is maybe that's something. The Sunday could always be a culinary.
Adventure, adventure in international cuisine.
Yeah. Yeah, Just finally, I once to talk to you a little bit about lyrics, because over the years, and rightly so, people have focused very much on your lyrics. I'm interested to know where do the seeds of the ideas come from. The often you paint pictures of characters and so does that come from people watching, does it come from reading? Does it come from just observation? Where does the process begin?
On the above, I've always been a big reader, especially of fiction, so I've always wanted to tell stories and I do. I'm a terrible eavesdropper. So you know which is New York is like the most amazing place to live.
Just get a coffee in yeah, and sit on the sidewalk.
Yeah, like I'll like, yeah, in the park or in the subway, especially like the Big Mover is you put on your headphones, but you don't put it on any music, you know. And so I've gotten a lot of stuff through that walking just walking around, motion travel, that kind of thing. Signs, like seeing signs on the thing, I like, really specific and you know, like things that suggests stories.
I was funny. I was like, my parents didn't have a lot of records, but they had some when I was growing up, and one of the records they did have was Paul Simon's Greatest Hits, and I used to listen to that record a lot. I've never really thought of him as a big influence, but I was about a couple of weeks ago, maybe a month ago. I was walking somewhere and or I was in a store and they're playing that song Slip Sliding Away, you know, and there's a line he says, and it's in like
the second verse. He says, Dolores, I live in fear. And I said, oh my god, that's like bringing up a woman's name in the middle of the second verse. That's like that's something I love, Like, you know, like like that put a name in the story that wasn't that, you know, it's not like that's the name of the song. That's like, it's just this detail, like we didn't know this woman's name until and I was like, that's that. I got that from that, you know, like and it was.
But I really do like kind of manipulating the ideas of specifics in generals, you know, in general. So you know, I think a lot about that, like do I name the street you know? Or do you say you're on the street? And creating a balance. There is something that is always like kind of a big part of my work.
Have you ever thought about taking yourself to another country to make an entire record to just for it to reflect that place? I guess I'm thinking of like a band. I mean, an example would be somebody like maybe even the Food Lights did this a few years ago, where Dave grow took himself around the country sonic highways, and he went to a city, didn't he any And the songs were productive the people that he'd met and the
sounds of the city and the buildings and the place. Yea, So is that ever been like attempting?
I've thought about that in uh, not so much other countries, but like sort of smaller US cities, you know, places that people don't always go. You know, I do get really inspired when I go to a new place, but I've never done that. But that might be I've always thought that might be a good thing if I get writer's block, But I've never gotten writers block so far.
Touch weird that doesn't happen. You're a fan of lyricism in general, lyric writing, yeah, including you know. I've heard you speak in the past about your admiration for the lyrics and hip hop. For example, what are some of your favorite rappers some of your favorite hip hop records.
Oh, I feel like I'm really out of touch with with hip hop now. I used to not be, like when I was really in touch with When I was in Litropoolar my old band in the nineties, there was a group rhyme sayers coming up in Minneapolis that that were kind of like parallel to us that we're friends
of us, friends of ours. So I was like knew them, and that was an era of hip hop I knew, like felt like I was more inclined to the third the Wu Tang forever, I think is like to me, like like what lyrically one of the most insane and cool records. I tend to like very instructional drug wrap, like a ghost Face, Killer Fish Scale, other clips.
You know.
I like to find out how to break things down and make a profit, So anything that kind of details that for me.
A business learning with your hip hop. Yeah yeah, Well listen, Greig. I hope you have a great weekend in London. Enjoy the three shows you're playing, Enjoy your Sunday roast. Thank you, and we look forward to catching up with you against THEE.
Thanks so much for having me.
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