At a time when the industry is so baffled that bands are seemingly trapped in an endless cycle of content creation and/or smoke and mirrors to get their music to an increasingly diffuse audience, there are fewer and fewer acts – certainly entering the mainstream – who simply (as if such a thing were ever simple) rely on great song writing.
Yet, every once in a while, a band cuts through the noise with music that is so great that people can’t help but sit up and take notice. This is certainly the case with Sons of Silver. A band that follows in the hallowed footsteps of Springsteen and Dylan, Soul Asylum and Pearl Jam, there’s an emotional core to the material that frequently leaves you with the feeling that they’re making music both for you and about you.
With their stunning debut making good on the immense promise of their EPs, – Doomsday Noises and Ordinary Sex Appeal, Sons of Silver finally seem poised to become a household name and deservedly so. For me, having followed the band since Doomsday Noises first dropped, it was an absolute pleasure to sit down with the band’s guiding force – Peter Argyropoulos – whose singer songwriter roots play such a part in the band’s intimate stylings. With a low-key energy that blazes into life when you touch upon a topic he cares about, Peter is easy to talk to, often funny, and very down-to-earth, and he generously took time out of his Christmas holidays to guide us through the making of Runaway Emotions.
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In this day and age, particularly where there’s such a focus on content, you guys appear to have taken almost a step back from the constant churn – you did an EP, and then took a decent interval, and then another EP, and now we’re getting the album. So, I was wondering how much the creation of the EPs gave you the opportunity to bed in the line-up and, more importantly, bed in the sound that you wanted to produce?
Well, you know, some of it was forced by outside forces as far as our pace is concerned. Covid affected things with both the EPs, especially the first one in that we couldn’t tour to support it. The second one, we chose not to support it because things still weren’t fully clear as far as touring was concerned.
We knew it was going to be a bumpy road and, likewise, there was a lot of inventory left over from the preceding two years – inventory from the touring world – and that needed to get cleared off the shelves. So, that was forced.
As far as the lineup, that wasn’t something we intended – Dave Krusen leaving the band. But, you know, it was beneficial to us in the sense that Dave just didn’t want to do a band thing anymore. He still plays – he plays with different acts – but he’ll play a one-off here, a one-off there. And, originally, when I really look back at it, that’s all he really ever wanted to do, but he stuck around because we became so close. He loved the music, he loved contributing, he contributed tremendously. But he just didn’t want that commitment so, to try to answer your question a little more succinctly, I think we would rather have had a faster pace, but the world just didn’t permit it.
I would say that the best thing that came out of it, though, was having Mark join the band, in that… I should say having Mark join the band when he did, because the timing of it all allowed us to transition from being a singer-songwriter outfit, which we originally were, to becoming a band – a rock ‘n’ roll band. Dave gave us some time to do that and to get us an identity, not only musically, but with ourselves in terms of our roles in the band contributing to the songwriting and feeling very comfortable with each other. So, to then bring in someone like Mark; someone of his calibre – it was like a breath of fresh air, an injection of energy and excitement, and he didn’t have to deal with… I don’t want to say the baggage, but he just didn’t have that history. He was like “OK, let’s go, let’s go!” And that really was a nice little extra juice for us.
So, yeah, that’s how it really is. It was sort of forced on us by the world and, instead of folding, we foolishly decided to stick with it and now here we are. [Laughs]
It was such a strange period because, as you say, it wasn’t just the fact that everything stopped for a year, it was waiting for all the record labels and all the festivals to play catch up, because every label had a backlog of albums to release, and all those weird things – the live lockdown album – that got thrown into the mix as well. I think a lot of bands folded in that period.
Yeah, oh yeah. And look, we almost didn’t release our first EP, Doomsday Noises because it came out… the first single, I think, came out in April of 2020. The EP came out in June and, so, to make that your debut time… that was [laughs] you know, not the best of times.
But our feeling was that we needed to go for it because if we didn’t put something out, we’d be DOA, we’d have been shelved for so long that… You know, forget being shelved by the industry, we’d have been shelved ourselves!
Self-imposed shelving!
We’d have forgotten who we were and why we started doing it in the first place.
And we also thought that there might be a window where people were at home and paying more attention than they might otherwise have done. It turned out it was a good call by us.
The only strange thing about it all was that we had that song called Outbreak, and that song was written before any of this was on the radar. That was one song where we thought we should pull it, but then I figured we should just go for it, you know. But, that one… people were calling me – like, my dad called me: “did you write that song really fast?” And I was like, “not possible! Not possible! I’m a soothsayer! [Laughs]
I was talking to someone else about this and there weren’t many kind of original things dropped during that time, but they argued that it felt like people kind of needed something positive. And it was, because I remember speaking to you in the middle of lockdown and I came upstairs in the middle of a BBQ where we had our one allowed person (our “bubble”) sat outside with us at some weird, mandated distance…
[Laughs] Yeah, you guys really had it bad! Us, they had all these rules, and if you wanted to obey then great, and if you didn’t – oh well. You guys were really cracking down!
Particularly in my city, because we were the epicentre of illness here. But it was really cool to have those little glimmers of light, so it was a really good call, not just from the perspective of keeping the band alive, but from a fan perspective – it was really nice to have something kind of happening and reminding us that the world hadn’t stopped.
Yeah, I agree. I won’t say I discovered a number of new artists during that time, but I did, you know, rediscover music listening as a fan in many ways. It also coincided, in 2021, with having a kid and wanting to, even as soon as he was born, I wanted to play him a lot of stuff that I had listened to growing up, or that my parents had listened to, or stuff that I hadn’t really sunk my teeth into. So, that was some of it too, but yeah – really, what else were we going to do? Read books, listen to music? I’m not a big movie guy, so there you go.
I love the fact that your son pops up in a little snippet at the end of Just getting Started (I think)
[Laughs] Actually, it’s kind of funny. It was near the end of the day for tracking, and I’d sung, I don’t know, 4 – 6 takes of that vocal, and I told Brina [Kabler] that I wanted to get a couple more in there. And he was waiting with her on the other side of the glass, and I asked him if he wanted to sit with me. And he was about two-and-a-half at the time, and he spoke. At two-and-a-half, he spoke more like a five-year-old, and now, turning four in a couple of weeks, he speaks more like a ten-year-old.
Anyway, we had this conversation briefly, he and I, and I said, “OK, you can’t really speak, and I’m going to put the headphones on you – volume, OK? Volume’s good. OK, here we go!”
And I sang one or two takes while holding him in my arms, and actually, I think it was one of those two takes that we fixed up a little bit and it became the primary take. And he still listens to that song – he enjoys it when it comes on, so… My buddy!
The album itself, I think, it takes the EPs as a starting point, but it’s more diverse across its runtime. However, it kicks off with Tell Me This, which (for me) is such a call back to those great rock albums of the 90s – Alice in Chains, Peral Jam, Nirvana – they always hit you with something really hard before taking you on a journey. Was that always slated as the opening song?
Hmmmm – that came about when we were sequencing and both Brina and I did the sequencing… Kevin may have contributed to that as well. And we were all working separately on our ideas and we landed on nearly identical set lists. I think Brina and I had two songs that were swapped but Tell Me This was the first song. And I was a little reluctant on it at first. But then, frankly, it was a matter that nothing else worked, so it had to be the first song. [Laughs]
I think it’s cool to start with that massive jolt but then, once you start to progress through the album, you get songs like Running Out of Words, which has this Springsteen, storytelling vibe to it. And it’s got this really evocative lyric – I’m afraid I’ll paraphrase – but essentially “working all night, picking up the job in the daytime” – were you trying to get into that mindset of how people have to navigate their way through life – job to job?
Yeah, that’s how I was feeling at the time. You know, I had a one-and-a-half-year-old at the time, and I was doing band stuff, doing other work, and then being a very involved parent to a one-and-a-half-year-old… I was tired, I was worn out. So, what I wrote about was very personal. I wasn’t making up anyone or anything. I was going through my own challenges at the time.
That song came about… Dave Krusen left the band in 2021. He came back a little more strongly in the Spring of 2022 but then, after a couple of months, he got Covid, and he was like “I’m done.” And, in the meantime, we’d been working with another drummer – David Goodstein – and we’d started working up a few of the tracks, but we were hoping Dave Krusen would fully return. He’d had some health problems – not major things, but just things that would make you want to step back, especially as there wasn’t anything urgent going on and we had another EP in the can in the form of Ordinary Sex Appeal.
Anyway, I digress. So, you know, we were preparing to go into the studio in the fall of 200 and it was late July, Dave leaves the band, and we have a bit of a time pressure because we had to get something going. In the meantime, I had a vision for what the next album would become, Runaway Emotions, which I wanted to be a bigger rock album than we had done in the past.
Not like active rock that you hear, but a bigger, classic rock album. So, I started working on songs along those lines and I really came up with most of the songs – the meat ‘n’ potatoes of them, in a couple of weeks and Running Out of Words was one of them. And it started out with just myself and very heavy guitar, I think I detuned or did something where I was playing it where you could have that fifth on the bottom, and that’s where I was feeling it. And the words that started coming out were very autobiographical of the moment – “every day the week grows longer, long enough to hang my head” – I felt that way, and Dave leaving the band and a couple of other things going on, I was like “fuck me”!
And my life is very, very good. Trust me, relatively speaking, it’s top of the top. But, at the time, it felt very heavy, and it still does. So, I brought it to the band and actually, before Mark came in… I brought it to Adam, Kevin and Brina first and Brina loved it. Kevin and Adam weren’t into it, especially Adam. I brought it back a second time – still not into it. Brought it back a third time at Brina’s urging, and I realised they still weren’t into it. So, I tweaked the chorus ever so slightly, kept the same lyrics, “running out of words” and so on, but I changed the chord and boom, all of a sudden, we had a song.
Then, Mark comes into the fold and Mark came to me and he said, “this could be an epic, Springsteen-esque song.” And so, he really helped shape the dynamics of it – the structure of the song, the breakdown in the middle, the build into the choruses – it’s all Mark.
And that’s what really happened with that song, and that’s what happens with a lot of songs. I bring in, you know, a nice big chunk of meat to work with and everyone helps shape it and cook it and, in this case, a lot of it was Mark and Brina.
I always think that it can be quite challenging – it’s a really positive way to work, but it can also be quite vulnerable bringing complete or semi-complete pieces to a band – they’re like the first hurdle before it even gets to a studio or wider audience, because you have to fight with these four people or whatever to get it to where they’re happy with it. It’s quite unique because music is an artform where you conceive something, and then it has all these other people who come in with their brushes and paint over all your lines!
You know, it’s funny you said that. It seems like a tangent, but not – several years ago, I read a business article that said over 70% of Fortune 500 company CEOs are trained musicians, and the question was why – why to such a degree. And the answer was firstly, a love of music – what it does for your soul, the training of your mind and body and the focus that you have to bring – the regimen.
But equally, where it applies to a CEO is that you always work in ensemble forms one way or another, and it really teaches you how to work with other people. It’s a matter of pushing but also slowing down. Listening, and embracing what others have and learning how to mix your ideas with theirs. And it’s really true and that’s what goes on and that’s why it’s really important to have people that 1. you enjoy working with, because you’re going be spending a lot of time together. 2. People that you appreciate – you appreciate their ideas and respect them. And you especially appreciate when they say “you know, we should turn left here instead of right” or whatever it might be. And also, being comfortable getting naked, because you’re baring your souls. Even if you’re not the person who brought in the idea, whatever idea you bring in thereafter is you baring your soul in the moment, which is in many ways is a lot more difficult than what I do – bringing the kindling so to speak. But taking that and running with it, that’s a different strength and, frankly, I’m not that great at that part of it, so I tip my hat to the rest of the guys.
There’s a lot of really evocative, punchy lines across the album and another one that really stood out was on Hold Tight – “Paying the price for speaking your minds in a land so unforgiving” – which is becoming increasingly pertinent with the increasing polarisation of social media. I think we spoke about this before, but this is clearly a subject that’s still at the forefront of your mind – the clamouring voices.
Yeah – the clamouring voices and the resistance to free speech, so to speak.
Look, taking it from the American perspective, we all look back to the first amendment, and the right of free speech… you know, it’s… we’ve developed that interpretation. It was originally meant as more of a political… it was supposed to be applied more to the political world and speaking with regards to politics; not necessarily being on the street and, as we now see, saying whatever you want, behaving however you want. Because it’s becoming freedom of expression too, and that’s fine.
But, for me, I’m a firm believer in freedom of speech and the freedom to express yourself, you know, within the sphere of being cognisant of your surroundings. You don’t want to be driving down someone’s street late at a night on blow horn, you know. You want to respect all of our rights – they should all be respected. But definitely, I’d err on the side of letting the floodgates open, so to speak.
And I’ve seen so many people, even some of my closest friends, just so resistant to it in so many ways. And I’d say “hey, you know, let the nazis…”
And I’m not saying nazis in a sense of Trump people or not Trump, this has nothing to do with that.
But, yeah, “let those people speak so, if anything, you know who they are.”
So, I’m firmly, firmly in that camp. So firmly that I speak about it and write about it a lot – it just naturally comes out.
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It’s a really interesting point and it’s clearly something that’s at the forefront of a lot of people’s minds now; but I guess the issue is when it devolves into a slanging match, which is a shame because both extremes are trying to silence the opposing voices, rather than have a discussion and that, to me, is the most damaging part.
I wholeheartedly agree. Wholeheartedly. We have these great tools to communicate and all we’re doing is putting it on mute!
The lovely thing about this record is that, and again this is something that goes back to the EPs, no matter how hard-edged the lyrics get, there are these great, memorable melodies – so, I guess it’s that whole blues motif of seeking catharsis and solace through the music. So, almost inevitably you listen to a Sons of Silver album, and you end up feeling pretty great.
Oh, I appreciate that, thank you! Thank you, Phil.
Ah, yeah, I would hope so. It’s tough for me – I lose perspective and, in fact, sometimes I need to distance, or I just need a moment like this to be reminded that we’ve done good work or not.
It’s funny, because I was putting together some stuff for social media – I do a lot of the social media and I have another guy who helps us; there a few of us who do it but this week, with everyone taking some time off, it’s on me. Anyway, I was putting some videos together that’ll come out over the next few days – one of them, which I was working on last night and this morning, was a mash up of the music videos from this album with Tell Me This, Giving It Back, Just Getting Started, and the fourth one that comes out with the album release, Running Out Of Words. So, I was putting those quick bits together, just 10–15 seconds of each – and I showed Brina, and I was like “wow, this is actually pretty good!”
And Julian, our son, I was showing him, and he was saying, “hey pop, can you play that again, can you play that again?!”
And so, you know, it does feel good to see that all sort of come together. You know how it is, when you’re mired in anything, you’re just like “oh my god, this is terrible!” And you just want to throw in the towel. But I appreciate hearing that, it makes me feel good.
The final song – I think is probably the bravest song on the record because it’s very different to what you’ve done before – it’s very naked. When you came up with that, did that stand out to you as the final song, or when you were sequencing did it turn out to be the ending the album needed, because it’s a very… I mean everything’s from the heart, but because it’s so sparse in its arrangement, it really cuts through.
You know that song has a very interesting story. It was a long journey in a sense. To answer the first part of your question more directly, no it wasn’t what we intended to be the last song. We wanted it on the album for its lyrics, so we knew… we were very intent in making sure that it was on the album because of the lyric.
But, with that in mind, once the song was complete, it was clearly going to be the last song… either that or right in the middle as a sort of halfway point to break up the two sides of the album.
But, interestingly, it’s actually a couple of songs. A piece of it, the “friends, friends, friends” part was left over from a jam session with Dave Krusen, and it hung around for a good year or so before we dug into it for this album. And it was a hard rock song originally. It was a jam that led into that piece at the end [sings] ‘friends, friends, friends, friends”. But it wasn’t really appropriate for us. Adam and Kevin, in particular, were against it. But I liked that part, so I took it, developed the chorus further and put a verse around it and brought it back to the band, shortly before Dave left, and I played it as an acoustic song. And I was like “nah, we can do something else with it…”
So, then we tried it as a U2-ish kind of thing; and I say that, not because it was our intent, but that’s how it came across; but it didn’t work, so we shelved it.
Fast forward, we’re doing the album, and I bring it back to someone fresh – Mark, who hadn’t heard it – and we did it as sort of Americana Tom Petty-turned-up kind of thing and it sounded pretty good. So, we had it mixed, not by Tim Palmer, but by someone else, and we were listening back – Brina, myself, Kevin, and one of our guys from Universal were listening to about 12-14 songs. And that was the one song that didn’t fit the mix. And it was like “OK, it doesn’t fit.”
Anyway, the Universal guy left, and I was sitting there like “this is too bad, because the lyrics are so good, this would really tie up so many emotions in the album if we could just get it on there.”
And it was Kevin who had the idea to turn it into a piano song. He was referencing David Gray’s song, This Year’s Love or something like that (I always forget the title, which is terrible – it’s a great song). So, Brina, he and I sat down and just quickly sketched out a piano idea for it, listened back and it was kind of cool. I went and updated the piano part, Kevin did a string arrangement, we tracked it a few days later and it was done. And it was very clear that it should be the middle or the end, but 90% it would be on the end.
But that song stuck around for the lyrics.
I think that’s really exciting – that kind of creative journey where you had a little snippet of something that you know is going to work, but you just can\t get it over the line no matter what you do until it finds its own path. It’s so great you persevered with it.
Yeah – you know the process. You’ve got these bits and I’m sure I’ve mentioned this a number of times, so forgive me if I’m repeating myself here: A while back I saw or read an interview with Keith Richards and they asked him about working with the Stones and they asked him what his favourite thing, or one of his favourite things, and he said that he loved going into the studio with these seeds and then seeing how they grow. Sometimes they grow fast, sometimes they take years.
And the same applies to me. I call the ideas kindling, and on my phone, I have these voice memos which are all kindling. I have different levels, but I love it when it’s just a piece – 5 seconds / 3 seconds – something short. But you bring it in, and it sparks something. And it really is, looking back (if you can remember, but you do this so many times it’s a big blur, it’s probably like having fifty kids), I love looking back and it’s like “we had nothing and we turned it into something, how cool is that?”
It’s really fun!
I love those little sketches – you know, you walk down the street and you’re singing into your phone, and then six months later you look and there’s this file that’s just named after a street and you’re like “what is this?”
Oh hey – on that note does it get it wrong sometimes?
Yep! You look and you’re thinking “I was never even there!”
Right?! It upsets me because I remember by time and location. So, I’ll be looking like “I know I did this October 2021, and I know I was there” and then I’ll look, but the location’s wrong, so that can’t be it…
All these little things that come to trip us up. But you’re right, there’s nothing more exciting than taking a half-formed melody and turning it into something. And usually, at the end, you can’t even remember how all those layers got there, or what worked and what didn’t, but it’s so exciting.
It’s true, you can’t remember. Sometimes it’s a difficult process, sometimes easy, but then you decide you’ll take some time out from doing it again, a few days go by, and then you’re back at it again – you can’t help yourself.
The album feels very organic and, one of the things I wrote in the review (and it really felt that way) is that, compared to a lot of stuff now that seems to have the life processed out of it, you appeared to have let the material breathe a little. What was your process for recording?
Getting the basic ideas together to begin with – and there was a brief period between Dave and Mark, where it was just me, Brina, Adam, Kevin, and a drum machine. In particular, myself, Kevin, and Adam with the drum machine while Brina was in the control room. So, songs like Nobody Minds, Hold Tight, Running Out of Words, Warning Signs, Tell Me This – they were sort of hacked together with the drum machine. It’s funny, too, because I was cleaning up some files and had the chance to hear those demos, and I was sat there thinking “that drummer’s pretty stiff – who was that?” [Laughs]
So, that was the first part of the process – getting it together. Mark joined the band, and we got heavily into writing and that was interesting too, because when Mark joined, it was just going to be a temporary thing. But, you know, we tracked like 6 or songs and then we had some gigs, so I asked him if he’d be interested, and he was into it, so we started rehearsing for those gigs, and he came back to me and said “hey man, I totally get this band now. Can we go back and recut everything I did?”
And I said “OK” and he offered to pay for the studio time which then led to it becoming an album. And we took a lot of time to rehearse in the studio and we banged all the basic tracks out in a couple of days, went back and redid some guitars and additional overdubs. And this all took place… the recording process started in the December of 2022.
And it was actually pretty smooth until we began mixing. We were having trouble finding the right mixer, and we just couldn’t find the right person, and then we were introduced to Tim Palmer, and it was just so serendipitous. Firstly, I’d had Tim on my radar for ever as one of the two guys I wanted to work with, either mixing or producing. And two, just how it all transpired – it’s a long story how we met and were introduced.
The first song he mixed was Running Out of Words, and we’d had a lot of trouble putting that together and tying it up, as far as the mixing went, and his first version of the mix (which is 99% of the final one) – it made Brina cry when she listened – literally. And I called him up and I told him “You made Brina cry!”
And he said, “I hope for the good?”
And I told him yeah and he said, “well, it made my wife cry as well! It’s the best song I’ve mixed in the last ten years.” And that meant a lot.
So, we were up and running then with Tim and he finished the rest of the album, and it was, you know, a typical process actually. It took him a couple of months to get it all done because he had a busy schedule, and he was taking some vacation time as well. But it was, aside from just getting started, it was pretty smooth.
But, to your original point, everything we do – none of us like that super polished stuff. And, at times on this album, there are probably times where it’s a little more polished than I’d want. But, in everything we do, we approach it like how we’ll play it live. We won’t scale it totally, because it’s a different medium so to speak, but we want to make sure it’s something we can pull off. And, playing live – not just live in a studio, but live on a stage – and we also, it’s just what we like. We just like stuff that feels a little more organic and I think when we go to do our next one, we’ll be even more prepared going into the recording, so we’re keeping it all. Instead of going back and fixing some guitars or replacing takes, we’re going to make sure what we go in with is done, so we’re really capturing a 100% live performance and putting it out. Because we’re good enough to do that and I just love how it feels.
It just feels – you know what I mean? All the records that everyone grew up loving, even kids – little kids like our son who loves them today, those old records – they laid them down on the floor. You sit there and you listen to Bing Crosby and Frank Sinatra and Nat King Cole – it’s all live! You know? And it’s so amazingly good – we’ve lost our minds with cleaning things up and perfecting them. We’ve lost the point of it all.
So, it’s about capturing a moment and an emotion and you can only do that when you’ve got a bunch of people interacting at that point! I’m done with my proselytizing here!
It makes perfect sense and, particularly because your music is so dynamic, I think it would be very easy to get someone who could really take it in a big drums, big arena rock kind of way with the wrong encouragement.
Oh yeah, you’re right, it can go wrong really fast. I’ll say, Tim could not have done a better job. And he didn’t just mix, he added some sweetening in the production – little guitar flairs here and there. For example, on the song Running – if you hear on the second verse, there’s a rake in the background, that’s Tim. He added a couple of little keyboard parts as well and I say “little” not to minimise them, but you know, they’re further back in the track. And, he had me add a couple of little background vocals and I think he may even have sung a couple himself, so those things – they help the album. I think they also helped him to get in touch with what needed doing. It was just perfect – we really met at the same spot on the same page, and I hope we can do that again, because he’s a wonderful man.
The only problem with him is he’s British, you know? [Laughs]
It’s a flaw…
I gotta say one last thing. I think that is a major strength. You guys are a little quirkier than us Americans. I mean that in all sincerity here, I mean, in a really positive way – there’s a charm, there’s a wit, there’s an approach that’s different. Americans, we tend to be a little more, you know, I don’t want to say heavy handed, but we walk around with a heavier stick, we treat everything a little heavier for good and for bad. And, even with our bombs in different countries! [Laughs]
But you guys have a little more finesse about you and see things in a slightly different way and I think it’s a good match. And I genuinely believe that and mean it in a really positive way, it’s something my father pointed out to me a long time ago. He said, “they’re quirky, and it’s really good!”
Doing the recording that way works really well – it’s almost a subliminal thing where, on record, you have these little elements like a looped guitar part or a keyboard piece and, when you go on stage, you might play a snippet of it, and then move on to another riff, but the audience still hears it, because they expect it to be there… And I like that process because live, it’s a bit rawer and more punk rock, but on record you have those nuances, but they’re not overtaking the mix.
Yeah, and that’s always the trick because you can get so attached to things and you don’t want to let go, and that’s why it’s good for us to have a band and manage those things. So, we’ll ask each other if we want to keep that part in there, and we just stay focused on the most important elements – your vocal, your guitar part, not the ancillary parts. Maybe you’ll squeeze it in, like you said, in a segue, but we’re really not at the point right now, because our stage time is so short, that we can do that stuff, but we have a list! We have a list.
So, you’re off out on tour with Myles Kennedy
Yeah, Myles Kennedy and Tim Montana, we’re the first of 3. We’re doing 21 dates with those guys, we’re adding a few dates of our own, so we have 24-5 dates over 5-6 weeks. And then we’re booking for the Spring right now, and we’re looking at the summer and the Fall as well. It’s [sighs] You know it’s funny – when I got into this, and it’s always what I wanted to do and it’s always what I’ve done, but it’s a little more difficult now with our son. He comes with us, obviously. It’s also more challenging in that, I thought things would get easier as the enterprise grew, so to speak and, in fact it’s getting harder, and the demands are getting greater.
And, er, make no mistake, it’s hard. And I have friends in some bigger bands and they’re like “we told you! We told you!” [Laughs]
It’s all good stuff. So, yeah, that’s what we’re up to, though.
Thank you so much for spending so much time with me, it’s been great to catch up!