Welcome to the Song Saloon. Each episode I sit down with an artist and we talk about one of their songs. Today's guest is willowspeak. Willowspeak is the project of David Hudson singer songwriter based in Los Angeles, and originally from the rural Finger Lakes region of upstate New York. Willow Peak's music awakens a, a progressive blend of the many strands of folk while unafraid to weave in influences ranging from post. Rock to jazz.
The sound spans an intriguing array of finger style and for cuss of guitar on the spot. Live looping arrangements and ambient soundscapes. Nestled inside songs rich with nature, heavy metaphors and emotionally vulnerable. Pondering the listener is led through an unexpected, adventurous sonic journey. Welcome, Willowspeak!
Hi. Yeah. How you doing, man? Thanks for having me.
Good. Yeah. Thank you so much for, for joining the show. Today, we're talking about your song Inside Our Heads. Can you give us a little preview on how that song came to be?
Sure. it's an older song of mine and it seems like it was written a bit preemptively to the early pandemic experience. Cuz that's really kind of where the song, like the thematic element of the song. Sits for me in terms of the experience and essentially boil it down. It's, it's kind of my. Processing and my own experiences with technology and also what I observe, you know, in this modern age.
Just in terms of like the dichotomy of connection and disconnection depending on what our relationship is with technology. And for me personally, I've gone through phases where I've felt extremely pulled away from. Community and, and feeling more isolated than ever. But then at the, at the same time, technology can bring us together like it is right now. Despite any challenges that it takes to get here, you know, we still can be in two different places and, and have this amazing conversation.
But so that song is kind of processing. So. I'd say mostly the disconnect and I thematically a lot, you know, in inside our heads or inside my head seems to be reoccurring theme in my lyrics. Because oftentimes it's, it's what I felt like when I'm feeling the most You know, cut off from connection and community is like, I'm living too much up here versus in the moment right in front of me and actually touching the world around me and connecting with other humans.
So it's just kind of pondering a, a bit of that experience.
Yeah. I find there's something really isolating, even with Zoom, like when you're on Zoom for a really long time, you get off. Like I almost never feel lonelier than after I've been like connected virtually. With people. It's very weird. There's nothing that really beats that in-person connection energy you get.
Mm-hmm. Mm-hmm.
The closest I've come to that is I've been using this thing called Far Play, which allows you to rehearse with someone else if you have a really stable internet connection,
Hmm.
an ethernet cable.
love to hear more about that.
It's really cool. I think me and my, percussionist Cole Castorina we were within about 20 to 30 milliseconds of each other playing, over the internet. So that's the closest I felt to like being in person with someone.
Right, right. Yeah. One of the lines in, in the song is we're staring into the echoes of dreams. Where, you know, I'm literally that, that feeling of you're, you're staring into your phone and, and whether you're doom scrolling social media or whatever, it's just, it's like these. Continually removed versions of what we perceive as reality outside of that, you know, and it just, really messes with our head and, and kind of like what is real, what ist real?
Who am I, you know, what is my life supposed to be? And. It's, that was kinda the metaphor that I used for that was you know, dream within dream within dream and just like echoing in this canyon. And you kind of lose grip.
I love that. Well, let's jump into it. If you wouldn't mind performing the song, I'd love to hear it.
Sure.
All right.
Thank you.
Thank you, David. That was awesome. Yeah. And so we've played a show together actually, which is how we met the
My first show in la
First show in la.
Yeah, that was, that was right after I got out here.
Wow. That actually might be one of my, If not my first show in LA it was really up there. I had actually gotten there in like late 2019, but then was like, or you know, getting, getting used to being in LA area and then was like, okay, it's time to do shows when it was, you know, pandemic time. So
Yep.
it, it was very close to the first show for me too. That's so cool. And what I remember about the show, what, what I saw, because you know, it's always hard to see the acts that are around you on the same night, but what I remember is it was very guitar heavy, like guitar focused almost with all these loops you've got going on. What I love about this performance you just did is how much it showcases your vocals which absolutely deserved the spotlight. I, I loved your vocal performance in that.
I appreciate that.
Yeah, thanks David.
yeah, yeah, yeah. It's so cool that, that we get to reconnect now. Things come full circle. It's funny leading up to this recording, I. I was like, why did I choose this song?
Because you, you may have heard from the, the recording that I sent, it's, it's got quite a full arrangement and there's, it's a, it's a very big sounding arrangement with lots of space and huge, you know, ambience and many vocals and all these percussion things, and So usually when I performance live, I, I try to capture that on a loop pedal which is difficult.
But something I've been trying to lean more into over the past year or two is I was like, okay, how do these songs sit just acoustic, you know, just the strip down version of that. And and then, yeah, I've also kind of been trying to find More intimacy and, and comfort and familiarity with my voice and, and just leaning into that more.
I've gone a lot of different directions trying to express things through all of the layers with looping or maybe focusing more on, on the technical aspect of guitar playing. And this season just feels like, okay, how can I tell the story through my voice?
Let's talk about that journey for your voice. What kind of led you to that in this season? Um,
So starting off as a, as a singer, I started getting my foot in the door when I was like 13. I was a, I was a bass player. My dad got me an electric bass and. That's truly what ignited my passion for music. I, from the first day I got it, I just sat next to a stereo and put on CD after CD and just tried picking out the parts. And that's like how I learned to develop my ear it's like learning language. You're trying to mimic, right?
And then you, you process it and then you try to express it in your own way. So not long after that, my, my brother was playing guitar at the time. He's an older brother. he and I and a couple of our friends, we got a little rock band going and, you know, we, we played around for a few years and so that was, that was our first experience trying to write music and discover ourselves as musicians. And he, he would sing lead. And I guess my, my initial.
Experiences where in church as a kid was just like standing in a pew and singing quietly some hymns and things like that next to other folks and, and just kind of opening up my ears that way. So I think that was probably maybe where I had my first. Okay. What does it sound like when I just try to sing a note and be in
Yeah. What kind of singing was happening at this church? Was it like more contemporary style or more like four part
yeah, it was pretty traditional. It was, it was kind of more of a Baptist church at that point. It was more traditional yeah, that four part, hymnal music. And, uh, at some point later, late, you know, years later, it shifted to be a more non-denominational church and I had more contemporary, a little bit modern music, but there was still a lot of that very traditional him hymnal music.
And you know, a as I was getting into playing music, you know, my grandfather tried teaching me some brass instruments and so I was learning to read music a little bit. And so I think that was also helping me visually as a singer, maybe just getting to see dots on lines And kind of visualizing what I was doing internally, cuz singing is very it's very mysterious. I think for most people. Some people are totally born with that gift. But otherwise it's, it's just, it's not tangible.
You know, you don't have frets you can look at or keys. So understanding like what to do with the muscle inside of your body I think you can be in the dark for a while until you just kinda, you know, feel it out.
Absolutely. I'm a little obsessed about this topic. Coming from my background, I, I studied vocal pedagogy and performance for a long time, kind of from the classical side of things. The idea of studying voice, and I love how you put it, it's, it's so difficult because you don't see the keyboard, you don't see how your finger's hitting the key as well.
There's a few indicators, uh, physical indicators that are really helpful as a teacher to point out to a student that can help, you know, release some tensions and things like that. But really your instrument is, is inside and a lot of the stuff that's going on is internal and on top of that, it's difficult because, When you're going at an instrument, no one picks up a guitar and plays it for the first time and then like, I'm awful at this and like just throws it away, you know?
But in voice there's this personal connection where it's like, oh, I am bad. Instead of like, I'm bad at singing and this is something I need to work on. It like becomes personal really fast with, with singing. Yeah.
yeah. I find it so interesting that Because for a lot of my musical journey, I've been much more instrumental focused. Like I studied music I went to associate school for some recording engineering and then transferred for my last two years for, uh, for jazz studies on guitar. And so a
that in New York as well?
Yeah. Yeah. That was, um, in SUNY New Paltz, just about an hour and a half outside of New York City. And that's just where, where my brain was honed in on was instrumental music. And I just connected to it a lot. I hadn't really gotten comfortable with my voice in general, but especially as a singer. Being in that band with my brother and then kind of other experiences a little after that, I I'd be okay being in the background, throwing some harmonies in and I could hold a tune.
But definitely was, was nowhere near ready to be center stage and trying to build it out. And just after high school I started It was a very happy accident that a friend of mine, Marissa, from, from high school we kinda discovered that she could sing. She'd somewhat been hiding that shyly. And, and so the two of us just found our way to each other. And next thing you knew, we were writing songs together and getting asked to, to do some recording projects for friends at school.
And, It blossomed very naturally. That was great because we started off as a duo and then we ended up throwing in our friend Justin on drums. But in terms of singing it was a really good experience for me to have that much more. It was more folk rock, you know, based music. And I gave me the chance to kind of lean on her strengths, but then also develop my own alongside. Yeah, and, and just kind of developed the personality, I guess.
But I, I listen back to those recordings now and, and I cringe. I'm like, Ugh. You know, I feel like I I can just see everything that I was struggling with, you know, as a singer. But that's how it goes. That's how you grow. And ultimately, I, I grew much stronger with my voice when I played music on a cruise ship. I ended up getting a contract on a cruise ship out of Australia with a friend from college. It was p and O Australia.
It's kind of a smaller line, but they're owned by Princess but we, we had to perform every single night for five months, except we had two nights off the whole five months. So it was just, it was that classic, just keep doing it, just the repetition. Making mistakes and tr, you know, trialing her and being like, well, I'm, I was trying to reach that note and it just felt way too outta my range. Maybe I can try something else to relax and hit it.
And then you're just using it more so it's a muscle that you're building.
Yeah. How long were you performing every night on the cruise ship?
on average we did three or 4 45 minute sets. But, you know, some days it was like two sets, some days it was five, you know spread. There could be one at noon, then three at seven, you know. It was, it was quite a wild experience and we had to play such a diverse repertoire. You know, we had to know hundreds of, of cover songs to entertain the masses. So it, that, that helped me as well pushing myself in different directions through learning different styles of music.
Mm-hmm. Yeah. I feel like every band should be a covered band basically before they, they get into their own stuff. It, it really does work That's way into your own music and your, your musicality and stuff, so
it's like being, it's like being a, a server, like a waiter. You have to surrender to, okay, I, I need to be of service for, for my, my clients or, or, or whoever's listening, you know?
Yeah, you really figure out what connects to audience to audiences too, like what songs are the people really into? What songs are you enjoying playing? That also resonates with the audience that, yeah, I think that really does help a ton.
Mm-hmm.
What an inter, yeah, that's such an interesting lifestyle. The cruise ship. I had a friend that is a cruise ship singer. I don't know if she's still doing it, but she did it for years. At least if she's not continuing to do it for, for more years. So yeah,
Well, profs to her,
I Because you did it for five
it's hard to sustain that life. Yeah. Yeah. I did, I did two contracts for five months.
Two contracts for five months. I think that lifestyle and the, you know, Broadway performing eight shows a week, lifestyle is just so unique and something that a lot of people in the music industry don't really experience. It's,
Right. Yeah. It's a grind.
it's a grind. Yeah. And so in this band, you were a singer, one of the, the featured singers as well,
on the cruise?
Yeah. Is that what you're saying?
Yeah. The first contract, we were just a duo. We were an acoustic duo. And Jay would sing harm and sometimes lead if I got him to get out of his shell enough and he would play kahan also. And then the next contract I did alone, I just went as a solo act and, and leaned on the live looping. So that also helped me build up that consistent skill just like building layers on the spot and just being adaptable. Which, you know, which I use that skill. Absolutely.
Like to this day when I'm performing Willow, Willow speak songs, now there's, there's some range arrangements that I really do need to have a bit more of a rehearsed approach to. But I still like to leave space for adapting to. Maybe a new idea that comes to me while I'm playing it or a new texture I want to introduce or, or sometimes like where you're playing will call for, a curve ball.
Mm-hmm. Were you able to play. Any of your own material during that time? On the cruise
I did, I did from time to time. Especially because people started asking for it. But in that environment, you know, it's, you still have to keep in mind your audience, I guess. And, you know, in the cruise industry it's, it's all about entertainment and, you know, most people wanna know. Or want to hear songs that they know. But it was nice cuz you, you do actually get a bit of a consistent audience throughout the cruise.
You know, especially if it's a week or longer, people will come back and they'll come listen to you kind of night after night cuz they're like, yeah, I just, I dig what he is doing. So you get a bit of camaraderie there and get to know people personally. And then they'll ask for, you know, Hey, do you write any music or anything?
That's awesome. Have you been able to keep up with, with people since then that have followed your Willow Speak project?
Yeah, actually yeah, people, people still contact me through social media and early on with, on the first contract We made friends with this older couple that just really took a shine to us and I think we, we reminded them of, of their son who is also a musician and they ended up becoming our like Australian mom and dad. And they would pick us up from port when we would get back to Brisbane and you know, take us out to koala sanctuaries or take us to the music store if we needed to get gear.
It was great. So we still email back and forth. And I actually just went over to Europe last year. To attend a friend's wedding in England. There was a drummer and a singer of the party band on my second contract and they got married and so I, I got to go to their wedding in England.
Amazing. Going back to our song Inside Our Heads, what production wise did you do to bring this song bring this song out? Are you working with someone? Are you doing it yourself?
Yeah, I've, I've always done production myself so I lived in Austin, Texas until June, 2020 and then ended back home in upstate New York for much longer than expected. And as uh, the pandemic progressed, I realized I was gonna need to step away from music for a little bit. And I ended up getting a job as a field guide at a wilderness therapy company in southern Utah.
And so right before I went, it's it's, there's a lot of different types of programs out there in that world, and it's, it's like a a therapeutic program set in the wilderness. Mostly geared towards adolescent and young adults.
Was that in Zion's National Park area or
it was close to it, cl Yeah. The, the town that the company's based out of is Canna, so it's about 40 minutes from Zion. Yeah. Right, right in the Arizona border there and kind of in the heart of Yeah, there's Zion there, there's Bryce Canyon, a little north. And then grand Canyon was a little south. It was an incredible area.
very cool.
so we actually worked out of
the, oh, sorry. I was gonna say, I the picture for my album, deepest of Blues is actually taken in Snow Canyon, so it's
Oh, amazing.
yeah. Pretty close to that area.
mm-hmm. Yeah. Yeah. It's, it's an incredible. Chunk of the world. So yeah, we were, we were mostly in, um, grand Staircase Escalante, which is just east of Warsan. It's a big national monument.
amazing.
So right before I started that chapter, I headed back to Austin for about a month and a half. I felt like I still had some loose ends to tie up there and I wanted to record some music. So I was gonna go back there and head into a studio. But then things just. You know, kept plummeting with Covid and all the studios were closing. So it just so happened that a friend of mine had bought a house, was renovating it, or was about to, and hadn't moved in.
And he let me stay in his empty house for a week and I just went to a local gear store rock and roll rentals and recorded, or just rented a bunch of recording gear. And I got some preamps, some mics, and I just set up in this empty house for a week, staying up till like five in the morning. Just, just alone just going at it. And I recorded four songs there one of which is the last single that I put out part of Me No More. And then I recorded this song inside our Heads. So it's.
Yeah, it's, it's got a bit of a, a history to it at this point. So I tracked everything there and then over, you know, over that year where I was working for the, the Wilderness Therapy Company in my off shifts I would kind of tinker away at production and start to build out everything. I've really learned that you have to, you gotta strike when the iron's hot, when it comes to like, executing something like that.
Because the more time that I, I let pass or the more life that happened the more out of touch I felt with it. So it kind of got to that point with that recording where I, I was like, I don't even think I'm hearing this straight anymore. You know, cuz maybe I just. Too much time had passed and, and maybe I, you know, I was still working through a lot of perfectionism and tinkering. And so I actually had to like, shelve it for a while and then come back with fresh ears.
So I, so then I got to the point where it, it was feeling pretty good. But since being in Los Angeles, I've been wanting to lean more into a collaborative life creatively and I decided to take the mix that I had done and hand it over to my friend Ollie Brown to put his, you know, he was gonna put his magic into it. So we've, yeah, we're, we're just finishing up his his mixes on that
Very
Yeah.
Ali also master it. Is that the plan or are you having someone else look at it
Yeah. We're gonna have somebody else master. Yep.
Cool. Yeah. I think the collaborative component. Can add so much to a record. So even if you're really great at mixing and mastering, I think if I ever got to the point where I was really good at mixing and mastering, which I'm not there, but I still think I would be reaching out to people just to get other ears on it. Yeah.
Yeah. I've always leaned on friends just to like, share with, and Yeah. To get that, that outside perspective, I think it's important. It's really useful to have a ref, a reflection back from other people especially people that, you know you have a good relationship and can offer you. Sound perspective.
That is super value, valuable to have. When, when you were shelving this, Song for a while. Was that be from a songwriting standpoint or was it because of production? You felt like production you had started tinkering in a way that you wanted to edit later.
it was both. I've rewritten the, the lyrics three times, which I never do. I've, I've. Truly never rewritten, like in, in its entirety, a song like this. And so because I, I'd written this song quite a while before I think it came out fairly quickly when I wrote it, and I, I sort of had a sense of what I was feeling like I was trying to say, but then after enough time had passed, I was like, I, I don't really know what I was trying to say.
I think there's, there's, like, there's snippets in there that are. Aligned with it, but then otherwise I'm like, I think there's a way that I can express this more clearly. It's like the irony of, I, I definitely got too in my head writing the song trying to revise it. One of the versions I ended up trying. To change the meaning pretty drastically. And then it just really didn't feel right. I di I'd like re rerecord vocals and kind of sat with it for a second.
at that point I, I brought Ali in cause I was like, I think I wanna have you finish the mix on this. And we both agreed, it's like, no, it doesn't have the same it just doesn't feel the same as it did. So I ended up kind of getting back in touch with where it was In the first place, but I think articulating it more clearly. So that was a huge part of it, was like I just, I felt like the words weren't weren't at a place that I wanted them to be.
And then production wise, I, I'd really gotten sucked into a hole of just going like, what else can I do to this? And in the past especially, I feel like in the last six months I've been leaning a lot more into production and have just been consistently creating and practicing non-attachment, just kind of doing stuff very quickly. running with that idea and trying to execute it as it feels in the moment. But then not letting myself overthink it that's feeling much better.
Yeah. For me personally, production is just. It's funny cuz it's just like songwriting. You can go any direction with songwriting. There's not many limitations, which can be paralyzing for a lot of people. But for me, production in particular, I feel very like stuck. Like, oh, there's so many different things you could do. What's the right decision, how I do it? And I'm sure that comes with just the hours, plugging hours into it.
But how did you, how did you get into that into production, into a, in a way that's not paralyzing and more. Freeing and you can make decisions that you enjoy later.
Yeah, I think I had like a bit of an arc with that. I didn't even really, I. I hadn't even really gone with the label as a producer until pretty recently. You know, when I was younger, I'm trying to think in, in one of the bands, like the band with my friend Marissa. Just for fun, when we were releasing one of our, uh, eps, I did a remix and I had been playing around with, with the program reason I was just, it was just purely for fun. There wasn't like any pressure or any need for it.
I was like, this just feels like something that I wanna do. And I realized that I had really enjoyed that process. And it was helpful at that point having a framework of like a song that I, we had already written that then I could just take a new path and, have fun with sounds.
But in terms of like more acoustic based production when I was recording my first EP for Willis speak, I had three songs that I recorded at a studio, and then I wanted there to be kind of this flow to it in terms of an introduction and, and a couple of interludes and an outro that kind of helped it all connect.
So I think approaching it that way, I had somewhat of a, a world that sonically that I was already familiar with and I th so that, that helped me kind of keep it in, in one lane, so to speak. It's more challenging when you, when you're just starting from scratch, you're starting fresh, which I've been doing a lot more of recently and have had that that come up a lot recently where I, I've like jumped into a session and I can distinctly feel.
You know, maybe I'll work like the first 20 minutes I'm like, okay, let's do this. I'm diving, I'm trying to find sounds, whether it's like pulling up a certain synth or certain effects or getting the rhythm, feeling good. And there's always, like, for me, there's like that kind of, you're exploring, but there's also self-doubt coming in. You're like, ah, this just isn't feeling right.
And I've noticed that if I just push over that hump a little bit, It can start to shape up and then I can, it's like creating new pathways based off of like the original spark of the idea. And like you're saying, there's that challenge of, well, yeah, I could go any way that I want. Possibly just because we have that option. Nowadays we have the tools in front of us. And I think at this point I just keep asking myself. is what I'm doing right now. Valuable.
So when you're mixing or producing, you can get lost in tinkering with the sound of a reverb or EQ or, or like automation for hours and you're like, at the end of it, you don't feel like it made any difference or it didn't el elevate it.
Or it makes it worse. That's the worst part is when you you mute it and then it's like, oh, wow, this is better. Without those hours of work, I just put in.
Yeah. So I always try to keep that, that question like running in my head. And go just like, what, what is at the core of what is the most important thing that needs to happen right now? Like it, the song just needs to feel good as at its core. And like, don't get lost in the details.
Yeah, I think that's super important advice. Just be going with the feeling, right? Cause the feeling's not there. It's worth taking a walk or whatever you need to do to. To get back into it.
Yeah, absolutely. Like the past six months, I've just been leaning super hard into when I feel that creative strike. And if I had the available time then I just jump on it right away. Like I, if the inspiration is there, I attack it as quickly as I can cuz I know it's gonna leave so quickly, you know, as quickly as it came. So it, it's, it's kind of like capturing the magic of that, that inspiration and that creativity bubbling up and then you can actually harness it and do something with it.
I mean, I'm just learning to, to work more quickly, more efficiently to fight my perfectionism and overthinking because I know that that'll just derail me and get me away from that original energy.
Do you know what helps me get into that state as well is writing at certain times in the day. Like for me it's morning, so. Morning. I can tap into my inspiration a lot quicker than afternoon or afternoon's usually fine actually, but I've noticed I can't write at night. I don't know what it is. And it, it's very different than most musicians I've talked to. But like nighttime, my brain is just. Mush when it comes to lyric writing, I'll just like keep writing the same thing over and over.
Or at least maybe saying it's mush isn't right. It's more like my, my critic part of my mind is like super high alert at night, where in the morning I can really make mistakes and write stuff that I wouldn't do at night. Cause I'd say like, oh no, that's stupid. But when I write it in the morning, Then I can look back on it and be like, oh no, actually that was, that was pretty cool. And, but at night I wouldn't have allowed myself to, to write some of the things that I do.
So now that I know that I'm trying to put into practice writing in the morning more often. So yeah, I really appreciate that perspective.
I'm sure it's gotta be challenging as a father to, to fit in time, you know, like I, I admire that for sure. Just any, any people with family, it's like, how do you do it?
Thank you. I wonder most of the time myself, it's,
yeah.
it's definitely a balance that I'm
I can barely take care of myself, you know?
Yeah. I had one more quick question about the song before we get to, you know, like how people can follow you and where they can find you and such. But I loved this, this spot in your song and you'd mentioned the lyrics going over it several times. You talked about when I was hopelessly alone, even when I thought that I'd known or when I was down and low, there was still tracks in the snow. Can you talk about that line and what it means to you?
Yeah, I had a feeling you would ask about that line. Yeah, parti recently the songs that I've been. Putting out and writing are very much mental health centered and like I said, thematically surrounding connection and working through our. Our inner struggles that play out, you know, in our outer relationships or, you know, our relationship with ourself how that can affect how we navigate the world. That was actually, I think, one of the original lines from the first version.
And I think I, I held onto it after the early experience of being back home during C O V I D there was a huge rollercoaster of, of my own mental health and, and emotions during that time. And so being back home Really having the magnifying glass on, on what I was experiencing and that cyclical nature of Your ups and downs. And so that particular line that there's still tracks in the snow.
I think it was, uh, after I'd been home for like six months, going through cold, dark winter of upstate New York once again, which I had been running from I, I don't know. It was like this very distinct moment where I, I had been, I was at my parents' home and I'd been walking I was also, I was staying at, in a, an RV on their property while I was back home. It was nice to have a separate space from them.
And I was walking back to the RV late one night and it was a still quiet night and it was a full moon, just, just shining on the snow. And I think I had just been ruminating a little bit too much about Feeling like a lack of, of progress, I guess, because of that, that certain experience of isolation in the pandemic. And as I was walking, I just remember turning around and, and just seeing the moon reflecting like the, the footsteps in the snow.
And I oftentimes for whatever reason, just turn those kind of experiences into metaphor. I. It was, it was like, okay, there's, there's a moment here to stop and reflect on where I've come from you know, all of my life leading up to that moment. And you get the chance to observe it and learn from your past, but then, Like snow, like snow will melt away, you know, like the past is in the past and you're letting that go and, and you're, you're moving forward and creating new footsteps.
And so that whole set of lyrics is kind of that, that cyclical process, you know accepting who you were, where you are and where you're going. Yeah.
Thank you. Yeah. I love the idea of movement being a big part of that. There are still tracks in the snow. You're still moving forward. When I was looking at it, I kind of saw it as There were tracks so you weren't alone cuz there were maybe people have walked the path before you or something like that. You know, there's that camaraderie. So I love that it has that kind of multiple meaning.
Yeah. That's the best thing about that song is, is there's so many different extractions from them.
Yeah. And it's interesting how when you perform it, that line really sticks out to me cuz it obviously is a very like, tangible moment for you as a songwriter, and how that comes across in performance. I just think that's so cool. So David, where can we follow your project? Willowspeak?
You can find me on social media as @willowspeakmusic on Instagram is where I'm most active, I think like most musicians nowadays. Also on Facebook and, uh, I don't do the TikTok yet, sorry, not sorry. Um, I created the account like several months ago and I just haven't had the, uh, the heart, you know,
Yeah. You can follow the empty account, at least on
follow my empty account. Yes.
Awesome. And this song inside Our Heads. That's already out. So you can stream that. On Apple Music, Spotify, all the places, I imagine. what else can we be looking for from you in the future?
I'm actually gonna be working on a music video for that cuz I, decided that was, an underserved part of my creative path and, leaning to more collaboration as well. I'll be working with some different folks to get some videos out for some of the songs. I might do one for, my last single, as well. but right now I'm working on a couple of different projects. I have sort of another, thematically connected EP that I'll be putting out later in the year.
That I think is just gonna be one song done four different ways.
Oh, cool.
an, an idea that I've, I had for a while. So yeah, working on that stuff and I've been doing some collaborations, playing on some other folks, music, and Doing different writings for, for my own projects and in the sync world and yeah.
Amazing. Yeah, so make sure to follow Willow speak and listen to Inside Our Heads. Thank you so much for being on the show today, David.
Yeah. I appreciate it, Jordan. Thank you very much.
All right, I'll see ya.