The Bobby Bones Show - Behind the Music of Yellowstone: Andrea von Foerster & Dani Rose

Episode Date: February 13, 2025

In this episode of The Official Yellowstone Podcast, Bobby Bones interviews Andrea von Foerster, the music supervisor for Yellowstone, who plays a key role in selecting the music that defines the show's atmosphere. Andrea shares her process of choosing the perfect tracks to match the mood and themes of the series, from the red dirt country vibe to more reflective moments. Later in the episode, we talk with Dani Rose, a musician whose songs have been featured in all five seasons. Dani recounts the serendipitous way she first met Andrea at a party and how that encounter led to her music being placed on the show. Tune in for an inside look at how the music comes together for Yellowstone and the artists whose careers have been elevated by the show. You can pre-save Dani Rose's latest single I Ain't Livin'  here: https://onerpm.link/IAintLivinSee omnystudio.com/listener for privacy information.

This is an I-Heart podcast. Guaranteed Human. Hey, welcome to episode four of the official Yellowstone podcast. This means it's the halfway point of the podcast. It's crazy. I'm having so much fun talking to, like, the people that make the show happen. I love Yellowstone so much. We've had amazing actors that have told us not only behind-the-scenes stories from Yellowstone,

but also their careers. So go check it out the last three episodes. If you're a massive fan, I think you'll love. And if you're a fan of the show, you probably also love. the music of the show. I do, and we're going to do that first. We talk with music supervisor, Andrea Forster. She's the one who calls the shots when it comes to which artists and songs are featured on Yellowstone. So obviously, Yellowstone is so music intensive. It helps set the scene for so many things. But she's also been the music supervisor for the movie 500 Days of Summer,

which I love, Lioness, which I love love. That show is awesome, land man, and a bunch of other awesome shows. And then after Andrea, we get an artist who Andrea kind of featured and discovered for the show. So first, here she is. When it comes to picking music for shows and setting the scene, she is A-plus. Andrea Forster. So many artists that I know, even friends of mine, they got their first look from you whenever you were looking for music for Yellowstone. So how long ahead of the series launching, did they bring you in? And what did they tell you to look for musically? I met with Taylor over the phone once I'd already sort of met with a couple other people who had recommended me. And so Richard Glasser, who was the head of music at the time of the company, had referred

me to the head of post, who then referred me to Taylor. And we talked and we kind of got along right away. I mean, we both started talking about how Unforgiven is one of our favorite movies immediately. And we just kind of clicked. And I don't know that we ever said the music needs to be this, this and this. I think there was just an understanding because his writing is so clear. And he wrote such amazing, strong characters that the project and the characters always tell you what they want. And so you're not inventing it. You're just listening. And so when we discussed kind of the songs that we like, it just sort of made sense. And I was brought on, gosh, I don't know at what point it was. It was definitely, I think we might have been shooting,

but I'm not entirely sure anymore. Six years ago. And do you watch scenes or do you read parts of script and then start in your head assigning sonically what it would feel like? How does that process work? So I'll get the scripts and I'll read all of them and then before we shoot and then sort of flag anything if there's an on camera. So if we have any bands that might need to perform or if there is someone singing aligned for some reason or if there's also like Lady May when they're Rip and Beth are dancing in the arena. You know you want to know all those things ahead of time so you can clear the songs. And then, you know, we start shooting. And the amazing thing about Taylor's voice and I is just that everything he writes,

it's exactly how you see it on screen. So by the time I happen to see a scene, it's exactly what I saw on my head from reading the script. So there's no change. So it's very easy for me to stay consistent that way and know what I'm looking for music for. And then we just had a, we have a very narrow lane of music that we use on Yellowstone because it's red dirt country.

It tends to be more reserved or quiet. I always say quietly epic kind of music where it's almost like a journal entry, right? You know, like being set to music because everything is very introspective and no one's ever, well, most people aren't normally joyous on the outside except for the bunkhouse boys. So that's usually where we would have more fun or a rodeo. But other than that, usually it's sort of more from the perspective of the person's mind that you're watching on screen. I've been friends with Lany Wilson for a long time even before she had our first song that was a success. and even talking to her on microphone before she had any success or a single that's out,

she was like, man, my music's been on Yellowstone. And this is like Baby Laney, not in an actual infant, but baby. So what about Laney was it that drew you to going, man, this unknown artist? Like, I love what she's doing. It's hard to explain, you know, the X factor that I think everybody feels or hears when you hear something new. I had gone between season one and season two of Yellowstone to Nashville and met with a ton of people, totally forgot to schedule lunches in there. So I just had meetings from like 8 in the morning

till 9 at night for five days and met with labels and publishers and managers and agencies. And I had gone to William Morris and Brandy Brammer had set up a bunch of meetings for me to meet with each agent. And they brought in the music that they thought fit. And I heard Lainey and it was the song

we ended up using in the bowl and the bar scene. But I said, she's it. She's the Taylorverse. You know, this is good for us. and sure enough, we did use it in the scene. And then we kept coming back to the well because she's so talented. And she has that perfect blend of kind of, it's somehow along the lines of traditional country music, but still super contemporary.

And so she has just a really wide appeal. Like she's sort of like a, I said she was sort of the next Miranda Lambert, but I can also see her a little bit in the Dolly Parton kind of universe as well. What is your background in music and how did you end up doing a job like, Not only this, I've looked at your resume. I'll get through a lot of that later, but how did this all happen? I always knew I wanted to be in entertainment since I was very young. And then I went to USC film school and then for production and then double-minored in music business and music reporting. And all of that needs nothing to what I'm doing now. But I knew I wanted to be in Los Angeles

and I knew I wanted to be where entertainment was. And so I just kept getting entertainment jobs. I worked as a PA in commercials and music videos. I did event production for trade shows for film gear and music videos. And then I got a job with a supervisor not, well, actually my first entertainment job was at Disney in the live action feature feature soundtrack department for Buena Vista Motion Pictures Group. So I worked on as an assistant to another person. I worked on soundtracks for Gone in 60 Seconds, High Fidelity, Coyote Ugly, Armageddon. I can't remember the other ones, but I was just a temp there. And then I went back to school for one year and then they said they had hired me out of school and they did. So then I worked there for a little longer and then I ended up

working for a supervisor and I didn't know what a music supervisor was. But my dad, you know, like take the meeting. So you take the meeting. And so I met with a gentleman named Kevin Edelman and his garage as he was moving. And then it turned out he was moving to a mile away from my house. So then I worked for him and worked on Roswell, VIP Providence, popular Ryan Murphy's first show. And then I worked for another supervisor, Alex Putsavis, and did, like, you know, as a coordinator and ended the O.C and Gray's Anatomy and things like that, I finally was like, you know what, I think I can do this on my own. So in 2006, I started my own company with absolutely nothing and just kind of started over. And luckily, you know, I got work and then you get what you're supposed to get, you know,

so it's like you can't force anything. It's got to be the right fit. So I feel the same way about music as I feel about me getting jobs. What was the first job that was yours, meaning you're the head? I know I was on modern family, but they didn't need me consistently. So I was on sort of episodes, I think. And then I was also on Jake in Progress and Kitchen Confidential is mainly like half-hour comedies. And then I started, you know, finally getting like the Holy Grail is an hour long show for any

music supervisor, you know, and especially if it's a drama and you get montages, you're like, you know, you get to like have a song really showcased. And that's, you know, what I was always hoping for. And then I got a dollhouse, which was really fun. And then I got a bunch of other sort of hour longs. But Scream was one of my favorite ones that I did for MTV because I got to use, you know, really like new artists because we didn't have a budget. So I used Billy Eilish before she was signed and published. And then, and she had ocean eyes out at the time. And then, yeah, the same person that, so Richard Glasser was the head of music or on Scream,

and then he knew that I liked, you know, like he just knew my personality because we've been on panels together around the country in North America. And so then he said, I got someone for you to meet. And that's how I ended up getting onto Yellowstone. I feel like Yellowstone for country music

now is what Gray's Anatomy kind of did for that soft rock. singer, songwriter. There are a lot of parallels between the two because Gray's Anatomy set a lot of music culture in that area. And that's very much what I listened to then. And it's funny to see Yellowstone do it now and the ability that you have to showcase your taste with these artists.

When did that culture become, instead of you searching, people were then just throwing stuff at you? Well, fun question. So the thing is, like, I'll say the number one thing that makes a difference for music working in a show is the writing. If you don't have it in the script to have space for music and you're not just fixing it in post and throwing a song on it, it will never work the same way that it does in the O.C. and Grey's Enemy and Yellowstone and a bunch of other shows. So it's got to be in the writing first. And so it's great when writers have music in mind.

It doesn't have to be the actual song. They don't have to write something in, but just keep it in mind. For Yellowstone season one, kind of people didn't know who we were and our network was new and all the rest of it. So by season, when I went to Nashville, in between season one and season two, almost no one had seen the show. So I had to explain it over and over again what we wanted. And, you know, we didn't want the Nashville sound. We didn't want super produced. We didn't want a ton of reverb. You know, we didn't want what was on country radio at the time. And so we wanted it to be, you know, kind of more raw, more, you know, words and guitar. You know, that was the focus. And because you can't have big, you know, production songs against these sort of quiet, reflective moments or, you know, it just, it would, it would turn into a music video instead of you being able to live in the moment of the, uh, the scene. I'd say probably season three is when people started finding me. And nine times out of 10, it's not something that we would use on the show. Um, so, but, you know, with like trusted sources as far as managers and agents and publishers and

labels or even just some independent people finding us or Taylor recommending something here on the radio or, you know, whatever, then, you know, things worked out or people kind of learned our sound. But it's, and it's evolved since season one for sure. And I'm very sad that it's come to a close. Uh, Whiskey Myers playing on stage. To be able to actually go and do this show feels like the greatest compliment, because not only is your music being played, but also you're being seen. And I feel like that's gigantic for band. And those guys have been around. And I've known of those guys forever, especially living in Texas. I was in Texas for 10, 12 years. And so I've known of Whiskey Myers, but it's got to be pretty cool to be able to find guys like that that are

wildly talented, but then open the door to a brand new audience. Like, that's got to be one of the best parts of the job, right? Absolutely. I mean, Whiskey Myers was a Taylor special. You know, he requested them and we had him on camera and that entire explosion is because of him writing it in and knowing that he wanted them. I had never heard of them before at that point. And, you know, it just took off. And it's really fun to be a part of someone's story and to give them a platform. And obviously, it's not even my platform. It's Taylor's platform. And I'm honored to be able to help put things, you know, into that universe. And it's, it's really fun to be able to watch people grow. Because a lot of the people that we use in Yellowstone in general, even up to season five, they sort of went from, you know, one level of their career to sort of to the stratosphere very quickly. And it's really cool to watch that. But the only bad thing is that I can't afford them for the horse shows that I booked for 20s because they got too big. Another one that I remember.

And again, I'm not going to know the exact scene or song, but I'm going, okay, what can I think of that moved me musically? A lot of music. I've seen every episode, but what moved me? There was like a wide open field scene where you're playing a Zach Bryan slow song. And maybe you can help me. But there was so much of the song, it was one of those rare times where I go, got to go and just save that to my playlist. Can you remember what I'm talking about even? Was it Tishamango?

It might have been. We used that song for a very long time. Whatever it was, it was, yeah, it was a lot. And I remember going, oh, my wife's from Oklahoma, so she was already a big Zach Bryan fan. But because she was such a fan, I was like, nah. But that was kind of what convinced me was, like, hearing it in the show and going like,

oh, I'm kind of moved by this. Yeah. So the show, even on this show, you know, we've been able to feature a lot of people that got their breaks. there. Who for you has been super exciting that you featured before they were even known. And now it's like you're watching them blow up. And there is some credit to you and the show. Yeah. I mean, I always want to be careful. I think people take too much ownership for things that, you know,

if you give it a platform, that's amazing, but you're not the talent. Like, if you're their parents, you can take credit. But so that's why I like to say that we're a piece of the puzzle, you know, and you need people to be prepared to kind of have any success as well, because a lot of people, if you use their music and they're not online anywhere, they don't have. have it on, you know, digital service providers like Spotify, then it's a wasted opportunity. So you do need that kind of team in place. I will say Zach Bryan was really fun for me because like all of those fans, I found him on Twitter and YouTube. And, uh, and when Twitter was still Twitter. And so, you know, I just watched his videos and I reached out and, you know, I've DM'd all of two people

in my entire life and that I didn't know. And he got back to me. And so he was still in the Navy when I contacted him. I just said, listen, if you can get yourself to Nashville, I'd love to introduce you to Dave Cobb and then, you know, get these two songs recorded because the production was, I think it was an Airbnb that he recorded the songs in. So, you know, we needed something a little better for TV. And so then Dave Cobb produced two tracks and we used one of them at the end of the show and that was condemned. And just watching him rise and rise has been so awesome. Anybody that I've known for a while, you know, we've all seen them in various clubs and whatnot, but they just haven't kind of had a platform yet and then watching their sales go up like 400 percent.

you know, suddenly they're charting on charts they'd never been on before. It's really fun to be able to see that for people, you know, who just, they're working their asses off and they're making great music and they deserve to be seen and heard. I have like three more questions for you. I was looking through your resume and one of my favorite movies ever is 500 days of summer. It's just, it's the best. And one of my favorite musical scenes in any movie is when they're playing hollowing oats, make my dreams come true. Were you involved in that? Yeah. So, the writers of that movie were fantastic and Scott Neustetter and I had very similar music taste so I was thrilled that you know the smiths were in there and you know it was fantastic and you make my dreams was written in and so we had tried to you know get the hall notes on camera we just wanted them to kind of sit on a stoop and you know kind of get a little shooter fingers like hey you know when Joseph Gordon Levitt's walking by uh in a postcoital you know a happy dream sort of phase and then uh uh uh they didn't want to be on camera for whatever reason. I don't remember. And then we were like,

well, we really want someone on camera. So, you know, maybe we can find something else. I mean, I think we reached out to just about every 80s act. We also, like, we were like, how can we change, you know, everybody, have fun tonight by Wang Chung. How can we change Duran Duran's Rio to summer? Would they do that for us? You know, like, we just, we went wide and it never really worked better than you make my dream. So we're like, all right, we just won't have them on camera and we'll have the song. And that was the best day of shooting ever. because we were in downtown L.A., right outside of a courthouse, there was a fountain that we got to control. And, you know, people are just like, what is happening? There's a whole, you know, like everybody dancing, and then there's a marching band. And it was really fun. And you make my dreams is kind of like the song that never ends. It can just, it can start and stop anywhere and everyone's still happy. It never got boring. But that was my first studio film. And it was an absolute joy to be a part of that film.

two questions left. I love Lioness. I didn't know I would love it as much as I did. And we just started it ate up season one. It was right as season two was in the middle of it, which is also how we found Yellowstone, because I don't think we saw season one while it was happening. We're not that cool, but all our friends were like, you got to watch it. So maybe like, through like halfway through season two, we got in. But Lioness is so good. One, and then two was even better. What's the difference and like a lioness type show where it's very military. It's not on, you know, in Montana. So what kind of music do you look for when you do that show?

With every show you always want to have, you know, sort of the conversation of breaking down characters of the overall sort of sound and whatnot. But Taylor and I kind of just have the music mind meld at this point. So would, you know, sometimes they'll say, okay, I want something that's still like Whiskey Myers. You know, that would still fit some of the soldiers in it. And so then we'll stick with that.

But then, you know, we have Zoe Saldana and her character, and she's not, you know, like this sort of rock music, or Southern Rock. So we do something that fits her and her husband better. And then we have music that fits the daughter better or then there's just source music for a club. So it's more situational and more sourcey.

We don't have montage songs in that so much. My final question, there are things that I'm involved in that I can't really consume just as pure consumer because I'm involved. If it's audio, stand-up comedy, that's like I'm so invested in my life. It's hard for me to watch it just as a fan. Is that hard for you to watch like a movie or a show and not pay attention to every musical element without going, oh, that's great or, oh, that's tough?

I never turn off the work ears ever. But I've been, I mean, that's why I was a film school kid, too. Like, I've always sort of broken down things and analyzed them and loved them for that. so there's no joy taken away from being analytical with the work brain happening. But sometimes I'll watch something. And if it's not good, all I do is figure out the budget of the songs. Really appreciate the time. Again, I mean it.

It's been musically a culture changer, what you guys did on Yellowstone. The same way that Graz and Atom was then that this to me and us is what you guys did now. And loved all of my friends that you helped. And I guess even those you didn't, even though I don't care about them, because I don't know him that well. but I think you did an awesome job. And so thank you so much for being with us and talking about it. It means a lot to me. And I hope you have a great rest of the day.

You too. And thank you for just elevating even more information about Yellowstone because it's certainly been a ride and it's been really fun. And luckily we are sort of continuing our music style in the Taylorverse on Landman. So I recommend anyone who loved Yellowstone to check out Landman. Andre is a big deal in so many people's lives, including this artist. This is country music artist Danny Rose. Danny's had a total of five songs featured on Yellowstone.

Danny has a new song being released February 28th called I-E-11 that was featured in season five. So you may have heard it on the show and searched for it and couldn't find it, but it's about to be out now. So make sure stream it, supporter, and you can follow Danny on Instagram and check out her music. D-A-N-I-R-O-S-E at Danny Rose. Okay, Danny Rose. Here she is. On with us now is Danny Rose.

was, hey, Danny, how are you? Hey, I'm doing well. How are you doing? Pretty good. I was looking at your music, and obviously this is a Yellowstone podcast. I didn't realize that basically you've been on every season musically, except for season one, but you've pretty much been there through the whole thing. How in the world did you get hooked up with the people that cast music from Yellowstone? Oh my gosh. Well, it's a great story. I was at a birthday party in L.A., and I was just hanging out, meeting friends, and I happened to meet the music supervisor, Andrevon Forrester,

for the show. How does the conversation come up that you do music that fits perfectly in Yellowstone? We were just all hanging out. I mean, I'm very, I'm very much energy oriented. If I gravitate toward the person and I'm chatting with them and we like each other, you just assume everybody does music or everyone's in entertainment. So it was just a normal party and we were hanging. And she told me that she was a music supervisor and I said, oh, great, I do country music. And she said, awesome. I'd love to hear it. And I sent it to her.

and then I didn't hear anything from her for a couple years. And then randomly out of the blue, she just messaged me and said, hey, I love your music. I'd love to put it on Yellowstone. It's this brand new show. You might hear something about it. And at the time, we had no idea what it was. So I was just like, yeah, I'd love to have music on a TV show.

And that's how it happened. So when you met her, she wasn't overseeing a show that you knew of as Yellowstone. She literally was just someone who specialized in finding music, like sync music for TV shows or commercials or whatever. Yeah, like I had known her name because she had done stuff for Grey's Anatomy, which was a huge show. So anybody that does music on these kinds of TV shows, you're always like, wow, I would love to show you my music.

But I also, I want it to be right and I never want to be pushy with any of my stuff. So I literally just sent her the music and she liked it and then kept asking for more. And I was very grateful. And at the time, we didn't know how huge Yellowstone was going to be. I didn't know. I just thought, oh, you know, it's a paycheck. It's money that I can use to put towards all of my other music, Bobby, you know all about this because every dollar that you make goes back into your craft or whatever you're doing. This is more money I can invest in my music. Whenever it is on the show, did you feel an interest that you hadn't felt before or like people looking to find who you are or following you on social media? Absolutely. I mean, at first, because when season two came out, it was just kind of starting to bubble. And everyone kind of knew who Taylor Sheridan was.

And again, so grateful to him for all of these opportunities without him. It wouldn't happen. And it was just like, okay, this is a new Taylor Sheridan show. You know, what is the response? And people were just kind of starting to get excited about it. It wasn't until season three. I think that people really started to have this obsession with the show. And it just blew up almost overnight.

And then people started to find my music. People started to book me for shows. People started to ask me about music for other TV shows. And it just kind of was this tumbleweed of energy and momentum from there. You bring up a good point is that I wasn't on the forefront of watching Yellowstone. I had friends that were like, hey, you should watch Yellowstone because we just got into it. And season one's over now, but you should start it. And then when season two started, I was kind of just now caught up with season one.

It was one of those word of mouth shows that, yeah, season three was when it really exploded. It was a bit of Breaking Bad-ish, which I wasn't on the early seasons of Breaking Bad when they came out, but the show got so big and it was so popular word of mouth that then I got in. And you're right. Like season two, season three was when I was really like fully immersed into Yellowstone. That's cool that people would like find you and book you for shows because they heard your music on Yellowstone. That's pretty cool, right? It was amazing.

I mean, people put me on playlist and people were very excited to hear what I was up to and what kind of music I was making. and they wanted to know me. Rolling Stone reached out. Billboard reached out. I've done so many shows. And then I was able to meet some of the Yellowstone cast from it. It's such a community there. It's so family oriented. Everybody at Paramount, Sabrina del Peoria, they really put together such a wonderful family. And then from that last year, I was at stagecoach, or this past year, I was at stagecoach. And Yellowstone asked me to come over and do some social media posts with them. So I was in the tent. And then I got a chance to meet like, I mean, we had kind of met just from social circles, Ian Bowen and Jen Landon and Luke Grimes and just kind of like all hanging out. And so it's just, it's one big family. And it's kind of crazy to think that I'm included in that because I think of myself as like literally just no one. But I get to do this awesome stuff. And I'm just so grateful to be able to have music in the show and have that kind of as a propelling factor in what I'm doing next. There was a song of yours that was in a recent episode and we're recording this. Did they take an unreleased song of yours and play it? They actually did.

So I wrote a song with Brent Cobb and Jesse Alexander, and that hasn't been released yet, but they did play it on the show. This was this past Sunday. Do you feel like you have to keep up with it, though, too, now since they've been so invested in you, like, are you watching every episode? I mean, I was such a fan to begin with, so it didn't matter. It's really exciting to be able to watch a TV show that you're into and then want to actually watch it and then also see your music in it.

So it's like a two-part thing. watching because I want to hear my music, but then I'm also watching because I want to know what's happening. You've had a song in season two, three, four, and five. At this point, are they like, okay, which song do you want us to use of yours for this season? It feels like, listen, it's a very relationship-based industry anyway, and you're also really good. So do they come to you and go, hey, we need a song that feels like this, or do they just go through your entire library? They go through my entire library. Any time that I've been in a room where somebody says, I need a song for this movie, and here's what it needs to be like. That

song never goes anywhere. It's always the songs that are about truth and are about meaning to me that are real songs that get the placements. So I will have songs. I won't push any music, but I'll wait for one of the supervisors to ask me, hey, what have you been listening to you and what are your new favorite songs that you've written? And I'll just send them on. Where'd you grow up? So I grew up in Virginia, but then in fifth grade we moved to Tokyo. The juxtaposition of Virginia and Tokyo, that is, yeah, that's, that's, that's a wild. So Tokyo, why Tokyo was your job? One of your parents have a job over there? My dad's a chemical patent attorney. So he moved us to Southeast Asia to Japan. That's awesome.

And from fifth grade until ninth grade, we just traveled Southeast Asia. So I became like a very, I went from like Chantilly, Virginia where like you do nothing. And then we moved to Japan and my entire world just kind of opened up. I met so many different kids from all over the world. And that network really broadened my head. And then when we moved back in high school, because we went back to the same house and I went to Chantilly, it was so depressing. Because I went from going on trips with my friends in seventh grade. I mean, I was taking the subway by myself in fifth grade. And because my dad was like, you will do this. I am sick of take your family. So literally we would just tour all over the place. We would go to the Great Wall of China with my parents like three or four times.

This stuff that you see in school books, I was actually like living out in real life. And then we moved back to Virginia, and it was just like, oh, okay, well, you can go to the mall. And you're on my view. And I was like, wait, I can't take the subway myself. Like, I'm used to going to Tokyo Disneyland like every weekend. So it was quite a culture shock just to be dropped back to here we are, like, essentially middle of nowhere, Virginia. And this is what it is. When did you start to feel like music was something you wanted to do for your life?

when I was in second grade, I loved to sing like, you know, you get up and do like, this land is my land. I would sing it at the top of my lungs and yell at it. It's so loud because I was like, I have a powerful voice, but I don't think I had a great voice at the time. I think it was terrible. And the teacher would always come over and say,

you know, Danielle, they wouldn't call me Danny yet. Danielle, I think that what you should do is just be a bit quieter because we know that you love your country. But we need you to calm it down. From that age, I was always wanting to be in front of the camera, doing music, being on stage, performing, singing, entertainment was always something that I wanted to do ever since I was a kid. And how long have you been in Nashville? Just recently moved there full time the beginning of the summer. You were bouncing back and forth.

You were doing the go to town for a few days and right and go back home type thing? Yeah, that's what I did. I was living between L.A. and Nashville and then bought a house in Hermitage and just decided I'm going to live here full time. I had so much going on and there's just, as you know, there's so much work in the city and you just have to be there. I hate to say that because that's such a thing that people say all the time, well, you have to be here. You want to, you know, you want to do it. You got to be here. But I think it's true. Yeah, it's one of those cliches that I've had to say it to a couple people. And I'm like, I know this sounds like the most cliche thing I could possibly say, you have to be here.

And you're right. And I mean, because there are just so many things that happen or so many things that are possible because of proximity that may not be possible otherwise. Well, congratulations on all that. And by the time this comes out, your record will have been out, outsiders. So, give me some stuff about the record here. What's happening with it? Outsiders is really exciting. It's all about a collection of saying goodbye to the old me and saying hello to the new me.

The title track is Good Morning, which is all about having a funeral for the old me and laying her to rest. It's really fun. I did a music video for it in Nashville. It's hilarious. There's a dance at the end. As someone who has mastered the fox trot, I think you would really appreciate the dancing at the end because I'm not as good of a dancer as you. But there's another really special song on there called Whiskey or Cold that is out right now. And that song is all about the other side of addiction. It's different in the fact that it goes after blaming the alcohol instead of the person for all. all of the terrible things that you have to go through when a loved one is going through, being addicted to something, and you have no control over it. So that's one of my favorite songs on the record. Whiskey or Cold,

and I wrote it with Liz Rose. Oh, one of my favorite people and writers. He's awesome. Liz is awesome in many ways. So you guys can follow Danny on Instagram, D-A-N-I-Rose, Danny Rose. We really appreciate you coming on, talking about Yellowstone.

Good luck with the record. I hope it streams 10-gabillion streams. Thanks for the time today. And good luck, and I'm sure I'll see you up here in the studio at some point soon. Hello Stone official podcast hosted by me, Bobby Bones, and brought to you by IHeartMedia Podcasts and MTV Entertainment Studios. Big shout out to executive producers, Jason Reed, Lindsey Hoffman, Carl Cato, and Kevin O'Connell.

Also our senior manager of podcast marketing, Ali Canter Graber, for keeping the word out. And of course, a big thanks to Will Pearson, president of IHeartMedia podcast for him supporting this show. We've also got special thanks going out to Whitney Baxter, Xavier Afri-E, Barbara Parada, Emily Curry, and Joe Flattery, you guys make this happen. This podcast is produced in association with 101 studios. Over there, executive producer Scott Stone and director of podcast development and production, Danielle Waxman. We also got to give a big nod to Michelle Newman, David Glasser, and David Hutkin for their support. Thank you guys for tuning in. See you next week. This is an IHeart podcast. Guaranteed Human.