What did the ocean say to the beach? Nothing. It just waved. Nice. Okay. It's pretty good. You want one last one? Yeah. Yep, please. Where do you learn to make a banana split? I don't know. Where? Sunday school. Oh, man, that's good. Welcome to Smartless, everybody. Welcome, everyone. Smartless. Smartless. Smartless. Smartless. I've been watching all these interviews with William Freakin, who direct the movies that we can't name, but amazing interviews. Are we celebrating a life lost?
Yeah, we are. And he was a tremendous artist and just one of the funny things I just read this thing. He's talking about going to this, speaking to these students and the students. And I'm about to shoot my student film, what format should I shoot it at? And he said, who gives a shit? Is that true? William said that. Shoot, shoot, story. Oh, maybe, like, maybe, like, he directed a scary movie that I can't watch today because it says so scary. Hey, Sean, I know we talk about this a lot.
But it's enough, all right. From me, from my mouth. What? No, you being in New York. I know. I know. So dumb. Can we have a date? No. Now, I'm sure this is going to air past the day because I feel like we're close. How much longer? Three weeks, 21, Sean. Sean, I got sent a picture yesterday from somebody whom you do not know, my friend Elizabeth. And she sent me a photo of her, her partner sent a photo of her. She didn't want to leave her seat.
And he took a photo because she was out your show in the balcony. And she was so moved. She was out there for like 20 minutes, like just reacting to it. She was so moved by you. So nice. That's your story. Yeah, wow. It was too nice to go. I mean, that's so sweet. It's, please tell her, thank you. And wait, two things, though. One is Scotty being stuck here, Jay, to your point. Treated me to a helicopter ride the other day. Will? Yeah. Hopefully he wasn't flying. No, he was not flying.
Okay. And we flew so close to, because we haven't left or done anything in six months. Um, Lyric apartment theater, apartment theater. And, uh, and so we flew around and the helicopter came really close to the Statue of Liberty. Like really close. It was unbelievable. I never seen it that close. So Scotty just said, hey, let's go take a helicopter trip around the city. Yeah, because we haven't done anything just to do something. Just to tell you how it sounds. Sounds great.
Yeah. Have you ever done that? No, I would love to. Now, I'm a little, um, I'm not a huge fan of helicopters. I love their mobility, their flexibility, and all that stuff. But, you know, there's zero glide potential. I get it. It's the glide. It's the glide. What do you mean? What do you mean glide? Well, I mean, it's sort of a, it's, it's, it's, it's, it's fool's comfort anyway to think, you know, the plane has glide potential.
If the, uh, if the engines go to shit, well, the guy told me that, the guy's like, because I'm like, what's the plan? He's like, oh, no, if the engine started the trip, we were in the air. Uh-huh. And I talked about it. I shouldn't have, because it freaked me out. And he goes, look, if the engines fail, and they won't, he goes, you just glide down to the bottom. TheOidamente Toni Mitath explains that that potential so is the, the helicopter does it. Yeah. Then the helicopter. The helicopter.
And the helicopter what? What kind of helicopter were we on? Did it have a bunch of, do there any wings on it? Or a bunch of birds, usually? Did he never seen an Brain or did he have a ein, just falls, man. Yeah, I mean, there's, there's some physics and, yeah. So anyway, I mean, a listen, um, I don't think that's how any of us, none of our listeners, none of us, that's not how we're going.
No, I I don't you mean, when the thing draws off took off and you know, wobbles when it takes off, left to right, left to right. And it's like, it's pretty scary. You're gonna choke on a want on one day. And that's how you're gonna go. It's like, Scotty, I can get one more in here. Give it a minute, man. And that'll be it for you. Just a word to want on. It's so fun. Sorry, you kidding? That sounds pretty, he's gonna choke on the fucking heel of a loaf of wonder. He's like, well, still bread.
I'll just have the heel, just a little bit. Hold it on, it's hot. You make bread balls, or you tend to center up the white bread, and you just, we'll ball it up with a something. Look at it, it's a bread meat ball. I collect heels. I just make heels. All my sandwiches are from heels of loads of bread. We ate, we ate tortillas, just a tortilla. You know shit, what's 9am? So that makes sense. Hey, listen to you. We never make bread balls. Hey, you know, I love me some music. I love music.
And I love all kinds of different music, man. I always have. I've always had a, I like to think that I have an eclectic taste because sometimes I think, well, I'm just kind of a dinosaur, sort of 90s indie rock guy, but I'm not. I'm kind of all over the place. You're the one told Paul Simon to go down to Africa and do Graceland, right? You're like, inspiration to explore these sounds.
But I've been into, you know, we've had a lot of great musicians on the show and I've been a friend of them all, whether it's from sort of new wave or, you know, whatever to classic rock and roll to, you know, I don't know, just everything, think about it. And today's guest is such a representative of an entire genre of music that they kind of inspired. So many musicians and not just of their genre, but of all genres.
It's so rare when somebody from one genre is able to inspire people across all different types of music. You got Madonna. I don't believe this person. This person is, he's, he's, he's, he joined us from overseas, born in Denmark and then moved to the US and formed a band that has sold nearly 120 million albums worldwide. That's my generating more than 15 billion streams. They've from Denmark?
Yeah, I mean, nine Grammy Awards, two American music awards, multiple MTV movie video awards, 2009 induction into the rock and roll hall of fame. Just all over the place, they've done it. All they played with everybody. This is none other than one of my all time faves. It's Lars Ulrich of Metallica. Good Lord. And now the high-tech reveal, see if I can do this. Oh my God. Oh my God. No way. Oh my God. Also known as a high, my name is breadballs. I like breadballs. Breadballs. Breadballs.
Breadballs. Oh my God. Or otherwise known as Michael Cooper's best friend. How's, how's, how's, and that's right. Michael Cooper. He's the texting me as we're speaking and he's texting you. You know, now Michael Cooper's got one of these ailments that I think affects a lot of people on the next thing. Tell us who Michael Cooper is. He's the friend of yours. He's the guy I used to work with. Sure. And, and now he's working with fans here, folks, than me.
But he's, he uses the send button as a period when he texted you before. That's a, yes, that's a 23 text showing up at one time. This is a normal five minutes from Michael Cooper. But they're all sent with love and kisses. I love them. And pictures of himself driving. How many pictures of Michael Cooper do you have of him driving? Driving, showing off a watch or a new hairstyle or a new set of glasses. You know, I'm not on, I didn't sign up for the Cooper fan letter. I love him now.
As long as you have an iPhone and a text message thread with him, you're, you're in that fan club. I love him. I just want to say what, I just want to say one thing that, and I'm sure you guys have heard this before. But you don't need guests on your show. Just the seven minute bancer there before the reveal. That's, that's plenty. It's all done. I've taken, I've taken some potential Metallica titles away from this. I think bread balls is the one to be. Pretty. I like zero glide potential.
I'm not. That sounds more like an album title. Great hard rock title. Yeah, I think zero, that's, you know, that's like, well, they did it before. It's called Led Zeppelin. Oh, yeah, right. Zero glide. There's a lot of bad jokes in there that we should shy away from. And then the last thing I would say also, is it Madonna? I like that one too, but that's she's the mayor of all genres. Dude, dude, Lars, thank you for doing this, man. It's so great to have you right back at you.
And I had the good fortune of hanging out just a couple times with Lars a few years ago through mutual friends. That's right. And, and I've always, and of course, I didn't want to, you know, drill you with it at the time and, and bear as you have always been such a fan of Metallica and your music. And, and one of the things that I did not know, and I guess a lot of hardcore Metallica fans did know this was I didn't know that you actually moved to the States just to play tennis.
I knew that you were a tennis player and that you were competitive tennis player, but I didn't know that that was the whole purpose of your move was to play tennis. Is that true? Whole purpose was to, so my father, I grew up in Copenhagen, Denmark, as you guys circled and, and you were born there? Born, yeah, born and raised in Copenhagen. And my dad was a professional tennis player. And I come from a family of tennis players, so his brother was one of the other greats in the country.
And at one point, the, the Davis Cup, the Danish Davis Cup team was my dad, his brother, and the captain was their dad. So it's a long line of, of, of famous tennis greats in Denmark. And I, of course, wanted to follow in that, in their footsteps. So when I finished school in 1979 in Denmark, I ended up in Braydenton, Florida. The first year of Nick Boleterra's tennis academy. No way. And you moved, you moved because of tennis? Is that why you moved?
Yes. Absolutely. Nick Boleterra, tennis camp, which, which at the time, by the way, was revolutionary. It was like the real place where a lot of these famous young tennis dedicated tennis players went right. It was like the first of its kind, at my rather's. And it was also a transitional time in tennis where, you know, up till the mid 70s to the late 70s, the best tennis players all over the world were the ones that had the most talent.
As it shifted in the late 70s, the best tennis players ended up becoming the ones that worked the hardest at it and played, you know, six, eight hours a day and doing drills and worked in the weight room and, and, and all this type of stuff that there was, it was a seismic shift in the whole setup. And, and I went the first year to, to Nick Boleterra's.
And then after that, we moved out to, to Southern California, ended up in Newport Beach, where I was going to attend Coral Del Mar High School with my dad's friend, the tennis great from Australia Roy Emerson, his son Anthony. Wow. And so, and Denmark up through those years, in my junior years, I was ranked in the top 10 consistently in the country.
And when I came out to Southern California and went to Coral Del Mar High School as a junior in 11th grade, I did not, I did not, this is true story, I did not make the fucking tennis team. I was not, I was not one of the, I was not one of the seven best players at Coral Del Mar High School.
Geez. So, the whole tennis dream and following in, in the Ulrich footsteps that came crashing down, no pun intended to the zero glide potential there, but that came crashing down in one afternoon and then rock and roll was hovering, hovering in the trenches and took over. Wow. But wait, so Lars, you make this, I mean, and you sort of, you talk about it very openly and the fact that yeah, I knew that you had this, this, come from this dynasty, this Danish tennis, dynastic family.
And then you move to, you go to Nick Bolleterri and then you come to Southern California. And like you say in one afternoon, like all of a sudden, what they put, you try out, they put out the list for the tennis team, you're not on it and you're like, well, there goes everything. Like, that was that. Yeah. I mean, you know, I've heard myself obviously tell that story 9,000 times. So it gets shorter and shorter and becomes more of a sound bite, but it is pretty much what happened.
Music was always hovering and music was my escape away from the discipline of tennis. And I'd been playing both guitar and drums in Denmark and, and, you know, as you, I was 17 at the time as you, you get a little older and you start drinking a few beers and looking at the girls differently and, you know, blah, blah, blah. And then you just change and, but I was, it, it, it pretty much came crashing down. Wait, did you teach yourself to play guitar and drums?
Or were you doing it like through a, in school in Denmark? In school. Yeah. What language are they speaking, Denmark? They speak Danish. And you, he's talking to a doctor for a second. Sorry, Lars. So sorry. So sorry, dude. And you still speak it. Just, yeah, it's not a third dance. Yeah, yeah, I have to take a dance guy, a 100% dance or your mix going out. Villet, you're a dance guy. You going up?
I'm still, I'm still proudly, you know, there's only five million of us and we keep it, we keep it loud and proud. And I'm still a Danish citizen action and still travel on my Danish baths. Wow, that's so cool. Yeah. So, so then, so that you learn these two instruments in, in school, it wasn't a, it wasn't a music school, was it? No, no, it was a Danish public school. Pick an elective and, you know, band was one of them and you gravitated towards those two instruments. Was that, that simple?
Ish, yeah. Yeah, I mean, I was, you know, my dad, my dad's passion away from tennis was also music. So I grew up in a very, you know, musically rich household, you know, there was a lot of, you know, all the jazz greats from, you know, Miles Davis to Cold Train to Charlie Parker to Dexter Gordon, all these, you know, and a lot of Hendricks and doors and Rolling Stones playing out of my dad's music room all the time. So there was a lot of music in the, in the family and in the, in the household.
Was there a particular band or, or drummer or guitarist that, that got you to want to, you know, jump into those, those two instruments? Or was it just, when I was, I started going to concerts in Denmark early. I was nine years old when I went to see Deep Purple. Oh, wow. For the next couple of years, like 74, 75, I saw bands like The Sweet and Slade and Status Quo and Kiz came to Denmark in 76 and then it started grabbing, you know, going into Thin Lizzy and Rainbow and so on.
But Deep Purple was my first real music experience and has always been the North Star for me. What about drummers? Who are the drummers that you were like? Yes. Ian Pace from Deep Purple, the guy with the, the round glasses. Who was just insane driving Deep Purple. I gravitated towards also Phil Rudd from ACDC who's obviously very different than Ian Pace. But he was a, a huge, huge inspiration. How did it go over with your family that was, you say, we're a big tennis family.
I'm assuming that there wasn't a lot of hard rock happening in the car on the way back and forth to the court. Yeah. How did they feel about all those a lot of rock? Not of anything happening in the car because I bite to school, starting in second. That big sort of career pivot for you and lifestyle pivot for you. Were they cool with that? Yeah, my dad was very, was very forgiving with all that. Like I said before, he was, his passion was music.
He actually wrote about jazz music for some Danish publications and at that time, excuse me, in the 50s and 60s, especially Copenhagen, but Stockholm to a degree in obviously Paris were just the European, you know, havens for American jazz music. So many of the American jazz grades came to Europe, spent a lot of time in Scandinavia. People like Ben Webster lived in Copenhagen, Dexter Gordon lived in Copenhagen, John Chi Kai, but Copenhagen was very much a hotbed for jazz music at the time.
Growing up to like, kind of at Jason's point, like, were you, your parent, because I was like, when I, we grew up in a super small house and I was always playing piano, practicing piano, I drove everybody crazy because it was so tiny. How in the world, like Jason and Will, what if your kids just, I don't, dad, I want to play drums. I throw them out. I mean, that going on in the house constantly. I throw them out. Patrick, we got the electric ones now with the heads. Yeah, I didn't have that.
Yeah, that's right. That's true. No, we didn't have that back in the day, right, Lars? They didn't have those back in the day. No, we, I had a room down in the basement where I had a little music room where I had my records and my record player and I got a drum kit, a small piece together drum kit down and I could bash away down in the basement and do my thing down there without pissing off too many of those. Oh, good. I can't imagine that going through the house all the time.
It's great that you did it and never done it. Now Lars, you know, us, us soft, you know, actors, we fantasize about life on the, you know, you're pretty soft too.
Well, you're hard rock, you know, traveling and touring and having all that fun and what you look so good, so healthy, so not like you've been on the road in like arguably the biggest rock and roll band ever for years and years and years has the, has the touring change now in the past decade or so such that you don't look like death warmed over. Like what, how is it, how is it all working now? You guys get to bed early. It's now a shame. Another good title. It's not 30. It's not 30 beers.
It's just 15. Yeah, it's a protein shake, right? It's a, some mindfulness. Yeah. Well, in the short answer is yes, you know, we just played a couple shows out at MetLife Stadium on Friday and Sunday here in New York. I'm checking in from and one way up to Montreal in a couple days. Right. Right now we're playing, we're playing every Friday and Sunday for the rest of the next, for the rest of the summer. We played two shows in each city. So the travel is less and it's a weekend thing.
And it is, it's protein shakes, it's tofu, it's vegetables. Yeah, yeah, yeah. It's, you know, if, if, if, if my 20 or 30 year old self was on this podcast with you guys, he would be sitting going, what the fuck are you talking about? But you know, 42 years in, obviously you have to, to make these changes and growing up in a, you know, around tennis and growing up around sports. That's not that difficult for me to be rigid and disciplined.
Yeah. I barely drink, I haven't had a drink in three months. I'll have a half a class of champagne and, and that's it occasionally. But other than that, still playing tennis. I still do play tennis. Yeah, I love playing tennis and I love sports and I love being engaged and I work out. I'm, they have me chained to a peloton. Most of the time when I'm not doing podcasts or playing watch shows. And so I do work out a lot. That's great.
But it is, it is true about the protein shakes and, and we have a, we're fortunate to have a, you know, our, our great chef Simon who travels with us and hands us all kinds of, of, of healthy and, you know, it's a healthy drinks and it's a, it's good. And listen, we've, we've lived it, lots of, of crazy fun. I mean, also we started, you know, James and I met when I was 17. He was 18. We started Metallica.
We put our, our first record out when we were, when I was 19 and we were touring the world 19 and 20. So we started early. It's just so amazing. And, and you know, you got to, you got to, we got a lot of that fun stuff out of the way and I can access a good part of those memories when I want to. Some of them live really far back there behind doors that, that are hard to open and probably shouldn't be opened.
Yeah. But nowadays, you know, I'm knocking on the door of 60 here later this year and the only way to play shows like we just did out at, at MetLife Stadium here is to be in the, the best shape you can be. So, you know, all kidding aside and clichés. Yes, it is obviously pretty different than it was 20, 30 years ago and thankfully so because the victory now is the perseverance and being able to still do it and that's kind of what motivates us.
Yeah, I bet it does and I bet you can't imagine, I bet you're speaking about your younger self. I bet you're 17 year old self when you met James Hatfield and you guys formed Metallica and can imagine that all these years later, you guys would still be fucking rocking out and going and playing stadiums around the world. Yeah, it's pretty crazy. We've just, we've been playing. So I looked into it the other day. So we've played out it. It used to be called Giant Stadium.
Now you have to say MetLife so you don't get into a whole divisive conversation. That naming out Giant's and the Jets. You don't want to, you don't want to do that around here. But we've played, I just looked it up. We've played Giant Stadium nine times and we've had an obviously a relationship with a greater New York tristate area, whatever you want to call it for four plus decades. The two shows we just played this weekend were the two biggest shows we've ever played in New York City.
So that's going to make it. So that's not a, that's not a, hey, look how great big Metallica is or whatever. That's about the music scene. That's about post COVID. People want to come out and live again. That's about hard rock still. But they're not coming out for everybody. You deserve credit for the longevity and the relevance and the quality of the music and your relationship with your fans and all of us up. Your mental health, right?
Because if you guys were a disaster, people would probably get turned off by if there was a bunch of infighting and all that garbage. So you've kept it all together. Thank you. I appreciate that. But I, you know, I think a significant part of what drives us to this day is that we're kind of led by the mantra of our best days are still ahead of us. And our favorite record is the one we haven't made yet. And that we actually made sure and professional at some point of this for real one day.
And we will be right back. Smartness is sponsored by BetterHelp. So listen, unless you're a robot or just visiting from another planet, you've got thoughts. You've got thoughts that sometimes are not that friendly and are difficult to process. Now BetterHelp is right there in the title, right? Right there in the name. You can get some help to better process these thoughts at BetterHelp. It works. Do you ever find yourself just as you're trying to fall asleep or brain suddenly won't stop talking?
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And now back to the show. You know, I want to kind of give into a little bit about you and James, because you guys met at such a young age, talking about like the, you know, and that you seem to still have by virtue of what you just said. You still have this like drive to like create something new and you're still excited about that creative process. What was it about that when you guys met at such a young age with coming from such different backgrounds?
Yeah. What was the thing that clicked for you guys creatively? Yeah, because before you answer that, just to piggyback on that, I think it's fascinating. But we'll just said that at such a young age, you found somebody else that wanted to take it as serious as you did. What are the odds of that, you know?
It's every time people ask me that question, I always have to throw in that the energy of the universe is a big part of it because, you know, like you're saying, the two of us finding each other, you know, what we had in common, there were so many things we didn't have in common, but what we had in common was that we were both sort of loners.
We were both like outcasts in that sense or like the awkward weirdos, but we were loners and we were misfits and we were disenfranchised in a way that we just lived in our own worlds and listened to all music. When I ended up at Corolla del Mar High School in 1980, trust me, there was nobody else wearing an iron maiden t-shirt.
And so it was a pretty isolated existence and so what James and I ended up doing was we were the brothers that neither of us, you know, never had and we started writing songs together and just creating the world for ourselves that we wanted to inhabit.
And at that time, there was never anything about, you know, goals or success or we're going to be, you know, famous or this is going to translate into something, you know, with the mainstream success that there was none of that because at that time, the music that we were into and the things that were turning us off were so edgy and so isolated away from mainstream acceptance that that was never, that was never even the cards.
But, you know, what's interesting about that, Lars, is that you guys were making like, you know, whatever you want to call it, hard rock, heavy metal, you guys were making like music that was really driving it and it was not necessarily mainstream. And then I think about, I think I probably went through your four records in with by the time you guys made Metallica, which is a lot of people called the black album, by the time you guys made Metallica, you really broke through to the mainstream.
You had a few hits that were kind of like leading up to it, but then the black album really broke through. And in other ways, I thought before I was like, is it that everybody else's tastes change or that you guys kind of, you guys prepared everybody to listen to this music. Like you guys kind of got them into this hard rock in a way. I don't know. I think you have to put the record companies in there when you answer that question.
So the record companies at that time were the gateway to everything. So the record companies, it's like the analogy of said many times is that you walk into a restaurant and you can have anything that you want in the restaurant as long as it's on the menu. And so the record companies were the purveyors of the menu. And so the record companies were only signing things that they thought would appeal to a large group of people.
But hovering over in the left field were all these people like ourselves that wanted something that would more substantial, a little harder, a little edgier, something that they could relate to, hilarically, that wasn't about this make-believe world and this fantasy that rock stars were supposedly inhabiting at the time. But people like themselves with real world problems and anxieties and issues just like ourselves.
And so slowly over the 80s, as more and more kids understood that there were music out there for them, like the type of stuff that we were doing, they started moving further and further and left. They started moving the mainstream further and further out to where bands like ourselves were hovering. And there was that seismic shift then towards the late 80s when all of a sudden the mainstream realized that there were other options that they had been fed over the years. Right.
And like you said, lyrically Sean, I don't know, Lars, if you heard me before you came on, I quoted your song one. I said, you know, take my brothers, I pray for death. Oh God, please take me. I did. Yes. And like that, I didn't write that one down as a potential, but I know I have the other ones. Well, you already have that song. If that song already exists as a hit. It's still hard to beat bread balls.
But that song is like, I mean, you think about it, you guys, that, I mean, that song specifically is about a guy who's basically an Akama right? He's kind of paralyzed or what's the deal with that? Like nobody was writing songs about that and everything. We spent a lot of time, we spent a lot of time sort of wondering what, you know, different mental states.
And so at one point we were talking about what would be like if you couldn't speak, see you're here and you had no arms or legs, but you were just a living conscious. What would that feel like? What would go on inside you if you were just a living conscious? And then we found out about Dalton Trumbo's story of Johnny Gartis Gunn and then we wrote a song around that and then realized that there was actually a movie with Jason Robards that came out, I think, what, late 60s, early 70s.
And that became our first video. And that was a four albums in. And at that time we had never made any videos for MTV and we were sort of the anti-MTV band. And we had an idea that was worthy of making a video. And do you guys remember something called Dial MTV back in the day? So the first day that that video premiered and was eligible for Dial MTV had premiered at number one and it stayed at number one for like the next couple of months.
And that was a significant, I think, a wake up call to a lot of the industry then realizing that there was something else out there then I don't want to mention names, but that was out there at that time that was generating a lot of the attention. Something more than Frankie goes to Hollywood with the lasers. Way to go, JB. I mean, we'll have to dance in all around it. A few missed videos at all. We still make videos. We made for a new album.
Now it's actually the opposite for the last two records we put out. We've made videos for every song on them because if you now, you know, so many people hear albums on YouTube. So you want to have a video that you've made yourself for every song on your album rather than having somebody else make them. So we've made videos for every song in the last album that just came out a few days ago. I remember long, long time ago, I don't remember the year, but this is when you're dead.
This is when you're dead. This is when you're dead. When my dad left, yeah, it was 1975. No. Do you have a question for my dad? I'm trying to drive and just light up the rear positraction and go. No, I have a question. You know, just like Metallica, they turn professional one day. You guys should do this. We were trying to do it. No, I remember when hearing about you doing a concert in Antarctica, right? That's right. I was the only band who's played on all seven continents. That's right.
Yeah. It was sort of by chance, it was not something that we set out to do. Well, I don't think one would. Yeah. No, but it's not like you sit there and go, hey, what should we do this year? Let's play all seven continents. We were playing in Latin America. We were playing in Europe. We were playing in North America. We had shows in, you know, in Africa and Asia and all of a sudden it was like, whoa, there's a thing happening here. And we got an offer from, I believe it was Coca-Cola.
It was soft drink in Brazil, who said that they were putting together a competition. And the prize was to travel to Antarctica and hang out and they wanted to know if we would come down and play for the group of soft drinkers. Was it cold? Well, it was December, which is their June, which is their high summer. And it wasn't as cold and it wasn't as frigid and it wasn't as sort of otherworldly as you would expect it to be. Yeah, because I was going to say, how do you say how do your hands hurt?
But we were down there for a couple of four or five days. We stayed on an icebreaker and we stayed with all the contest winners and all our crew were all on this icebreaker together, which was super fun. And then we played on a Chilean research base and we played in a tent. And you guys know what silent disco is? So every, exactly, everybody had headphones on. So the, I think there were like maybe 300 people there and told everybody had headphones on so they could hear the music.
And so it didn't disturb the environment. It didn't disturb the penguins. It didn't disturb the other endangered species of animals that were there. And so we were going left. It was not even, not even noise pollution. It's weird. Last summer I was in New York and I saw these kids like late night and they're all on the steps of this church like midnight on a Friday night and everybody's moving. Nobody's saying a word. And I realized they've all got headphones on.
They're all jamming and they're all dancing to the song, but you can't. Yeah, exactly. Yeah, the only thing you can hear in the room are the lead vocals and the drums. Other than that, all the amplified instruments are going through the headphones. So it was definitely a mind-fuck to be down there. A lot of fun and to answer your question. It wasn't as crazy cold or as fucked up as you would imagine it to be. But it was cool. Well, I want to go back to James just for one second.
Just talk about collaboration and sort of sharing power and creativity and not just with him, but with the rest of the band mates. I mean, you guys have been together and so successful and so harmonious. No pun intended for so long. Is there a secret sauce to that? I'm sure there's some good leadership involved. Yeah, I would say probably the word compromise. You got to learn to compromise. You got to learn to know and to lead and you got to learn when to step back.
James and I have been obviously in the band since the beginning. I guess we steer most of the creative conversations and we take turns steering. And I think compromise is the key thing. And if you want to be in a band in your 50s and 60s and really want to be in a band, you've got to learn to sort of work with the environment of sort of how to deal with everybody's personal needs.
The reason that there is millions of bands of people in their teens and 20s and fewer bands of people in their 50s and 60s is when people get older, they just don't want to deal with other people's shit. And you don't want to compromise and you don't want to pay. I've got my son's graduation is the week of La La Paloza. Oh, well, I guess we can't play La La Paloza or whatever. So there's a lot of those types of conversations that take place.
And we have a thing in our band where everybody gets a chance to black dates out and put exes in a calendar and that can't be challenged. We're very supportive of each other's personal space and we put more resources and time into sort of the whole thing functioning as a band than we ever have before. And I'm not going to bullshit you. That doesn't get any easier as you get older. Now most of the kids are grown up and off to college or in their 20s. So there's less concerns about getting home.
But we, I mean, 10 years ago, we were two in two week increments. We would go on the road for two weeks, go home for two weeks, go on the road for two weeks, go home for two weeks. So we wouldn't miss being with our kids and all that stuff. That's going to ask you about that about family. And you guys must have had some very supportive and flexible families throughout all the time. Yeah, but we've also steered it in the direction of trying to keep all that, you know, as together as possible.
I'm sure it's the same with you guys. But, you know, in our world, it takes a few years before you realize that you actually have a say in some of this. When you start out, you just get handed a schedule, there's like, and when you're 22 years old, hey, I just want to play as many gigs as possible and travel as much as, be as drunk as possible and get into all kinds of crazy shenanigans.
But then you realize later, hang on a second, I can actually say, I only want to be on the road for three months, and then I want to spend three months at home. Or, you know, so, you know, as you go along and become more successful, you realize that you have a say in this stuff. Well, we're lucky because we started doing, certainly we started doing this thing in our 50s.
And as we've done, and we've talked about maybe, you know, we went on, we did a short two or a couple of years ago, and we're talking about doing another one. But everything that we do, we always do with the understanding that like everybody's got stuff. And if somebody's got stuff, we never challenge it in that same way either because we know what life's like and it's kids and it's thing and it's, Sean's been doing his play for six months and like, that's important.
We've got to honor that and that's, that's the thing you got to do. I did, I forgot to ask because I always wanted to know this, uh, favorite color. I came up with, no, well, I was going to, I was, I was, you ever forgot a wine on stage? I know that Sean was living up, favorite advertiser on the Chin Chin menu. No, no, no, what was, what's your favorite dipping sauce for the, no, Metallica, we're that kind of like dipping sauce. The name?
Yeah, man. Ron Quintana, Ron Quintana was a friend of mine at San Francisco. Up in San Francisco, there was a little bit of a different music scene than an L.A. when we started, where we started and we started playing up in San Francisco early and, uh, and we had some friends up there and so on. But one of the guys up there, Ron Quintana, he, uh, back then pre internet, pre, you know, all this stuff.
You know, if you want it information about your favorite bands, you had to, you know, write to pen pals or, you know, and everybody, everybody that was really into music at the time made their own fan scenes, as they were called. So it was, you know, eight pages, you know, a staple together down at Kingco's about whatever their favorite, you know, French heavy metal band, uh, that five people that heard of was into.
And so Ron Quintana, uh, wanted to start a little fan magazine, uh, and he asked me one day whether he should call it Metal Mania or whether he should call it Metallica. And I told him to call it Metal Mania. And we're taking Metallica. I'll hang on to the Metallica for you. And, uh, and, uh, so, uh, I've been forgiven that, uh, thankfully a long time ago and Ron is still a good friend. It's cool. It's a fucking, it's a rad name. It's good on my, yeah, on my tongue.
Um, so Lars, this is, this is the stand shot. Oh, I'm sure you're done. Hey, Sean, sorry to subject you to my dumb question here, but I, but I, you know, favorite answer. God, again, Lars, we're so, so much. Amen, city to play in. Isn't it cold, clean without your top on? No, I don't know. Sure. No, I don't know. No, I don't know. I'm sure. I was here, how do we back? What's going on? You don't want to see what lives under here, trust me. Oh, what doesn't live under there?
I want another craziest tourist story, like fan weirdness, as something that went wrong on stage, or during a set, or like, you got to have something that just was like, Oh, God, the worst one of all was blank. Well, we're very lucky. I'll answer both. We've very lucky in that we have an incredible group of people that follow us pretty much wherever we go. We actually started selling tickets to them on the last tour. We have something called a black ticket.
So you can buy now a ticket that gets you into all the shows on a tour. Wow. Wow. So there's hundreds, if not thousands of people, we'll go out and play for six, eight weeks in Europe, order. And we see all the same faces down front. No. So passionate. They come from all over from Latin America, from Asia, from Europe. So we have the black tickets. What's that black ticket running, Lars? Yeah. The black ticket.
Well, I know people, if you're interested, Jason, and you want to come out, it runs, uh, it's got to be some kind of a break on it, right? 800, that's all those. What's a big break? Yeah, there's a big break. That's nothing. Uh, it's, uh, for all those shows, we tried to be his fan for a long time. How much did he say? How much did he say? 800 bucks. You can see all the shows in the entire tour. I'm talking way. Now they don't get to jump on the plane. They don't get to jump on the plane.
No, but I'm going to buy for all of us. Fuck, Lars. I'm going to get you one too. You know what, though? I wish I'd had that, you know, I saw you guys. So, Lars, I saw you and Guns and Roses in September of 1992 at C.N.E. Canadian National Exhibition Stadium in Toronto. It was one of the fucking great concerts. All right. I'm in. It was unfuckin' real. I was 22. Sure. And you guys rocked it out.
And I have such a vivid memory of you got it, and even what it was basically every song you guys played. And everybody in unison rocking out. I've never seen it. I've never seen anything like it before or since in the way the dedication and the sort of the rhythmic unison. It gets very, very, very past religious stuff. Your eyeballs have seen from your position. You get to see the whole band in front of you and then all of the people in the crowd. Dude, I'm telling you, it's bizarre.
It was fucking interesting. Images you have in your head must be incredible. But also now I'll tell you, I'll circle back to the question that Chani was asking earlier and I'll give you a variation in what you just said about seeing all the people in front of me. So you talk about malfunctions. The first one that always comes to mind because it left a deep, deep scar. You were talking about the black album will.
So we were touring on the black album which was our most successful record up till then. And we had been in America for maybe a year, year and a half. We'd done the Guns and Roses tour and we were starting in Europe a few months later. And we were playing in London and at that time, obviously still London is just press and business and peers and publicity and all the people from all the record companies and all the publicists and everybody from all of Europe are there.
It's London and at that time it's all music magazines and weekly's like the enemy in Karrang and blah, blah, blah. And so we're playing in the round which we still do and I have a drum kit on either side of the stage and halfway through the set, I'm supposed to run over and then the other drum kit, I'm supposed to sit on the other drum kit as it lifts out of the stage and then I play the other half of the show over on the other side. We could probably guess what happened.
So there's the first big show of this European tour and everybody in our universe is there. And so the drum kit, under the stage, I'm on the drum kit and it won't fucking lift up out of the stage. So my view is not 20,000 crazy people in Wembley Arena wherever it was. It's all the nuts and bolts and the steel and the 12 roadies that are down under the stage with like crowbars and fucking screwdrivers and hammers or whatever they're doing to try to get this thing to lift up out of the stage.
I ended up playing like a song in a half underground under the stage submerged just sitting there and as Metallica was supposed to have all these articles written about the triumphant return back to Europe after three years after being the biggest rock band in America. And the whole story was just about Lars' fucking drums that didn't want to lift out of the stage. Welcome back to Europe. Thank you very much. That's great. I love that. That is so great.
And so, so what did you finish the rest on the other drum set? The rest of the show and the other. And eventually with enough crowbars and determination that the drums ended up on stage with their belong. That's good. We'll be right back. This is supported by state farm insurance can be confusing sometimes. That's why state farm is there for your what ifs because they know the rest of your life is already full of thinking about other things like what if your life was a playlist.
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Are you excited by anybody right now that you're comfortable saying that that has sort of the same kind of early ambition that you guys had to sort of be a little left or a little right of what is being embraced, you know, that sort of real mainstream. You guys are really courageous by kind of pushing the envelope. Is there somebody in music right now that you're excited about their courage?
I mean, there's a lot of great people in garages and in bedrooms all over, obviously, making records on their computers now that don't need to go into studios and do the whole spiel that everybody had to do 20, 30 years ago, they don't have to rely on record companies. I think an artist like Billy Eilish, you know, what her and her brother did a couple years ago, those first records that were made at home on the computers is crazy cool.
And it's sort of the pitamizes, you know, the shift of you need a record contract and you need half a million bucks to go into a proper studio and make a record now. And you know, they made those first couple of records just at home on their computers. And that to me, sort of, it's indicative of the possibilities now that the technology, you know, the four of us could make a record for the rest of the afternoon and put it out tomorrow. Let's do it. Yeah, I'm not doing this on a fucking beach.
Why are we not doing this right now, Lauren? Do we want to break the internet or not? What are we doing? Well, speak a little bit more about that, about the record industry and stuff, not to get sort of in the weeds about all that. But, you know, obviously, there's been a big, a big change in the record industry, we're streaming, et cetera. Yeah, and you're not really selling albums as much as more of kind of all a cart kind of songs that are downloaded on streamers, that were a lot.
And then the bands really make their money, correct, if I'm wrong, from touring now. And so, I'm assuming that the bands, if they want to make money, they've got to be on the road more. Are you guys on the road more? You guys don't need to make money. But how are you feeling about the way the business is sort of balanced right now as far as being out versus selling albums, staying home, and the ratio of that? Well, obviously, it's changed quite a bit.
And in your guys' industry, some of the same things that we were dealing with 20 years ago are happening. Yeah. You know, I mean, big picture, and I know this may sound like a little bit of a cop out. I'm just happy that fucking anybody cares about what we're doing and shows up to see us play and still stream or buy or steal our records or whatever. And the engagement in self, I think, is the triumph in the victory.
Obviously, it's way, way harder for a lot of the younger bands nowadays because they don't get the support of the record companies for basic things, just like gear and tour support. So there is very much of a different thing. I just, you know, talent, good songwriting eventually will find a home with a larger group of people and whether you do it from your bedroom or through a record company or whatever. You know, I believe that everybody will be heard eventually if they're talented.
But it is tough. It's tough for a lot of the younger bands out there and for a lot of the bands that, you know, 20 years ago, could make a living playing clubs or theaters or having a harder time now because they don't sell as many records and you really have to be out there and pushing it. Do you feel like when you go and you make a record, like your new record, 72 seasons that you guys made this, that came out this year and that you're touring, I think you're touring this year on, right?
This is what the, on the new record. When you make that new record, when you guys have conversations about it coming out, like or you guys like, or I don't know, the record company or whoever, it's such a different approach because you're not going to the record store, it's not sending out vinyl or it's not sending out CDs or it's not sending out, it's like load up the streamer or does that play it all into it?
Yeah, I mean, it's, the key thing, you know, as an artist, I think when you write songs and it's the same with you guys, you want to start a conversation, you want people to engage, you want people to hear your music, how they hear it, I guess, eventually become second tier and you understand that it's a changed, it's a changed model than it was 25 years ago, 50 years ago, or whatever.
I think that, you know, in our band, we just love writing songs and we love making records, we love the creative process and that's, there are a lot of bands that have been around as long as we have that simply don't want to make records anymore because it either
doesn't work for them or the business model of it doesn't work for them and I can't speak for everybody else, we love writing songs, being creative is a significant part of who we are and it gives us a chance to, you know, what makes us stay functioning is that we
go from writing to recording to playing gigs to writing to home, we're always changing up what we're doing so we never get stuck in the sameness over and over and so we're not always on the road, we're not always in the studio, we're not always taking our kids to school or whatever, we're not always doing the same thing.
So you have to kind of keep just breaking it up and changing what you're doing and so obviously I understand that we're exceptionally fortunate but our success gives us the opportunity to sort of do all that and but we would be if somebody said you can't write or make records anymore, we would probably stop or we're doing because it's such an essential part of just our existence.
Sure, sure and I love, by the way, I love that you didn't say exceptionally lucky you said it for you because you're not lucky, it wasn't luck that you guys got here, you guys are talented but you do recognize the field. Also, we're at minute 1590 as it said storyteller. I know it's true, it's true, it's not so story to your music. I have a list of words you're not to say on podcast, that's number seven.
Lars, if we got a hold of your personal music device, whatever it is that you use when you're working out on, when you're cycling or whatever, doing whatever, what's on there? What do you listen, what gets you going? What do you like to listen to? Not currently, I don't mean of all time, Mrs. Early. It's very varied, obviously. I'll still circle those deep purple records from 50 years ago that I... Is there a genre you're not a fan of?
No, I mean, I listen to everything from rock music to jazz music to reggae to pop, to hip hop, R and B. I think the easiest way to answer is and forgive me again if the sounds like a cop-out, but there really are only two kinds of music. There's great music and less great music. And so in hard rock, there's great music and less great music, just like in pop or in reggae, a couple days ago, driving back from rehearsals out at MetLife Stadium. We were listening to...
We were listening to Bronsky beat. Remember that? Yes, sure. Run away, turn away, run away. Yeah, we're listening to a... We love Bronsky beat. We're pumping some Bronsky beat and some... It's a summer beat. Jimmy Somerville. Yeah, Jimmy Somerville. Love it. Beat boy, beat boy, hit that perfect beat boy. No way. And you're listening to the happy Mondays, we were listening to Stone Rose and Stone Rose. Happy Mondays. Tristan Memele, man, you know you speak so well, oh, Stone Rose of Fools.
Who's gold? I love Stone Rose. Dinner, dinner, dinner, dinner, dinner. And listen to that. So it's a lot of varied stuff. And it's a lot of varied stuff, too much time. Lars, we're in the same. We're in the same... What about listening to a full album? And since... Yeah, since... Yeah, people don't... Yeah, people don't really buy albums as much as they used to. They're sort of pulling down kind of a single song here, Alicart, there. Whereas like...
Pink Floyd, the wall, comes to mind where there's a whole through line, a thread, a continuity, a thematic that goes throughout the whole album, because bands knew that people would potentially buy an entire album instead of saying that they're listening to a story. And you're saying that they're telling us to... I'm all around it, but I'm not going to say that. Fucking you were so close to it, dude. But like...
Do you think that that will ever kind of happen again where there's like a rock opera that's kind of... Oh, like Tommy? Yeah, at the beginning to end. And not in the classic sense that you're saying it. I mean, there's a great band who we've had played with us the last couple years called Greta Van Fleet. Oh, that love that. Those guys are great. And they have a... They still write longer songs. They appeal to a very young audience. And they still do like crazy long guitar solos.
They're really, really great songwriters. They're very theatrical, those kids, man. Yes. They're cool. Super cool. We've had them with us playing a special guest for the last couple of years, two of our songs. Yeah. But I don't think that... Yeah, but let me tell you something. Jason's... Jason's idea is good because here's the thing. Hamilton, the musical Hamilton, it's rapping. Everybody wraps. It's like... What? A musical that, right?
People would be floored if you guys used your music or created new music with your sound. It's never been done. I'm not a musical. What about a musical, Lars? That's what I'm saying. Come on. Let's make some... Let's make some news, right? Love him. I love the reaction to his face. No, I can see his face. That's a yes. Guys, we've got it. There it is. Lars, let me ask you this before we're looking for you. Is that what we're looking for here and exclusive? Is that what we're doing?
No, we're not getting into musicals. Sean, for once, there's one guest. Just leave them out of musicals. Yes, stop getting everyone on the floor. He wants to fucking... Nobody likes musicals. Lars doesn't like cats. I know. He doesn't... I saw Hamilton. I saw OG Hamilton. Yeah. OG OG and was as blown away as everybody else and subsequently saw it. I was like, what, four times? And think that Lynn is... Amazing. ...a talented kid on this planet. Oh, it's down. Hands down.
I went back later that night and just like Google, then YouTube, as much as I could. That clip where he's in the White House, like five, six years earlier, did you guys see that clip? So Hamilton came out in about 16. This is what, oh, nine. He was in the White House and was telling Obama and the rest of the... He gathered there that he was working on a musical about Alexander Hamilton. Yeah, it's incredible. Everybody was just laughing. Yeah. And then he did like...
He did the first five minutes of it afterwards that you got like standing a vision. Yeah, he's a genius. He is. Fucking every never seeing that clip, Jason. No, I'm going to check it out. Oh, it's what they've got to check it out. It's just a piano in him rapping. Oh, that's great. Or something like that. Really fucking crazy. Yeah, he's a megaton. He's a megaton. And guess what? I'll tell you what, let's meet... I'll meet you halfway. Okay. Okay, my sense is going well.
So, when Metallica has some musical news, you guys can break it. Yes. I love that. I love this. I love this for here. If you'll have me back even just for five minutes and we can make it in an exclusive... I have fourth host. You're the fourth hero. You take me. Lars, Lars, I want you when we go on tour, if we go on tour, we're talking about going overseas. If we go on tour again. If you love Metallica to open for us. Yeah. So, open with us. We're leading you up now. We're leading you up now.
Wow. We was going great to you. We can get into... I read about William Freak and also this morning or yesterday and I understand the no mentioning of the great films that he made and et cetera, et cetera, et cetera. And I did read about the... So people know it because of this strike we can't mention it. Just a tracy now. Yeah, no, I'm right there with you. Lars, listen, he was another genius too. And I, again, I don't want to embarrass you, but you're a genius man.
You've made so much great music for so long. Yeah. Such a fan. And you're in such a great dude. That's the big deal. You're so patient on having to be in you all. You're such a great vibe. And you're such a great dude and it was such a pleasure meeting you all those years ago and having you on your talk in you man and just... Yeah, I feel like I've known you. Continued success, dude. Well, thank you. Thanks for having me. Get back out here. We'll go hang out with Koop. Come on. Let's do it.
He's going to cover himself. The thing is, I'm sitting up in my publicist's office here in down in Tribeca. And I walked in and was handed this piece of paper. I go, wow, this is high tech. Yeah, I care. Yeah. No limits here. We are at the top of the heap over here. It's marvelous. Thank you for saying yes to this guy. Thanks for having me. Thanks for being your pick will. I enjoyed the time a couple years ago in France. And it's great to see you guys. It's nice to meet you.
Nice to meet you too. And good luck on the rest of the tour. Yeah. When we have musical news, we'll break it with you. I love it. You would be honored. Thank you, Lars. Thanks, buddy. He's soon to come out. Bye. Bye, bye, bye. Wow. That was a great cat, Willie. Yeah. You know, it's the interesting about him is, you know, I wasn't one to run out and buy Metallica. Obviously, I like their songs and know a lot of them and was a fan of them growing up too.
But it's rare that the drummer is as famous as the band. It's true. Well, who else? Phil Collins. Phil Collins. Yeah, but he, but Lars and James started the band, right? So they formed it together. So you had guitarist and drummer. Like WAM band. Yeah. I guess, I guess, boy, where would you be? That might be the first connection there. Yeah. So which one would Andrew Ritchley be? I guess. I guess it would be Lars. Okay. Let's get Lars back on the lower.
And by the way, and by the way, let's get James on here real quick, too. Yeah. You know what I mean? James, that makes you George. So I guess. No, you really very, very cool. He's so cool. He's such a cool dude and he does have such a great vibe and he's so, I don't know, he's, I just love the way you can really access. Or everything when you ask him a question and he can really access it and he's so sort of concise and he's so quick and. Yes, I like that he's open to sharing anything.
Yeah. Yeah. I love that. That's the key to keeping a little, a little group together. It's just don't be a dick. Yeah. Okay. Yeah. 100%. You see me looking at you, Sean and Will. No, you're looking at me. You're looking in the mirror. No, not looking at my square. You're a square. Just to be top. You're gonna reach out. I can't believe we miss them at a giant or MetLife, whatever. I think it's a great idea if they open for us. But we should. You can leave you as close. If you ask him a ton of.
It's so great that he was offering. I'm pretty sure he was offering to open for us. Yeah. Let's wait till they get a little closer to Los Angeles. I know, but they are because they're on tour for their their record 72 season. It would be great to go and we should definitely go see them in Los Angeles. That'd be so fine. That'd be fine. I would love to see. I'm gonna go see Tate Tate tomorrow night. Are you? I think that's what is not what kids or kids are calling her. Tate Tate's lefty.
Yeah. Are you going to Tate Tate tomorrow? Yeah. Yeah. Yeah. Are you taking Franny and MAPE? No, no, just solo. Just a one. Just a one. It's gonna be in the parking lot with a little sign. Single. Single. Anyone got a single? No, it will be a full family. Thanks. You should do a video of yourself. I'm out of two alone. Yeah, she's part of the family and we're all going to go and. A self-driver Uber. No, I'll be self-driving. You don't drink anymore. I know.
I know, I know, but I know how you know we get into the state. Where is that so far? It's at so far. Yeah. And apparently you got to pick an album to sort of dress as. Name one of her albums. Name one of her albums. Name one of her albums. I couldn't. I'm going to go ahead and see what I'm wearing right now. That's what it'll be tomorrow night. Oh, you know what I refer to that is the. The fuck it. Yeah. Yeah, it's not good. You got a lot of fuckets. Was it George Costanza's if you were sweats?
You're telling the world you've given up? I mean, I guess so. There it is. Sean is giving up. Look, I have something to say. If Metallica can't open for us at every single leg of our tour, if we tour again, they should just do at least at one of them or two of them just do a fly. Bye! Bomb! Oh dear! Byyorum! Bomb! Byyorum! By Brisbane. Oh damn! VMware! ̸̸̸̸̸̸̸̸̸̸̸é̸̸̸̸̸̸̸̸̸̸̸̸̸̸̸ passt Security until now or the rest of you!
We're원� PLN motor Smartloose is 100% organic and artiz spamly handcrafted by Michael Branterry, Terry, Rob Armjarv, and Bennett Barberco. Smart loss. Our next episode will be out in a week wherever you listen to podcasts or you can listen to it right now early on Amazon music or early and add free by subscribing to Wondry Plus in Apple Podcasts or the Wondry app. Every big moment starts with a big dream. But what happens when that big dream turns out to be a big flop.
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