Switched on Pop - Kaytranada's journey from basement beat-making to the Grammys

Episode Date: March 2, 2021

Kaytranada has what every producer strives for: an in-demand signature sound. His records glide fluidly between four-to-the-floor house beats, hip-hop sample-flipping, and P-Funk style 808 bass lines. He honed the technique as a teenager, and it has since grabbed the attention of some all-star collaborators: Pharrell Williams, Mary J. Blige, Alicia Keys, Anderson .Paak, and Kendrick Lamar. This year, he’s nominated for three Grammys, including Best Dance/Electronica Album for his 2019 sophomore release, Bubba, and Best New Artist. But Kaytranada is hardly new to music; at 28, he has been building a career in the industry for more than a decade. Although the recognition may be overdue, the thrill of it hasn’t worn off. “I’m Kaytranada, all the way from Montreal, Canada — been making beats since I was young. And now here I am, [one of the] Best New Artists for the Grammys. It’s really crazy and exciting,” he says. On this week’s episode of Switched on Pop, co-host Charlie Harding spoke with Kaytranada about how his DIY approach to production led him to music’s biggest stage. SONGS DISCUSSED Kaytranada — Got it Good (feat Craig David), Lite Spots, TOGETHER (feat Aluna George & GoldLink), GLOWED UP (feat Anderson Paak), You're the One (feat SYD), Kulture, 10% (f Kali Uchis), Rush (Kali Uchis), Love Thang (First Choice) Pontos De Luz (Gal Costa) Janet Jackson - If (Kaytranada Remix), Teedra Moses - Be Your Girl (Kaytranada Edition) Learn more about your ad choices. Visit podcastchoices.com/adchoices

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It's free for iOS users. Welcome to Switched on Pop. I'm songwriter Charlie Harding. And I'm musicologist Nate Sloan. Nate, this year we've been doing a lot of Grammy's coverage. I think because there have been songs and artists that I've been really interested in, music that has captivated me. Yeah.

And this week, we're going to talk with one of the nominees for best new artists, K. Trinada. Ketranata's really inspiring. Like so many other artists in this category, he's not a best new artist. He's been doing this for a long while, building this career and getting a lot of recognition. Literally moving from making beats in his mom's basement to making beats with collaborators like Farrell and Anderson Pock. Sid, Madlib recently announced. He's got two tracks coming with Madlib. And he's done work for Mary J. Blige, J. Blige, Elyche, Cheez, Chance the rapper, Kendrake-Kamar, and Madonna.

Yeah, yeah. But I think the first time that I heard Kate Trinato was when you played me, his track at our weekly team meeting. Yeah, I think there were probably four weeks in a row where I was just suggesting everyone listening to different tracks from 99.9%. That album is going to be on my end-of-decade list, for sure. There's something about the way that Ketranata uses samples that just rocks me to my core. And I feel a certain kind of kinship in a way because, you know, I'm a music historian.

Right. And I feel like at his best, K. Trinada is making a statement that DJs and producers are music historians themselves. What do you mean? Like, break that down for me. Let's take a track from 99.9% like light spots. I remember when you first played this for me, it was instantly hypnotizing. There was something about the way that he's flipping these samples, that it's frantic and yet super groovy at the same time, and I'm wanting to know the references, and yeah, just I'm totally captivated.

The sample here is from a 1973 record by the Brazilian singer Gal Costa called India. and this particular track is called Pantos de Luce. Maybe the first thing you hear when you compare the original to Catranada's light spots is that he's bumping up the tempo. His version of this song is a little bit faster, a little bit brighter. But otherwise, he's really leaving the original pretty unchanged. It's kind of like you're hanging out in his living room and he's like, hey, check out this classic Brazilian.

Brazilian tropicalia release I just dug up, this kind of obscure deep cut. Let's just like kind of sink into the couch and listen to this together. And you're like, yeah, wow, this is cool. I've never heard this before. It makes sense because he's famous for his DJing skills as much as he is as a producer. And then you get to this one point in the Gal Costa original where she says these lines in Portuguese that roughly translate to something like, I feel. very happy. In fact, I dare say I feel completely happy. And at that moment, Cape Trinada

stops the track. He grabs those three lines of lyrics and he starts looping it in this way that completely catches you off guard, kind of surprises you, and then like you were saying, just totally sucks you into its world. Oh, and then we get the house beat. Oh, it's so Good. This is where Ketranada as historian comes into the picture. In a way, what he's doing there is he's asking you to pay attention to like, I don't know, what is it, like three seconds of music from this three-minute-long track. And he's asking you to pay really close attention.

Listen really carefully to this. And I'm going to help you. I'm going to put it on a loop, and I'm going to give it to you over and over and over again. And I'm going to ask. you to just contemplate this little snippet of music in such a deep way. It's like the oral equivalent of standing in front of a painting and asking someone to just look deeper at that brush stroke. Don't look at the whole painting for a second. Just look at this one brushstroke. This is like the DJ equivalent of that. Like step away from the song and just listen to this little

scrap of melody for a second and just sit with that. Pay attention. to it, let it burrow deep into your mind and soul. And I see how here in the music, you take this phrase, even if you don't speak Portuguese, there is something so captivating. It definitely makes you want to go deeper into the song. Look it up, find the references, see what the sample is. Go do the reverse crate digging. Find all of his references.

Yeah, that's right. Right. So not only is Caitanada, the historian, but he's enlisting you to become a music historian as well. You've been conscripted into the ranks now. And of course, he's not just putting this scrap of melody under the microscope for you. Like you said, he's also adding something, and he's adding this just ridiculously danceable house groove on top of what's already like a very thickly instrumentated section of music. But he's giving you this modern element. he's bringing 1973 and crash landing it into 2016.

So it's like a bit of history, but like all good historians, he's trying to make that history relevant. He's trying to say history repeats itself. What's old is new. This song may have resonated with people when it was released in the same way that a modern dance track would strike you today. We're bridging that historical gap. It's like the other day you were telling me about how you've been watching all these

TikTok videos about Marxist capitalist theory. Yeah, the Genzi is really good at them. And you don't have the time or inclination to dig into like Marxist theory. You're not going to like read a thousand page book, but you will watch a 30 second TikTok video because it's fun and it's accessible and it's like right in the palm of your hand. You know, we want history to be accessible like that. We want it to be enjoyable. That's what DJs do.

They take music history and they make it fun and pleasurable and they don't make it kind of distant or intimidating. This song brings this obscure 1973 track to light for you, for you to dance to, for you to bathe in, for you to go do your research. It's like, I don't know, to me it's more than just a fun track to listen to. It's like history and action. I love your passion here. This is a song that totally connected with me as well. And, you know, obviously there's a part of me that's like, yeah, but lots of people sample. Right? It's not like he's the only one doing this.

And yet there's a certain way in which the way that he flips his samples where, as you put it earlier, they're like, it's raw. It's really honest to the original material, it's not trying to obscure it. So you're like, oh, I see the thing that you're doing. And yet still finds a way to make it really compelling for this moment. And I wanted to talk to him about that and talked to him about how he developed his craft and how over a decade he built a career to the point of, the recognition of a Grammy Best New Artist nomination. I am Kate Chernada, all the way from Montreal, Canada. Been making beats since I was a young and now, here I am.

Best New Artist for the Grammys. It's really crazy and exciting. Let's just go back to the beginning. Take me to the start. What got you into making music? Music was always in me. I always wanted to make music. It was when I was 14.

Just like finding out about those softwares online, like virtual DJs. and Tractor. I downloaded the demo of Furi Loops a bunch of times, but I never knew how to work. And it was my little brother who was just like, no, that's how you do it. That's how you do the drums. That's how you do the bass. Like, he literally taught me everything. And it was kind of deep already when I was like 14 and 15, just finding out about chopping samples and making loops and stuff like that.

Where were you? Where was this happening? I was actually at like the suburbs. And it's like a city called St. Hubert, not too far from Montreal. all, but it's like nothing going on really. It was really in my mom's basement and like we had a PC that we had to share the whole family and then I was making my beats there. What was motivating me was this like small community in YouTube where there's a bunch of producers posting their beats and people were just giving you props like yeah, this is dope, this is nice. So that and my brother

was mostly like the motivation of what kept me going. Was there a moment of significant validation outside of your family and that immediate small community? There was the one thing that really popped off. It was like this small community when I was like 19, and it was just beatmakers in Montreal or just suburbs around the city. And then we come together in the city to just show off our beats and people were just giving us props and give us encouragement.

And then that's when you knew that music was more than just music. It was like everything that came with it, you know. In addition to making your own work at this point, you're also heavily in DJ culture and also into remixing. You're posting remix as to SoundCloud. There's a song that really takes off. What is it? How does it happen?

I post this remix of Janet Jackson. I was really inspired by this Flight Loader show that I just seen. And that night I made that remix in one night. Post it at 5 a.m. I go to sleep. And then it's like 12 p.m. I get notifications off my phone.

It's like my SoundCloud going, crazy. Just like 100 notifications on SoundCloud and it was like, what the heck? And I just go back to sleep because I was like a night owl. There's what were my night owl days. I would like wake up at 4 p.m. And then it's like 4 p.m. you'd see like your page. There's like 2,000 likes on this remix that you posted like today. That was something that was like unimaginable. And then the remix eventually blew up and it got bigger. People were still talking about it, you know. And I waited a little longer for the Tidre Moses one to come after. I put it out and that one kind of did twice as much as big as it is, you know?

People are still talking about it today. And it's like, wow. Like, I just knew I had something. It kept on being like, oh my God, Kate Trunada makes those remixes. So that's where the SoundCloud fame came up with, you know? It sounds like these remixes, especially the, the Janet Jackson remix of If that you put up in 2012. Is this happening spontaneously?

In my room with my brother, you know, like still sharing rooms? And you talk about it now with a great degree of confidence, which is deserved. Did you know that it was good then? I knew it was good, but I just didn't know that people would like it. I was like, if you like it, you know, that's cool. It kind of like crossed over a lot of like genres. To me it was like this like whatever hip-hop experimental like R&B thing I'm doing. And people saw it as house too.

Like it's like it broke through the house well. It broke through like the R&B and hip hop and you know dance music. So it was like, whoa. What am I actually doing? What genre am I actually going for? Yeah, because sonically it's kind of strange. You have a hip hop 808 bass, but you're playing it as if it's like a P-Funk style funk bass rather than, you know, how it might be used in track.

Literally. You've got a four to the floor. beat and this kind of like DIY sort of keyboard sound in the background with future bass pumping sounds. Exactly. Like there's no generic continuity, but it works. Yeah, it's like Nintendo, like Super Nintendo synths

with like bass, you know, the same way we use as trap. It's like I just use it as like a P-Funk, like you said. Kind of like the buggy inspirations. Does the breadth of sounds that you're pulling from, at this point, reflect what's going on for you as a DJ? Like, is that why you're playing so many different kinds of sounds all mashed together? It's like really just what I'm listening to. I was not really into just one genre of music.

So it's really a mixture of genres. But it can be one thing at the same time. It can just be some buggy stuff. But you know that hip-hop after that, they actually, like, took stuff from boogie and made it hip-hop, you know? It's really like kind of like a full circle of genres, you know, like all the jazz stuff that I'm influenced about, you know, house, it really, it really comes from disco.

And it's so many of like those things that comes around again, you know. What's old as new. Yeah. You have these remixes. They seem to pop off bigger than the next. So what happened after your remixes blew up? I've met my manager who booked me for this show in Halifax. And all I asked was like, I need a hotel room and I need $200 and that's it.

And I eventually go to house. Halifax, which was like my first plane trip and my first show outside of the city. And then the next day, he was like, do you need help with your management? I'm like, I don't have a manager right now. Yeah, I kind of need help. He's like, okay, well, let's do this. We all started from like the beginning. And I think in one week I was in blogs. People were starting to talk about me. I was starting to make noise. I do this EP. It's called Ketrototo. It's not available on streaming anymore. But I do this EP and then I go on tour in Europe. And it's like everything is still keeps on growing from then, from then on. And it's like I just went to Europe and I really changed my life. Like I was not

the same after, you know. A lot of people start taking notice. You go on the road, opening, DJing for Madonna. It seems like lots of opportunities are happening. What pulls you back home to record your first LP? I think the whole time I was working on my first LP, which was 99. It was supposed to be an EP. at first. Excel heard the EP and they were like, well, this is so good, we need an album. So I was like, cool, you know, I was ready to do an album. I was ready to like just come out with, you know, a body of work. And I was still on tour at the same time while working. And it was really bothering me, but nobody heard those songs. It's like, what are we doing, you know? Like, I should go back and finish this record and put it together. And I was kind of

burned out. So I was really like, okay, I need to stop touring. And then I just went back home. Home was still in the basement. It was still in my mom's basement. Put everything together. And then I think I turned it in 2016, like just in January or December, 2015. Maria, you have a podcast now and you need to start acting like it. What's the first step as a podcaster?

Well, you have to ask lots of questions. I'm Maria Sharpova, and I'm hosting a new podcast called Pretty Tough. Every week, I'm sitting down with trailblazing women at the top of their game to discuss ambition, work ethic, and the ups and downs that come on the path to achieving greatness. I have a few pretty tough questions for you. Okay. Ready? Ready.

Do not sugarcoat something for me. No, no. We'll dive into their stories and get valuable insights from top executives, actors, entrepreneurs, and other individuals who have inspired me so much in my own journey. Pretty tough is your front row seat to the women who have demonstrated the power in being unapologetic in their pursuits. I hope you'll join us. Drop Wednesdays on YouTube or in your favorite podcast app.

Immigration may be Donald Trump's signature issue. President Trump is now targeting predominantly Democratic cities for ice raids and deportations. Dozens of protesters clashing with immigration and customs enforcement agents in Minneapolis Tuesday. We will begin the process of returning millions and millions of criminal aliens back to the places from which they came. But what we want to do in this space is talk about America and politics beyond the current president. So what do most Americans think about deportation and border security, period? I think that Americans are definitely against the kind of violent displays that we've seen in the street from ICE. When it comes to the question of deportation, the answer is more complicated.

My sense is that people want border at the border. They don't like the idea of having no idea who's coming into the United States at any given time. The view on immigration from the bottom up instead of the top down. That's this week on America Actually, every Saturday in your audio and video feeds. Let's talk about some of what's going on on 99.9%. There are a lot of extraordinary collaborations here. I think one of the standout tracks is Glowed Up with Anderson Pott. Yeah.

Tell me about first how the beat came together for you. How did this track come together? I made the beat like around those times, like 2012 before I blew up. And I really had a phase where I used to sample like library sounds and just put traps over there. Like just trap drum. What do you mean library sounds? No, library music. Like the KPM and all those like kind of like music for movies.

It's like instrumental music, but for moods and then you just put that in like a movie or something. But it's like those vinals, like if you check on those records, they always have amazing samples. And if you check on the sci-fi section, that's where they use the sense or they'll use like, just like crazy, like vintage sounds. Sampling is cordier sound. What drives you to produce in this fairly laborious form? I've been on hip-hop music for a while now. I come from actually like, you know, listening to a lot of J. Dela, Just Blaze, Night Fourne. all those producers were just like madame they all just sample a lot of records and they do

create digging and they just at the same time you discover a lot of music and your knowledge music just expands on a crazy level just by discovering those records just by crate digging and you know I had a phase where I used to create dig like I have my record collection right here from the beginning the absolute beginning like I sample and sample and I just just learn from my favorite producers, honestly. So you take this library music, you set it to a beat. How does the collaboration with Anderson happen? Anderson back was just coming up. I just sent beats and he had a bunch of demos of like in my songs, which is that's why there's two parts on glowed up, you know? Yeah, there's a there's a first half and then sort of two thirds of the way through. There's a sample flip and the whole thing changes up. Tell me about that.

I did glowed up because it was like, that's like a personal one that I really love. Like, and I just wanted to put down the album and like of course he wouldn't he wouldn't finish the song of course he wouldn't finish the song so that's why I put it as an interlude you said you were sending beats to him you weren't in the same room working together no no like most of the 99.9.9 was mostly done in my mom's basement like I didn't had any guests recording with me you're just emailing back and forth yeah at the time it was working because, you know, people used to work remotely and it was like we would end up, end up meeting later, later much in life. Well, especially for you as a producer where, you know, you're not putting down vocals,

so you're working with a lot of collaborators. And there's many standout ones. You know, another highlight for me is Sid of the internet on the song, You're the One. Yeah. How would you describe the production? What's going on in that song? It's sold all over the place to me. like it's like to me like when i did you're the one i was just messing around i had this new

um some fatty and then i just really mess with like the bass at the base like you see the bass it really sounds like muggy and nasty like it was like it doesn't really make sense to me like right now i'm like wow i really like that one slide but people love it you know it was really me just mess it around. And, you know, I never use media controllers before using you're the one. You know what I'm saying? So I was really all making, like, by drawing stuff on a mouse and stuff like that. So you've got this super deep funk bass line. Again, we've got some

sort of house production. Part of what's surprising, though, is that all of your work prior to the song was done clicking things in with a mouse into software. But your drums don't sound programmed. There's life to them. How do you breathe life into drums when it's happening and it's just right there on your computer? I don't know. It's like I'm really obsessed with like not having to sound like this, like very computered or quintized. So, you know, I would drag like, you know, the high hats late and it would like automatically sound like it's not quintized.

You know, I would do the same with the bass. You know, it's like it's two different swings in one beat when I used to like produce with the mouse. It was a part where things are coincides, like the kick and the snare. And then, like, you know, the chords, the high hat. Can I forget the high hat and then, you know, the bass and everything else has to be like pushed back like more forward. So that it'll give like this kind of like, oh, something is, oh, it's not going to cash up. Oh, actually it did it. And it's like this swing like you will feel like to the back of your neck.

Even in the process of making this first LP, you're landing some meaningful collaborations, but you're still self-educating. You're learning new ways of making music. Tell me about where do we go from 99.9% to Bubba. What happens in the in-between from 2016 to 2019? Sunday, I was inspired. I was really constantly making stuff. And I was using foodie loops at the time. Like I did the whole dynamics. Like, I mixed the whole stuff. fully loop so it was like i got this mac and then native instruments shout out to native instruments for sending me the machine and that software just looked so beautiful that was like i got to use it you know i got to learn how to use it so i was really like on my quest to learn the machine and i was just

making terrible beats for like two or three months like in a row really trying to find myself was not really trying to work on the album i was really trying to be this producer you know and i just couldn't figure out why i was like not the producer i wanted to be and i was like of course i don't live in l.a you know i don't live in like the spots where the music industry is happening you know it's like or stuff like that so that really bothered me and i also moved out of my mom's house as well so it's like all these changes in my life and i was just living life really i was going out partying more and eventually the idea of Bubba came around 2018 in my birthday when Tidra Moses sent me a culture.

Culture was the first beat and then I was like, okay, an album is coming. Like sometimes you just know like, okay, I've got to work on this album. I got to work on an album. And then like I kind of sat on it trying to get more people involved. I went to L.A. for a couple months to just, you know, now I have. Like I told you, 99.9% was like this record where I was just collaborating remotely. But now it got to a point where I was like, you know, I got to meet the artist. I got to like catch a vibe.

I want to be the producer. I've never been. I was still kind of shy. So I was just always like never really saying anything. But the artist was always doing their thing. You know, Calliuches and, you know, Estelle. They all did their own thing. And I was just like, wow, I can't really say nothing.

Like, now I got to like, let's watch what you do. It was all these demos coming together and I had enough material and it was like all dance music. So I was like, you know what? I'm just going to do a dance electronic album. Focus on that. You know, the hip-hop or all the beat stuff that was making is going to like wait for a while. So I just did the electronic and dance album. And that's how Bubba came together really.

Let's talk about 10% with Kaliuchis. Yeah. You're out in Los Angeles. This is sort of the first time formally collaborating in a room. you've got some really talented folks you're feeling a little shy but you get some great material out of this 10% with Kaliuchi's

get some really great play and it's a really fun track how does this come together You know Kaliuchi's like we worked on her first mixtape we go way back It's like in the beginning of her career I brought her at Coachella to perform because we had this song called Rush and I really like this song

This is like an amazing song that people should not sleep on But that's like the first song We ever worked together We always was just friends after that. And then we did 10%. But we've been sitting on 10% for years because it was like 2017. And then it took me like over a year that I had to link like we worked together again.

And then I was like, hey, you want to add something to that song? It's cool because we all see. I see my evolution and I see hers too. So it's like it's kind of nice to see that. I assembled this like drum loop by this R&B band called First Choice. Love thing. It's like this classic, like really known drum loop in there. So I just did like random sense, like what I usually do at the time.

Because that's why it sounds really reminiscent to like what I used to do. Added since. And then the years went on by and then I just added a couple stuff like, you know, strings and those little like plucky sense at the end. And just trying to make it like better, you know, make it sound better, make it sound less dated. And, you know, that's what it was. I feel like there's this sort of internet obsession of trying to figure out what is the katranata sound what are what are those sounds that you you sort of identify as

a personal sound some people like say yeah like i'm making a katranata type beat and it's like i have no idea what you're talking about but what are the things you think about that you care about in terms of representing yourself the fact that i'm doing how when i do house music i don't do it quinti's eyes and i just like make that hi-hat super funky the bass line people are talking about oh katronata baseline but it's not really my baseline it's just 808 Or just very a subby baseline that you feel like, like, you know, like the same way J. Diller used it or, you know, Mileyb uses. It's like a very suby base that is just, it kind of shakes the trunk of your car, you know. So I always use a portamento on the sin.

So it's like this. Like every time it attacks. So that's what it is. And there will be like some plucky sense, you know, you add it's a little plucky sense. Like in the end, like that's like the classic. job. You seem to think very deeply about the sonics of the work. You're saying earlier about how in the in-between these records, you're teaching yourself new tools, you're trying things out. You say there's a bunch of beats that you're making, which you're like, they're not hot beats. And I've read in other interviews that

there was a sort of moment of maybe a crisis of confidence of like, wait a minute, why aren't some of the collaborations that I'm wanting to do working out? How do you know when, a beat is whack or when it's really working and ready for another artist. Like you feel it in your body, you feel it like, I don't know, maybe it's a hard thing. Like, I just based it on like whatever I feel over here in my chest or in my heart. If it makes me happy at another level, that's when I'm like, okay, I feel it now. This is great. This is good.

But there are sometimes that it just don't hit right. You're like, maybe I shouldn't put this one out. This is not going to come out. There's sometimes that you feel this way. And sometimes that it's like, oh my gosh, this is the most amazing shit I ever did. And then you wake up the next day and you're like, oh, maybe not. I'm not sure. As an instrumental producer, what continues to drive your creative curiosities?

What kind of statements are you wanting to make or discover? I just love making music, really. And the fact that I have this game from making music, like, it's amazing. And I don't even know how to play keys. And I still manage to create my own production and create my own compositions. That's really like fascinating. That's like something I should really not take regretted, you know? Like it's something I'm really, I'm really happy to have that talent of knowing what's good and what's not in my ears. I guess this is really a gift because I can't really comprehend like that.

How come I know all these things about music? And I really was not consistent with like my piano lessons growing up and stuff like that, you know? So, yeah. Many people have noted your music over the last decade. There's been many different stages from remixing to getting signed to Excel, your 99.9% record. But with Bubba, you have the Grammys saying, hey, we've got nominations for Best Dance Recording for 10%,

Best Dance Electronic Album for the whole album, and also Best New Artists. I'm curious about how this external validation changes things for you. It's amazing, man. It's something that it's like secure. My place is secure. And like, I don't know. It definitely gives you like a secure feeling that your stuff is dope officially.

Like, you know the Grammys have like, have their controversies. But it's still dope to be recognized. It's really amazing. It's something that is really historical. Whether you like it or not, it's amazing. Especially coming from where I come from, it's like I'm always speechless when I talk about. like me being nominated because it's it still feels a little weird you know i can't really wrap my head around the fact not just making stuff here where i'm actually sitting at yeah you're no

longer in your mom's basement but you're nearby yeah uh i've been come back to my mom's basement make beats sometimes you know just because i'm bored sometimes but i'm just making beats like just compo ricks to make albums and then i get recognized from that it's really amazing it's really great what's next for you just last week i was like you know what i'm going to work on a new album. There's a lot of crazy things that is happening in my life and I could use a lot of that in like writing because I've been writing a lot of lyrics and just me singing demos and stuff like that. What's going on and what are you wanting to say? Relationship stuff because I know my life is okay outside of this relationship I had but I know like this would be good lyric content, you know,

for the album and stuff like that. So I'm really trying to make like, you know, a continuation of whatever I'm at, you know, in terms of like, life and my evolution as a bee maker because I've I did evolve uh since Bubba you know and it's like I was really happy that Bubba came out at the time because like it was for me was like yeah this is who I am really this is really the evolution you know now it's like I've evolved again even more like I think it's like an everyday thing so I just want the people to hear that sooner or later you know beautiful stuff it's been really enjoyed getting to chat with you I really appreciate it Thank you for joining us on the show.

Well, thank you for having me. It's been great. Thank you. Switched on Pop is produced by Bridget Armstrong, Nate Sloan, and me, Charlie Harding. We are illustrated by Iris Gottlieb and social media by Abby Bar. Engineering by Brandon McFarland and this week by Bill Lance. Our executive producers are Nashak Hurwa and Honor Rosen. We're a member of the Box Media Podcast Network and a production of Vulture.

You can find more episodes of our show on the Apple Podcast app on Spotify or literally anywhere you get podcasts. Also, tell us what you're listening to. Tell us your burning music questions at Switchdown Pop on Twitter and Instagram. We love talking to you and many of our best ideas come from our listeners. So hit us up. Join us again next week on Tuesday. And until then, thanks for listening. Attention Spotify. Has arrived on the new Google Jasmine Absolute of Carolina Herrera, a fragrance intense with character gourmet and addicive. Imagine a jasmine enveloping, caramelized and tonka-tosted. A combination that seduce

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