Artist Friendly with Joel Madden - Jacob Charlton of Thornhill

Episode Date: May 29, 2026

On this week's episode of Artist Friendly, Joel Madden is joined by Jacob Charlton of Thornhill. After opening for Sleep Token on their massive North American arena tour last year, Thornhill quickly captured the attention of the heavy scene. Now, however, they’re in the midst of their own headliner, dubbed the Mercia Tour, presented by our friends at Revolver. While on the run, the frontman stopped by the Artist Friendly studio to dig into the grind of touring, the intentionality behind heavy music today, the evolution of Thornhill across their records, 2022’s Heroine and 2025’s Bodies, and what it takes to keep a band together for the long haul. ------- Listen to their Artist Friendly conversation on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Spotify.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ------- Follow Artist Friendly! IG: @artist.friendly TikTok: @artist.friendly YouTube: youtube.com/@artist.friendly ------- Host: Joel Madden, @joelmadden Executive Producers: Joel Madden, Benji Madden, Jillian King Producers: Janice Leary, Josh Madden, Joey Simmrin Director/Visual Producer/Editor: Ryan Schaefer Audio Producer/Composer: Nick Gray Music/Theme Composer: Nick Gray Cover Art/Design: Ryan Schaefer Additional Contributors: Anna Zanes, Neville Hardman ------- Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode is brought to you by Good Charlotte. Good Charlotte is a band I started when I was 16 with my brother, and it is the reason I'm sitting here today. Thank you, Good Charlotte. We're going on tour. June 20th, San Diego County Fair, Delmar, California. And July 25th through August 30th, Good Charlotte and Avenged Sevenfold touring in the U.S., starting July 25th, Thunder Ridge Nature Arena in Ridgedale, Missouri, and ending at BMO Stadium in Los Angeles, California on August 30th. If you are in the UK or Europe, we're coming to you this

November. November 8th, we are in Stockholm, Sweden. November 11th, we're in Munich, Germany. November 13th, we're in Brussels, Belgium. November 14th, Dusseldorf, Germany. In November 16th, we're in Amsterdam. November 17th, Paris, France. November 19th, London, UK. November 20th, Manchester, UK. Tickets are on sale now. We will see you at the show. It's hard to be in the moment. I find myself a lot of the time, even on stage, not being in the moment. I'm going, oh, my voice felt like this today.

I can't hit this note today. I have to rely on this today. And I'm like doing that. And then you get to like an easier song for us, let's say, like Silver. And you get that crowd reaction. Or you get that kick up across and you catch them. And you put them down. And then I go, oh, wait, this isn't about me.

When did you guys get over here? Two days ago. Okay. Yeah. How's it feeling? It's good. We're still kind of settling it. I think every day's been pretty busy.

So far we had two production days in a row, just trying to iron out lighting. And this is the first time we've had like production overseas. Yeah. Which is really exciting. But it's also very stressful. And trying to fit it all in a trailer. I mean, I'm saying this, but I didn't do any of the lifting or loading. It looks stressful, but actually doing all like the lighting revisions and sitting there and

choosing fixtures and programming and stuff. That was, yeah, that was all last. That was a big couple of days where very lucky our sound guy is just so locked. So a lot of the audio stuff was already done. So it's just been just loose ends. And we are riding into bandwagons and we need our bandwagons to look a certain way. So we always get this massive like Walmart shop. we spent like 600 bucks and we just go and like tape every single light up to be like yellow

and purple and have like welcome mats and have rugs and pillows and you got to have the vibe right you know what I'm saying needs to feel like home for six weeks or whatever it is so six weeks is a long time in a bandwagon a long time it's a long time and that that thing is not the most comfortable dude we say it's just school camp yeah it's like uh boys trip camp camp just hanging out, eating bad food every day, but you get to play shows, which is pretty cool. Yeah, get to see America in a cool way, because I do think that touring around, I will say this,

we started in the 90s, so it was a little different than now, but there was good and bad aspects of that, but we started in a van, we started in a minivan, then a 13 passenger van, and then we got to a bus. Driving around in the van was probably the best way I could have ever seen the country I'm from. But actually to see America, we did, I mean, we did so many U.S. across the whole country tours in that van. But it's camping. It's not luxury.

It doesn't matter. You're smart to like get the camper set up right? Yes. So that you can enjoy it and you can be as comfortable as possible. but it is fucking hard in a camper. Yeah, absolutely. We did our first tour here in a van as well. It was a friend's van that they had modded out.

It's another band called Desika. I like Desicca. Yeah, we borrowed their van first tour. And it had just seats and then like this like built in kind of bunk bed in the back. And we're just shoulder to shoulder like across it. And it was pretty rough setup. But then Australia is work. Like, it's way hard.

Australia is fucking a different animal. It is. It is. And you don't know until you go. Fuck, it's brutal to tour in a van. Yeah. And it's as brutal to play, like, fly. You know what I mean?

Yeah. Like, it's like so big. Yes. So many things to get across and not enough shows. You never get into the swing of it. You don't have enough. There's not enough populated places to play shows that make sense. Yes.

Does you know when you put the tour on sale and they're like, why didn't you play Adelaide? And you're like, well, we love Adelaide. We've played Adelaide before, but it just doesn't make sense when you look at the routing and you're like, okay, we're not going to make any money on this tour. We never do. You go there for a different reason. You go to Australia to tour because you love Australia.

Yes. It's not like to make millions of dollars. It's not like, that's not the big payoff. But the shows are amazing. I'm sure growing up there, you still. saw our faces one way or another because we fucking went to Australia all the fucking time to do something, TV or music or whatever. I love Australia. I don't know why. It's just the great. It's like this quirky, great place. It reminds me of home in a lot of ways. I weirdly just have

so many Australian friends. I feel like maybe I was Australian in a past life or something. Maybe. You know what I mean? Like I have, I always end up with Ozzy's somewhere around me. Yeah. And I love it there. So I got. go for a different reason. And my kids, they grew up going there. So there's like a different, we have a different relationship with the place. And then when I go there and work, it's different. But you go there and play shows because you love it. It's not like it's this place where you're going to do like 30 shows and make any money. Like just a different thing. It is definitely. It's fucking hard. Yeah. It's brutal. Even being from Australia, it's brutal. And then you guys, when you're from

Australia. It's a whole other thing. You've got to climb this mountain of the tall poppy mountain. Yeah, dude. Oh my God. Every level you get to, they're going to just cut you down again. And it's like kind of funny when we talk about it because it's like a real characteristic. Mm-hmm. The hands crossed situation. Wow. Yeah, it's pretty rough. What do you think you were? Yeah, exactly. Oh, you go to America. Oh, it's right. You're like, what, my band? But it gives character. I think we've been very lucky in Australia because we haven't really copped it that much. We've had a very steady fan base that has always really given a shit about us.

I think it's just that we've been grinding Australia since we were 18. You know, we all had like our provisionary licenses where you couldn't have trailers but we're still driving a van. You know, like 18 trying to do these 10 hour plus drives like just trying to like survive and our parents are like, you know, where are you, what are you doing? Are you in Adelaide yet? Yeah. Where are you? Are you in Sydney? And we're like, you know, trying to get to the next show. So we've done, we've definitely ate shit. But I don't think that. I think you've eaten more shit than you would admit because there is also, there's expected humility with bands in Australia. Maybe. Yeah. expected to this is normal. Yeah. Well, we came here and the touring here, we thought was like a holiday.

It's easier. It's so much easier. It's set up for touring. Yeah. It is. It is. is the only country really that's properly set up for touring. And it's just we have a system. Like we have a vibe, we have a way we do things and we really like it. And I think what we're really into is being locked in to touring for a certain amount of time. Because in Australia it's just like, yeah, you've got a week and then you're done. And then I don't, I mean, I'm sure you get the same thing.

You get home and you go, who am I? What do I do when I'm not touring? And then I gotta wait till the next tour and that might not be for three months because, because I can't go tour Australia every month. Yeah. You know what I mean? But even here, it's like you finish tour and you go, like, what now? Like, what do I do?

Is my life just like going on tour and then coming home and then being like, what do I do now? Who am I? Yeah, who am I? Who am I? Yeah. Literally, am I? I just, right? What do I do?

I don't know. I only know who I am on stage, I guess. Yeah. I don't know. It's a weird job we have. It's a weird job that I think, I was going to say, though, I think Australia really, really, if you can make it there, you really can make it anywhere

because it's a grind. And you're up against like, also what I think is another thing that Australia won't say about itself is like some of the best musicians in the world. There's like a bar for being a musician there that you just, at a base level, you have to be good. Yeah.

And it's, you get away with more in other places. Sure. Like you could see people in America that are like, I'm a fucking genius. And you're like, not actually. not a genius. But it's allowed here. It's like, it's like we can say whatever we want. We are, whatever we say we are. And there's a bit of a, of a base standard in Australia for musicians. Yeah. They're really fucking good. We talk about that a lot. And I think for a lot of the

world, it's because it's so hard to get out of the country, because it's obviously very small and there's a lot of money and there's not really a scene or a industry over there. Maybe just in heavy music. But I think it's a lot of different genres. Like, you're seeing the best of the best leave the country because they're the only ones that can afford to leave the country or the ones getting opportunities to leave the country. So it's like, I think you still have your like bands and talent that say they're bigger than they are but haven't really left. You know, you still have that, but I guess it's just not as populated as America and you don't hear it as often because we're a bit more like, I don't know, the vibe of Australia is like

don't talk to me. Yeah, yeah. You know what I mean? It's and America is like, what's going on? Like, what's happening? What are you doing? And I think Australians go, oh, like, relax. Yeah, chill. I'm just trying to get a coffee, but don't talk to me. Yeah.

But we're getting better with that. We're like, oh, let's, like, what's going on? Yeah, tell me about your day. I mean, the Uber here, the guy was like, dude, I'm in like three really big bands. They're not out yet, but like, yeah, yeah, yeah, it's happening. And we're like, sick. Sick. Let's go.

Like. And then every now and then, and oftentimes, it does fucking happen to. You're like, I remember I was in Uber with that guy. So it's interesting how that... It's just so connected. How that works, but... Okay, so I guess I should start by saying I'm a fucking huge fan of your band.

I appreciate it. I don't know if you knew that. I don't know. I feel like we got a tour offer and we really wanted to do it, but we couldn't. Probably. Maybe. Yeah. I'm sure of it.

Because you're on the short list of just like... I'm just a huge fan. A band like Thornhill is on the verge where you could... would argue 10, 15, 20 years ago, you would have never really had a chance. But now I know if you continue to make great records, you will continue to get bigger. Because it's where heavy music is today. Yeah. And so I think it's a really exciting time for me because I love heavy music. I'm not in a heavy band, but I love heavy music and such a part of my life. So I just think you guys are one of those bands that is participating in that. And the records you make just keep getting better.

just I feel excited for this band. No, I appreciate it. Thank you. That's how I'm starting. No, I appreciate that's awesome because we're massive Goodshawa fans. Really? Absolutely, dude. Guys.

Dude, Young and the Hopeless, like one of my first albums on my iPod Nano when I was like 10 years old. Like one of the first heavy adjacent bands I ever listened to growing up. So this is really big honor for all of us. So thank you very much. Thank you. I think with what you're saying, heavy music is having a moment. I think as well in terms of the experimental part because bands and singers alike, I think, are doing this with an intention.

Like heavy music, I think, you know, what I grew up with in the 90s of what I was listening to and the things that I was, you know, having in my life through even the early 2000s was like heavy music was coming out of like a revolt. Like it was angry and it had intention. and then I think we lost that because heavy music had a moment and then it stopped and then people were just doing whatever. But I think right now you're going into music. I mean, you get bands like Sleep Token. You get bands like us, I think where like I am singing with intention.

We're writing with intention to when you get to the heavy part is because you deserve to get to the heavy part. And it feels like you're there because you were taken there. You want you're not just like listening to a heavy song for the sake of it. being heavy because you're in a heavy band. Right, it's not just heavy because it's heavy. Exactly. Okay, now we do this. I only want to scream if my intention is for you to feel that it's time to do that.

That it's like, you know, I really love, I joke with these guys a little time, well, mainly Tony. I love juxtaposition in heavy music especially. I like it in life. That also, it's a spice of life, isn't it? Yeah, it is. Like the ability to have a really, really soft verse and a really heavy moment after. or even just like a beautiful chorus and a really heavy song,

if the lyrics are leading you to believe that story and the ambience and the soundtrack that you make for your own band and the visuals, like if they're leading you there, you feel like you got there, you feel like you hit your destination, and you feel like when you listen to a song, you're taken hopefully to a place that the artist was wanting to take you to. And I think there's such an open world for that now

where storytelling is a really big part. of heavy music and intention is a really big part of heavy music. So I think we're just very lucky to write like that because we write like that and that people are willing to listen to that, I think. You're singing to my soul. Yeah, artist to artist. Well, there is like a toxic side to heavy music that I grew up around with like hardcore music and stuff. Yeah, yeah. There's a good side of it too where these these bands I love. I love turnstile. I love turns out. I fucking love, I got to, um, I actually got to play golf with Pat, the guitar player. You play golf?

Yeah. We all play golf. We should fucking play golf, dude. What the hell? We have to finish the episode. We are a big golf time. Okay. Oh.

Okay. Chase Atlantic boys? We don't know. Oh, dude. You got to meet them. Okay. They're the best. Well, we're going to have to meet on the golf course.

Already sitting with you guys. I know you'd get along with them. Sure. hear from different sides of music, but like, I feel like musicians, we all get separated in pins and then we're like, we have people whispering in our ears or we have messaging thrown at us. And like, we miss the point of the whole thing we chose to do with our lives, which is like be forever playing and having fun and imagining what the world could be or what we wish it was or making things sound better or making things look cooler or encouraging people to be themselves.

That's what we do. And then with the music business, hey, it's a business. It is. And in order to do this for a living, we have to run our business. Yes. So I always tell musicians, like, take yourself seriously. Organize your shit. Don't dismiss it.

Don't dismiss yourself. Don't let the business lead the art. Yes. But make the art and then organize the commerce after. Yeah, make them work together. Yeah, make it work together so you can continue to do this. I agree. And like I got to hang with Pat from Turnstile.

I'm a Turnstile fan. And we're both from Maryland, which is a small place. So it's like you root for the people that came from down the road. But I was a little nervous because I'm such a fan. And I don't know. I was like he's in a cool ass band. You know, he's, it was so cool. It made me one, love Turnstile even more if that was possible because I love all the records.

But like it made me believe in the band on another level. Because I got to know the person. It's another thing to meet a band you like and to realize they're grounded. Yeah. Does that, if that makes sense, you know? Makes you like it more because you're like, oh, you're like me. You really care about what I care about in this. And you're succeeding.

Right. Awesome. Like the metaphor would be like if you came to my house and I was, I had a good Charlotte cup with Kool-Aid and a good Charlotte joint and I was like sipping my good Charlotte Kool-A. and smoking my good Charlotte joint. And you're like, oh, it was cool. I mean, it was neat to put the guy with the record. I listened, but it was weird, man.

He was just sitting there drinking Good Charlotte Kool-Aid and smoking a Good Charlotte Coyote and... I smoke a good Charlotte joint. Well, once, once. One time. But, like, that's the thing is, like, is can we step outside of our music in the room together? The face value of it.

And hang. Yeah. And then if it comes up, cool, like, of course we're going to talk about it. Yeah. But, like, are we just that? Yeah. Or are you a kid I would have hung out with that? school and you would have understood me and I would have been like, that was my friend, man.

100%. He told me I could do it. Yeah. You know what I mean? Yeah, even as a band like, you know, on a tour as a headline, it's like having the humility, I think as the headliner to care about who's supporting and to not have that face. Yeah. Being of just like, this is my tour, this is my show. I don't care about you guys. Like, you know, we've seen it on both sides. You know, we've seen the bad, as I'm sure you have, and we've seen the good way you get bands come into your grain room being like, you guys are sick, thank you for being on this tour. And then you go, oh, they're like us. And they're really big and they're really awesome and we love their music. Like it's such a like, you know, it drops it back down to why we did this. I think that is one experience.

Two, awareness. Some people are less aware of themselves. Yeah. You see it. The older you get, the more clearly you see it when someone's like, and listen, some of them can be borderline narcissistic, but most of the time I think it's more like they're so in their head they're so unaware they don't realize like and when you're aware of yourself you're aware of everyone else and then you're more conscientious and you're like hey how's it going even if we never hung out on the whole tour just the fact that we made sure our crew treated your crew was respect yeah we made sure that our tour manager was checking in daily with every we don't tour a lot but when we do we have a little bit of like a way of being so that our tour manager is checking in with the tour manager and the crew

to make sure they have everything they need. We say it out loud. We're like, look, make sure that they feel like they feel welcome here. And if they need anything, we need to make sure we supply it so that they feel like we appreciate them being here. Yeah. And it's a way of growing up on the road. Yeah. And you learn it from bands, other bands. you go, I remember the way they treated us. Yeah. I think you guys have all the stuff that, like, a band-like turn style that can be globally, what I would say is globally important to rock music.

That's awesome to hear. Right. Thank you. Award winning, yes. Who cares. Hardcore roots, yes. But pushing the envelope and pushing the boundaries of like what they can create. Yeah.

I see that band. Every record do that. They try. They're not afraid. They want to be as artistic as possible, bring their imagination to record as much as they can and break the boundaries of like what you think turnstile can do. I see Thornhill in the same light. I think you guys have all the stuff and the potential to keep pushing the things you do on records

and still get the heavy music love you get because the roots are there. and the records have all the as a heavy music fan who likes art and likes all things, you still scratch all the itches when I listen to the record. I go, it had all the heavy I wanted, but it had more. It had some other stuff. And that's what kept me listening. Like, it keeps you on the edge of your seat. I appreciate that.

The songs go. Yeah. You know what I mean? Yeah. I mean, we always talk about, I say that to as many young bands as I can, is that like, to write good heavy music, your influences should absolutely not be heavy. Like, that's how you build the genre up. That's how you create exciting changes and things that you wouldn't expect

because they come from you and where your ear goes. Like, you're not, you know, we don't write a verse and then go, hmm, what would ABCD heavy band do here? It's like, what are we hearing? Where do we want to go? What are we trying to say? I mean, sometimes it works, sometimes it doesn't. You know, like we're still learning, like everybody.

Like, I think Bodies was the first time we felt like we'd made a sound that we all agree as something that is a good base for us that we want to progress on, if that makes sense. Really? Yeah, I think heroin, look, heroin was just like a hard time in life, dude. That was COVID. Melbourne lockdown, two and a half years. In that time of that record, oh my God, that's crazy. because to me that was the beginning.

I think so too. And that's how you got to bodies. Yeah, 100%. We could have done, we could not have done bodies without heroin. Like heroin broke the fence. Like you went through and then bodies is, to me, like your biggest, probably like, like bodies is complete.

It definitely you got where you, what you were trying to do, you did it. And it was like exciting to listen to. It wasn't a letdown. Yeah, I appreciate it. But what heroin was for me was like, that's like, that's, oh shit. I can't wait to see what this band does.

Yeah, there was so much in that, dude. Like, there's so much that didn't actually, I'll tell you really quick because I said I wanted to say it. You know the song Raw on Heroin? Keep your hands off my girl. Oh, really? Biggest rip ever. That's it.

We were like, I remember hearing the riff tone of kids. Thank you. Dude, I was like... I feel like no one gave that fucking song. Dude, that song's like our favorite song. Actually, we're like, this is the toughest song ever. I don't know why people... Dude, it rocks.

It never got a shine. It should have been bigger. In the Thornell camp, it got a shine, dude. Trust me, trust me. That's awesome. I love to hear that because I love that record. That's the best record, dude. Is that Good Morning Revival?

Yeah. I don't know why I looked at you guys. No, I'm talking about it. No, I'm talking about it. It wasn't right here. Banger. So many bangers on that. I feel like I'm blanking on.

That was a tough time for us. Really? Why? We were just trying to grow. Yeah. And we were trying to not be a punk band. Right. Okay.

Or like a pop punk band or whatever. Everyone kept saying we were. And at the time I didn't realize we just, we didn't have to be anything. And we just needed to be. And when you're young and everyone's saying this and saying that, and you're actually like paying way too much attention to a bunch of people who have known about your band for five minutes. Yeah.

And they have no idea who you are, what you've been through, and they don't care. Yeah. It's like they're fucking sitting on the toilet, making comments or writing an article five minutes before they need to turn it in. Yeah. You know what I mean? Yeah. I didn't realize that.

Now I'm older, but I'm not saying this, like, to diminish your experience because you should celebrate yourself. I take good, bad, and everything else in between a grain of salt. if someone wrote an article about how important my band was I'd be like oh that's cool yeah we've learned that's nice or how awful we are I'd be like oh that kind of sucks okay but like even kill 100% and not let any of it in too much and more it's about how you feel about it really and what am I experiencing in real life with people yeah what's actually happening at Facebook right like you just telling me that about keep your hands on my girl will go deep into

the like memory box of like of receiving someone saying like hey I like what you did there do you know what I mean like that's that's real yeah someone says hey hey that's fucking cool you did there like that's why we do it we wrote something you go here check out what I made yeah someone goes this is cool man it gave me the confidence to to do the rap voice and I'd never done it before and now I do it a lot you know it's grown my like singing vocabulary for lack of a better way to explain it, but like, I think bands making risky decisions like that open up other bands to take the risk as well. Because like you're saying, I feel like our whole career, the early parts of like the record before heroin, we had only received praise, I would say.

Like we were never, I mean, we got a lot of hate probably more on my end because I like, I just didn't know how to sing yet. And I knew how to write. it, but I didn't know how to tour it yet. I had to go get singing lessons and whatever. So there was a lot of that, but like mainly in terms of release and music, we were only receiving praise ever. And so as soon as we did heroin, the first single came out, we all got together and we were really excited and we had the live stream because it was like it was dropping live on YouTube or whatever. Yeah, yeah. Had a countdown and everything for Cassanova. And we got obliterated. Like some of the worst things I've ever.

saying, dude, we, that was the most hate we've received to this day. That's crazy. All a heroin. I would never imagine. I know. And, but I'm thankful for it. I'm thankful for it because it happened so early in our career. So like you're saying with the grain of salt thing, it's like, we learned, I think,

at the best time, how much that doesn't matter. Because people wrote us off with that album and we only got bigger. So it didn't make sense. We were like all this, all this shit you see online, all these reviews and all this stuff, everyone's like, the dark pool's better, this band sucks, like whatever. But then we'd be playing bigger venues. We'd be doing bigger tours. And so we're like, okay, so that doesn't actually correlate to real life.

So that's just the wrong people at your party. Yeah. But you're still getting invited to better parties. Yeah. So it's like, well, I guess I don't need to actually go to these anymore. Like it doesn't matter. We noticed when we were, um, this is not. the same thing, but it's the same feeling.

Right. And Good Morning Revival was a big part of that. We noticed when we went and played, we made at the time, it was like not, it was controversial in the scene of what we were coming from. But we went and we toured future love sex sounds with Justin Timberlake. Prime. Right? And we were, we did the tour of the movement main support and it was fucking big JT fans at this band. It was, and you remember that era? Oh, do I remember that era?

It was his like, it's peak Timberlake on his solo shit. And, um, dude, what a tour. It was a huge, it was a huge tour. And when he asked us to do it, he was trying to do something different. And we had just made this record that was different and keep your hands off my girl and dance for anthem. And there was these like, we wanted to do something that was like, I didn't want to say rejecting where we came from, but more like, don't tell us what to do.

Big time. So we went and made this record that was much different at the time than what people were kind of asking us for. And we got the same thing. Like people were like, this little group of people that we were debuting it for hated it. And everyone else liked it. And then we went on this tour with Justin Timberlake, which was at the time, people were like, what the fuck are they doing?

We were like, this is fucking cool, man. This is big shit. So cool. The crowds were like people who wanted to be there. and they were having a good time and half of them knew who we were and the other half were like were just like whatever and it was like it was a cool thing to do for us and I think that was the beginning of breaking out of letting our fear of people saying stuff because we did it we did take it to heart like we did yeah we wanted people to like our records we wanted to get good reviews

We wanted, and we worked really hard at it. It was not like our band wasn't like practicing and trying and writing a fucking million songs before we put these 12 on a record. You know what I mean? Like we were trying our best to do what we thought could be important. And then maybe we'll be remembered. Yep. I don't know.

Like that's, when you're an artist, that's kind of like you're like, I hope I make a special record that resonates. People remember. Yeah. And then I earned my spot somewhere in the halls of whatever this rock and roll thing is. I think you probably did, dude. I feel like you definitely did.

What I realized is I think you're right. But I also realized the way we got there was being honest and being ourselves. 100%. And then that's rock and roll. And trying our best. And then not hiding behind something. You know what I mean? not building the perception of what we were.

Yes. And just emerging and being what we are, which is slightly different. We're not the most different band, but we're like slightly over here on our own little thing because we make different choices. And that's what every band I think has got to find their own version of.

It's just like emerging with each record. Yeah. And trusting that that same kid, those same guys that started in high school that thought, that would be cool, man, we should do this, that we're excited. They show up every time and you bring them along,

even though you're going to develop into a person who has more experience, more know-how, you still bring those kids along because they were the ones who gave you the license. Yeah, you grow with your audience. You just hope that when they're growing,

they are also growing with you in your decisions. I'm talking about the high school kid that you were. Oh, me, yeah. I'm talking about... the guys who started down the road together as a band who were like, let's do this. And then they're like, we could be big. Do you know what I mean? Like, we could do this.

And stay in the van. Yeah. Stay in, you know, metaphorically speaking. Stay in the van. Stay excited. Stay imagining. Yeah. And fight against the fear of all the things.

Because what I hear in your records is that. I hear imagination. Yeah. And I hear like excitement. Yeah, I don't think this band would exist without that feeling. Like, I don't think we could survive without putting out a record that made us nervous because we did something, I think. I feel like bodies like, for lack of a better word, like bodies didn't feel, I'm putting

it to the band now, bodies didn't feel like the biggest risk. Would you agree? Heroin did. Heroin felt like dropping into cold water. Like we were like, we feel. we feel this here. Yeah. But bodies felt confident.

Heroin is exciting. I agree. Bodies is confident. Yes. And, and next record, I want to be excited. And I want to feel what we do with heroin, but I want to feel it with the confidence of bodies. I feel like you learn new moves on heroin. Yes.

And bodies, it's fully developed those moves. 100%. So where I'm not saying it's not, because when I heard bodies, it was exciting. But I was already set up for it. Like you kept developing the moves you learned on heroin, I think. Because I think you guys on heroin got more colors. Or like what you're talking about with like the rapy thing. That's just another like brush in the paint.

Yes. You know what I mean? It's not like for me like I was never like I'm going to be a rapper. I wanted to learn different ways to use my voice so that I could. accentuate certain songs or certain things so that I could tell different stories or stories in a different way that are interesting to me in different songs. Yes. And that's all that was was me trying, even like singing falsetto or those all stuff.

I didn't know how to do it. I just wanted to try it because I wanted to be able to paint a little bit different. Yeah. And then some stuff you bring along, some stuff you actually like, you may not do it as much but you will pull it out in other places in it. Because now you know you can do it. Subtle little things. And that's what the whole point of experimenting

with your songs is about. Yeah. I always feel like that with my screams. Because I was really lazy on bodies and I didn't fry scream the entire time because I was just like, I didn't want to like really scream unless it was really necessary.

And so I just pull out, I do these like inhale screams. Like that's like, I've been doing it since I was like, you know, 14. and they've always been fine but I had to really learn how to fry scream so it's like I put the fries on

the back burner because I was like it's fine like I feel like I can get a lot of this attitude out in different ways because like we really wanted bodies to feel this is such a lame way to say but like swaggy you know what I mean? It's swaggy. Yeah we wanted we wanted there to be a bit of

lame at all. Yeah it's coming back dude we're bringing it back. Swaggy. Yeah we just wanted there to be groove that we hadn't done before. That's the only thing I think we really wanted out of heroin because heroin felt very slow and open and beautiful, which is what its intention was. But I mean, I'm sure you've had this, you write a record, you write a sound, you write a vibe, then you play it live and it feels so different to what you thought it was going to. Yeah. And it does different things to the audience. It takes time.

It takes a lot of time. And then you go, hmm, actually, I don't enjoy playing this as much as other vibes, but then we play body stuff and the audience changes. Things change. We, our show is a little bit more turnstallie presenting now because it's bouncy and it's exciting and it's up. You know what I mean? And so now it's cool to know that we can do both in one show, like a record where you can do that. But our live show now, it's like bringing it and I go, okay, I'm going to get the crowd to do this or I'm going to get them to jump or I'm going to get them to do that. And I feel that energy. I go, yeah, let's go. And then we play Blue Velvet. And it's like, no one's moving. Right. No one's saying anything. People don't even know.

know when to clap when it ends. Right. Is it such a, or maybe they don't like it, but maybe I think that it's such a strong atmosphere. Right. That people just want to hold each other. You know, you got a couple of couples in the crowd just like swaying to each other. And to me, now in the size that we are and the confidence that we have with that,

that's as exciting to finish a song like that and to see the mood change in a show like that. And I think now I feel like when we write this next record, intention of live performance is still going to stay in our minds, I think. It's really, really, really good that you're aware of that. It took me a long time to not just want everyone to jump the whole fucking time. Yeah, yeah. Actually, when I go to a show, I don't want to fucking jump the whole time.

I want to have moments. Yeah, yeah. And I think in my older age, I enjoy playing live more because we do it less, first of all. So I have recovery time. Yeah, it feels more important. Like I feel like, I don't know, man. Like, I think you guys are, you guys are in it and you have to do what you're doing because this is the time. Because your life is going to be a version of this upward trajectory climb for the next, I would say, like, seven years.

And then you're going to come to a clearing and you may be able to like go, okay, look what we've done. because I think your next record's going to be even more. I think you're on the, I can, I don't know how to say this. I'm not psychic. No, I like it. But I see lines. Okay. When I see when people are on certain paths.

Yeah. And the only way you can get off that path is yourself. Yes. You can blow it up. You could do some awful shit or you could do drugs or you could, there's a bunch of ways you could blow it up. I always tell this to artists. Like, I'm not wrong that often actually because I've just been here for 30 years

watching these lines and these patterns. And I see when people have this thing. And then when you're like, why didn't that, why did that go so sideways? I can tell you it's probably five things. Yeah. And it's usually like one of these five things. And it's all decisions they made to like blow their shit up.

Yeah, they crash and burn. Crash and burn. And that's some kind of like personal fear of success or some people can't let themselves win. Yeah. It's too good for the likes of them. It's a dog thing too. Yeah.

It's like how much dog you have to do this, because this ruined you doing this shit. Yeah. Just is so much personal drive and then drive as a band, if you are a band. You know, everybody, having four people on the same page at all times, that's a hard thing to balance. And then you're all sacrificing and you have to acknowledge each other. Yep. And so when we're out on the, okay, so when we're on stage, we all play a role. Yes.

And we acknowledge each other's role. But then backstage, we have to work together, cooperate for the better good of each other. So if one person's going through something or, and then we have to also all try and acknowledge like the complexity of being married to four or five different people. That's what a band is. You're like in a partnership or a marriage that you have to like continue to make room for each other's growth, continue to make room for each other's developing and growing lives with more success comes more life.

Yes. And that is a very, very tricky thing to balance. And that takes like some form of like therapeutic intention of like working together to go like, okay, let's make more room now. I want to try to understand your perspective. Let's add business problems to that. Let's add business problems. And then let's add all of our own personal quirks.

Exactly. All of our own insecurities or our own deficiencies. or efficiencies or, you know, there's so much to it that like no bands want to talk about it because it's not that cool to talk about. Yeah. And then no one wants to acknowledge it in the industry because they just want you to stay on the fucking train and keep shoveling the coal and making the train go so that the money keeps coming in.

And there's all these things. And it's a lot. We talk about it a lot. I feel pretty confident in saying that we're extremely tight. and we're very conscious of each other more than ever, I think. Because we had like a problem where we had to, we had a big problem on a tour and we had to like kick out somebody and there was a lot of management issues and there was a lot of things.

And like I'm sure, you've touched it up before. Like nobody tells you when it's not for best friends and when it's a business. You have to either be clued in on the business early or you, you fuck it because like there's so many times where in the past we were just like delusional and we were like we're just I just want to make music and we're young um yeah I'm young I just want to play shows my the reason I'm here is for music is not for money obviously so when money starts to happen or you need money because you're touring too much to work you go well how do we what are we doing with that and then everybody goes I don't know well I'm doing the same as you well it's hard well

let's say, okay, so I'm going to let you keep going, but I want to acknowledge that as like an experience, right? The implied, what's implied? Hey, how's law school going? Oh, I'm in my third year. It's going pretty good. That's fucking great, man. So how long you got? Well, I don't know. It might take me three more years or four more years or five more years to get my master's, and then I'll become a junior lawyer and then hopefully I get a job and then from there. But I'll probably be a really big, badass attorney in about 10 to 12 years if it goes well. Yeah. and be in debt. Fuck, man.

Yeah. Good for you. Yeah. Hey, how's that little... How's that little band thing you got going there? Oh, it's good. We're, you know, we're really trying. Maybe like seven or eight years will be someone you might hear about.

And then in like three, four more years from there, we might be a band that you're like, that's big fucking band and you come to our show at fucking kudos. Yeah, right. See you, kid. if you were in law school, they'd take you seriously. They would cheer you on. They wouldn't doubt you. Even though there's no guarantee you're going to get your fucking law degree,

there's no guarantee you're going to be a lawyer. But somehow when you tell me that, I understand it, and I go, that's ambitious. Good for you. If I tell you about my little garage band and my big dreams, I don't even want to share it with you because I'm so tired of the reaction. Good luck, kid. Yeah.

You're going to play covers? Next. Oh, you want to be a doctor? Come over here. I want to encourage you. You know what I'm saying? 100%. The implied message from the group is you're fucking crazy.

Keep it moving. I do not believe that you're doing anything with your life. You have no value to me. Get out of my sight. I want to talk to someone who I'm interested in. Yeah. You have zero value to me. Yeah, I got that from family.

Everyone. Thanksgiving. Hey, how's the music? Yeah. How's your band? Right? So that's what I'm saying is like, is like, and we do that unknowingly.

We all do it to someone. We don't understand, therefore we don't value, therefore we don't encourage, therefore it's the implied thing in life, right? That's how every musician starts. And so when we get to this is a business, we don't even own it. Yeah.

Because we've been told our whole life it's not a business. It's a hobby. And if you make it, you won some cosmic lottery. Yeah. And that's not true. If you're talented and you work hard and you organize yourself and you go forward and you refine your plan as you go, whether you realize you're doing it or not, you will come into what is results, which feels like success.

Yes. Results is all you're experiencing. You can call it, if you said, this is what's happening. Another person who's not doing what you're doing, and like, wow, you played where with who? Like, yeah, but actually we didn't make any money because it cost us this much and blah, blah, blah. They wouldn't hear that. They'd be like, wow, because they see success. Yeah.

It's not success. It's results. Success is what we see. We choose success. Am I successful? Do I feel successful? What is success? It's something like for me at this age 47, it's something like being really happy and content with what I choose.

family, friendships, and working on things I love, feels so successful. I no longer judge where the thing is in its growth. I either believe in it or I don't, and if there's a heartbeat, there's a heartbeat. Yeah, no, I agree, which is why I think we do as much as we can ourselves. Yeah. Which is, you know, like leads back to the business part where it's like, obviously a sink or swim thing, but we were lucky to have maids, who's, you know, our drama and our manager,

take over and be business savvy so that, like, everybody in the four of us, like you say, like everybody on stage has a role, but for us personally, as a band off stage, everybody has a role that is super important. You know, like we make our own merch, we design our own shit, we're there getting moks of stuff, like we care about as many avenues as we can physically care

about because that's the band and the business are the same thing because we care about both. And we're still learning in all these avenues. Oh, you always will be. Yeah. And but that's why we do it. Like that's the exciting part of it, right? Like, fuck yeah. There's more to a business than making money on off music. It's just like we want to be this massive cinematic rock band of the fucking century. But on the side, we want to care about our merch and the things that people wear and the fashion part of what we do and what other opportunities we can do and how we can, you know, meet other people and give what we feel, you know, touches other people in the way that we want to. And there's just so much more we can do with this shit that I think we care about as the four of us.

So I think we're just lucky to have four members that have the care and the skill set to just keep growing in every avenue. It's a, it's a, so, yeah, we're a very. That's why your fans love you. Maybe. Because, and honestly, it makes total sense to me. I don't think you're a band that, like, I don't passively like the band. I love the records. And so there's, it's cool. You can feel the like fingerprints.

Yeah, the human aspect of it. Yeah, you can feel the toiling. Yeah, that happens. How's the new tour? Is it kicked off yet? Tomorrow. Tomorrow. That's big.

You're going to come to nerve, dude? I'll come. I don't know. No, I'm not making you get on stage. I don't know like you get on stage. I don't know. I think, I don't know if your fans want to see me on stage, but, um, we want to see you on stage. That's all that matters. What's the venue? Oh, wait. Al Ray? That's great. Yeah. Is it? I've never been. Yeah.

Hell yeah. It's a great venue. It is. Yeah. No, we're very lucky. This, this tour has done really well so far, just in terms of like the reception to it and all the bands are really awesome. Who's on tour with you? Vienova opening from Germany, which is really cool. It's our first international tour. We've got Fox Lake, hardcore band, very cool, and 156 silence. Also very sick, heavy band. So a lot of cool people. We've actually never really met anybody. So it's going to be like a cool first to be like, oh, like what's up?

That's cool. You know, make friends over six weeks and see what everybody's doing. And then we go straight to Europe. Is this your first headliner in America? Like, I know the last headliner you did in Silver Lake, that venue in Silver Lake. Echoplex? Echoplex. Yeah, yeah, yeah.

That show was weird, dude. Was it weird? LA's weird. I almost came to that show. Really? Yeah, I'm glad you did. I had to bail at the last minute. True, true.

I DM'd you guys on Instagram. Did you? Told you I was coming. Oh, that's, oh, I remember that. And we were like, where's it going to go? There's no backstage. No, I don't need it backstage. I like, I go to shows.

When I go to shows, I just, like, I don't need tickets. I just go. That's what I like work it out. Yeah, yeah. But this tour feels like more. developed. Yes. Yeah. That's exciting. Yeah, this is there and we also get to play Mercia which we haven't done over here as well. So it's like bodies 2.0, 2-0, which is exciting. Longer set we've done, which is a bit daunting. How long? I think

we're doing an hour and 15-ish hour 10, yeah. Most songs we've ever done some hard songs for me and Meadow, I would say, like playing some like older heroin stuff which is fun. That's cool. Hollywood and Blue Velvet and stuff. Hollywood is epic song. Dude, thank you. You're the only one that gets that song. Me and Tony, we think it's like the best song we've made.

It's one of my favorites. That's what I'm saying, dude. It's a real one, dude. Well, can you tell fans that also think that? That'd be great. Some stuff just grows, man. Yeah, I know. When we release that, dude, we were like,

this is it. Like, this is the song. No. It's like the worst received song on that whole album. That's so strange. It's my favorite. I know. It's my favorite video, too, which is hard.

That stuff just grows. man. I'm keen to see how it does because I would say once bodies got released, our shows had changed. I think a lot of kids like found us online somehow or through bodies alone. And our shows just changed completely. Like they just went into there being so many kids that like are coming like dressed up kind of like how we're dressed. And because our merch is like, you know, things that we kind of want to wear and like we're trying to have so much. of the merch spread, not just be merch. It's like things that we care about and pieces that we care about that we've,

you know, measured and we want to fit a certain way and fit a certain thing. So a lot of these kids are come in dressed in that stuff or they'll go to merch, put it on and mosh in that. And it's all their first show. Yeah. And they're so excited. Yeah. And that feeling is so electric to us, especially meeting people at VIP and just having them

be like, this is my first ever show. like I found you guys like a week ago and I'm so excited and then you see him crowd surf and you see the look in their face and it makes you like your inner kid

doing that yourself to bands of it makes you not a cry on stage you know I'm just like that's actually that's why I do it you know but sometimes when you play

shows you don't think that you know and it's really cool to have those moments where you're just like oh yeah true that's actually a big part of why we do this it's really

cool to hear because there's enough cool guy bands out there. Yeah, we're not a cool guy band. All the cool guy bands don't like us. I think you guys are really cool and you could be a cool guy band if you wanted to be. You're like a few attitudes away if you wanted to be a cool guy band and everyone would accept it. Nah, we're a goofy band. But like, goofy band at heart. But the fact that you care about your merch and how it makes you feel when you see people wearing it is the, whole fucking point. It's why it's the same way I still feel actually. It's like that's actually the point. That's the acknowledgement that I think I thought I needed it from the maybe like the music critics or something. And then I realized somewhere in the later stage and to get it earlier is good.

Yeah. You will enjoy so much more because you get it early. I missed the point. It's not that I didn't appreciate it. Yeah. We always loved our fans, but I didn't appreciate the moment I saw the kid crowdsurfed with the shirt on or the moment, the kid showed up with my brothers like, eye makeup or whatever. I didn't take that moment in the right way. Yeah. Not that I didn't acknowledge it. Yeah. But it's like I was so focused on hoping that some writer I didn't know or some fucking award ceremony or some whatever would acknowledge me that the most important person was acknowledging me the whole time. Yeah. And that when I, I got that was when I truly enjoyed being in Good Charlotte. It's hard to take a step back.

Like, it's hard to be in the moment. I find myself a lot of the time, even on stage, not being in the moment. Yeah. I'm going, oh, my voice felt like this today. Yeah, yeah, yeah. I can't hit this note today. I have to rely on this today. And I'm like doing that. And then you get to like an easier song for us, let's say, like Silver, and you get that crowd reaction. Or you get that kick come across and you catch them and you put them down and then I go, oh wait, this isn't about me, not really. What, what, the only part that is about me is the writing process. Yeah.

The touring part is about what we're doing and what we're showcasing and how we're connecting because that's music actually at its core. It's you needing to create from wherever it's coming from, whatever's happening, you need to create. And what you're trying to do is put yourself on a place. and hope that people are hungry for what you got, you know? And then when they are, you're like, thank you. Like, actually, maybe the whole point was that I was making you what you needed. And I think it's really fulfilling to us, but I'm not going to sit here and pretend like I feel that all the time.

I just realized something while you were talking. Hmm. I'm an idiot. No, no, no. It's that. First of all, what you just said, okay, just like food, music is like a certain kind of sustenance that we always need. Absolutely. And so we'll never run out of our appetite. It'll always return. Absolutely. Because we need to hear things that make us feel things and we need to see things. So music and movies and books, art. Humans have a need for a novel experience in something that captivates their imagination because it is a deeper part of all of us that we can't, again, it's implied that it's not important. And so we grow up always needing art, but never realizing we can make it or never being told it's important to make it or it's worth the time. Yeah, or not knowing why you need.

Or why make it? Well, just make it. And then people as a whole, as a culture, we always have an appetite for music and art. And so what we don't realize is what a great chef does with food. Oh, dude. Don't get us started. We're such a food band. They're making something they... It's love, dude. It's love. They're making something they think is special. Yes.

They're trying little things, crossing different ingredients, coming up with their own take on something. And then they're excited for you to try it. Yeah, you taste the passion in that. And when you find something good, you will always go back to it. And it'll usually be around... There's a few things with food, right?

We go there to celebrate and we go to that place. Every time we celebrate this thing, we always go there. just like music. We go there when we want to share with our friends, just like music. So we have to realize that's what we're doing. So we can't pre-construct the result.

Like we can't think we have to keep the unawareness of it while we make it. Yes. But then, just like we talked about that artist that's not aware of themselves, when we go out with it, we have to get out of our head. Yeah.

It's your time to let it go. And then be aware of, of everyone else. Of how there. That's how I would compartmentalize my own headiness, my neurosis. Yeah. Would be like, when I'm in the studio, I can be in my head. I can be unaware of myself.

I can be as weird as I want. That's your time. And then when I go into the room with all the other artists or with the people, I have to now become a conscientious person who's aware of like my elbows in the room. Yeah. You know what I mean? I think that's a great way to look at it. You helped me today.

Hey, let's go. fucking good man. I mean, we say this all the time, like, the best way artists meet other artists is times like this when you get into your process. Yeah. Because I, like, I've said this to so many, like, press things before. Don't fucking ask me what something means. I don't know. I don't give a shit. Who cares? Ask me about the process of creating it because that's what artists care about. I remember always seeing the David Bowie quote of, like, you know, a lot of his painter friends, I think would always name their art after they'd made it. But if you want to talk to them about the process of making it,

they get excited because that's how we connect. I even remember having talks with the sleep token too. It's like the real breakthroughs we'd have as friends was like, hey, this is how Thornhill writes. And they were like, this is how we write. And we're like, that's the same as us. That's how we feel about it. And that deep soul connection is why you're friends.

Because then you go, actually, not that I didn't respect you the way I should, but now I'm watching your show and go on like, I respect what you're doing because you're doing what you want to do, and I know how you did it because that's how we did it, you know, and it's so cool. It's sharing experience. Yeah. Back to our point. Everything's compressed and then it takes me as long to readjust from a tour as I was on tour.

Yes. Sometimes longer. It's not two weeks after two and a half months. it's two and a half months at least to get into like with everyone else at home like to adjust yeah and then you're gone again and then you're gone again and then you're back yeah it's just this i feel like we haven't stopped since heroin i think we release heroin we went to do our first us tour and i don't think we have stopped since that's what it takes yeah yeah it does you seriously and i'm not at all complaining at that like this is what we do you know i feel you i don't think

I know you're not complaining. I feel you. It's not, it's just, is, it's actually just acknowledging it. Because if you don't acknowledge the truth, yeah. Then you're not being real with yourself. Therefore, you can't continue to make real shit. Honest music.

You know what I mean? Yeah. And each other. Having a strong connection with your friends, even to be able to say you're not doing all right. Yeah. When this is happening. Because it's like, even if you're not doing all right,

nothing's going to stop. Nothing's changing. It's just like you can feel like shit. still have to do VIP, still have to go to stage, so you'll have to meet ABC person and act excited. Do you guys have like a shorthand with each other in real life where like if so-and-so's having, if one of you's having a bad day, you can just say, hey, I'm not, I'm not doing good today. So it ain't personal or something. Like we do that.

Like if I'm anxious, which I don't know, I'm less anxious these days. I used to be really anxious and unaware of it. so I would kind of be like more edgy and a little bit less of a good time for my real friends. And my brother used to say it. He's like, why are you so fucking miserable? I can't do this. Like, it's not fun. And I got there where I was like, I'm really sorry, I'm anxious. And then I got really good at being aware of it. And I'd be like, hey, dude, I don't know why I'm so anxious. Don't mind me. Yeah, okay. As soon as we learned how to do that, everything got better and better and better. And then the anxiety actually started to like dissipate.

The more I just became aware of it. Right. But I always wonder if other bands had that like shorthand. I feel like we do, I think we could be better at it. I think we could be better at being forward in saying that rather than being able to either tell or to have to ask, if that makes sense, which I think we're good at. I think we're very good at being like, you're giving off something, what's going on. and then you get that explained to you and you go, understand, just let me know what you need.

Like, we're good at that. We could probably take your advice a bit more and be a bit more forward personally. But I think sometimes we don't know. It's like we're still, yeah, we're still balancing doing this, you know. We didn't know. Like, I wish we had known. I wish I knew how to do that.

Yeah. I wish I'd known how to say to my bandmate instead of you always do this. Yes. I wish I would have said, I learned how to communicate and listen where I could say, I feel like you're mad at me. And they were like, I'm not mad at you, but you do this. And then learn how to have that conversation and go around and around and around until we realize

we're not mad at each other. We're both either anxious or we're both frustrated or we just needed to reconnect or we needed. And that took practice of like, kind of like a therapeutic practice of like, I'm saying this for all bands listening, maybe this will help you. This is the visual I use now, and it really works. I visualize a table, we're all sitting at the table. No one at the table is wrong for how they feel, and no one at the table is wrong for what they think. And so if I sit at the table with you and how you feel isn't wrong and what you think isn't wrong, and your experience of it is your experience, then I can sit here until I completely understand how it feels to be in your shoes, and then I

will do my best to explain to you how I feel what I think and what my experience of it was and you will commit to staying in your chair until you understand how it feels to be me and I understand how it feels to be you and the ideas in my head are now in your head and you understand them and you can accept me and we can agree to either believe in the best of one another or at least understand each other and agree to disagree and bring it back down to here. And I didn't explain it the best, but like being able to have the freedom to express ourselves, even if I said, right, a touchy subject, like writing a song. And I'm like, it's not that I don't want to write with you.

it's that for whatever reason I feel like when we do that, it's stop, my ideas get stopped and I can't complete my idea. So here's what I think maybe we could do. And then we go around on how we could do it. The practice of it really helped us get somewhere with edgy subjects. Yeah. You know what I mean?

We have done that. We're learning that and we're getting better at that. because the communication thing is hard. It is so hard. And everybody is so different. And everybody sees things and hears things and says things differently. Yeah. And like you're saying, the touchiest subjects is the creating part.

Of course. Because it's so personal. It's so hard to. So fucking hard. It's too hard for what it fucking is worth. But we are learning. That's probably, I think, our biggest learning curve that we're trying to lock into. It's just the ability to hear each other, understand each other, communicate it,

because I feel like, yeah, that sort of process being at 100 is what keeps a band for the next 20 plus years. And you're too good a band not to keep trying to continue to build that, develop for the like longevity. Yes. And for the vitality of the music and the band. Yeah. It's a worthwhile endeavor to keep trying to be more married, not less married. Yeah, yeah, because it's, we say it's all the time. Like, the band is legitimately family.

Like, there is no other way you can, even if you don't want it to be that. Yeah, yeah. It is that. Yeah. communicated and things aren't good, like you're going to feel that. No matter how much you don't, if you don't feel like your family, you have to be, dude. You have to be as close as you can be. Yeah, it's so true.

It's tough. It's tough. It's tough. It's tough. But it's worth it because do you want to do this for the next 20 years? And here ain't a fucking great band. Fucking Thornhill killing it. I got all your stats.

Oh, yeah. Tell us what do we get? Well, you just had your biggest ever Australian headline run in Indonesia. Yeah. So all the shows are just bigger, bigger and bigger. This tour is Revolver Presents, the headline run. Yes. Hicking off May 1st.

You've already sold tens of thousands of tickets. Fucking crazy. Yeah, very lucky. You support Events Seventhfold in Australia? Yeah, yeah. That's our first time doing arenas in Australia, which is cool. In October? Yes.

We're doing the summer with them. Oh, really? Us and Events Seventhold U.S. six weeks. That's sick. That's a cool lineup. It's a good mix bill, yeah. Jacob, congrats, man. Thank you very much.

Thornt Hill's the shit. Thank you very much. Good luck. Can't wait to hear the next record whenever that comes. Same. Yeah. He's got to go write it.

Well, yeah, we're writing it right now. Oh, good. Oh, how's it going? We're starting to see some things happen. I think we have probably more up here than we do in the laptop, but that's the Thornhill way. Normally we like to just talk about it. That's exciting.

Yeah. I can't wait for the next record. I also can't wait for the next record. next record. We have some big visions for it. Keep them. Keep going. Thanks for coming on the show. Thank you for having us. It's been really awesome. Awesome, man. Thank you for listening to this episode of artist friendly. You can also watch the episodes on Spotify. Spotify premium users get no commercial breaks on my show. Make sure to follow, like, and comment because I always read the comments.