Tag: backstage
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Backstage with Deadstring Brothers
Listen up. I got to hang backstage with Nashville-by-way-of-Detroit-based Deadstring Brothers at their show at the 40 Watt, and now you get to listen in and pretend you were there.
They’ve been compared to 70’s-era Rolling Stones. They have been called a country band. They’ve been called a blues band. Whatever they are – I’d say a cocktail of all of the above – it works, and we are ready for more.
I sat down with Kurtis Marschke (the original Deadstring Brother) and J.D. Mack to talk about their new album, Cannery Row, as well as Nashville’s influence on their sound, their experience at South by Southwest, and their upcoming album and tour. So have a gander, and then go stalk their music.
Backstage with The Used
So I just got to chill backstage at Tabernacle in Atlanta with Jeph Howard from The Used. Jealous?
Don’t fret. I filmed our little hang out session for you, so you get to listen to us talk about the evolution of The Used, the Take Action Tour, and what’s next for the band. Have at it.
Backstage with Diarrhea Planet
Diarrhea Planet came to the Caledonia Lounge in Athens. I got to hang out in the “backstage” van area with them. We’re bros now.
Watch us talk about their sound, their goals, the right way to be a rockstar, and magic…among other things. Enjoy.
Backstage at the 40 Watt with Nate Brenner of Naytronix
Got to hang out backstage with Nate Brenner (you may know him as the bassist for tUnE-yArDs) to talk about his solo project, Naytronix and his first tour on his own. The band is opening for WHY? on this US tour and plans to continue touring. Definitely should not be missed.
While you’re buying your tickets online, go ahead and check out the interview below!
Tour Dates
11/05 – St Louis, MO – The Luminary Center for the Arts
11/29 – Utrecht, Holland – Le Guess Who? festival
12/3 – Birthdays – London, UK
Backstage interview with Anthony Green of Circa Survive
Pre-Show Treat
My friend, Marissa, and I were amongst the growing mass of fans that showed up early to hang outside of the Center Stage venue in downtown Atlanta to see the sold-out Circa Survive show (she and I were probably a little more giddy than the rest, because we were waiting for a one-on-one interview with Anthony Green himself). Everyone’s eagerness paid off- all of a sudden, on the front steps of the venue, there appeared all of the guys from Circa to play a mini acoustic set for a website called NervousEnergies.com. Some reward. They played “Sharp Practice” and “Suitcase” from their new album, Violent Waves, and everyone, including me, was taking videos and snapping pictures like mad. Shortly after this, their tour manager, Jeffery, called us in, and we waited to interview Anthony in a small room in the basement. More on that later.
The Show
The first to kick off the show was Balance and Composure, and they immediately got into it. The lead singer even got a little “over-animated” and knocked over a couple of the drummers’ symbols. If you haven’t listened to them before, you need to, and you need to see them live (side note: they remind me a lot of Brand New).
Next up was Touché Amoré, and they threw down a little harder than B&C. The lead singer was all over the place getting the crowd hyped up. For those who are unfamiliar with them, they sound a great deal like La Dispute (which might explain why they have a split record with them).
Bottom line: these bands are touring with Circa, so you know they have to be legit.
And finally, what everyone had been waiting for- Circa Survive. Anthony Green walked on stage. Everyone (including the men) started screaming like little schoolgirls. I was super lucky to have a photo pass, so I got to be right in the photo pit. The place was packed. Frantically crowd surfing, everyone hoping to get close enough for a handshake from Anthony, who was working the crowd as hard as he could (including some seductive gestures and comments that sent everyone into a frenzy).
Their set was beautifully lit with tall, rectangular boxes of light and mirrors backlighting the band. They played new material from Violent Waves, such as “Suitcase”, “Birth of the Economic Hit Man”, and “The Lottery”, as well as a few older favorites like “The Glorious Nosebleed”, “Strange Terrain”, “Stop the F*ckin’ Car””, and “The Great Golden Baby”. Right before Anthony got down, I raised my fist and got a fist bump from him (as if the interview wasn’t enough). They encored with “Get Out” and “Lazarus”, to the delight of the entire crowd.
The Interview
VM: Why did you choose to write the album [so quickly], then self produce it?
AG: It was written over a couple months, but it was definitely the fastest-written album that Circa’s ever done, and the self producing thing…whenever we write songs we just demo them ourselves, and it got to the point that the demos were sounding really, really good…so we just decided [to] try to find a studio in the area, and we have buddies of ours that work in this great studio…called Studio 4…all these legends have recorded there, and they let us get some really cheap time and we went in… they managed to do the record in like two and a half weeks. So it was like the best thing ever.
VM: I bet it was kind of hell trying to do that all [so quickly] though.
AG: I mean, it wasn’t that hard…We worked really long hours, just because of all of our attention spans. I felt like we had to do that. We enjoy it- it wasn’t like, hellish. Not doing this with a producer sort of gave us the freedom to try a bunch of different things, and we were on our own dime, so if we stayed real late, or if we needed to we didn’t feel reluctant to keep going.
VM: I’ve noticed that you guys are definitely trying to hone in on more of the raw sound, like how you would sound live versus studio-produced. Has there been any kind of fan reaction that you guys have noticed?
AG: Nobody’s really said anything about the quality of the record being bad. I’ve heard a lot of people just say that it sounds more like us than most of the other records. The other records were glossier. I feel a producer does a record, and they are almost more concerned about how it’s going to sound to their producer buddies than it’s going to sound to the artists’ fans. I think our fans are used to coming to the show, and they hear the vocals a little flat or a little sharp at times, because of whatever reason…that’s what makes it feel good, you know…that’s what makes it feel warm. It’s the same reason why people listen to vinyl, because it’s not a perfect sound.
VM: How do you feel about the sound on this album compared to your others?
AG: It’s hard to say, because I feel like every album is a different, newer chapter in your life, so you go back to the thing you were writing about when you were 22 or 23, and you were like…. ‘Yeah, I was 22 or 23. I love everything.’ There’s not one song that we’ve written that I can’t sing that I feel is not cool. Obviously this album feels closer because it’s dealing with stuff that’s going on right now. But then in a year’s time the songs will all take on a different meaning, and that’s just how it grows. It grows, and it changes.
VM: I know you alluded to it, but what was your motivation and inspiration for the album?
AG: So many things…my dad got real sick- that’s kinda what “The Lottery” is about… I kinda hate it when people are like ‘what inspires you?’, because there are so many things. It’s such a hard question to answer, because there are so many things that inspire me- like my relationships with the guys in the band, with my family, just with you guys, the people that come to the shows and stuff- that’s all what this record is really about.
VM: That’s awesome. I guess we will take it back a little bit- what kind of music did you grow up with?
AG: Bands like Touché [Amoré] and Balance [& Composure]- listening to music like that.
VM: Can you list a few?
AG: Aw man… Quicksand, Handsome, Burning Airlines, At the Drive In, Cave In… Cave In was a huge band… Braid, The Get Up Kids, Falling Forward, Code 7, This Day Forward. I loved Nirvana…loved Nirvana. The first album I actually got was a Metallica album. The second album I ever got was Nevermind. I was 15 when I got Nevermind; it was a music thrift shop, like a used CD was 15 bucks… so much money.
VM: So how did you become involved with music? Was it just through those bands/did you have any family members that were musically inclined?
AG: I was just hanging out in places as a kid. We would just go places to hang out, and I found this skate park near my house that bands would play out of every weekend, and we started going there…wherever there would be a show- a local show or local bands- I was there. And then [I] just tried starting a band. I met some people and put a band together and made, like, a grindcore band, where we just made noise. We wrote stuff- there were songs!
VM: What was it called?
AG: It was called Audience of One. Then that band started and sort of became like a grindcore, hardcore band until it had songs and singing and stuff. I don’t know how it shifted. It was never one thing. It was just like…we started out with this one drummer, and he was a crazy metal drummer. He couldn’t be in the band anymore, because he couldn’t go out like past 11. So we had this other guy come in that liked more of the music we liked- like indie rock and stuff, and we just started jamming. It was awesome.
VM: So from there, how did you transfer into Circa?
AG: I don’t know. I really don’t know. I just played music all the time with people I knew…Somebody in California had heard some of my stuff- the guys in Saosin had heard my stuff that I had done at home, and some buddies of mine that were out there were like, ‘Yo, you should come out and try out for our band.’ So I went out there and tried out, and then within the next four days recorded that EP that I did with them. Then, moved out there a couple months later to start touring. I was like, ‘this is great. These guys wanna start a band and go on tour, and there’s record labels, and there’s California and stardust.’ I just wanted to go out there and be a vagabond, and my parents were like, ‘the f*ck’s the matter with you? You can’t sing. You can’t do any of this. You don’t know what you’re doing.’ And I was like, ‘yeah, I know, but I’m gonna do it anyway…if you guys are really supportive, then I’m gonna go do this. You have to trust me.’… I was 20. And I moved out there, and ever since then I’ve been doing music.
VM: That’s awesome. [Marissa: That reminds me of us, just always going to local shows].
AG: Yeah, that’s the best. You just go…and… have you guys ever read The Celestine Prophecy?
VM: No, but we probably should.
AG: You ought to just follow your heart; follow your instincts that lead you down good paths of beautiful things and light and all the stuff you want. You’ll get it.
VM: It’s true. So what made you want to come outside and play a mini acoustic set for us? I know most bands don’t do that.
AG: Ryan [Russell] has a website where he has this thing called Nervous Energies…he films bands playing, and he asked where we wanted to do it, and we were like, ‘let’s just go outside and play for the kids.’ He was like, ‘no one’s ever done that on the site before,’ and I was like, ‘then we are definitely doing it now.’
VM: I think that is really awesome, because that breaks the barrier that some bands have with their fans. It’s kind of like ‘we are too good, too untouchable’. You guys playing outside made it personal.
AG: It’s weird. I think if there’s anything that we as a band have to people is that we are just working class dudes that are able to continue to play music for you…There’s not some difference between you and your favorite band… But they worked really hard and sacrificed whatever they had to get to where they are…you’re going to have to cut comforts or whatever. I know I slept on so many floors with so many weirdos and crashed in people’s houses and was such a pain in the ass to deal with…but it was worth it.
VM: So true. What do you enjoy besides music?
AG: My kids… I hear guys with kids say, ‘oh, once you get married and have children, life’s over…you won’t have a life anymore. It’s all about their life,’ and I couldn’t disagree with them more. I feel like I never really had a life until them. I just love them so much. I miss them so much…When I’m here I don’t have to worry…about anyone but myself, and I’m pretty low maintenance. I’m smelly; I might not be clean for a couple days. I don’t have to clean anyone’s diaper or anything like that…. And I would rather be cleaning people’s diapers.
VM: I imagine you’re kinda tugged both ways. Like when you are touring, you miss them, but when you are home, do you miss traveling and playing shows?
AG: I love playing. It’s my favorite thing in the world. It’s the only thing I’ve ever really loved like that before I had the children. It gives you this insane high that I still haven’t found anywhere else. It’s way harder than any drug I’ve ever done, and I’ve done a LOT of drugs. I love it, and I feel no pain when I’m doing it…It’s awesome…I still get that adrenaline rush from it. I still feel incredible about it. Right now, today, I’m having a little bit of a rough time being away. My perspective on it is a little bit skewed, because I feel things with an intensity with a manic type of feel…You just have to not be a f*cking weirdo about it, and I’ve just been being a weirdo about it today. When I hear people complain about being on tour or missing people or whatever, my normal reaction has just been, ‘f*ck you. You can get out of the way and let like the thousands of millions of other people that wanna do it and have that commitment- you can let them do it’. I’m sure there’s a bunch of people that would leave their kids alone for six weeks to go out and do this.
VM: Well we are really stoked to see you play!
AG: I can’t wait. I f*cking can’t wait. I can’t believe I have to wait until 10 o’clock…
Backstage with Taylor Momsen of The Pretty Reckless
Alright. So I just interviewed Taylor Momsen of The Pretty Reckless backstage at The Masquerade. Not gonna lie…I had no idea what to expect when I went into this interview. However, besides the fact that we had to do the interview backstage during the opening act (where is the soundproof room?!), it all went down pretty smoothly.
Based on what I have read about Taylor, the last thing I expected was for her to be friendly (nice, sure…but downright friendly?). She welcomed us (my videographer, Katie, and I) backstage and comfortably chatted with us while we got set up. To put it simply, I really enjoyed myself during this interview.
As for the show…dude. Ok. Everyone talks about what Taylor does and wears onstage. A lot of the buzz seems to be about how scandalous she gets. However, people seem to keep forgetting to talk about the actual music. Which, after having seen them live, I now find absolutely astonishing.
The girl can sing. She gets up there and does whatever moves she does and wears whatever she wears to get the audience going, but the real “wow” moment for me was when she opened her mouth. Undeniable voice. Truly, truly talented. For me, he pure talent of the band and her voice completely overshadowed her stage personality (which, in my opinion, is how it should be).
Go ahead and check out our interview below. I’ve transcribed it as well as uploading the video, so bear with me on the dang sound issues.
EM: First, Hit Me Like a Man– Tell me how you came up with the name.
TM: We tend to title things after songs so we don’t have to think of anything else. So Hit Me Like a Man is the title track of the Hit Me Like a Man EP, so it came from the song. The line is “Hit me like a man, love me like a woman.”
EM: So what about My Medicine? Is that personal experience?
TM: I had my first directorial debut on that video. That was a really fun video to shoot. It’s just a bunch of friends, and we just kind of threw it together very last minute. It’s literally kind of…what you see in the video is what it was with some crazy effects added on the top of it. I try not to talk too much about the songs themselves, because I like to let people interpret them and take them how they want to take them. I think I give enough in the songs themselves, but yes- the songs are very personal.
EM: You’ve been writing songs for a very long time. Are you still pulling songs that you wrote way back then?
TM: No!
EM: What are you doing with those songs?
TM: Leaving them and forgetting that they existed.
EM: You’ve been touring since 2010. Do you prefer being on the road?
TM: I love the road…I love playing every night. It’s awesome. But I love the studio. Right now, we’re in the middle of a headline tour, and then we’re jumping on with Manson for a month, and after that we’re going into the studio to start working on the second record. I’m excited for that. I mean, I love touring, but I love being in the studio, too to take a breather and get back inside of my own head and have some time away from the rest of the world.
EM: Are there going to be any songs from this EP on the record?
TM: Possibly. Possibly all of them, possibly none of them- I don’t know yet. We’re still writing the record, so I think you’ll have to wait and see.
EM: Do you have any idea when that would be coming out?
TM: I don’t. I unfortunately do not control the release of things. I just write the songs and record them and hope it gets released…they’re not all written. You’ll have to wait and see. Believe me, I’m more stressed out about it than you are.
EM: What are you listening to lately?
TM: I heard the new Soundgarden single, which is pretty cool. I’m excited that they’re getting back together. I can’t wait for the new record. That’s what I’ve been listening to- old Soundgarden, new Soundgarden…lots of Soundgarden…Die Antwoord- they’re a rap band from South Africa that is pretty awesome, and they make really cool videos. Check them out. I’m kind of boring. I listen to the same stuff over and over again. You know- Beatles, Zeppelin, Who, Pink Floyd, ACDC, Soundgarden..Audioslave, Soundgarden…
EM: Are you channeling anyone when you go onstage?
TM: No. Me- I’m channeling me. It’s more of a performance aspect of myself, but it is myself. I don’t have some crazy alter ego or anything. It’s very much me. That’s it- I’ve played enough characters.
EM: Speaking of that, are you ever going to act again?
TM: I’m so not even thinking about it. It’s certainly not in my near future. To say what the rest of my life will entail I don’t know, but it’s certainly not even on my radar. I like writing. I like writing records, and I like writing songs, touring, and playing in a band. It’s amazing. It’s awesome, so why would I want to do anything else? Unless Rob Zombie calls, and then we’ll talk about that, because that would be awesome.
EM: Besides your acting and writing, do you have any other creative outlets?
TM: I paint. I play guitar. I sculpt. I sew dolls…I sew rag dolls. Um…I play guitar, write…
EM: What do you miss while you’re on tour?
TM: I miss New York a lot. I love New York, and I definitely miss it.
EM: You seem so nice! Why do you think you have such a harsh reputation?
TM: I think I’m nice! Tabloids spin all that stuff around. But thank you! You’re nice.
Drowning in Knoxville with Belle Histoire
Belle Histoire interview with www.vinylmag.org by vinylmag
It’s pouring down rain outsid
e, and I’m sitting in the back of a dingy Knoxville bar[1] with J-14 Magazine’s featured “hot band” Belle Histoire. But I’m the only one in the bar who knows this about them. “I didn’t even know about,” Wes Comer, the band’s drummer, insists. The rest of the band, save frontwoman Jane Smith, who gave the interview to the magazine, seems pretty mystified by it as well. Bassist Mitch Winsett remarked, “I saw someone tweet about, and I was like, ‘Wait, we’re with Justin Bieber now?’” The crowd in the bar, like the majority of Knoxville bar crowds, is a grizzled mix of regulars peppered in with grungy dive-bar clichés, none of whom seem to even know what the hell J-14, let alone indie-pop-rock, is.
But that’s okay with Belle Histoire[2]: they’re not looking to please or cater to any particular demographic. As Jane Smith said, “We just write what we write.”[3] They say that they play “indie-pop-rock,” but Jane sees it as something broader: “I…best describe our music as relatable…We collectively write […] about other people’s feelings, like how everyone feels going through [these human experiences].”
***
The band began as kind of a solo-act, with Jane’s brother urging her to record some songs that had gone unused in her previous band Formulas. From there it grew, with future members Aaron Hunt and Wes Comer adding more musical muscle to the songs that later became the band’s first EP Spirits, a comparatively stripped-down, piano driven collection.[4] After that, Belle Histoire quickly materialized, with Austin and Mitch quitting their previous bands to join the project. “Literally, within a week, we were all just like, ‘Screw the other stuff! We love this!” Jane says.
Their latest EP, I Can Tell, is a fuller, more collective effort, reflecting a more intentional musical aesthetic: the band trades the folk-rock gloom of Spirits for driving guitars, sugarsnap chords and catchier choruses. Aaron Hunt sees the second EP as the band really staking out its sound: “On the first EP, Jane had these songs written, and what happened just happened. And on the second EP, we wanted to take a more intentional route…these were songs that we put together as the band.” The band describes it as a combination of influences ranging from Bruce Springsteen to Coldplay.
The sound of the second EP is also indicative of changes in Jane’s life as well: “every song is about something I go through. You can tell throughout the EPs when I was happy and when I was sad. Like, on the Spirits EP, it’s like ‘I hate my life, everyone sucks’…and then, like, the I Can Tell EP was ‘I hate my life, but that’s okay!’”
The band is currently in the studio recording their first full-length record, which the band said will be a continuing evolution of the sound the band formed with I Can Tell, “pushing the guitars [on some songs] in a more straight up rock direction…combining it with some [more] interesting percussive elements that tie in with our sound.”
***
But tonight, it’s all about Spirits and I Can Tell, with the band deciding to wait to debut the new songs, the setlist even lacking a cover. The band runs through every one of their songs in about 35 minutes. While on record (or audio file or whatever), the songs sound particularly unsuited to a grungy Southern bar, sounding more like they should be played in the background at some hip coffee shop, the band transforms them live. The fullness of the band’s new sound, courtesy of Ausitn and Mitch, infects the cuts from Spirits, elevating their folkish leanings to a more aggressive, spiky, and appropriately, given the weather outside, stormy sound. At the same time, it also brings back the charming bite of Spirits to the newer tracks, the live environment allowing them to be played without the bubblegum production, making them sound a little darker.
While the regulars stick to their barstools for the majority of the show, what started as an empty floor slowly begins to fill as Jane’s voice bounces and shakes off the walls, any strain of the timidity heard in the early recordings gone as she pounds her keyboard and belts her lyrics. While they may paint themselves as a pop-group, Belle Histoire’s live sound, aggressive, charmingly sloppy[5], is just plain rock and roll. The songs are still pretty, the piano still hypnotizing, Jane’s voice still soaring, but in a way that feels more natural and way more interesting. It’s no wonder that they could be signed to a hardcore label[6], be picked as J-14’s “hot band” and still convincingly be billed at a cramped Knoxville bar.
***
It’s nearing the end of the show, and I need a picture of the band from a different angle, so I try to climb on a bench that’s leaning against the wall. As I try to climb up, it creaks; I freak and move away, glancing furtively to make sure no one caught me in such an idiotic pose. Jane Smith sees though, almost laughs, but simply shakes her head. I shrug my shoulders. She likely thinks I’m ridiculous now. It’s a weird moment, one that can only occur at these small dive-y shows with no audience. There have been others at other shows, but this one feels like one I’ll hold onto because it seems like others will likely follow J-14’s lead in the coming months.
***
Belle Histoire’s full-length is expected to be released this summer on InVogue Records. If you want to catch them live, they’ll be touring leading up to the release of the record and in promotion of it thereafter. Check them out in a smaller, rawer setting.
To hear the band talk about their day jobs, what it’s like to be on a hardcore label, and the evolution of “Cougar Rock” listen to the full interview with Belle Histoire here.
Also, a special thanks to actress Angela Morris for the use of her camera to cover this show.
[1] Preservation Pub is a kind of hipster-honky-tonk hybrid, with crazy hallucinatory lighting and a narrow floor plan that shoves patrons toward the stage. The bar caters to acts ranging from minimalist art rock to folk to trashy eighties cover bands, but this is the first time I’ve ever seen a straight indie-pop act take the stage.
[2] The name translates to Beautiful History, for those of you who were curious.
[3] Although the band’s guitarist Austin Livingwood feels that he writes music geared toward the, let’s say, more mature female listeners, a genre he likes to call “cougar rock.”
[4] Jane described the first EP as kind of being “singer-songwriter Jane Smith and her backing band.” Think a more fun-loving Florence and the Machine without the indie pretentions.
[5] I mean this as a compliment: rock and roll is not Beethoven or Chopin, it’s not about precision or sounding exactly like the record. It’s about attitude and sound and feeling, which is something Belle Histoire’s live show adds more of to their songs.
[6] Belle Histoire are currently signed to InVogue records, whose lineup includes such bands as City Lights, Famous Last Words, and Before Their Eyes. In other words, bands with a lot more screaming and breakdowns than pretty piano and the word “pop” in their genre label.
Anthony Raneri of Bayside- backstage at the Where’s the Band? tour
So much awesome in one room. Normally, when I go to a show, there are one or two main bands that I’m there for, and I enjoy the openers as a sort of appetizer, getting me ready to chow down on the main course of some serious, lose-my-cool rockin’.
This show was too much…in a good way. I have hardcore love for Bayside. And Saves the Day. And The Get Up Kids. Stick my obsessions all in a room together with acoustic guitars and make them sing, and you’re basically saying, “Yes, Emily, we read your diary. This one’s for you.”
Anthony Raneri (Bayside), Chris Conley (Saves the Day), and Matt Pryor (The Get Up Kids) were back to back. Each one’s set was perfect. Anthony serenaded us with some classic Bayside (Blame It On Bad Luck, Don’t Call Me Peanut, etc.), as well as one song (Sandra Partial) from his solo EP, New Cathedrals. Chris gave himself over to the audience and allowed his set to be dictated by requests. Matt’s show was a mix of requests (one from his son) and set songs that would have been requested anyway.
Now that that’s out of the way, I want to mention the first two artists, Evan Weiss from Into It. Over It. and Ace Enders from The Early November. They really should not be excluded from this rave. Both of them played an amazing set, and I immediately went home and added them to my music library (don’t berate me for taking this long to discover love for them).
After the show (which would have been enough to make it a perfect night, let me tell you), I headed over to the merch table to arrange my interview with Anthony. Ended up meeting Chris, Ace, and Matt, all of whom were beyond gracious and delightful while I stood there at a loss for words but trying to use them anyway. Teenage me was losing it. But so was 21-year-old me. These bands are still extremely relevant to me today.
Anthony then took me “backstage” to do the interview. I’m sure the last thing you feel like doing after playing a show is get filmed for an interview, but he was super nice and ready to dive in.
The interview is below. Check it out, and don’t forget to get Anthony’s album, New Cathedrals. It’s only five bucks, and it’s golden.
Backstage with Astronautalis
Just got back from interviewing Astronautalis at The Masquerade in Atlanta. This. Was. Awesome.
Before I get to the show, let me talk about the interview. This guy is completely fascinating to talk to (which might explain why the interview ended up going for almost an hour- had to edit the video down and cut it into three parts).
Now for the show- first, let me just say…the audience absolutely adores this guy (with good reason, let me tell you). If you can’t make it to a show, which I adamantly urge you to do, check out some YouTube videos of his live performances. You’ll get it.
Major highlight of the night was the famous freestyle that he does at the end of his shows. He chooses a few people from the audience to give him topics, and then he raps about them on the spot. It’s pretty dang awesome. And guess what? He rapped about Vinyl Mag. No big deal. We’re officially awesome.
Check out the interview below, and then get online, find his latest show, and get on over there.