Switched on Pop - The power of singing together (ft. Tiny Habits)

Episode Date: September 15, 2026

Throughout pop history, groups from The Ink Spots to the Beach Boys to Fleetwood Mac all forged their sound in the alchemy of vocal harmonies, harnessing the magic that happens when different voices join as one. Then suddenly, right around the 1980s, vocal harmonies started to wane in pop. Whether it was Michael Jackson creating a new model of the solo star, music technology making the voice more like an instrument, or simply audiences wanting a new sound, today the art of vocal harmony is hard to find on the charts. But bands like Tiny Habits, whose originals and covers showcase intricate and delicate harmonies, are bringing the sound back to the people, with a message that everyone needs to sing more, and to sing together. CREDITS  Reanna Cruz: Producer  Iris Gottlieb: Illustrator  Charlie Harding: Host, Executive Producer  Dion Lee: Art Director  Brandon McFarland: Audio Engineer  Nick Ripps: Video Editor  Nate Sloan: Host  Lissa Soep: Editor  Zach Tenorio & Jocie Adams: Theme Composers  Switched On Pop is a co-production of Vox Media Podcast Network, Vulture, and Rock Ridge Productions. Links: ⁠⁠Newsletter⁠⁠  Songs discussed: Fleetwood Mac – The Chain The Roches – Hammond Song Crosby, Stills, Nash & Young – Suite: Judy Blue Eyes Pérotin, The Hilliard Ensemble – Viderunt omnes Mbuti men – Elephant Hunting Song Bulgarian State Television Female Choir – Pilentze Pee The Golden Gate Quartet – Stormy Weather The Jackson 5 – Who’s Lovin’ You Frankie Valli & The Four Seasons – C’mon Marianne The Beach Boys – Barbara Ann Michael Jackson – Don’t Stop ’Til You Get Enough Tiny Habits – Right In Front Of Me Tiny Habits – Anything He Was Tiny Habits – one more (live acoustic) Learn more about your ad choices. Visit podcastchoices.com/adchoices

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Scotia Bank, you're richer than you think. Charlie, I want to play a couple songs for you and have you tell me what you think they all have in common. Okay. Here's the first. Here's the second. And here's the third. They all tell me that your musical taste are what you are.

You make it far. They all tell me that your musical taste are stuck in. another decade. Okay, yes. And I thought that might be what you say. These are all songs from the 60s and 70s, but is there anything else? I would say apart from the excellent rhythm guitar playing, huge vocal harmonies. That's exactly right. And today I want to understand why these harmonies are so powerful and why I hardly hear them on the charts today. Welcome to Switchdown Pop. I'm musicologist Nate Sloan. And I'm songwriter Charlie Harding. Okay, and Charlie, to be clear. What did we just listen to there?

Let's see. At the end was Crosby's Sills Nash and Young. Yes, sweet Judy Blue Eyes. What was the second one? That was Hammond's song by the Roches. Thanks to our friend Steve Hall for introducing me to that one. And then we began with Fleetwood Mac and

and the line? The chain. The chain. Sorry. I'm out of touch. And these are just a handful of tracks from thousands that we could pull which offer sterling examples of stunning vocal harmonies. And this art of singing together, making your voices blend as one, singing chords, singing polyphony,

this is maybe a lost art in the world of pop music. Absolutely. Like, the general trend over the last few decades has been away from groups and towards singular artists. you know, celebrity seems to be easier to propagate when there's one face that you have to put on every billboard. At the same time, you know, maybe I would counteract what you said because when you listen to an Ariana Grande track, she's such an expert vocal producer

and is layering dozens of Ariana Grande's on top of each other with really dense, rich harmony. That's Kiss Me, the opening track of Ariana his most recent album pedal. And yeah, a nice example of what you're describing. She is such a master of layering herself in incredible, intricate vocal harmonies. But no, no, that's not exactly what I'm talking about. I'm talking about different people singing together.

And I think this is an important distinction because as virtuastic as what Ariana and others do, I think there's something deeper when you sing together. There's something even therapeutic. There's something healing. There's something that might connect us to each other as human beings. I feel like a little emotional. I don't think I've been in a chorus of other people in like two decades. I used to sing in a chorus in high school and it was a very moving experience even though I was a really bad singer.

Similarly, I sang in a shape note chorus when I was in grad school, which was really, really fun, kind of this traditional southern religious style of singing, which is really loud and really nasally. What religious revival movement were you a part of? I don't know how they let a Jewish kid from New York City in that church in Northern California, but it was a really fun thing that I looked forward to every week. That was Antioch 277 by the Hennigar Union Sacred Harp Singers. that we just listened to.

But yeah, like you, I haven't really been singing with anyone in a long time, and I miss it. There is something so profound about singing together, something kind of ineffable. It's a way of communicating with other people without actually, you know, having a conversation necessarily. One of our great limitations of being humans is that, like, it's really hard to walk into a room of everybody talking. you can't hear more than one, one and a half conversations at a time before your brain is just like tapped out. Yeah. But when you're singing in a chorus, you can have a hundred people and everybody's contributing and you're resonating altogether. So it's no surprise that group singing is probably the oldest form of music making we have.

I mean, we have records from basically every culture going back to prehistory of people singing together. Say in a Catholic church in Western Europe, we could listen to the work of the composer. Perotan, his composition, Viterunt Omnis. The Western classical tradition gets a lot of credit for coming up with complex, polyphonic ways of of singing, and by polyphonic, I mean, you know, you have independent, melodies interacting with one another. Well, we were just listening to, I feel like I have to go back to my AP music theory. Like, first there was monophony, like everyone singing the same note.

You just said polyphony, many people singing different notes. Isn't there like a middle ground? Is there homophony? Homophony, baby. You nailed it, Charlie. You still got it. So there's like basically one main melody and then everyone else is kind of droning on another thing.

Is that homophony? That's absolutely right. And so I feel like there was a big story that is always told to what you're saying was like Western culture goes monophony, homophony, polyphony. It's seen as this grand development and gets a lot of credit for the development of the complex, richest ways of singing. We could go to so many corners of the globe and find examples of incredibly complex choral singing. I mean, to name just a few, I would love to listen to a song from the imbuti people of what's now, the Democratic Republic of. of Congo that was recorded by Smithsonian Folkways.

This is their elephant hunting song. I'm also borderline obsessed with the Bulgarian choral tradition, which is known for singing really crunchy intervals, like seconds close together that normally you would avoid, but they just really lean into. The rocks. That's the Bulgarian. state television female choir but if we're talking about popular music yeah i feel like the approach to vocal

harmony that has been the most influential on most of the music we love and discuss on this show wait let me guess let me guess let me guess is it do-op no go back a little further what's pre what's pre-doop and i'll give you a hint it's also you know comes from the world of gospel religion and worship yeah And I want to highlight a group like the Golden Gate Quartet who were transitional figures. They took the sound of gospel, but they started applying it to popular music like the hit song of the 1930s, stormy weather. Can get my poor set together. The rich harmonies, the blues sonorities, the call and response, the move from background to foreground, all of these, which are hallmarks of American popular music, were pioneered in the gospel church,

especially the black gospel church of the early 20th century. I mean, we heard those same techniques in Ariana's vocal layering. She was doing call and response. She had these sort of like hummed vocal. underneath. A lot of those techniques, yeah, they've been around for, what, 80 years. And those gospel choral arrangements feed right into some of the most popular American musical movements, including duop, which you mentioned. Wouldn't you love to turn on the radio and hear Frankie Valley in the Four Seasons just

rocking that rich harmony at the beginning of Come on, Marianne. So were the Four Seasons enormous influence? on the Beach Boys because that top line high pitch thing that I always associate to Brian Wilson that clearly is where he's got to be listening to it from. Totally. And I mean, you just called exactly where I'm going next because even into the 1960s and 70s, some of the biggest hits were predicated on really stunning vocal harmonies. And I think the Beach Boys is just like a crystalline example of that.

Take their 1965 track Barbaran, for example. Throughout the 60s and 70s, right, from Motown to the Brill Building to Nashville, Dolly Parton, everyone is doing vocal harmonies, even into the 70s, right? We started this episode listening to Fleetwood Mac, Crosby Still's Nash and Young. Their vocal harmonies are like a hallmark of their sound. And then we get to the 1980s. And something seems to change. All of a sudden, these vocal harmonies are no longer populating the charts like they had been for, I don't know, almost a

entry. And whose fault is that, Charlie? I would probably blame the multi-track recorder, but you're going to point to a person? The multi-track recorder, yes, which eventually, you know, allows folks like Ariana Grande to overdub themselves rather than singing and a choir. I don't know. I'm tempted to blame the king of pop, Michael Jackson. I think it might be hard to sort of pinpoint one person, but I do accept that his going solo from the Jackson's represents a moment in time where there is a rift of vocal harmony from one of the groups, one of the, like, you know, Motown groups known for

their collaborative sound. Motown loses the Jackson's. Michael goes solo and vocal harmonies are forever changed. Sure, why not? We can listen to the Jackson 5 singing harmony on who's love and you. But if we fast forward to,

you know, the best-selling album of all time, I'm thriller. We don't hear group harmonies. If anything, we hear solo overdubbed harmonies. But mostly it's just Michael out front. There are for sure vocal harmonies in that clip, but they are functioning very differently than what we're hearing in the Jackson 5. Like, there is one clear center lead vocal. Everything else is also Michael Jackson just supporting himself, sort of thickening up the lead vocal, rather than providing a wall of rich, intricate harmonies. You know, it makes sense that the early 80s might be the place to locate the demise of vocal harmonies and group singing because it's an era of deregulation, privatization, and rising

individualism. And it is the era of the rise of the brand and corporatism. And it's just so easy to sell one person as an aspirational figure in a way that's harder to say, who are you amongst this group? Right. That Reagan era rhetoric of, you know, pulling yourself. up by your bootstraps and doing it yourself versus the sort of collectivism that had been a hallmark of the 60s and 70s. And the music industry has a concomitant shift. As you were saying early in the episode, we move from the age of the band to the age of the solo singer. And that's, you know, what we get in the 80s. We get Madonna. We get Prince. We get Michael, these like singular figures who are the centerpiece of their artistic statement. Could we say the move of the age of the

to the age of the brand. Ooh, I'll take it. Yeah. Put that on a throw pillow. Absolutely. And even today, when we do have a band, you know, BTS, for instance, comes to mind or Katzai, like K-pop is producing a lot of great boy and girl groups.

And yet, for sure, they don't sing harmony that much. They sing in unison a lot, which is really interesting. Or there's a clear verse for each person to sing individually. But fear not, Charlie. I have good news for those harmony hounds in our audience, those lovers of, uh, I'm losing my alliterative powers here. Polyphonic populism? Those, yeah. There's some up-and-coming groups who are making harmony a signature of their sounds.

Some of them we've interviewed on the pod before, like Truesdale. Others are in the world of country music like the high women. But the one I want to focus on right now is actually blowing up on TikTok and Instagram and all over social media because of their incredible harmonies. It's the group Tiny Habits. I just keep on waiting till I see it coming. Maybe I'm too close to say. Oh, I love that. Maybe I'm too close and they're singing really close, tight harmony.

Right. They're literally singing these close harmonies as they're singing about trying to get close. It's a really nice bit of word painting. That song is right in front of me from their album Keepers. And I wanted to understand why this group was drawn to these kind of throwback harmonies and why they think it's resonated with young audience. And finally, how do they produce these incredibly crunchy and saddily? satisfying intricate vocals. So tiny habits made up of Sinha Khan, Maya Ray, and Judah

Mayoa met as students at the Berkeley College of Music where I think you like to teach. I do profess there. And I had to sit down with them and ask them, how do they make these harmonies that resonate with young audiences? Where do they get their signature, crunchy sounds from? And what drew them to singing together and harmonizing in an increasingly individualistic world? Support for the show comes from Sonos. Our relationship to sound, whether listening to music or watching a movie, is deeply personal. Everyone has different needs, different spaces, different ways they want to connect with whatever they're listening to. That's why Sonos has designed an entire range of speakers and headphones to work together in harmony,

so you can customize a sound system for your life. From speakers to soundbars, to subwifers, to headphones, the whole Sonos system works together to create a seamless listening experience. My family has been using a Sonos system for years. We have the Sonos Ultra Soundbar that we use connected to our TV. So all the shows and movies we watch have amazing sound quality. And we use the Sonos play speakers for music around. the house. We can control exactly what you hear in different rooms. It's amazing fidelity and they're kind of these small, sleek speakers that you can just kind of fit anywhere. It's also really easy to connect Sonos to any music player and just play music with the press of a button. I even have my

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Always earn high regular interest rates that grow the more you save and invest. Conditions apply. Visit Scotiabank.com slash hisa to learn more. Scotia Bank, you're richer than you think. So like any good millennial, I have a love-hate relationship with Gen Z. It's the phenomenon rattling millennials. They just look at you. They want something bigger themselves, lifestyle is a priority, motivation is being inspired.

But regardless of how you feel about Gen Z, it's undeniable that they're changing national politics. Generation Z is increasingly showing less loyalty to traditional political parties, many now more likely to identify as independent. So what is going on with the kids? I think the biggest misconception about Gen Z's politics right now is that all of a sudden they're all socialist. That is just not the case. They are embracing candidates who are offering new, bold ideas in the absence of

those ideas from establishment Democrats. This week on America, actually, Gen Z researcher Rachel Janfaza joins us to separate Gen Z fact versus fiction. It's not rocket science. And this is, you know, I keep saying like, young voters aren't that complicated after. All, it's pretty simple. Catch us every Saturday on YouTube or wherever you get your podcast. Tiny Habits.

Hey. Hey. Hello. Can you introduce yourselves? I'm Sinia. I'm Judah. I'm Maya. And maybe we could start with you all singing something for us.

Let's do it. Yeah. Maybe something from your new album, Keepers. Totally. Ready? Uh, two. I know I can't be anything he was to you But I'll try to, try to

Nothing like he was But I know what he meant to you I'll try to Live off to Is that me? Live off to you Memories proving you were happier Doing anything we like

to do when he was next to you. I'll try to, try to. Why do you love singing together? Many reasons. Many reasons. Can't harmonize by yourself. I mean, we just started singing as friends. We met at Berkeley, College of Music in Boston. And we were just kind of buddies. We were like singing in stairwells and singing in dorm rooms just so yeah it was it really just started because it was just so fun and exciting and then we just kept doing it just fine yeah and now it just feels so like healing all the time i think it's very satisfying also it is yeah because i feel like we all have very specific taste now about harmony

i'm interested in that word healing what's healing about singing together because we're also friends and we know so much about each other in our personal lives it's just like it's just healing i don't even how to explain it. There's something primal about it too. Yeah. Like you see a video of a choir on Instagram and you like have chills. And I think a experience of any group of people doing one thing together is like always beautiful.

Is there like a physical experience? Yeah. I think it feels like for me, I feel so held when I'm singing with them. It's almost like this like this comfort like blanket of like there's other people who are like holding you up while you're doing this like really vulnerable thing. Yeah. And I think that's like a universal experience as sin was saying, like, for anyone, like, you know, in a choir or, you know, doing one thing together, it's like, you feel a part of something. You feel a part of something.

And you're all kind of experiencing the same, like, emotional moment. So you sang a little bit of anything he was for us. Tell us about composing and arranging that song. Where did that come from? Well, I wrote that song a few years ago, and I was just like, it's just like, it was just obvious that I was like, oh, this is, this has to be a haps song. And so I brought it to them and they like immediately knew exactly what to sing. Like, it was a very like straightforward like process of like, obviously Maya would sing that part and Senya would sing that part. And that's just like, that just kind of fell out.

Happened. Yeah. Live to him memories proving you were happier doing anything we do. I think arranging for us has kind of gotten easier over time. Because we've sung so much together, we kind of fall into our regular kind of parts. But I think with this song, we kind of felt like we didn't need to overcomplicate it. Yeah. It kind of speaks for itself, you know, in terms of...

The chorus is very classic. Yeah. Nothing too crazy. Because we have the tendency to like really overcomplicate. And so that was very, it was very easy. Very easy. When you're building a harmony, there's the notes and the pitches. that you're each singing.

And then there's also the blend of your voices. And I'm curious, like, how your voices are working together. What is that process like? Silent. It is very, yeah, eyes closed. It's very internal. Each of us have the desire for it to sound very specifically connected and, like, one voice, sort of. And so I think while we're singing, actively we're thinking about, I guess we're

maybe not even thinking about it at this point. It's just like, I'm hearing you. I'm adjusting however minorly or majorly to your phrasing and breathing. So it's a lot of listening, I think. Yeah. And just adjusting accordingly. It used to be harder.

I think when we were starting, yeah, the unison was kind of a more foreign concept maybe. And I think that's the thing with a lot of like harmony groups that maybe they do less of. And I think for us, when we kind of started discovering that part of our voices and that, oh, actually, our blend is pretty good. And so we kind of refined it and worked on it. And now it's sort of second nature. Yeah.

I feel like also people made us aware of it. Like we weren't even like really thinking about it until like we were posting videos and people were like, oh, you guys have such a great unison. You sound like one person. And we were like, really? And it's super cool because you'll hear our individual voices and they sound pretty different. Yeah. But something about like the frequency of all of our voices. When we're together, it's like, it's one thing.

Could we hear that, like the transformation from individual voices to the collective? Yeah. What's the song that is like the... We could do Flick or even or something. Yeah. Oh, sure. One. Two.

Just me? Should we go one by one? Yeah. Yeah. Yeah, I love it. Wait up. I'm running. Over your shoulder looking at me like I'm someone I don't.

What's a lyric? Someone you don't know. Okay, you go. I heard. Wait up, I'm running over your shoulder looking at me like I'm someone you don't know. Wait up. I'm running over your shoulder looking at me like I'm someone you don't know. Tie it together?

Wait up. I'm running over your shoulder looking at me like I'm someone you don't know. That was pretty cool. That is interesting. Yeah. I was like, wait. So does that mean you're constantly aware of your volume and your intensity and how it relates? Yeah.

It's like an active adjustment. like as you're singing like you're just like okay like I wish I had something to compare it to but I don't I don't really know it's hard you're you're listening but you're not over listening it's like just balancing like surfing like you're just like constantly like adjusting yourself until you're like completely within whatever you're supposed to be riding the waves yeah writing the way surfing surfing the harmonies wow I love that I like that I like that I like that So, yeah, let's take it back a little now. Give us your, like, the tiny habits origin story.

Like, do you remember when you all sang together for the first time? Oh, we remember. I remember. I had been in school for a year already, and then we had been sent home for COVID. And upon our return, Maya had been following me and Jude on Instagram separately. And I think they were in conversation before they had gotten to campus. And they were sort of chatting a little bit. Maya had a crush on Judah, it's no big deal.

She goes, Judah, quarantine's over. We had a 10-day quarantine. She goes, Judah, come on down. Like, let's sing together. She wanted to kiss him. No. Okay.

That's what she doesn't tell people. Right. I mean, he's a studying person. But then she found out Iowa, she's like, that is a sister. And so then they were seeing a little bit, a little YouTube karaoke situation. And me and Maya had also been in conversation over Instagram DM. She responded to. me, you should come down and sing with me in Judah.

And so I went downstairs, shaking as I knocked on her door. Yeah. And we sang happy and sad by Casey Mossade. I sat on my dorm room floor that January evening. Yeah. And you can hear that video now and you really can like hear our individual voices. There was like no like not a lot of connection yet. Yeah.

But there was a spark. Yeah. And I didn't know singing at all. Like Maya was like maybe one of the only two people. Yeah, that was the first time I, that I like had taught. I like my roommate and literally you, I like had conversations with before. coming to campus and then she's like, we should sing together. And I was like, because Judah and I started Berkeley during the pandemic and it was

like completely online. Yeah. So kind of the way you would, you were making friends was like online classes and like, you know, following people on Instagram. So that's kind of why. But that's the really beautiful thing about college, I think. Yeah. Everybody's sort of equally scared.

You have access to all these people that are your age and interested in the same thing as you. Yeah. It was very cool. Right. And then so you sang. a Casey Musgrave song together and we're like, oh, there's something here?

And then was there a moment where you were singing either an original or an arrangement and realized that there was something you really wanted to build together? I feel like when you guys started one more,

there was this, like, one of our first songs we ever wrote was called One More and the two of them had started it in like the stairwell or something classic. And we had gotten my way, but I just wish it could have been you drifted. And we had gotten together. It was a final day of the semester and the room was empty. And we sang that song together in like mostly unison. I think I was watching that video back for a while after we had gone home and I was like,

this is a little bit special. Yeah. And probably like should be something. Yeah. It sounds like the isolation of the pandemic like really. shaped this. It did. Yeah.

Also, we, like, we were all in the same dorm building and there were, like, maybe three or four different Berkeley dorm buildings, and, like, you were only allowed to hang out with the people that you were, like, in,

like, in your same dorm building. So if we were in different dorm buildings, we probably... She was directly, like, under... Yeah. So, like... Kismet. Mm-hmm.

It was fate, maybe. It was fate. It was fate. It was right. A transition from your... Maybe initial intentions as artists, though? Like, did you start Berkeley with the intention of, like, being a solo act? And what made you feel like it would be okay to instead form this, you know, collective?

There was no conscious decision to be like, oh, okay, we're leaving our solo careers behind. Yeah. Or like, or we're going to school to, like, form a band or something. It was just like, we're, you know, open to. whatever I feel like a lot of it also had to do with the way it was resonating with other people it felt like there was something special about making a trio or having a band it felt I guess sort of more original in some funny way

there's a delicacy maybe to some of the work you do that feels like it's an antidote to the over-stimulation of so much of the world we live in your arrangements are very intricate, sometimes very quiet, and it kind of, as a listener, it kind of puts you into this other mode of experiencing art. How intentional is that, or is that just something that developed organically? Definitely organically. I think also it was sort of a product of the music that we loved, like, starting,

because we were all really into little singer-songwriting. sounds and just delicate music. Every choice we make, I would say, is pretty intentional. One thing that's really striking about your arrangements are the crunchiness factor. Your willingness to throw in these pitches that create dissonance or some kind of tension. So I would love if you could maybe sing something for us that would be an example of that approach and we could break down how you create those sounds. Totally.

Okay, ready? There she goes. There she goes again. Racing through my... And I just can contain this feeling like remain. Yeah. I guess that's not that distant. Yeah.

There's like... Yeah. Also, all these videos take 45,000 tapes. Yeah. So everyone's seeing the TikTok, it's like... They're like, oh, how do you say? What you say? Oh, that you all even well.

Well, of course you didn't. What you say. I mean, as you can hear, there's so many things that are going into it. We're doing a lot of like flipping and so, yeah. And there's also three different people singing. So, like, if one person makes me... mistake they're going to want. And we're all perfectionist. You mentioned flipping. Like, what, break that down for us? What does that refer to exactly? Yeah, I guess more just like playing

around with what parts we're singing because I think a lot of the time, you know, there's like the alto and the melody and the soprano or whatever, tenor. And I think usually people will kind of, that's their part and they're sticking to that. And I think we do a lot of parts letting someone else do the melody or letting someone else take the low part. Or one person will start on the melody and then flip to, you know, the third. Yeah, yeah. So it's like everyone's taking turns in a way of not doing something that is complicated or... But I think it's funny because I think, at least in my brain, we're not thinking, oh, you know, okay, I'm singing.

I mean, I guess maybe now we do, but I think before it was less about, okay, I'm singing the melody and now I'm going to sing the third here. And then I think it just kind of happened. This is your whole part. Yeah. Yeah. It just sort of like came out when we were arranging. And now maybe we think more about it. Tell me about introducing that crunch factor into an arrangement. I think it just depends on the song, honestly, because it's like...

Yes, you have to be appropriate about it. Yeah, and intuitive. To be crunchy just for the sake of being crunchy, now it's crispy. Yeah. Now I'm out. Now it's crispy. It's a little burnt. Right.

We just want lightly... Yeah, lightly toast. A little toasted. Exactly. Exactly. Now is crispy. You have a beautiful album, Keepers. And you're going to be touring.

what are you looking forward to singing live from this record? Like what's a moment? All of it? Probably all of it, yeah. I'm excited for fragile too. I feel like that one's always just a... We've been singing that. A nice...

Something CCM about them. Something CCM and healing about it. Yeah. Or spiritual. A little spiritual. Yeah. I'm excited to have some fun. Yeah.

Yeah. Like with love ruins everything. I'm excited for someone you love. Oh. Yes. Because I have this vision that we like, teach the audience the harmonies in the bridge and they all sing it back. The really fun thing about our audiences is that there's a lot of musicians usually.

Yeah. You know, harmony fans and all that. So they sing pretty well. Is there one of those songs you just mentioned, is there a moment that you could sing for us now as a little preview? We could sing the fragile bridge. Yes. That's easy. I couldn't fathom watching it fall down.

Letting it shatter Instead of sticking a hand out We've seen it happen We watch them fade out Don't let us be them Don't let that be now At a what? It's up to tire and more melt you

Yeah People are going to listen to your album hear you on tour, watch your videos, and they might want to sing themselves with other people. Like, where would they start to have that experience themselves? Maybe Facebook group. Maybe the internet. Put an ad out. But, like, probably the internet.

Like, find other people. There's a million other people that are desperate to sing with friends. Send that message. Send the message, post a video of yourself being like, I want to find friends to sing with who's in my area. Yeah. Because there definitely are. people. It's also like a very easy way to build a community and like make friends. I feel like we have such a privilege with our gift to like just like, oh, like I can go and sing with this person and like now

we hang out and we're like most of my friends I met because I like she's like I want to sing with you. I want to hang out with like write a song with you or like you know. It's so funny though because it's like some it can be in like two ways. It can be more intimate than like just being someone's friend or like somehow like a really nice bridge to be coming closer to someone. Yeah. Yeah. Because sometimes we're singing and I mean Maya or me and Judah are just like staring into each other's eyes. Yeah. But it's not like registering as like an intimate situation. I don't know how to explain that. It's just very. I don't know. Comfortable. But sometimes you can talk to a new person and it's like I'm awkward. Yeah. But if you're singing with them,

something's different about it. And if someone's feeling nervous like you, senior, you described, you know, shaking as you knocked on the door the first time you sang together. Like what would you tell someone who was nervous about that first time? Do it scared. Do it scared. We've done a lot of things scared, but we've done it together. Yeah. Or even if you're by yourself going into a situation where you're like about to embrace,

you know, new relationships, like it's so worth it. Like that fear, it goes away so quickly. It's such a temporary feeling. to be afraid of something. You never know how someone will impact you. Right. And it could go either way. That is the beauty of music and the arts.

Like sharing something with somebody that is separate from you in a way. Like it's music and then it's like people. Yeah. And you both get to attach yourself to something together. Yeah. And I feel like that's really special. Is there a cover that comes to mind that really you felt like people really connected with when you sang it? We just recently had a little pop-up show for our album in London, and it was in a church.

And we decided during Soundcheck that we were going to do a song unplugged in the middle of the audience. And we sang alone by heart. And it was really special. It's so funny is that we found a video of it on TikTok. The comments are like, why are they hooting and holl of it in a church? Yeah. And we're like, so sorry. Oh, my God.

It's so funny. But it happened. All the respects. All the respect. We can do that. We kept a chorus of that. One, two, ready yet. Till now, I always got by until I'll match you.

Oh, it chills me to the ball. How do I get you? Yeah. Tiny Habits. Maya, Judah, Sinha. Thank you so much for joining us today. Thank you. This is so fun.

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