Tony Mantor's : Almost Live..... Nashville - Randy Montana: Seven Years to “Beer Never Broke My Heart”

Episode Date: October 13, 2026

Randy Montana spent seven years rebuilding his career after his record deal ended. Then Luke Combs recorded “Beer Never Broke My Heart”—and Randy found himself standing in a packed stadium listening to thousands of people sing the words he helped write. In this episode of Almost Live Nashville, Randy joins Tony Mantor for an honest conversation about the work, uncertainty, and persistence behind a hit songwriting career. Growing up with his father, songwriter Billy Montana, Randy saw the struggle long before he saw the success. Those early lessons helped him navigate his own journey from recording artist to writing songs for other voices. Randy shares the experience of recording with Emmylou Harris, the heartbreak of a potential George Strait single that fell through, and the childhood fishing memories that inspired “Too Broke for a Boat.” He also explains why creativity requires showing up, how trusted collaborators help shape a career, and why having a hit doesn’t make self-doubt disappear. Through it all, Randy has found something he didn’t fully appreciate when he first dreamed of stardom: a career that lets him create music while being present for his wife and three children. For anyone pursuing a dream through setbacks and changing plans, this conversation offers a candid look at what it takes to keep going—and how success can turn out differently than you imagined. Follow Almost Live Nashville for more conversations with the people behind the music.See omnystudio.com/listener for privacy information.

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Hi, I'm Tony Mantor. Thanks for joining us today. Welcome to Almost Live Nashville, where music, entertainment, and great conversations come together. If you haven't already, tap follow. This way you stay up to date, never missing the great conversation

and guests coming your way. Today I'm sitting down with a songwriter whose career is a powerful reminder that success in Nashville rarely happens overnight. Randy Montana grew up with a front row seat to the songwriting life, watching his father chased the dream

long before the hits ever came. Randy eventually chased that dream himself, landing a record deal, making music as an artist, experiencing firsthand the highs and disappointments of the music. music business. But when the artist's career didn't go the way he had envisioned, Randy didn't walk away. He reinvented himself, kept writing, kept showing up, and seven years after his record deal ended,

he finally broke through as a hit songwriter with Luke Holmes' massive hit, Beer Never Broke My Heart. Since then, Randy has continued building a career around great songs, great artists, and something that may matter even more than talent in this business, perseverance. Today, we talk about the hits, the songs that almost were, the disappointments nobody sees, the importance of family and why sometimes the career you end up with can be even better than the one you originally dreamed about. Thanks for joining us today. Hey, thank you for having me. I appreciate it. Let's kick it off with your dad's Billy Montana. Yeah. He's a well-known songwriter. Yes, sir, he is. So you grew up with songwriting and country music literally around you. Yes. What was it like growing up in that environment?

And when did you first realize how successful your dad was at what he did? You know what was cool? Tony was getting, you know, I feel like my dad, you know, started, he was getting songs recorded through the 90s, but didn't have his first hit songs until the late 90s into the early 2000s. Yeah. And that was when he started having some success. And so I feel like I got a front row seat of all of that.

You know what I mean? Like I watched him. I knew the dad that was delivering pizzas to make ends meet for some extra cash while he was chasing the songwriting dream, you know? Yeah. So I got a front row seat to that, and I think it instilled in me that it was a long haul thing. Sure. And that it was going to take a while to the point where, I mean, when I started to get into it, I remember my mom and dad kind of looking at me like, are you sure? Like, you grew up in the house that your dad was doing that.

It's like, are you sure that that's something you really want to do? But yeah, I think it kind of tempered my expectations in a sense because I just knew how much time he put in. You know what I mean? And I knew just how much, how long it took to get this ball rolling, you know. Let's continue on this path for a couple of seconds. What's the greatest lesson that you learned about writing from him? Not necessarily something he sat down and told you, but something that you learned by watching the way that he approached the business. Yeah, it was the treating it like it was a job thing for sure in that like I felt like he always treated it like a farmer treats turning the dirt over planting crops.

Sure. You know, planting the seeds and hoping for a good harvest that fall. You know, it's like even when, even in those early stages of like when I was like kind of trying to get a deal and stuff like that, I felt like I saw how the nine to five aspect of writing, you know what I mean? Right. I think probably the outside world probably thinks that we sit around and wait for lightning just to strike us right in top of the head and go like, oh, man, that's a song, you know? Oh, yeah. But it's not, man. It's work and it's showing up every day.

It is. I love the, somebody said, it's like, man, if you sit there and wait for the muse, you've got to go meet it. You know what I mean? Right. You've got to be there when it happens. And so early on, it's like, and that's a struggle. It's like running a marathon where you've got to train your body to get to that point, just like you've got to try. train your mind to, you know, be able to buckle up, you know, four or five, however many hours

to write, you know, it's a, it's truly a muscle. When you were first signed as an artist, did that opportunity come to you as a songwriter and then realizing they wanted you as a recording artist as well? Or was the artist first and the songwriting came alongside it? You know, it was, I feel like it was a combo of both things. Clay Bradley, who is high up at BMI now at the time was head of ANR at Sony. This was back in like the mid-2000s. I think it was 2006, 2007 right around there. Okay. He heard a demo that I had sang that we were pitching. Like I think we were trying to get a Jason Aldine cut or something like that. He heard the demo and cold called me like at my, the week of my wedding. I was getting

married. I was in North Carolina and he was like, hey man, he's a hundred miles an hour. And he was like, hey man, come to my office right now. And I was like, man, I'm in North Carolina. I'm getting married, then I'm going on the honeymoon next week. I'll come when I get back, I'll let's talk. So he took me over to Sony Pub and was like, basically like, hey man, this guy's going to get a record deal at some point in time. And I've been writing for a few years at that point. And so, yeah, they heard the potential. I kind of signed on as a writer with artist's potential.

The idea was to get a record deal. Now, you had some success as a recording artist. Was there a point when you thought your career might take a different direction? For example, the songwriting for other artists could become more important or even more important than being the person out front. For sure. Yeah, you know, just from playing in a band and through college, it's like I loved the performing side of it. We'd go to fraternity parties and bars and stuff like that and play these three, four hour sets. And I love that, you know.

Sure. Kind of why I dropped out of school because I was like, this is a lot more fun than going to class, you know. And so, yeah, man, it was getting the record deal was. the goal at the beginning for sure. Like I had aspirations of being a country artist that was having hits on the radio and getting a taste of that through being on Mercury Records there and getting a maker record with Jay Joyce and man, those experiences were unbelievable. And I wouldn't trade.

I wouldn't trade those for the world because they shaped me into being the songwriter that I am now because I felt like I had like, especially early on, it's like, man, a lot of these guys I was writing with, it's like, we have record deals at the same time. Right. You know what I mean? It's like they knew me as an artist as well. Right. But yeah, that transition, you know, I had the deal for three or four years and put out a

couple singles and nothing ever really took off and was kind of forced to start just writing, which I wasn't scared of because I had gotten, you know, along the way, like even when I had a record deal, I'd gotten a few outside cuts while I had a deal. Right. It didn't scare me, but also you're kind of starting fresh, too, in a sense. Yeah. In people's eyes in town, you know. Sure, absolutely.

You got to go from being a failed artist, basically, to like, all right, now I'm Rainy Montana, the songwriter, you know, so that takes a while. Yeah, yeah. It's amazing you say the word fail because sometimes failure can lead to success. No doubt. So looking back now, what did that chapter teach you about yourself and about the music business in the way that it works? For sure. I mean, what it taught me about myself was, and looking back, even at a young age, I am proud of persevering. through that change because it took time.

I didn't just start having hits immediately. It was from where my record deal ended, it was seven years before I had my first radio hit as a songwriter. Yeah. So man, proud of just sticking through that. I felt like that that taught me a lot about myself looking back. Right, right. But yeah, just the ability to, like, because you kind of think differently then.

Exactly. The songs become different because it's like, man, I'm not writing a song for myself anymore. Right. It doesn't matter what I want to say. say or how I want to say it. I mean, that goes into your style as a writer, but you've got other people in mind when you're writing these songs. So that took some getting used to. Along the way, you had a chance to sing with Emmy Lou Harris. I did, yeah. What a combination, Emmy Lou Harris, and you co-wrote the song with your father as well. Yes. How did that all come together? And what did

you learn from it? Jay Joyce had a relationship with Emmy as friends. You know what I mean? Like, They were friends. Right. And had worked together previously. And we were looking for a female voice to feature on that song with me. I think it's the last horse. Mm-hmm. And so he asked her to come do it.

And I could not believe she said, yes. Listen to my dad's music growing up, I was familiar with her. Right. You know what I mean? That California country movement, you know what I mean? Sure. The Eagles and all that stuff, Jackson Brown. And so I was familiar with her, you know?

And so anyway, man, you know what was cool for me is that she's a lot older than me, and she's been around for years doing it. But just that she would come in, listen to a song and go, yeah, I like this song. I have no clue who this guy is. She didn't know me from Adam. And so she took the time to come in, to learn the song, come in and do some incredible parts, man. And just, I think it just showed that it's about doing it for the love. You know what I mean?

This is not about, I had this discussion when I was on my soapbox last night with my wife a little bit. We're talking and it's like, it's never been about money. You know what I mean? The money's always been secondary. Right. It's always been about the love of creating. It's like that feeling of a song coming together or a track coming to life in the studio. It's like if you could bottle that feeling up and sell it, like you would be the richest human on earth

because it's just euphoric. You know, for those of us that have felt it, it's just like it's a euphoric feeling. So like you spend your whole life, once you feel it, you spend your whole life chasing that, dragon. She was still out there doing it, you know, and I think that that's pretty cool. Yeah, you mentioned sitting on your soapbox, but talking about the business? What has been your pinch me moment when you either got a song cut by someone you looked up to or you had a chance to have a conversation with someone you grew up listening to? What has been that one pinch me moment? You say, wow, this is cool. There's definitely been a few along the way. There's definitely been a few,

but I think the main one was, so my first radio hit was a song called Beer Never Broke My Heart. Luke Combs recorded it, debut single off of his sophomore album. Right. So we were at Nissan Stadium, which is the stadium here in Nashville that they do, the big night of CMA Fest, you know, during the summer. Me and my wife were standing at the front of house and the soundboard.

Like, they're in the middle of the stadium and the stadium's back, and everybody's singing every word to the song. And I think that was you for it. It was so euphoric. I still don't know why I did this. There were some younger guys standing to my left. Man, they were just sipping a beer and enjoying the evening, you know. And in the middle of the song, I leaned over to one of them.

I said, hey, man, I wrote this song. And he looked back at me and he said, no way, man, I did too. Yeah, yeah. I've been in situations like that. And Tony, that's exactly how I wanted that to go, man. You know what I mean? Like, looking back, that's perfect. Yeah, that's the pinch me thing.

course it's meeting people and stuff like that is definitely it. But I think seeing that like, I mean, you can't manufacture that. You know, you can't manufacture that moment. So that's right. Those have been the, you know, those things you can't. Like you said, you can't buy it. When you wrote that song, you sit down, you sing it, you write it, you have a vision for it as if you were going to do it. And then, of course, you demo it. When that actually got cut, did it go in a different direction or did Luke bring it to a different level than you thought it could be for sure i mean it was headed that way from the demo like it had that we had that guitar riff that kind of like bam bam bam bam bam bam bam bam it was written over that with a

with just kind of a floor on the floor loop going but man i mean if you're putting numbers on it it's like our demo is at like a three and then you know the records at a 10 you know so um right yeah it kind of exploded you know like the track and the sound so yeah it was quite a departure from the demo. The WNBA playoffs are here, and while the games will be spread across seven different channels and streaming services, you only need one podcast to keep up to date on all the action. Good Game with Sarah Spain is the only daily podcast for all your WNBA needs. Be the smartest fan at the sports bar by learning all the W-Stories, Stakes, Stats, and Stars, and hear from top players and coaches about their pre-game routines, the pressure of playoff basketball, and the

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You mentioned it took you seven years to get that first radio cut. Was there ever a period of time in that seven years where you question, should I keep doing this? Oh, Tony, I think about it sometimes now when I'm driving home. You know what I mean? Like, I'm like, I see those guys cutting grass and I'm like, man, that doesn't look half bad. You know what I mean? Oh, yeah.

Because it is, man. I think in your mind, too, you know, you have this goal, right, of having a hit song. Right. I think you think on the other side of that that you'll feel differently. And then you do. And then it happens. And then you're like, man, I still feel exactly the same as I did before. And you just want to do it again.

So it's just, it's the wheel of it all. You know, it's just it's that wheel. And so guys do. this stuff for years, man. Yeah, that's right. Years and years because it's just in us to keep to keep going. Of course, through that period, like there's, there were definitely, yeah, sometimes when it's just like you just feel like I was just writing in a dark basement and, and the lights

were not on and just nothing was happening. Yeah. That's why so much I feel like what we do is not only the mental game of being creative, but the mental of just almost being dumb about it. Yeah, yeah. To the point of like, well, yesterday was yesterday. Tomorrow is tomorrow. All I can do is what I can do today and strapping your boots and going again.

So Nashville is, and I'm glad that you brought that up yesterday and today, because Nashville and the music industry is a series of ups and downs. Today, you're talking about a potential deal. Tomorrow it could completely fall apart. How do you find that comfort level so it can be smooth where you don't have any extreme highs or any extreme lows so you can keep writing your songs, pitching them, and then letting the chips fall where they fall. Yeah, that's very difficult. And I think I kind of didn't, when I first started out and was, you know, like wide-eyed greenies could be.

I never understood how the vets that had been doing it for so long, seemed so not, like in the middle of hot points in their careers, seemed very nonchalant about the things that were going on in their career. because I'm sitting there going, it's like, God, I'd give anything to have going what you've got going, and you're not doing the jumping jacks and the backflips that I would be doing if I had that going. And I think that I don't know, it's, you almost like, got to train yourself mentally to kind of just let things roll off your back. Yeah. I don't know any other way to put that. I know that's strange, but it's almost like you just got to snap and like forget about it.

You know what I mean? Oh, yeah. Almost just set it off to the side to where. You know, it's like, oh, you might have the next so-and-so single or whatever. And I don't believe those things until it's like, I see that. It's like, okay, they went for ads and we got some ads this week on the radio. That's right. I guess we've got the single, you know.

And so, yeah, not letting the excitement of them maybe like just be all you think about during the day, you know. Oh, yeah. The worst thing you can do is, and I've had friends like this, they think something's going to happen. What do they do? They start telling everyone that it's going to happen. like it already has. Oh. And then boom, it fell apart.

Oh, it made your disappointment, major hurt. For sure. So of course, it's very important to stay away from those type of situations so you can focus on your day-to-day process of writing songs. With that said, is there a song where it looked like everything was going to be great? Then all of a sudden, it just fell apart and it was devastating. Yeah, and it was a heartbreaker because it was like my first, my first, big cut I ever got. I wrote a song with Steve Bogard and Kyle Jacobs. This is a long time ago.

Kyle has since passed. Steve's just an amazing dude, but George Strait recorded the song. At the time, I was in my deal on, I was either in my deal or fresh out of it on Universal. And so George was on Universal too. He was on the MCA side. I was on the Mercury side. Right. So, so yeah, so I get a phone call and it's like, I mean, it's from somebody at the label. And they're like, hey, man, I just got out of a meeting. And I think you've got the next George Strait single. Wow. And something in the next two weeks fell apart.

Like, don't ask me what. But like, I mean, you know, I'll never forget. He called me in my car and I almost wrecked. You know what I mean? Like, I was so excited. Yeah. To this day, I have no clue what happened, but it did not happen. And yeah, I think that was kind of the, I used to have a joke with my dad about,

am I in the club yet of being a songwriter? Everybody has those stories of just like these, like, it's this show. sure fire thing. It's getting ready to happen. Dude, he goes, buckle up, dude. It's getting ready to get wild. And then nothing happens. And so I remember when that happened and I, I'd processed it and got over it or whatever. I'd looked at my dad and I was like, so am I in the club yet for being a song for being a legit songwriter, you know? And so he's like, yeah, buddy, you're getting a full dose of it. So my story on that was a Garth Brooks cut. Yeah. I was like this close to getting it. Yeah. And then it just fell apart. Yeah, man. You just never know. So how did you,

you use this rejection where it all fell apart on you to light that fire so you got more aggressive and just attacked it to keep going and moving forward? For sure. I mean, it definitely does and it takes time to get over it, you know, it takes time. I mean, you know, I grew up playing football and soccer and baseball and all kind of sports. And so it's like I always had that. I was a quarterback in high school. We threw the football a lot. So I threw some interceptions, of course, as we were throwing the football. I always had an ability even then to kind of like, all right, that was the last throw. That was a bad throw. I'm not going to do that again. Sure. Next drive, let's go throw it down the field, you know? So I attribute that kind of that competitive fire innately in me to get back

up and go, and it's like, no, we'll get it. You know what I mean? We're going to get it. With everything you've accomplished so far, was there a particular song that you wrote? It might not have been the biggest song in the world or charted the highest, yet it got heard, people liked it, and it really meant something special to you. Yeah, actually, yeah, man. I was on a writing trip where it was a bus run, and I saw a kid and his dad. We were somewhere in Maryland where the river's dumping into the ocean kind of right there. I saw a kid and his dad fishing on the bank.

And I thought about when I was a kid, I grew up here in Nashville, and there was a lot of Saturday mornings in the spring, my dad would get me up real early and we would go bass fish off the bank. And I just related to that dad and his son out there sitting on the bank and I wanted a boat so bad. You know what I mean as a kid? Yeah. So I jotted down an idea in my phone and the idea was too broke for a boat. Okay. I came back to town and sat down with me and awesome songwriter Josh Thompson and my buddy Neil Medley.

Yeah, we wrote that song. So it had a super personal meeting to me. Yeah. Man, I felt that. And it really speaks to the whole thing. And it speaks to my dad, too. You know what I mean? Yeah.

Even my mom's favorite song. So, yeah, it was an album cut. It never came out as a single or anything like that. But as far as, like, super personal, like, I really relate to that song. Yeah. Now, if you could go back and talk to your younger self before singing with Emmy Lou Harris, before writing any of the hit songs, not knowing where this musical journey would take you, what would you say?

Just don't be in such a hurry. Don't wish things to move quick. And just be patient in any stage of it that you're at. You know, it's just enjoying where you are. Like, trying to be present, like, where my feet are in the moment. Early on, you spend so much time dreaming about, like, well, maybe once I get here, once I get here, once I get here, you know. And there's no point in that. Yeah.

If you could give one piece of advice to a songwriter coming into Nashville, what would you tell them? and what mistake would you tell them to avoid? I would tell them to, man, get out and about, meet a bunch of people, find your core group, you know, whether it's three or four other songwriters and spend a lot of time writing with those guys, like develop a thing, you know what I mean, like develop this crew and really just dive into that because you guys will all, you'll all start getting publishing deals and then you'll all get in record deals and that's how it'll happen. I've worked with the same people for years and years.

How do people find you this way they can keep up with you with your musical journey? Yeah, I mean, I'm on Instagram and I'll post stuff obviously like when we do this. It's like I'll post something like this. I don't post a ton. I like to, I guess, lurk on there is what it's called. Okay. I'll post some things every now and then. So, yeah, that's about it.

Do you have a website? Yeah, I think there's a Rannie Montana.com. I don't know if it's even still up and running, but we don't update it. I just stick to the Instagram. Yeah, yeah, I get it. Now, when you look back at your journey that you've had so far, and there's still more to come, you grew up watching your dad write hit songs, became an artist yourself, sang with Emmy Lou Harris, written songs that have become major hits, you're building a career in music.

What are you most proud of? And what do you hope people will remember about the songs you've left behind? Oh, man, that's a great question. Most proud of, man, you know, probably most proud of, of, of, you know, probably most proud of, of, losing, you know, going through the process of losing a record deal and then turn into a hit songwriter. That's been a journey, you know, like we were talking about earlier, it's like, man, that's been such a journey. So I'm proud of that I didn't make it work in the artist thing where I first started, but able to pivot and to make it work in the songwriting world.

And then what was your second question? The songs you've left behind, what do you hope people will remember? Oh, songs. Man, I just, I just hope there's a little flare of difference to them, you know, like, where, maybe you listen to it and people that know me or know my songs would go like oh yeah these all make sense that he was all a part of these songs you know they'll leave my print on them you know what i mean there's a common thread now when you're decompressing you're going into your own little world you're just blocking out the world what are people going to see you doing i love uh i love to fish

i love the outdoors i love to hunt um yeah i've got a trip coming up with my father-in-law we're riding motorcycles in Alaska. I'm really excited about that. Oh, nice. Honestly, man, like when I'm out on the lake or in the woods, like my brain kind of just focuses on that. It can kind of turn off everything else. And I'm just focused on what I'm doing. And that's a good feeling, you know, as opposed to my mind going everywhere, like, oh, man, I should be somewhere else right now, you know. Yeah. Now, what's the next chapter for Randy Montana? Next chapter. Man, I just, I hope to continue writing great songs and

continue getting songs cut and building new relationships with new artists. And that's my favorite part of being a writer is the getting a front row seat to a lot of these artists' careers. You know, it's like I've gotten to watch Luke Combs takeoff, Riley Green. Yeah. I have been friends with them for over a decade now. Right. It's like getting a front row seat to their rise to stardom is so much fun.

And to be a part of that is super cool. And so it's like, I just, I want to see that again. You know, I want to see guys like. like Zach John King. I want to see that guy win because he's a talented dude. First of all, great human, but secondly, super talented. And so it's like, it would just be great to have a front row seat to his rise. Yeah, I think that's great. And I also think that you brought something up that some people sometimes misunderstand about the music business. You've been around for 10 years watching some of these people grow. There are people in Nashville now doing exactly the

same thing that the people you watched that took 10 years to get where they are. And their time may not be far away either. It takes time to build that musical career. I've got a saying about my musical career. It didn't turn out exactly the way I planned it, but I can live with it. How do you feel where everything didn't turn out exactly as you planned, but you're still doing very good? For sure. Yeah. Because if you'd ask 22-year-old me how things were going to go, it would not be the way that it went. Yeah. Yeah, me too. It definitely would not be the way that it went.

But I'm blown away day in and day out because it's like, man, I've got three kids, you know, and I've gotten to watch them grow up. I've been present. You know what I mean? Sure. Yes. I think I really would have looked back with regret had I been gone on the road all the time and not gotten to see, not gotten to spend as much time as I have gotten to spend.

And they're spoiled because they think it's like, you know, my schedule is pretty flex. You know, I can take off large blocks of time. It's like, there's plenty of people in corporate America that do not get the option of going, we're just going to go hang out at the lake for three weeks. That's right. But being a songwriter, it's like, man, you can block off time to take off. And so it's like, my kids, it's like they're going to grow up. And they'll be like, when they get their jobs, they're going to be like, how did dad have all this time to just hang with us?

You know what I mean? And so, but I'm selfishly, I'm super glad and blessed. I can see that. Oh, absolutely. So when you take time off to decompress, just to get away from the Nashville hustle and bustle of music, you take a couple, three weeks, whatever the time frame may be, whatever you want it to be. Then reality kicks in and, hey, I've got to get back to work. Now, work for you is different.

It's picking up a guitar, creating music. So how do you get your mindset back to productivity after such a long time? It's so funny you say that. I was literally, I was on the phone with my buddy Hunter Phelps. and we were talking about that exact same thing because we took trips at about the same time this summer and we were saying, I was telling him,

I was like, I was like, I wrote all last week, you know, and then I wrote, and obviously writing this week. And today was like the first day where I felt like, oh, okay,

everything's firing on all cylinders now. Like it takes a minute to like go. Yeah. Oh yeah, this is how you do it, you know? And so, yeah,

it definitely takes a minute, but it's kind of fun. You know, I'll be honest. Like, it's kind of fun. fun to sit down and be like, how do we do this again? You know? Yeah, yeah, absolutely. So in closing, what would you like to leave the audience with that you think is important they know about you?

I don't know. I feel like, one, I'm just so grateful and blessed to have had the success that I've had. And if it all ended tomorrow, that would be okay. You know, I think I just want to know that you don't have to be the most, I've never felt like I'm the most talented guy in the room, but I've stuck it out. You know what I mean? Yeah, exactly. There's a lot of value in just continuously showing up. That's right. There's always people that are more talented and that have had more hits and all that.

Right. And I'm okay with that. You know what I mean? Yeah. I'm okay with my role, you know. Yeah. Well, this has been great. I really appreciate you taking the time to join us today.

Tony, thank you so much for having me, man. Seriously. Oh, it's my pleasure. Thanks again. A sincere thank you to our guests for sharing their journey with us today. And thanks for spending part of your day with us. We hope today's conversation gave you something to take with you. If you haven't already, remember, tap follow, so you never miss the great conversations

and guests still ahead. You can always reach us at media at plateau music.com. Thanks for being part of what we're building here on Almost Live Nashville. We'll see you next time. Lisa, tell them about our new show. We have a new podcast. It's called Don't Lie to Me. I'm Lexi Wanu.

We're two best friends, 22 years apart, but so close at heart. And I'm Lisa Di Giulio, the old one, which means we have wildly different references, occasionally different opinions, and at this point in my 50s, I've lived it all. Now in my 30s, being the founder of new shoes, good taste is my business. Listen on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. Hi, it's Chelsea Hanler from Dear Chelsea. This season, we've got some awesome guests ready to dole out advice, guests like Adam Scott.

Does that make you feel? Did I look like Tom Cruise? First of all, do you think? Do you think? Do you think? Do you think? Do you think? I'm sorry.

I started the sentence first. I think I started this interview. Portia Williams, Sarah Borellis, Tiffany Haddish, Anna Farris, Carrie Russell, Kristen, Johnston, and more. Listen to Dear Chelsea on the IHeart Radio app, Apple Podcasts, or wherever you get your podcasts. I'm Fox Sports reporter Jenny Taft. And I'm former U.S. Women's National Soccer team player, Carly Lloyd. And on our new podcast, whatever it takes, nothing is off limits.

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