Andy Frasco's World Saving Podcast - EP 268: Jeremiah Fraites (The Lumineers) & Sam Fribush

Episode Date: April 30, 2024

We got a brand new song as a secret debut for y'all! Another collab with our pals, Little Stranger, the new song is called "God at a Festival." Enjoy it.... or else. Andy & Nick open the show with the homie extraordinaire, Sam Fribush - this dude can wail on an organ like you wouldn't believe. Also: what it's like to work with a legend like Charlie Hunter. (Is 8 strings too many for a guitar? We don't think so) It's a keyboardist w3t dream as we welcome back to the Interview Hour: Jeremiah Fraites of The Lumineers! He's got a new record out and we have questions in advance of all his sage answers. Plus: insights on what it means to release an instrumental album this day & age. Drink that water and check in on your friends! And guess what... You can watch the full episodes Exclusively on Volume.com now in color!  Psyched to partner up with our buddies at Volume.com! Check out their roster of upcoming live events and on-demand shows to enrich that sweet life of yours. Call, leave a message, and tell us if you think one can get addicted to mushrooms: [phone]  Check out our new album!, L'Optimist on all platforms Follow us on Instagram @worldsavingpodcast For more information on Andy Frasco, the band and/or the blog, go to: AndyFrasco.com Check out our good friends that help us unwind and sleep easy while on the road and at home: dialedingummies.com Produced by Andy Frasco, Joe Angelhow, & Chris Lorentz Audio mix by Chris Lorentz Featuring: Arno Bakker John Shields (HBD big dog) Little Stranger

Andy, my boy. It's John from Little Stranger. I just wanted to give you a heads up, man. I know we got this track dropping next week. We're going to try to keep this one pretty close to the chest for the release. I know you like to do teases and stuff beforehand. But on this one, let's just wait. Let's hold off and drop it next Friday.

All right? So do me a solid, man. Button it up. I love you. Peace. fans are putting it out right now. Three days before we release it, the song's called God at a Festival. I did it with Little Stranger. I love this song. I'm really proud of this one we did with the Stranger Boys. I think you're going to love it. It's about finding

truth and finding love through music. So, Chris, play the flutes, baby. Ladies and gentlemen, another song from Andy Frasco and Little Stranger. The song's called God at a Festival. Enjoy it. Hey, hi, howdy, hallelujah Saw your face and I thought I knew ya Got no gear but I'm here to school her Wanna go hash cause I got no moolah

My G.O.D., will you best believe that I'm here to stay? Been a bad boy but I came back just to say Say what? Got some butterflies in my gut I got half a mind to go crazy I got half a mind to go nuts Say who? Got so tired of being so blue Up till now I've been a mess A portrait of a broken man and I'm a must confess

I found God at a festival She was extraterrestrial We made love, nothing sexual I found God at a festival She was extraterrestrial We made love, nothing sexual I found God at a festival First time I seen her with the crew Five foot nine with a hula hoop Divine in her mind, new designer boots On duty to do, I need to bless you Anything just to be with her, amen Sin, just like many, many men And I feel like I've been saved by a broad named God at the raid

I found God at a festival She was extraterrestrial We made love, nothing sexual So now we're moving down to Mexico So my advice in life when you be taking deities Is always remember to be tender and find the peace in thee Moment, hold it close and make it make the most of it But when you go talking about it don't go being boasted

Bitch, open it just like the pages of a book Find your nook, climb inside and apply hooks So you can stay forever in this weather Whether it's gloomy or sun shining I'm just happy I made a life rhyming Alright I get it Kev You found what you're looking for early in life. But what about the people who haven't found what they're looking for?

Maybe it takes them a hundred years to find out what they're looking for. They gotta keep trying. They gotta keep finding themselves. Cause you're not gonna be able to love anyone until you love yourself. So what are you gonna do? Keep giving love to everyone else before you love yourself? Or are you gonna get out there and fucking start taking care of yourself? Whatever. If you wanna go out there and take ayahuasca

in the bushes, fucking do it. If you want to fuck a girl in a wildfire, take a fucking whack at her. Because at the end of the day, this is our life. No one else's. Tell your ex to suck it. Tell your dad that you're worthy. And tell anyone who doesn't believe in you that you deserve

love too. Because at the end of the day, here we are. It's you, me, and Dupree. Sincerely, Andy Frasco. She was asking to rest for you. We made love up in San Diego. And now we're moving down to Mexico. I found God at a festival. She was asking to rest for you. We made love up in San Diego. So now we're moving down to Mexico. So now we're moving down to Mexico.

So now we're moving down to Mexico So now we're moving down to Mexico I found God at a festival Wow. Our claps have been good lately. Our claps have been amazing. Just two dudes wearing sunglasses inside. Let's fucking go. Those lights are bright, man.

Those forests are lights. Andy Frasco's New York City Podcast. Those lights are bright, man. Those fluorescent lights. Andy Frasco's North Sea River Podcast. I'm Andy Frasco. This is my co-host, Nick Gerlach. Just another week surviving. We're doing it. We're doing it. We have Jeremiah from the Lumineers, the keyboard, piano player

for the Lumineers, and he does everything else. And I felt like it'd be appropriate to have one of my favorite organ players, one of my favorite piano players. He's a bad motherfucker. He's a bad motherfucker. He's in his golden messenger. He's putting out, he's going solo like Tupac, people.

He's going out there, just fucking going solo. We have Sam Freibusch. How you doing, buddy? Andy. What's up, dude? I appreciate it. Dude, new record! What's going on? You excited? Nervous?

What's going on? New record? People, please, man. It's out. You stoked on it or what? I'm very stoked. Yeah, it's great. The reception has been more enthusiastic than I

anticipated. Yeah, is it hard to be a frontman as a piano player? There's not a lot of piano player frontmans out there, you know? Hell yeah. I mean, to get people interested in instrumental music alone is a challenge. Yeah, you got a point.

Nick's in the choir there. Nick's trying to put out an instrumental record and it's taking a little longer than expected. Almost done. I love it. I personally think that it's making a comeback. You have a point there. What's your philosophy

on it? Why do you think instrumental music is making a comeback? Well, it's just like I just did a tour and all we did was listen to instrumental music in the car for some reason. Classical, jazz, we just went down this rabbit hole and

you can read your book to it. You can just... It's not as taxing on the energy in the space, if you will. I hear you. And then how do you promote instrumental music? Because Jeremiah is putting out his instrumental record.

Yeah, how do you do that? What's your key frame on trying to promote instrumental music? Well, you have to be kind of good, I think. Yeah. That helps. I mean, you're the GOAT. i mean you're the one of the best organ players in the country dude we all know that oh i'm humbled man thank you i'm trying my best uh i mean i think really like it's the product you know if you have a good product that feels good and makes people feel good, you know, makes them kind of want to bob their head or move their feet or whatever it is. It's going to,

it'll sell itself. Right. And then, um, cause you are in his gold messenger as well. So it's like, is it feel like you're cheating on your girlfriend for putting on a solo record in your brain?

Or is it cool? Like everything all kosher. It's all kosher. It's all kosher. It's a polyamorous relationship. Everyone's fucking the keys. I gotta say, it has to be a little comforting. It has to be a little comforting when you're making an instrumental record

and Charlie Hunter's the guitar player on it. That's fucking insane. Yeah, that helps. That helps a lot. Like, okay, the floor is high. That's fucking insane. Yeah, that helps. That helps a lot. Like, okay, the floor is high here. No, the hiss thing is great because everything helps each other, you know? Right.

That's great. And then what was the connection with Charlie Hunter? How close are you with him? I mean, he's a virtuoso. Yeah, I mean, I would consider Charlie a mentor of mine. He might not say that. He might say we're just friends or peers or guys who work together, but he has been incredible to me and the whole music community here in Greensboro, North Carolina, where I live and where I was born and raised. And pandemic brought me back here from New Orleans, which is now coming up on three years ago. Holy, that's so crazy, dude.

Wow. And we met during the quarantine and hit it off and we're playing together almost every day, just practicing and talking about music, hanging out. I mean, a lot of music happens, but a lot of just shooting the shit. I mean,

he's got amazing jokes and stories and he's one of the sweetest dudes ever. So what did you learn musically about what Charlie's bringing to the game that inspired you to be a better musician? Well, specifically talking about instrumental music, there's no greater career in that field than Charlie. I mean, Charlie

is holding the torch for instrumental music. And he's had an amazing career. He was on blue note in the 90s his first couple records and um angelo he i mean he captivates a room if you see him play live there's nothing really like it in terms of his like intensity and his energy and his connection to the instrument um and i think one of my biggest takeaways from playing with charlie is just to avoid the acrobatic sort of bullshit that

we all kind of get caught up in on instagram or or wherever it is that these you know virtuosic 30 seconds might might get a lot of likes and listens, but really it's about the simpler stuff and playing in the pocket and playing groove and feel as deep as you can. Being a mile deep on that stuff rather than a mile wide on how many licks you got. You know what I mean? That's hot deep versus

wide make a good movie i'd rather be deep not a good wide yeah make a good movie not a good scene both are good both are good no it's i mean i love that it's um i mean it's so it's got to be inspiring like did you ask him to be on the project or were you guys always talking about this? It started he was playing drums a lot at this time. He was really practicing the drums and I was playing organ and it was just we were doing it for fun and I never really pushed him in any direction and then one day

he came to me and was like let's cut an organ trio record and I'll play guitar and I was like okay. Yeah. Sign me see. I know that open. Yeah. So that was the first record and it was an experiment. It was at this weird time in the streaming distribution game where actually I was able to distribute it without a label on our own.

And it kind of popped off in a weird way because it was a record that Charlie was playing six-string guitar on, where he usually plays this hybrid seven, eight-string guitar. Right. Is it lonely out there? Are you married? Are you dating anyone?

What's going on with your life? What's the gossip? So I've been working in my backyard quite a bit, which has been really nice, doing some landscaping, some planting. Been taking care of my three-year-old mutt. She has a full-time job.

Yes, girlfriend. Yes, life is good. I mean, knock on wood, I'm very grateful. I mean, I wake up and I feel fortunate to do this. The new record is out. It's been out about a month, and it seems to be doing great. And now I'm working on some other stuff. So lately I've been in the studio just writing more instrumental music

and keeping the train moving. There you go. The grind does not stop for our man Sam Freibush. I mean, you've got to stay out of your own way. What's it called? Yeah. Before we talk about promoting the record, you're very right. We've got to stay out of our own way, right?

That's number one. I i mean there's days that i wake up and i feel like shit like i don't feel like doing all this you know like there's so much when you're doing it on your own you know there's so much that goes into the grind of promoting and booking and being your own publicist and you know making sure all the you got all the information on the back end and etc and then on top of that you got to go sit at your instrument and work you know yeah like i'm i'm my own biggest critic and there's days that i'm like man i sound like shit yeah so i can sympathize with that I think there's some I'm a naturally anxious person

and sitting down at the sitting down at the organ or keys or practicing is one of my ways of meditating gotta find that balance baby that's why everyone needs to go listen to Sam's New album what's it called Sam People please

People please Go listen to it anywhere you can find him He's got the fucking power What's up Sammy Exclamation point people please So is it a request or are you saying You're kind of a people pleaser It's

I'd say it is a request It's kind of a people pleaser? I'd say it is a request. It's kind of like, people please get your shit together. Yeah, yeah. Take care of your neighbors. Be nice to your friends. Love the planet. People please.

It's kind of like begging, I guess. And most importantly, love yourself, Sam. Give yourself that time for you to nourish your fucking soul. Yeah. Absolutely. We forget about ourselves sometimes when we're people pleasing. Yeah.

Yeah. I know. And there's a lot of people to please These days I know it's fucked up 7 billion Yeah 7 billion Have you heard of volume.com Sam? Have you heard of

No what's that? Volume.com is the best For content creators like yourself Sam If you ever want to Get out of the social media rat race, you should sign up for volume.com. Because, one, it's free.

Two, all your live streaming, all your art can be in one place where you can hold them. Shout out to volume.com for sponsoring this podcast. FYI. Sam, you're part of the pitch tonight. It looks good. It looks great. It's a great

staff that's running this thing. Your fans will love it because you get push notification, Sam. You know what push notification is? I feel like I'm not selling you insurance right now. It's not a drawbar. It's not a drawbar. It's not a drawbar. Push notification

gets your fan base. Make sure anytime you put anything out on volume.com, they're the first ones to check it out. So everyone go check out volume.com and go check out Sam Frybush's new record People Please. People Please? People Please! Sam,

I love you, buddy. When are we going to see each other again? When can I see you? Are you coming to North? Actually, I'm coming to Denver. When are we going to see each other again? When can I see you? Are you coming to North? Actually, I'm coming to Denver. When? In June. Oh, with his?

No, actually, I'm coming out there to do some recording with Adam Deitch. Oh, nice. Here we go. That's my bud. That's a good combo. Deitch and Frybush. Yeah. I like that.

What are you guys doing? Yep. We got some other people in the works, some New Orleans homies too. Cool. I'll definitely hit you up when I'm there. Hit me up. Just a couple days in June. Yeah.

And if you need a place to stay, stay with me. You're sold. Done. Let's get some hang time in. If you need a tenor player, hit me up. Yeah. If you need a tenor. Yeah, Dyche.

I used to play with Melvin Ryan. I know some organ stuff. Hell yeah. Yeah. Get Nick a gig because we're broke over here in the Frasco commune. We're doing all right. We're doing all right. All right, guys.

Enjoy. Thanks, Sam. You're the man. I can't wait for people to fucking keep recognizing. Fucking don't beat yourself up over petty shit, buddy. You know we're family here. Got some great Instagram videos so far. Yeah, go watch his Instagram. What's your handle?

FlyFry. FlyFry. I'm not just blowing smoke up his ass. Sam really is one of the greatest organ players. He's a bad motherfucker. He's a bad motherfucker. You're a bad motherfucker, Sam. And I guess we could take... He recorded a couple organ

tracks on our new record, and they fucking crushed it. We're stoked to have you on the project. I heard he did it during Soundcheck or something. How did you record them? I think... Yeah. It was funny.

I made the front of house guy turn turn the house music off I was like, I got to do something real quick And um, we it was a his gold messenger gig. So we had the I had my whole organ rig set up. Uh-huh um We have a great front of house guy named luke soar and so he's got he had it all mic'd up already, so we used we used our our whole rig and put the pop, the tunes in. I was rehearsing.

I was like going over the tunes in the green room and like Mike Taylor and some of the guys were standing around being like, you know, okay, okay, Sammy, what you going to put on this? Pressure's on bitch. I love, I think that's the coolest shit. Recording organ during soundcheck at a gig. That's like the I think that's the coolest shit. Recording organ during soundcheck at a gig. That's the real shit, Sam. Sometimes you get better writing when you're

on a timeline like that, too. I didn't make it easier. I'm like, I need these tracks immediately. Yeah, but there's an advantage to that. You make a decision. Yeah. I know. I was like, can it wait till next week? Or do you need it by Friday? You'd be like like Friday would be great

You're the man You know Like I said Go check out Sam's music He's one of the greatest And if you're on the road Go check him out He plays organ and piano

For his golden messenger Sam Freibus Thanks for being on the show We have Jeremiah From the Lumineers Keyboard piano player Of the Lumineers Big show tonight

Sam and Jeremiah. Wow. Fucking keyboard legends. You're the third best piano player on your show today. I'm the third best, yeah. That's fucking horrible. Thank God. Actually, I might be better than you at piano.

Yeah, I'm the fourth best. I think I'm the fourth best piano player. I'm kidding. I'm kidding. It's all piano this week, baby. Let's get it popping. Sam, thanks for being on the show. Enjoy Jeremiah from the Lumineers, guys.

And we'll catch you next week with Gavin Rosdale from Bush. Let's go. He was great. He was great. Thanks, Sam. Love you, buddy. Thanks, Andy. Much love.

Love you, buddy. Wow, round two With one of the goats Jeremiah, how you doing buddy? I'm doing well man, thanks for having me back Excited to be here The first time I looked at your schedule The first time I saw no tour dates It must feel awesome bro

Just to chill out It feels nice to chill out There's also that sense of withdrawal Where you're like You're home for a few weeks And you're like man That tour was intense And then you miss it again

How do you get through that How do you get through that in your head bro because you've been touring forever and you go home and i know you have a kid now and a wife yeah but two kids two kids let's go bro let's go thank you so much we're getting those jeans out there yeah but you know like how do you get through that in your head you know it's like how do you change your your point of view

of like I'm always touring now I'm slowing down it's hard I think for me and I think every musician is probably

somewhat similar but everyone has their own way of dealing with it um I think for me when I I'm home for more than

if I'm home for more than like three weeks and and I go back on tour, and it's, you know, maybe like, could be four weeks, could be eight weeks. I think that first, like, the first few days back on tour, you know, landing in a new city, a new country, living out of a bag again, I don't like that. living out of a bag again i don't like that and then yeah after three or four or five days you get really used to it and everything sort of like simplifies on tour because you just have your backpack and you have all your clothes and essentially your whole life in these bags so you're you're living in a simplified means you're on a tour you're you have a schedule set out for you almost down to the minute you're doing all these shows so then when you go home and you have this house and all this space and you no longer live out of a bag it's amazing it's also oddly overwhelming and then you know when you

get back home you're like finally my own bed my cup of coffee the way i do it cook my pasta the way i do it and then sometimes you're like grocery shopping for milk four days into home and you're like, oh man, I missed the road. You know, that just happens. It's like the grass is always greener or something. But I just feel really blessed that we have both because we're probably more on tour than we are home in the last decade. But that's a good sign. Business is good, I guess, in that regard.

We're really lucky to travel. I remember when Wes and I started the band probably 18 years ago. The first album, though, I guess came out 10 or 11 years ago. One of the 10-year goals was to like go to europe and we did that on the first record and i think as an american band the idea of leaving the united states was like well even if we went to canada but europe was this like 10-year goal and we were lucky enough to do that in the first record and then just going to places like asia and south africa and new zealand and all these other, you know, South America.

We finally just went back there after nine years of not going there. It was amazing. It was just, yeah, just so cool to be like, we're in Colombia, we're in Argentina, we're in Brazil. It's really surreal to try to take stock of all that. It's hard when you're moving so much. It is hard to take stock of that. It is hard to realize what is happening only when you stop you know and sort of ponder you're like wow that's a lot yeah did you think you'd think 18 years ago you'd be uh selling out baseball fields i think i think i had a feeling that something was going to work, but what that meant was not this.

I think what I thought was going to happen was that I'd be happy and I'd be able to make it work. And that, I mean, Wes, we would be able to make it work. I don't, I think you plan for it to go maybe the way it went,

but you don't have any indicators and you have to be a little bit naive, a little bit crazy, a little bit stupid to think it's actually going to out yeah dude you know yeah and i think that yeah i went to your first show i would my girlfriend in the time was from amsterdam i went to your first paradiso show with her no way and uh yeah dude watching you in church i think it made me fall in love for the first time. Dude, it was so romantic. You guys were out there. You guys were out in the pillars.

And it was just, it was very special. Was that Amsterdam you said? Yeah, Paradiso, that old church. Yeah, yeah. We've played there, I think, a few times. And it's just so cool to, that's so rad you were there. Wow. Yeah, it was crazy, man.

And, you know, it's like uh just to see the joy in your face i mean you guys inspired me flowers in your hair was the song that inspired me to keep going with music when i first heard that record the whole record was fire i mean you write great tunes man i want to talk about your lyrics as well but that first record was you know lightning in a bottle did you feel that right away or did it take a while for you to understand that this record was that powerful? I felt that it was, I remember when we were getting the mixes back, uh, we were getting them back from, I was back in Denver and we were getting them back and we were burning them on CDs and listening for the mix. And I remember the first time sitting on like a friend's couch and,

you know, we were, nobody knew who we were. We were called the luminaries at that point. The record was done. I had it on a burn CD. We're in a friend's house in Denver by 10, 11 years ago,

whatever it was. And I was like, do you guys want to listen to our new album coming out? People were like, I don't know, dude, like, do do i like sure yeah send it to me it's like a new band like that usually doesn't i don't know if that goes well ever so they're like yeah sure whatever and then uh after even flowers in your hair i remember one girl was like yo this is like actually good like kind of that is a great compliment though i remember listening to it and uh i remember listening to it and this is actually this is uh was a really

cool experience we opened up for youtube and bono was telling us this crazy story we only met him really once backstage at the first of like the 10 shows we opened up for them and bono was telling us this really cool perspective he had where he was saying like when he's listening to his their next their latest release he's like when you listen to that with your own ears you're listening to it as the way you are like you're you know you help create that but when other people are in the room he's like that's kind of our litmus test for if it's good or not he's like when other people are in the room he's like that's kind of our litmus test for if it's good or not he's like when other people are in the room and you're listening to the new album you're

listening through their ears and i think that moment when i was listening to our debut record in a group of some people i knew some people i didn't i was like listening through it and i was like this is in my mind i just felt like it was undeniable. Not in the sense of this is going to be a chart-popping block. Anything superficial like that, I just thought, this is honest music. I know this is good. If this doesn't work out, and if every review is nasty, I still know it's good. And I think that's also attributed to... There's this great Tom tom petty documentary we saw and he said you know you

have your 20 years to write your first record and two years to write your second record yeah and i feel like that's really what happened with the first record we had different different band names and me and west probably wrote close to 75 to 100 songs before flowers were here before that first record so it was like that really literally was like the greatest hits of 10 years or maybe eight years before anyone knew who we were so we had all these songs to choose from and we chose those and then the only thing left over for album two was like a snippet of sleep on the floor snippet of ophelia there were some other things but it was like those were the best songs that we chose for

the first record. They were all done. And we were like, this is the vibe. And it was music I felt like, all the other songs we were writing before that debut album, I was like, I don't know. I'm really glad that we didn't find any success with those other songs, because I don't know if I would have still believed in it. But with this song, I was like, I feel like I'll believe in this when i'm 50 when i'm 60 because there's something about i think we were

not necessarily trying to make something timeless but just make something that i don't know i was honest and i feel like it's like a cheesy word sometimes but it just really felt honest it felt like we're doing this and we're trying to you you know, every five or 10 years to your, every next band, it's like a victim of circumstance where there's just so many bands and so many songs. What can you do to stand out from the rest? I think there's something like,

it's like, I think 80,000 songs are uploaded to Spotify every day. Holy shit. Really? Yeah. It's some staggering numbers. So like, if you want to start a band good luck

welcome home brother yeah what are you gonna do yeah i mean yeah what are you that's the people doing it to stand out and i think those were a lot of conversations we had a lot of philosophical conversations about what can we do to stand out and then like even the things the decisions to intentionally not do things musically help to stand out i think like that first record there's almost no drums on it it's very bare it's very minimalistic i think we were like kind of obsessed with this idea of minimalism and like let's just get to the point the melody the you know help the storytelling the production of the song how to how to make it how to emote something through speakers to people that don't know your band and why they should listen to you and all that so and that's so that's what we've continued all the way through

you know we've made four lumineers records and i made a solo album piano piano one i just i got a new one coming out and I think that it's the same, even though my solo projects don't have lyrics, it's like, it's the same, it's the same idea. It's just trying to make something honest and trying to make something that when I'm home alone and when I hit space bar, if it moves me in some way

and just to have that feeling again, if you can listen to it with somebody else on the couch and you're like, yeah, that's it. That's just a great feeling. That's what you strive for. You don't always get it right, but that's what you go for, for sure. Is it hard to not feel like you need to be pigeonholed into a certain sound as you make records?

You guys are always developing your sound, like are there outside sources saying like why can we why can't it sound like the first record or the second record or do you guys not care about that no we we're so lucky in that regard we don't care we wouldn't listen if anybody said that and we literally we literally don't have anybody saying that. I mean, we just, we finished the record. We don't have like A&R people in our, in the studio. Our managers don't come into the studio and be like, Hey fellas, there's no single, you know. That's a great way to make a good song.

Hey, this is Johnny Two Toes. We need another single kid. Yeah. I don't watch you do spreadsheets. You don't come watch me do music. Yeah. That would be a really like kind of lame uh lame vibe so we're really liking that regard and i love this idea i just recently saw a clip of uh that famous producer rick rubin where he was sort of like the audience should be like the last consideration when making art and i think that that's really actually profound. And some people might be like, feel insulted by that as an audience member. But I think it's actually ironically, the best way to serve the audience is to ignore them, is to make something that is so personal and so beautiful to you. That will actually probably translate to more people at the end of the day. And if you try to come up with an algorithm,

like, Oh, you know, over the top 50 songs of this year, let's, let's find an average BPM. What key I was all C major. Oh,

okay. What did they do? That would just be like a really weird way to go about it. I think, and, uh, wouldn't be musical or artistic also. I guess so.

Uh, yeah, we just make what we want. And, it's a selfish endeavor, but it actually seems to help our music

translate across to a lot of people. This man writes hits. He's been writing hits for fucking 15 years. He knows what he's talking about. There's something to be said for being that confident in your first album, too. It's so artistic.

It's how you should be. Do you feel that way towards... Now you're making your second... You're going soul like Tupac, Jeremiah. How do you feel about the same without having everyone else, your band, there with you? How do you feel about writing

music by yourself? Do you feel that same confidence? Yeah, I think it's like, I think my level of confidence with songwriting sort of boiled down to this idea. I've always kind of loved this idea that it's like the day you say you're good at something is probably the day you start to decline in that. So like the day I'm like, oh man, I'm an awesome dad. This is like autopilot. It's like you're just not going to be, you're not going to show up as much. And I think the day that you're like,

I got this thing down, music is so easy. It's definitely the day where you're like, you're going to make the worst album ever and you're just going to be delusional and be like, I'm on album 15. Nobody likes it around me, but they're all crazy. I know this is good. I never going to be delusional and be like, I'm on album 15. Nobody likes it around me, but they're all crazy. I know this is good. I never want to be

in that delusional band where we're on our 29th album. I'm not going to say any bands, but there's been so many bands that have broken my heart. They've gotten so big. They've strayed so far from the source material that made me a diehard fan for life.

I'm just sometimes like, what are you guys doing like this is so crazy but they're you know people got to do what's going to make them happy but i think with piano piano on the side project it's again it's that playful exploration it's that the confidence is like it's not even there's probably no confidence other than like, I'm going to work on it until I think it's good. And then when it's finished, it's sort of that ambiguous, like, you know, it's easier to know when it's not done. And then at some point, you're like, this is done. you know, working just instrumental, trying to figure out, you know, not trying to use too many strings, but wanting to branch out from the piano.

So the album is really, it always based around the piano. And on this album, I did something different than on the first piano piano record, which was a, I did a radio cover called no surprises with Greg, and that was really cool. For me,

radio had my like favorite band they've influenced me so many times every time they release an album it's just like this paradigm shifting piece of art that's just always like smoked me and just been it's been so inspiring so i always loved that song and i started learning the piano and i thought you know it would be really cool to to get a singer on this record but just on one song is like an arbitrary rule and me and gregory we had become close he'd come on tour with the lumineers uh we've been on tour like a few times now we got really close on tour he was a really big champion of the first record piano piano you know he has like a farm up in boulder where he lives right and he's like dude

whenever we're like washing the veggies like you know piano pianos on like i just thought that was really cool that you know someone like him who is so lyrically driven and so songwriter driven got like got my solo album instrumental record i was was like, man, that's just a huge compliment. He asked me to open up for him at Red Rocks, which I did last year with the solo project, which was like insane. That's amazing. Yeah, it was me and three string players and a drummer at Red Rocks last September,

I guess like five or six months ago. And that was like a dream come true. So I called him up and I was like, do you want to be on the piano piano too? You know, I got this idea. I was on tour with the Lumineers at the time and he said, yeah,

let's try some stuff out. Let's collaborate. So I sent him, you know, I don't know how much, you know, you're a musician. So there's 12 keys.

You got C major, C sharp major, D major. I think I sent him the song of no surprises in literally like 11 keys. Was it 12 keys? Because he was like, I don't know, man. I don't know if I'm feeling this one. So I think I sent him like five or six different keys.

And there were certain parts of the song where we both agreed like, it's cool when your voice goes low here, but then it's like kind of too high here, but then it's like too low there, all that stuff. So we just went through like key after key. And I think I sent them all 12 keys. And then there was one key in particular, and this is the one we landed on,

but there was one key in particular. It was hard too, because he would send me these like beautiful takes that were all pristine. And they were all like, each one was better than the last. And I was like, shit't even they're all good how am i gonna pick one and i remember i was on tour we just played a show my wife and our two kids they were asleep and i was in this hotel room and all the lights were off and it was like one o'clock in the morning and i was still awake and i listened to you, five or six different voice members.

He sent me and there was this, this one. And I tried to do like a blind test. I didn't want to know what I was listening to. I just wanted to listen to one. And I like third or fourth listen in. I hit like something just hit me where I was like, like levitating out of the hotel room.

And I was like, what's this key. And I think it was D sharp major. And, uh, I texted room and i was like what's this key and i think it was d sharp major and uh i i texted him and i was like dude this one is just smoking me right now man just do this one he was like all right that's great you know and uh it was just such a cool way to collaborate it was like we sent back we never actually met up in person one time i i organized a lot i orchestrated all like the strings and the piano he tried out some guitar the the track sort of sort of rejected the guitar but man what he did

with his vocals was just so crazy and life-changing he's special man he's so special and he's such just like microscopic attention to detail so he he did a lead track he did a couple background vocals but in the song people that know the song no surprises on the final chorus in like classic tom york fashion there's these great lyrics i never even knew what he was singing but i guess he's singing get me out of here and i have a terrible singing voice but it's sort of this like it's very deep in the mix and it's it's like reverbed out and like like it's very you can't even understand what he's saying and i was like yo gregory if you want to try to you know emulate some sort of like you know record yourself 10 times and just have fun with it and what he sent back i was was like, holy shit, this is just, he did it and he stacked,

you know, 10 or 15 Gregory's and I had goosebumps and I was like, wow, this is like, you know, I was hoping for a home run

with him and it was total grand slam. So, yeah, it's amazing. Yeah, it was just really, really cool to work with him on that.

Think about this a lot, Jeremiah, like, you know, you live in Italy and stuff, like, being in a band's all about camaraderie and trying toie and bonding with your brothers. Then you get later in your career and everyone disperses, has families, kids. How hard is it to connect with the boys when you're 10-hour time zones away? How do you bond still? I think it's just, it's about showing up. And I love this idea that somebody said that like 99% of life is showing up. And I think I guess what I mean by that is like, in our case, you know, the core of the band, me and Wes started the band 18, 19 years ago. And then the touring band, me and Wes, of course, and then we have Stealth on piano, byron on bass brandon on like auxiliary basically every instrument and then lauren jacobson um on violin piano singing and we find

ways you know we'll do like random zooms where we all like connect because nobody lives in the same state anymore i think that we have a band member in Cali, Arizona, Colorado, New York, Tennessee, and I'm in Italy. So, yeah, the power of technology. We'll do like a Zoom call. We'll kind of meet in the middle because I'm nine hours ahead of LA time. So my band, they're very nice. And they always kind of help. We all find an average that works.

And, yeah, when we're on tour it's really great that's the easier easiest time to connect maybe you go out if you're near an ocean maybe let's go swimming let's get an ice cream or we love this italian card game called scopa um when i met my wife francesca you know years ago i got into this game called Scopa. We used to play every night. Whenever we were dating and I'd go over to Italy, me and my wife and her parents, we'd play Scopa every night after dinner. It's this amazing Italian card game. The whole band got really obsessed with it. My father-in-law, whenever he'd come on tour, he'd give out decks of cards because they're specific decks.

It's not like Ace through King. There's all the Italian names. I think I've single-handedly taught close to like 30 or 40 crew members how to play the game. So it's no joke. The Lumineers love this game Scopus. So we play that a lot on tour.

And then it's like, okay, we just finished two years of tour and now it's like everybody scatters like cockroaches into the wind. And then, yeah, then it's like, okay, tours, you know, we just finished two years, two years of tour. Now it's like, you know, everybody scatters like cockroaches into the wind and yeah, you just try to find ways, maybe simple texts here and there, or Zoom calls and just, just ways to connect. And obviously like at the same time, some,

some space is nice and healthy and then when you see each other again, to start doing rehearsals or getting back in the studio or to resume a tour, it's an incredible feeling. The embraces you feel to see each other again, to be around each other again. After a two-year tour, I'd be like, get the fuck... Get out of here!

Absence makes the heart grow fonder. Two-year tour, man. A world tour. Dude, when you booked that thing, was That's, that's a lot, dude. When you, when you booked that thing, was it like, oh shit, this is real. I'm about to be on tour for two years. Or did you like schedule it good? Cause you have kids now. So like, how, how was that in your head? I think it's easier in some way that you're not actually, you're not seeing how the sausage is made. You're not part of the tour booking process. You're just part of the approval

process. And obviously, I mean, sometimes it's like a long PDF will be sent to us and say, you know, this is six weeks in Europe. You guys see any red flags about too many shows in a row or, um, Hey,

there's like a snag with the routing and we might have to get off the bus and take a ferry. But most of the time it's like, yeah, that, I don't know. That works. It seems good.

It seems cool. They know what they're doing. Yeah. It's a little bit easier maybe because it's almost like somebody else is like saying, well, we think this would be the best thing to do. How does this look to you guys?

And we're like, we see no red flags or, wow, we're doing like Wrigley field. Like, fuck yeah. That sounds amazing. Um,

and it's not, you know, it's not two years straight it is a lot the breaks sometimes you're out for like a month and maybe you go home for five or six days and then you're out for another two months um you know i think it was two years ago in 2022 i i left my house for about four months and that was pretty atypical i think what had happened was after covid after covid and the world started to open up you know like if you take a garden hose and you hold it and then you

release it the water like you know shoots out i think that's what happened with every band in the world so um that's we were one of those many bands that were like let's just we were we missed it so much i think a lot of fans missed, not obviously just the Lumineers, but just so much live music and concerts. So I think it was making up lost time and it was, yeah, I did like this little experiment. Just, it was a fun thing where I took a photo a day with like a Polaroid or an

Instax Fuji film camera and posted one photo a day on Instagram. And it was like, you know know day one and then day 17 and then like day 89 and holy i think i got up i remember day 115 it might have even been like day 120 or something but yeah that was a lot like that was insane and uh you know when you went home you're like i'm happy to be home that was uh but it. I don't know. It was amazing. It was life-changing. It was so rewarding in so many ways. Pretty surreal. Pretty fucking surreal, bro.

Like stadiums in different countries. Baseball stadiums, too. That's especially cool. The history of it. What was the biggest one? What were you like, holy shit. It was just gigantic. I think Wrigley field had that

like oh wow this is crazy i think it was for me it was like in some weird way like 10 times more fun to play that stadium than it was to do the baseball stadium in denver and i think because you know it was like my parents were at the Denver show. We were from Denver, you know, sort of. We're originally from Jersey, but Denver has become such a second home that, you know, we lived here for more than 10 years. And I think there was just so much pressure and so much buildup to like, you know, we're playing Colorado Rockies baseball stadium. It's crazy. you know, we're playing Colorado Rockies baseball stadium.

It's crazy. And it was our first bonafide stadium as like a headliner. So I think that first one was just a lot of like nerves and a lot of like in my own head, I think a little bit for all of us. So then when we got to Wrigley in Chicago, it was just like, let's just have fun. And I think just even the physical the physicality of wriggly like we started the show we're playing a song called bright side where i come out of um the bottom of the stage and arise or starting this big drum beat and when i came out i looked

to my left and i just saw like an ocean of people and it was so far back the stands and it was so far back, the stands, and it was so high. And I just remember doing like a slow pan and just being like, like it literally looked like an ocean in a tidal wave of people. And I was just like, oh shit, this is like, this is that addictive feeling that I kind of alluded to at the beginning of our talk where certain bands, bands have broken my hearts artistically i think what probably happens is you get that feeling it's so addictive where you're like there's 42 000 people there and yeah that's like tip of the iceberg i mean look what taylor swift's doing look what the whole place doing they're doing like 80 90 000 people sometimes in these

soccer stadiums all over the world. Yeah, multiple nights. Yeah, multiple nights. Wembley holds 75,000, 80,000 people in England. So I think what happens at some point is you're like, let's just do that all the time. And you can't make music. You can't just make any music you want and do that. would say like you could probably count on one hand the amount of bands that got to the stadium level naturally and like i would throw you two in there even though like bono was such a showman such like yeah and they wrote like stadium

rock hit but like you can tell certain bands they were like we want to become stadium like look at even coldplay like they went from parachutes and rush above the head at some point you could tell that there's nothing wrong with that but you could tell coldplay was like we want to be like a big band we want to be a stadium band like globally we want to be in brazil doing like five nights i think they did 14 nights at like the biggest soccer stadium in argentina juanis and uh to each his own but i think that you know i think that there's something to keep that in check where i don't think we ever really wrote anything like in fact i know we never wrote stuff to be like well let's this is gonna like maybe move the needle and get us into stadiums i think get we're getting in there slowly we're dipping our toes things like rocky stadium things like wrigley are crazy right and those are definitely moments

there was actually a really funny moment too uh a long time ago we played in canada and it was a festival forget what it was called where it was but i just remember it was in canada and i remember for some reason the band none of us were together maybe we had like a six or seven day break where we all went home or we all like again scattered to the wind and we all met up um in Canada and it was like you know everybody flew to the airport some of us went to the hotel we met in the the green room we never saw the stage because our beautiful amazing crew set up all of our instruments there was no sound check because it was so dialed in we played probably like already 150 shows that year so we don't even need to sound check anymore so we're like backstage hanging out with each other and

we know we all hug each other we're like all right let's go play the show and we walk out on stage and i think there was like 63,000 people. And we had no idea because it was sort of a storm. It was this perfect storm of like, it was a festival in Canada, maybe Vancouver, Toronto. I forget which city where it's like a 10 day festival. And it was the first,

maybe like the first Friday of the beat, like that festival. And we were one of the headliners so all the canadians they're gonna go to that more than like the wednesday show so it was like a perfect storm that we had a lot of fans in canada but it was also like the first friday people want to go out let loose right so it was crazy they were like the only two bands ever to beat that was like sting and the foo fighters and we were like all right that's pretty good let's fucking go jerem i'm clapping for you buddy no but let's go it was funny because we were on stage i remember being

on the drums looking at somebody and just being like like just this kind of like and uh that actually prompted us to be like if we ever have you know more than i don't know 10 days or two weeks apart from each other we should probably like we should play before the show because we went onto that stage so cold we hadn't seen each other and we were like let's do the show you know because it's just at some point you're just going you don't even know where you are pilot and it was just it was actually like it was cool but it was also so unnerving that it was a good problem to have but we were like that was really like wild and um it was just shocking to be on stage and you're like oh damn yeah we're we're uh yeah we should probably have a little band practice before we get a little

60 000 there's a small city in the midwest. Yeah, you're playing to a population of a town right now. A rustic town. What about... So, I mean, you guys write such anthemic songs. Was it hard to transition the set into these stadium sets? I mean, your songs are so intimate, but they're also so anthemic. How was the approach of picking a set

that really translated well to 63,000 people? The power. Did that take a while to fix? I feel like it was easy in the sense that with the first record,

which was like, if you listen to it again, it's very minimalistic. It's very, at somber. You know, there is ho-hey, there is flowers in your hair, there is stubborn love. But there's songs like Slow It Down. There's songs that are very, not necessarily your upbeat, you know, type song. And I think that we saw so much success with the first album and we had done so many shows. We were touring and playing like maniacs that the first album cycle almost lasted like three or three and a half years because the typical album cycle is supposed to last like 18 to 24 months. But we'd already been touring on an album before it came out for like at least a year. So then it came out,

it struck a chord with a lot of people and then we started doing these shows where i remember it was the it's just that thing that will never happen again and it was the coolest fucking feeling in the world where shows started started to go on sale like seattle and you'd get that email that call hey the show at the 600 cap venue in seattle just sold out we got to bump it up to 1200 people and you're like what the show's three weeks out and then sometimes even on that first that like that first first tour when the album was out and joe was going nuts and everything was happening they'd be like hey we were you know chicago we we had to go from a thousand to a two thousand cap and then that sold out too fast so now we got to go to like a five thousand cap and you're like all right this is crazy and then i

remember that phone call whether like you know the tickets for your madison square garden first show are going to go on sale this saturday and then get in a call it'd be like you know the garden is sold out in like 27 minutes we got to put a second show on and we're like you're asian holy shit this is just oh my god and me and west you know coming from the north jersey that was like the mecca i mean if you're coming from colorado it's probably like i gotta play red rocks and this was like the garden. I play the garden, baby. And then we started playing Coachella and Lollapalooza. So I'm getting to answering your question. So we were playing all these festivals.

We were getting really good time slots because we just kept getting bigger and bigger so fast. But we only had that first record and we were like i remember early on we noticed a lot of bands at festivals were playing the heavy stuff the fast stuff screaming getting very loud and we were almost like we might stand out if we're like not doing that and if people lean in if you if you remove stuff if you play songs with no drums it it was a little bit of strategic alchemy, and it was also just circumstantial. We literally only had those 10 or 11 songs, and they were like, it's a 60-minute set.

That's what we're paying you to do. Well, we had to. You know, this album live clocks out at like 34 minutes, so we're going to have to play some covers and stuff. You guys know any Neil Young? Yeah, so we were playing a lot of those quieter, softer songs, and it still seemed to really do well. You know, like Flapper Girl.

We were playing that at huge festivals. We were trying to do things, though, that me and Wes always talked about this early on we still talk about it is this idea of like um non-musical moments that like unless you're like jazz or classical genre it's pretty unlikely that people are going to see a band and be like i saw this band last night they played so well it was awesome you know like like if you see noah kahan or zach bryan yeah right or bonnie vere you're not going to be like they were so precise on their instruments last night it's like it's going to be something that they did that was not

musical that is going to make you a fan for life and i think that with the song flapper girl there's this little like piano solo and what we would do is sometimes we'd either bring a fan on stage we had this little toy piano and i'd give that toy piano to somebody like some random fan and then i'd play this like you know piano solo on this like janky ass toy piano or we play joe hay in the crowd even if it was like 70 000 people to festival we'd find a way to go play ho-hey in the crowd like you know just it's like doing these things that were not musical so i think you know some people call that gimmick some people call that a shtick i think it was like

you call it what you want when you drive 12 15 hours to your next gig and you want to make this your career you'll do anything to like get people to notice you and i think that if you can do it again in an honest way in a way that is like honest to your craft um yeah i think it was like these effective things that we did and uh you know we still do and i think that you know some people do it louder than others jimmy hendrix lightens guitar on fire. That's one of those examples where that's not musical at all. But people will talk about that until the sun explodes. Almost more.

I agree. You guys are the reason why I get in the crowd. I saw your first show and I saw you guys out there in the crowd doing these. You know who else was really good at that? Damien Rice. Damien Rice was great about... I didn't know he did that, actually. Oh, he was the man.

He'd go in there and make everyone be just pin quiet. I've seen Arcade Fire do it really well. I've seen... And sometimes you can make people lean in in a different way, too. I've seen Bon Iver and Gregory Allen Isaacoff do it really well, too. Yeah, Greg does a good job. Gregory does this thing really well where he gets an Omni microphone, you know,

a mic that records. He'll put it at the front of the stage and he'll get all of his acoustic band members. They all have acoustic instruments just to play around him. It's sort of this light, dim, lean in moment. Then when you

play something anthemic or loud after that that contrast is really great and i think that you know that anticipation that you you know you tease people along and um if you're just loud the whole set the set fatiguing it's boring if you're just quiet the whole set that can be great too like some some artists like have a they're like ninjas with that like you only want to see them be quiet the whole set, that can be great too. Some artists have... They're like ninjas with that. You only want to see them be quiet. Somehow they pull that off. I don't know how to do that well.

But I think finding that mix, finding that balance is the key. That's why you're so good at it. What about your kids? They're six years old now. Do they give you the guilt trip of you leaving now? Where are you going now, goddammit? I'll say this.

Yeah. It's, uh, our son, he, I'm trying to think, when he was younger, you know, I'm trying to think, when he was like my daughter's age, he must have been older than two, because my daughter now is, I guess i guess two going on two and a half and she has no idea when i'm leaving obviously i kiss her obviously i hug her goodbye but if i if i said i'm leaving for two days or two years she would be like bye daddy you know yeah the hardest thing in the world and this was so heartbreaking was the that like i probably left on seven eight nine different tours and then there was that one tour where he was probably two and a half or three and he understood what it meant

for dad to leave what do you mean you're going like having some sort of like semblance of a concept of like dad's going away for like a long time you know um crying and like don't go and like you know where are you going and like that it's just like ah like knife in the heart now it's obviously like you have like a big boy conversation about it where i'll start prepping him like two months out you know a month out like tomaso you know in a month daddy's leaving for like three weeks and then maybe like two weeks before but he gets it you know he he's come on so many tours he's he saw more of the world at his age of five than i saw the first like 28 years of my life like it's unbelievable what he's seen and he has he doesn't probably even realize that he's seen a lot of the world it's just been normal for him

like oh yeah we're going to london next week or brooklyn or like la or uh yeah going to paris again this month and it's you know i went like i took my first flight when i was 19 and saw the pacific ocean and i was like i can die now. I saw the Pacific Ocean. Holy shit. I literally verbalized that out to my friend, Todd, who we went with. I was like, dude, we just saw the Pacific Ocean. That will never happen again. Let's go get jobs.

Damn. Let's go get jobs. I'm sure it's cyclical too where they love coming on tour and i'm sure when my son turns like 12 or 13 14 or 15 it's gonna be that thing where he loves to travel then he might be like dad i want to stay with my friends or i want to stay with my girlfriend right like i don't i just want to stay home and like chill i don't want to go on tour. That's going to be a whole other challenge

where I'm going to be like, well, I'm going on tour for six weeks. I want you to come and can't force you kids to come. So I think it's going to be cyclical. And then maybe when they turn 20 or 24, they may be like, oh, wow, the novelty of traveling. I'm sure they'll be super sick of our music at that point. No, you're

gonna you're gonna put them in the band you're like you're the bass player now tomaso they're gonna open they're gonna want to open open for you what a hit name tomaso come is that is that how you pronounce it tomaso yeah my uh my italian counterparts it's like they really pronounce the double M. It's like Tomaso. Tomaso. I call him T-Bone, Tommy, Tom. He had a nickname at one point.

His nickname on tour was called Tater Tot because he was just destroying Tater Tots in the catering. I can identify with that. It needed to be a name that I could pronounce. and the catering. I can identify with that. So, but it needed to be a name that I could pronounce

also. So like Tomaso, I was like, that's Italian, but I can, I can do that. With our daughter, her name is Dakota.

And I say Dakota, like my mother-in-law is like Dakota. You know, it's like very, it's just, it's just how it is. It's very different, uh, the pronunciation. Um, same with me. Like I'm, uh, sometimes like Jeremiah, cause the J actually doesn't exist in the Italian alphabet, which is something I learned

a while ago. But, uh, yeah, my wife, uh, she loved another name at some point and i was like i can't i literally can't pronounce that can't it can't be that name yeah but we landed on dakota at some point i forget even um you know where it even came from we just thought it was a beautiful name and uh when she was born we're like we got it right does uh does your wife when she's really pissed that you just started yelling at you in Italian? No, both. It's both. It's both.

She's well-versed in also the English at this point. But it's funny, actually. When I'm over there, I mean, we live there most of the time. If I drop my phone on the sidewalk, will like curse an italian it's just some just comes naturally and if i you know do something stupid here equally which is all the time in america i'll probably curse in english but uh your brain starts to switch it's weird it's crazy where i live in turin um it's very italian in that like it's definitely not milan it's not rome it's not a tourist city so if i go into like a butcher i'm like do you partly inglesa do you speak english they're like no shot i'm like the hell out of here all right i'm just gonna point

at the meat i want and buckle up do you speak italian yet yeah a little better yeah a little bit but i only speak english with my with our kids because it's the sort of um it's the system where it's tried and true the mom or one of the parents speaks the mother language so one parent speaks mother tongue of whatever language they want to like bestow upon their kids and then uh the other parent speaks the other language so we've even heard stories where maybe like one parent speaking german the other parents speak in spanish maybe like a nanny speaking you know like romanian or something yeah and they're getting hit with like three languages and the kid won't

speak for like you know three years and people the parents like holy shit our kid is like a mute like he doesn't they don't speak any language we you know we've they're ruined and then like it'll click and then they speak you know they start speaking all these languages so a bilingual uh child can sometimes be a little bit uh you know not stunted that's the wrong word delayed and when they start speaking because they're getting like you know they're downloading a lot they're downloading a lot so i'm super jealous of that and it's it's like our children our kids are learning um english and italian with how they've been realizing it you know i just turned 38 in january learning italian like it hurts my brain like it like when we're at dinner

and everybody's speaking italian my brain is not a sponge anymore i have to like engage and like i feel it i'm not i'm not joking i'm like when i engage i'm like i know like, I know that word. I know that word. But it's like you feel your brain. You're like, I'm getting dehydrated. I need some water. It's taxing. But it's great. I love it.

Yeah. Look at you. Look at your life, Jeremiah. A little Italy, a little Colorado. Sounds relaxing, really. Yeah. I mean, that sounds amazing. It's pretty great. I feel very fortunate. I'm not going to lie. Yeah. Well, I'm happy for relaxing, really. Yeah, I mean, that sounds amazing. It's pretty great. I feel very fortunate.

I'm not going to lie. Well, I'm happy for you, Jay. Keep the good work up. Go grab Piano Piano's second record. This is going to be exciting. Is there any Italian vibes in the record? Are there some accordions? Are there any bits of Italy can you feel

from these tracks? Man, the only Italian aspect of it is probably there's a song called Spirals on the record that have samples of my son, daughter, and wife who are all Italian talking and laughing and playing. That's probably the only Italian aspect of it. There's no accordions, unfortunately. Accordions and Piano 3, though. Mark Marley.

Yes, let's go. Accordion, accordion. You heard it here first. A world-saving exclusive by Jeremiah. There will be accordions on Piano 3. It's going to be all accordion. Thanks for being on the show, bud. Whatever's going on in your life, made you come back to dinner. I hope it's good. I hope you feel good. We're here for you, bud. Whatever's going on in your life, made you come back to dinner. I hope it's good. I hope you feel good.

Thanks, man. We're here for you, bro. Thanks for always being here for us. Yeah. Thanks a lot, guys. Cheers. Thanks, Jeremiah. Cheers.

Later, buddy. Thank you. You tuned in to the World's Health Podcast with Andy Fresco. Thank you for listening to this episode produced by Andy Fresco,

Joe Angelo, and Chris Lawrence. We need you to help us save the world and spread the word please subscribe rate the show give us those crazy stars itunes spotify wherever you're picking this shit up follow us on instagram at world saving podcast for more info and updates fresco's blogs and tour dates you'll find at andyfresco.com and check our socials to see what's up next. Might be a video dance party, a showcase concert,

that crazy shit show or whatever springs to Andy's wicked brain. And after a year of keeping clean and playing safe, the band is back on tour. We thank our brand new

talent booker, Mara Davis. We thank this week's guest, our co-host and all the fringy frenzies that help make this show great. Thank you all. And thank you for listening.

Be your best, be safe, and we will be back next week. No animals were harmed in the making of this podcast as far as we know. Any similarity, junction, or knowledge, facts, or fake is purely coincidental.