June 4, 2025 • 31 mins
On this week's In Service Of Sophie Hawley-Weld, the Sophie in electronic duo SOFI TUKKER, joins Steve Baltin and Sage Bava to talk about the duo's new Brazilian music album. Hawley-Weld talks about where her love for the music originated, why the album now and more.
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Speaker 1 (00:05):
Hi, Steve Balton, Welcome to in Service. Up this week
a really fun, interesting conversation for Stage, Bob and I
with Sophie Holly Weld. You know her, of course, says
Sophie of Sophie Tucker, and this week she talks about
the band's new album, which is a departure from electronic
music to Brazilian jazz, and we talked with her about
(00:25):
where her love for the music came from, living in
Brazil now part time and much more. Hope you enjoyed
this conversation as much sweet as.
Speaker 2 (00:50):
This album has just opened my eyes as a longtime
Bossonova lover of just you know obviously the nuances of
the Brazilian genres from boleerra to some but reggae iterations,
and I would be very curious to maybe go back
to more of the beginnings of how you found Brazilian
(01:12):
music and what really made you fall in love with
it and now super delving into it for this full
length project. You know how that really deepened.
Speaker 3 (01:22):
Yeah, I mean I also just fell in love with
Buzsanova specifically, and you know, I was probably fourteen years
old when it really struck me, and I just felt
so calm, like my nervous system felt so cozy when
I listened to it, and I was just really drawn
to the style of singing and the style of guitar playing.
(01:44):
And then I learned Portuguese so that I could sing
my favorite songs. And at that point I was like, oh, well,
now I speak Portuguese, I should go to Brazil.
Speaker 4 (01:54):
So then I went to Brazil.
Speaker 3 (01:55):
And when I was in Brazil is really when my
mind exploded, because I got really into full ho, which
is a style that also shows itself on the album.
It's sort of like a folk style that has a
really cool dance and samba blew my mind and you know,
I just started like dipping my toes more into more genres.
(02:17):
And it wasn't until ten years later with this album
that I actually got to go to Brazil for an
extended period of time and make music in this in
this vein.
Speaker 5 (02:27):
You know, there's like.
Speaker 3 (02:29):
Thirteen songs on the album, so basically like thirteen different
styles of Brazilian music, and there's even more than that.
I mean, Brazilian music is such a huge range of genres,
so this really only covers the like more. It's called mpeba,
which is short for music but.
Speaker 4 (02:46):
As you love it.
Speaker 3 (02:47):
But like popular Brazilian music is the acronym.
Speaker 4 (02:52):
But there's so.
Speaker 3 (02:53):
Much more than even this. This is like really just
still the tip of the iceberg, but it definitely is
more diverse than just bost nova.
Speaker 1 (03:05):
So that leads to an obvious question, will this be
Volume one? How deep you go?
Speaker 3 (03:12):
I mean, I feel like it's something that I can't
imagine falling out of love with, you know, I can't
imagine not being passionate about, so in some shapeway or form,
for sure it's Volume one.
Speaker 5 (03:25):
You know, this was like.
Speaker 3 (03:28):
A really big step for me in my return to Brazil,
I would say, and in Tucker's support and me just
sort of following this passion for this project. But for sure,
I mean, I love this style of music so much,
so I'm definitely I mean, I definitely want to do
an album that's also just voice and guitar. That's one
(03:51):
of the things I've always wanted to do, and I
definitely want to do more. Yeah, I want to explore
more Brazilian genres, and I spend a lot of time
here now, so inevitably it will happen in some way,
you know, in tangent with everything that we're doing in
the electronic space.
Speaker 1 (04:08):
Well, I imagine as well that first of all, it's very normal.
It's funny because you know, we've probably met when I
was the La Times dance music guy twenty years ago
and now I'm the La Times jazz guy because I'm
fucking old now, you know. So that's a natural evolution
for your taste to change. But the other thing I've
metched you it probably just keeps me music much fresher
for you because if you're not doing one thing, you know,
(04:31):
it's like you can go back and forth to it,
and it's like, you know, if you do anything one note,
it gets so monotonous.
Speaker 3 (04:39):
Yeah, And I also think it keeps itself fresh. You know,
if you're listening to electronic music by night and like
acoustic Brazilian jazz by mourning, your ears always stay fresh.
And it's funny because Tucker is so the person who
will just say no, like I can do hard techo
(05:00):
at all hours.
Speaker 4 (05:02):
But for me, switching.
Speaker 3 (05:04):
Up genres throughout the day is something I really love
and kind of matching the mood of the moment of
the day with the genre is something that I really
love like I listened to like just piano music for
a lot of you know, the winding down parts of
the day, or like I listened to really pump up
music during my workouts, and I love doing that. I
(05:25):
loved listening to different genres. It does definitely keep it fresh.
Speaker 2 (05:29):
I'm curious how being in Brazil for that extended period
of time and creating this music in that environment, what
was the most surprising part of how that influenced your writing,
your creative process, how that differed from previous projects.
Speaker 3 (05:46):
Well, this one in particular was really like it was
produced by this guy Marcia Ada and Cheese, and I
really like took a backseat and let him guide, and
I think, you know, there were plenty of moments where
I didn't really like the direction, so I swerved it
a little to the left. But like once he got
(06:07):
on our division, I mean, he is better at executing
it than any of us by far, and so we
just kind of like.
Speaker 4 (06:17):
Almost got to the audience members.
Speaker 3 (06:18):
To these amazing musicians that would come in and just
play the part, like from the beginning to the end,
Like there was no like comping either, you know, they
would like rehearse the song and then play it and
then keep the whole take. The musicianship was just incredible.
Speaker 1 (06:35):
You know what's funny about that is I imagined as well,
you know, and Tel Tucker he needs to change it
up the hard tag to twenty four hours a day.
You can't do it, but I imagine, you know, even
if it's like, so, what's that?
Speaker 5 (06:48):
If it works for him.
Speaker 1 (06:50):
Yeah, it'll eventually get a old trust me. You know,
they take him longer, but it will. But I was
gonna say, I imagine subconsciously, you know, that will still
influence the electronic stuff as well in an interesting way.
And it's like, you know, it's being around that musicianship
and that skill set.
Speaker 3 (07:08):
Yeah, yeah, for sure, I would say it's already doing that.
Speaker 1 (07:16):
How so have it houseto? Have you noticed it?
Speaker 3 (07:22):
It's hard to actually exactly define it because since Butter
we like, we recently wrote some songs that are almost
like blues and almost country inspired.
Speaker 2 (07:40):
So.
Speaker 3 (07:42):
It's hard to say exactly how, but I think inevitably
everything we do influences everything else we do. Like we're
just constantly you know, creating from from like what are
we inspired by today? I don't know, Maybe it invited
us to open our mind even more to different genres,
(08:03):
you know, in the country that we predominantly live in.
Speaker 1 (08:09):
No, it makes sense. And of course you're going to
be inspired by different things because I imagine over the
years you've heard all of these things, you know, and
I mean even when you look at great electronic music
over the years, it draws on so many elements when
you go back to like all that you know Detroit,
like techno and how much that was influenced by house
and disco and soeoul, you know, and then the industrial
(08:30):
stuff which all comes from rock and punk. So yeah,
so as a country album. Next, are you going to
be doing stage Coach with Diplo? Next year?
Speaker 3 (08:39):
We did stage Coach with Diplo this year we already
did it.
Speaker 1 (08:42):
How was it?
Speaker 4 (08:45):
It's fun? It was really, it was fun.
Speaker 3 (08:48):
It was fun to just do something kind of surprising
and new and ridiculous, you know.
Speaker 1 (08:52):
Yeah, it's funny. I've never been into the stage Coach,
but I did a lot of pieces in advance of
it this year. There was a lot of really good
artists on the lineup. Yeah, it was cool, but it's funny.
I mean, so now that one's itself. The next question,
of course, will even now be doing Brazilian festivals? Would
you like? Where would be the dream to be on
a jazz festival?
Speaker 3 (09:11):
So we are doing Newport Jazz, and then we're doing actually,
I don't know if it's announced that we're doing one
other special show that we're going to film, but we're
actually going to keep this super minimal, in part because
it's such an enormous logistical production. I mean, we're flying
(09:36):
a bunch of musicians from Brazil, you know, for the festival,
and we have to rehearse for a week before too,
so there's a lot of moving parts.
Speaker 5 (09:44):
To make it happen, and it's not an.
Speaker 4 (09:47):
Easy thing to organize.
Speaker 3 (09:50):
So we're kind of just doing, you know, one big
splash and then you know, if there really is the demand,
then you know, you can always get need to go
back to Brazil for sure. I mean I'm in Brazil
right now, so.
Speaker 1 (10:05):
You live there now or a part time?
Speaker 3 (10:09):
I part time ish, I mean I kind of don't
live anywhere, but yeah, I do spend a lot of
time here.
Speaker 2 (10:17):
So was it Joe Beam that was the first person
that you discovered that got you into your love of
Brazil in general, and then that kind of all unraveled
from there.
Speaker 4 (10:28):
Yeah, more or less.
Speaker 3 (10:29):
Although my my my favorite guy, the one who really
like wrapped me in was Juan Chiberto, who has this
album called vois view Alone. So it's just him and
the guitar is like, it's it's pure butter like everything
about it. His voice, his guitar is playing. It's It's
(10:52):
one of the best albums of all time, for sure.
Speaker 2 (10:56):
I have to re listen to that. I'd love to
know more about the nitty gritty of your process, especially
writing in Portuguese. How cool? What is that process like
for you? Is it very different than writing in English?
Does it influence different kind of melodic ideas and harmony?
Speaker 3 (11:15):
Yeah, Writing in Portuguese definitely lends itself to different melodies.
Speaker 5 (11:18):
Which is what it's so fun to do.
Speaker 3 (11:20):
And I just find it to be, honestly a lot
more of a melodic language and it suits my voice well,
I think. But typically I'm working with a collaborator just
because it's not my first language. I'm not like writing
poetry in my free time in Portuguese, so I work
with poets and with friends who speak Portuguese to you know,
really work on the lyrics.
Speaker 1 (11:42):
It's really interesting though, because we have talked with everyone
who ever lived literally about songwriting in the way that
it's a form of channeling and the way that stuff
kind of comes in. So that's so fascinating to me.
Does stuff come into you in different languages now? Or
is it like more it's when it comes you know
what I mean? How like artists will tell you have
an antenna up and stuff just comes to you. And
(12:05):
of course there's so many stories of songs being written
in the dreams and all that. So do things come
to you now in Portuguese as well? Or like, does
it come to you in English? First?
Speaker 4 (12:15):
It depends on the song.
Speaker 3 (12:16):
I feel like the song will tell me if it's
supposed to be in Portuguese or in English. And sometimes
it starts in Portuguese and then turns English. But usually
it's just obvious based on the information that I have,
like the chords or the vibe of which language would
(12:38):
suit it best.
Speaker 1 (12:42):
That's still so fascinating this so like, has it always
been that way for you since you studied Portuguese from
the time you were fourteen? Or has it? Is it
something that when you started writing music in Portuguese started
coming to you that way.
Speaker 3 (12:54):
Yeah, I mean, so I first fell in love with
the language, and I was fourteen, but I didn't learn
it until I was in college. I was about nineteen
years old, I guess. And yeah, I would say ever
since then, I've been that way. You know, I've written
songs in both languages, and usually the song tells me
which language is best.
Speaker 1 (13:16):
Yeah, but you know what I mean, because like artists
will tell you, like like Nick Cave says, you haven't
like an antenna up and the song just comes in,
you know. So I mean I assume you've had that experience.
Speaker 5 (13:30):
Yeah, I would say, so.
Speaker 3 (13:31):
I don't know that I would describe it as an antenna.
But yeah, usually just like happens based on what I'm
inspired by and what I feel is best for the
information around you know, what's happening in my life, what's
(13:51):
happening in the music around me, what's happening in the
If there's a pre existing beat or or melody in
the instruments or whatever, then it hopefully, you know, then
it just flows the best songs too.
Speaker 1 (14:08):
All right. So wait, you mentioned the album being Butter.
Is that where the title came from.
Speaker 3 (14:14):
Uh yeah in part, but also the title came from
being sort of a sister album to our album Bread,
So Bread came out last year, and a lot of
the songs are there similar songs, just reimagined in a
more buttery way.
Speaker 2 (14:33):
Speaking of reimagining the collaborations on the project, can you
talk a little bit more about that. Obviously the big
change of a lot of it being live and not
comping is something that is really interesting, But just overall
those those collaborations, mm hmm.
Speaker 3 (14:50):
Yeah. There are some of my favorite artists on this album.
Like I've been a big fan of Silva for a
long time, also such a buttery voice, and actually I
became friends with him first and then invited him to
join us on the album, which was a really cool
experience for me as such a big fan of his.
(15:10):
And Seo Georgie is just one of the best chartists
of all time, so that was a crazy.
Speaker 5 (15:16):
Honor to get to be in the studio with him.
Speaker 3 (15:18):
And Lineker is really one of the most extraordinary presences
I've ever met, Like she just has this spiritual presence.
It's so powerful. And I met her at a party
actually that Marcia the guy who sort of produced the
(15:40):
whole thing was throwing and immediately I knew I wanted
to do a song with her, and so we wrote
a song with the one that's like a new, completely
new song on the album called Intensity.
Speaker 5 (15:54):
Who Else?
Speaker 3 (15:54):
And then Hiel, who's this artist? Actually met him a
couple of days ago. Really cool artists from Brazil. Yeah,
I mean there's so many It spans across a bunch
of different genres and.
Speaker 5 (16:08):
Just people I'm I'm huge fans of.
Speaker 2 (16:24):
And was there anything that you've found really interesting about
the workflow of how this music was put together. I
think there's a big kind of spiritual sensitivity to Brazilian music,
like intimacy, and I imagine like creating with people that
I've been seeped in that for their whole life. It's
(16:45):
a very different process.
Speaker 3 (16:48):
Like I said before, one of the most impressive things
really was just the way that people played from the
beginning to the end of the track, rather than comping.
You know, there are all these really minuscule changes and
details in the playing. You know, it's not just a
guitar loop the whole time. It's guitar played for you know,
(17:10):
five minutes and then you hear all the really interesting
discrepancies and details, and that part of it was really
special to me as someone who makes electronic music.
Speaker 2 (17:27):
How has your relationship to Brazil and the music what's
been maybe one of the most surprising parts of that
evolution for you.
Speaker 3 (17:40):
I mean, I think the music has always been first
for me. So I first fell in love with the music.
Then I learned the language, and you know, went to
Brazil and in this case, the same thing happened where
it was really about the music first. Like I knew
I wanted to make this album and Tarker was fully
in support of me doing it, but I didn't realize
(18:02):
when I decided to make the album how much it
would change my.
Speaker 5 (18:04):
Life, Like it started with the music and now like.
Speaker 3 (18:09):
I basically live here, you know, and it was because
of the making of the album. You know, I was
here for a long time and I developed relationships, I
fell in love, and I I created a life from music.
Came all of this other stuff that I never anticipated,
(18:32):
and I'm very happy with.
Speaker 1 (18:35):
It's really interesting because you know, I mentioned Ni Cave.
He said to me once said, as an artist, you
write what it is you're seeking. As a slow, like
he was saying, as a songwriter, when he's sad, he
writes happy songs, and when he's happy, he writes sad songs.
Do you feel like in a weird way that this
music manifested all this for you? Because like you had
always kind of you know again going back to being fourteen,
(18:59):
you know, I envision this. So do you feel like,
in a way, you know, doing this album manifested for
you falling in love and creating this light there?
Speaker 3 (19:09):
Yeah?
Speaker 5 (19:10):
I do think so.
Speaker 3 (19:11):
I think it was subconscious, but it certainly it certainly happened,
But I do I don't think it wasn't conscious at all.
I wasn't like, oh, you know, it's time for me
to go build a life in Brazil. I was like, no,
I really want to make this, you know, m the
Day album, and then the End of the Day album
(19:33):
turned into a lot more than that.
Speaker 1 (19:39):
Well, you're subconscious probably said now is you get a
fucking time as any to get out of America?
Speaker 4 (19:42):
So that was probably part of it, yeah, exactly, But
you know the other.
Speaker 1 (19:47):
It's interesting, I mean, so much of music comes from
so much anyway, so and then again, you know, you
figure it out after so when you look back on
it now, does it seem obvious to you in hindsight
that you were so ready to make this move on
this album?
Speaker 5 (20:04):
M yeah, in a way.
Speaker 3 (20:07):
In a way, I still think it's unfolding.
Speaker 1 (20:10):
You know.
Speaker 2 (20:14):
What's been some of the biggest shifts turning this music live,
like the whole start to finish, and all of the
musicians that will be joining you must be very different
than some of the other live sets that you put together.
Speaker 3 (20:33):
Yeah, well, we haven't started rehearsals yet, so that will
happen in July. And I'm really excited for it because again,
it's like it's it's a lot more tedious in some ways,
but it's something that I love to do, so I'm
really looking forward to it.
Speaker 1 (20:56):
I imagine what school as well is. I mean, so
you mentioned you did stage, which you know, I really
was impressed by the diversity of life if I don't
know if you got to see you know, much of it,
but then you know, I mean, as I was joking
with Sammy Hagar because he's an old friend, Like you know,
there's not many shows that are gonna have Sammy Hagar
and Alana Springsteen, you know, and Diplow and Backstreet Boys
(21:18):
and Nelly. That's just a weird fucking lineup. But you
know that's inspiring as a musician. And then of course
you're doing jazz Fest, which you know, I'm friends with
the guy who runs at Jay Smith and it's like
that's I mean, how inspiring is to get to be
around all of those incredible musicians.
Speaker 5 (21:35):
Yeah, it's really cool.
Speaker 3 (21:36):
Also, we went to college in Providence and so like
I went to Newport, you know, every summer, and it
was always such a huge deal for me. So I
never or maybe I did. Maybe there was a part
of me that that thought that I would always make
that kind of music, you know, and I have always
been interested in that type of music. But to get
(21:57):
to do it in the context of so We Tucker
and in my career now is like a surprise, a
really welcome surprise that I'm glad I've manifested, because really
that place means a lot to me.
Speaker 1 (22:12):
Yeah. I wish I could remember what party we met
at because it was you know, it's really funny. I
became friends with the band Mona Skin, and you know,
we were joking about like weird alive parties and because
they did that song Supermodel, which was kind of a
send up of that, and I remember asking them, I'm like,
what was the weirdest party you guys were at? And
they're like, they went to a party where models were
(22:33):
wrestling at Jello and I was like yeah, And so
that has led to my new favorite question, which is, actually, no,
I have a new favorite question now. For a while
I was asking what band you would wrestle with Jello?
But my new favorite question is I was you can
answer it if you want.
Speaker 5 (22:51):
I don't. I don't have an answer, but what's the quick.
Speaker 1 (22:53):
What's my favorite question is there's I was interviewing a
palaeontologist who was activated dinosaur bones in Patagonia and hired
gauchos cowboys, did you know, like drag these dinosaur bones?
And they would listen to the Doors writers on the
storm and this is all for Door's La Time story.
(23:16):
So my new favorite question is where's the craziest place
you've heard your music or heard of it being played back?
Speaker 5 (23:23):
Oh that's funny? Oh my god, who was it?
Speaker 3 (23:27):
They just told me something so funny. A friend of
mine just told me that, like they were having sex
and our music came on and they just kept it playing,
and I just thought that was the funniest thing I'd
ever heard. Like the fact that you know, we were
there subconsciously present in that intimate moment was just too good.
Speaker 1 (23:50):
Do you know what song it was?
Speaker 3 (23:53):
No, I think it was like a playlist, Like I
think it was like Sophie Tucker playlist. I'm trying to
remember who it was that told me this, but it
was not like.
Speaker 4 (24:05):
Whoever they were with didn't know. They were the only
one that knew.
Speaker 1 (24:08):
You know, what's more surprising is that they told you.
Speaker 4 (24:16):
No, it's so funny.
Speaker 3 (24:16):
Yeah, they were a close friend of mine, I Kim,
but I don't remember who it was. I'll remember until
you later, Okay, at all of that anyway, Yeah, I was.
Speaker 1 (24:26):
Gonna say, we probably don't want to put the name
of the story anyway, but yeah, but no, I just
love that question because, like, you know, the idea of
music being everywhere, and it's like it transcends, like and
you know, you get these interesting answers like Black Keys
were telling us that their music was actually played on
one of the raids going in to get Bin Lauden
by the pilots. So yeah, I know, your music like it.
(24:51):
You know, once you put your music out there, it's
like it's not yours anymore. So what was be the
coolest place then that you would hear the Brazilian mus
Is it getting back to you?
Speaker 4 (25:02):
Hmmm?
Speaker 3 (25:04):
The coolest place that I would hear the Brazilian music
getting back.
Speaker 1 (25:08):
To me, either that you would hear it or that
someone will you know, tell you that they heard it.
Speaker 3 (25:16):
I mean, I think for me, what's been so cool
about the song Brazilian Soul is we put it out
like I don't know, seven years ago, like quite a
while ago, and recently every time I'm back in Brazil,
I keep hearing it, and it was kind of meant
as like an ode to people like me who feel
(25:38):
connected to Brazil but who don't necessarily live there, And
so for it to actually have transformed into something that's
actually played in Brazil as like a as a song
that makes actual Brazilians feel proud to be Brazilian has
been really cool. And I think I feel the same
(25:59):
about Butter in that you know, if people who really
already live and breathe this music are living and breathing it,
that would just mean so much to me.
Speaker 1 (26:10):
We I'm gonna ask one more and then you know,
I'll let's say wrap it up. But goddess in disguise?
What makes a goddess in disguise?
Speaker 3 (26:21):
Well, like a lot of goddesses, she doesn't know the
full extent of her goddessness.
Speaker 1 (26:32):
All right, I have to ask you one more because
we haven't asked us yet. But you know, the name
of the podcast is in service up for you, you know,
talk about giving back and how that influences your music,
and like you said, it's interesting. It can go in
so many ways, whether philanthropically or as you say, just
making music that can make another country proud, you know.
I mean that's a form of giving back. So for
(26:53):
you talk about the importance of that and how you'd
like to manifest that through your music.
Speaker 3 (26:59):
Yeah. Well, actually there, Georgia told me something when we
were recording, because I asked him if he wanted to
sing in English or in Portuguese, and he showed me
this video of Bruce Springsteen singing in Portuguese in Brazil,
and he was just.
Speaker 4 (27:13):
Telling me, like how powerful.
Speaker 3 (27:15):
It is for Brazilians to see an American go out
of their way and learn Portuguese and so he was like, no, no, no,
you speak Portuguese and I'll do the English. He's like,
you know so often people, so often everyone just reverts
to English as the language, you know, and so it's
a form of respect to do the reverse. And I
(27:41):
really love being able to show that respect.
Speaker 2 (27:46):
That's really wonderful. I wanted to know a little bit
more about like curating the whole project. And then you
reimagined a couple of your older songs. You talk about
that process of reimagining, what made you choose those songs
and how that was inspired.
Speaker 3 (28:05):
Yeah, so it's the whole of the album Bread reimagined
as better songs. And then also there's there's a new
song called Intensity, and then Brazilian Soul, which to me
is like kind of the thesis that you know, never
belonged to an album, and I think, or this version
of it never belonged to an album, and I think
it's time. So yeah, each song was reimagined from scratch,
(28:31):
you know, we were just.
Speaker 4 (28:37):
It's cool.
Speaker 3 (28:37):
We have a documentary that we filmed while we were
making it that actually kind of shows the process behind
each one. We've released three episodes so far, and each
one was different but the album, the Bread album wasn't
even done yet. Like we were making them kind of
at the same time, so.
Speaker 5 (28:56):
It it felt like.
Speaker 3 (28:58):
This really active process. It wasn't just like taking something
that was already done, you know. It was like, I
don't know how to describe it. Each one was very different,
but we played around with it, you know, like like live,
like I'd sing it and Marcia was playing guitar and
(29:18):
we'd be like, oh, this rhythm really lends itself to
this melody, or let's slow it down a ton, or
let's beat it up a ton or whatever, until we
found like the ray genre to match the mood of
the song.
Speaker 1 (29:31):
Is there anything that you want to add that we
did not ask you about?
Speaker 3 (29:36):
Just I mean, I think just because he's not here,
just to speak to Tucker a little bit, like, uh,
when we started the band, basically ten years ago now,
Tucker promised me, because I had a fellowship, to go
back to Brazil because I knew I wanted to live
here and make music here.
Speaker 4 (29:57):
And he said to.
Speaker 3 (29:59):
Me, you know, will you form this electronic band and
move to New York with me? And I was like, no,
I have this other plan, and he was like you know,
if you really want to make a big difference in
the world, and if you really want to go back
to Brazil, like this is actually an even better path.
Like trust me, you know, we'll go back to Brazil
(30:21):
one day and you'll be able to have a bigger
platform and more opportunities if you start it this way
with me.
Speaker 4 (30:29):
And it was kind of like an.
Speaker 3 (30:31):
Argument at the time, just to you know, get me
to join the band, but he kept his promise and
it worked and I just.
Speaker 4 (30:41):
Means a lot to me.
Speaker 1 (30:46):
Very cool. Well do you feel like that's a good
wrap up note? So yeah, thank you so much for
your time, and you're actually listened as a record. It's
really fine, really interesting, and you know, I enjoyed it
a lot and so looking forward to seeing it live,
you know. So you can't tell us, yeap where the
other show is, but there will definitely be a one.
Exactly cool, all right, thank you so much.
Speaker 5 (31:09):
Thank you
Hi, Steve Balton, Welcome to in Service. Up this week
a really fun, interesting conversation for Stage, Bob and I
with Sophie Holly Weld. You know her, of course, says
Sophie of Sophie Tucker, and this week she talks about
the band's new album, which is a departure from electronic
music to Brazilian jazz, and we talked with her about
(00:25):
where her love for the music came from, living in
Brazil now part time and much more. Hope you enjoyed
this conversation as much sweet as.
Speaker 2 (00:50):
This album has just opened my eyes as a longtime
Bossonova lover of just you know obviously the nuances of
the Brazilian genres from boleerra to some but reggae iterations,
and I would be very curious to maybe go back
to more of the beginnings of how you found Brazilian
(01:12):
music and what really made you fall in love with
it and now super delving into it for this full
length project. You know how that really deepened.
Speaker 3 (01:22):
Yeah, I mean I also just fell in love with
Buzsanova specifically, and you know, I was probably fourteen years
old when it really struck me, and I just felt
so calm, like my nervous system felt so cozy when
I listened to it, and I was just really drawn
to the style of singing and the style of guitar playing.
(01:44):
And then I learned Portuguese so that I could sing
my favorite songs. And at that point I was like, oh, well,
now I speak Portuguese, I should go to Brazil.
Speaker 4 (01:54):
So then I went to Brazil.
Speaker 3 (01:55):
And when I was in Brazil is really when my
mind exploded, because I got really into full ho, which
is a style that also shows itself on the album.
It's sort of like a folk style that has a
really cool dance and samba blew my mind and you know,
I just started like dipping my toes more into more genres.
(02:17):
And it wasn't until ten years later with this album
that I actually got to go to Brazil for an
extended period of time and make music in this in
this vein.
Speaker 5 (02:27):
You know, there's like.
Speaker 3 (02:29):
Thirteen songs on the album, so basically like thirteen different
styles of Brazilian music, and there's even more than that.
I mean, Brazilian music is such a huge range of genres,
so this really only covers the like more. It's called mpeba,
which is short for music but.
Speaker 4 (02:46):
As you love it.
Speaker 3 (02:47):
But like popular Brazilian music is the acronym.
Speaker 4 (02:52):
But there's so.
Speaker 3 (02:53):
Much more than even this. This is like really just
still the tip of the iceberg, but it definitely is
more diverse than just bost nova.
Speaker 1 (03:05):
So that leads to an obvious question, will this be
Volume one? How deep you go?
Speaker 3 (03:12):
I mean, I feel like it's something that I can't
imagine falling out of love with, you know, I can't
imagine not being passionate about, so in some shapeway or form,
for sure it's Volume one.
Speaker 5 (03:25):
You know, this was like.
Speaker 3 (03:28):
A really big step for me in my return to Brazil,
I would say, and in Tucker's support and me just
sort of following this passion for this project. But for sure,
I mean, I love this style of music so much,
so I'm definitely I mean, I definitely want to do
an album that's also just voice and guitar. That's one
(03:51):
of the things I've always wanted to do, and I
definitely want to do more. Yeah, I want to explore
more Brazilian genres, and I spend a lot of time
here now, so inevitably it will happen in some way,
you know, in tangent with everything that we're doing in
the electronic space.
Speaker 1 (04:08):
Well, I imagine as well that first of all, it's very normal.
It's funny because you know, we've probably met when I
was the La Times dance music guy twenty years ago
and now I'm the La Times jazz guy because I'm
fucking old now, you know. So that's a natural evolution
for your taste to change. But the other thing I've
metched you it probably just keeps me music much fresher
for you because if you're not doing one thing, you know,
(04:31):
it's like you can go back and forth to it,
and it's like, you know, if you do anything one note,
it gets so monotonous.
Speaker 3 (04:39):
Yeah, And I also think it keeps itself fresh. You know,
if you're listening to electronic music by night and like
acoustic Brazilian jazz by mourning, your ears always stay fresh.
And it's funny because Tucker is so the person who
will just say no, like I can do hard techo
(05:00):
at all hours.
Speaker 4 (05:02):
But for me, switching.
Speaker 3 (05:04):
Up genres throughout the day is something I really love
and kind of matching the mood of the moment of
the day with the genre is something that I really
love like I listened to like just piano music for
a lot of you know, the winding down parts of
the day, or like I listened to really pump up
music during my workouts, and I love doing that. I
(05:25):
loved listening to different genres. It does definitely keep it fresh.
Speaker 2 (05:29):
I'm curious how being in Brazil for that extended period
of time and creating this music in that environment, what
was the most surprising part of how that influenced your writing,
your creative process, how that differed from previous projects.
Speaker 3 (05:46):
Well, this one in particular was really like it was
produced by this guy Marcia Ada and Cheese, and I
really like took a backseat and let him guide, and
I think, you know, there were plenty of moments where
I didn't really like the direction, so I swerved it
a little to the left. But like once he got
(06:07):
on our division, I mean, he is better at executing
it than any of us by far, and so we
just kind of like.
Speaker 4 (06:17):
Almost got to the audience members.
Speaker 3 (06:18):
To these amazing musicians that would come in and just
play the part, like from the beginning to the end,
Like there was no like comping either, you know, they
would like rehearse the song and then play it and
then keep the whole take. The musicianship was just incredible.
Speaker 1 (06:35):
You know what's funny about that is I imagined as well,
you know, and Tel Tucker he needs to change it
up the hard tag to twenty four hours a day.
You can't do it, but I imagine, you know, even
if it's like, so, what's that?
Speaker 5 (06:48):
If it works for him.
Speaker 1 (06:50):
Yeah, it'll eventually get a old trust me. You know,
they take him longer, but it will. But I was
gonna say, I imagine subconsciously, you know, that will still
influence the electronic stuff as well in an interesting way.
And it's like, you know, it's being around that musicianship
and that skill set.
Speaker 3 (07:08):
Yeah, yeah, for sure, I would say it's already doing that.
Speaker 1 (07:16):
How so have it houseto? Have you noticed it?
Speaker 3 (07:22):
It's hard to actually exactly define it because since Butter
we like, we recently wrote some songs that are almost
like blues and almost country inspired.
Speaker 2 (07:40):
So.
Speaker 3 (07:42):
It's hard to say exactly how, but I think inevitably
everything we do influences everything else we do. Like we're
just constantly you know, creating from from like what are
we inspired by today? I don't know, Maybe it invited
us to open our mind even more to different genres,
(08:03):
you know, in the country that we predominantly live in.
Speaker 1 (08:09):
No, it makes sense. And of course you're going to
be inspired by different things because I imagine over the
years you've heard all of these things, you know, and
I mean even when you look at great electronic music
over the years, it draws on so many elements when
you go back to like all that you know Detroit,
like techno and how much that was influenced by house
and disco and soeoul, you know, and then the industrial
(08:30):
stuff which all comes from rock and punk. So yeah,
so as a country album. Next, are you going to
be doing stage Coach with Diplo? Next year?
Speaker 3 (08:39):
We did stage Coach with Diplo this year we already
did it.
Speaker 1 (08:42):
How was it?
Speaker 4 (08:45):
It's fun? It was really, it was fun.
Speaker 3 (08:48):
It was fun to just do something kind of surprising
and new and ridiculous, you know.
Speaker 1 (08:52):
Yeah, it's funny. I've never been into the stage Coach,
but I did a lot of pieces in advance of
it this year. There was a lot of really good
artists on the lineup. Yeah, it was cool, but it's funny.
I mean, so now that one's itself. The next question,
of course, will even now be doing Brazilian festivals? Would
you like? Where would be the dream to be on
a jazz festival?
Speaker 3 (09:11):
So we are doing Newport Jazz, and then we're doing actually,
I don't know if it's announced that we're doing one
other special show that we're going to film, but we're
actually going to keep this super minimal, in part because
it's such an enormous logistical production. I mean, we're flying
(09:36):
a bunch of musicians from Brazil, you know, for the festival,
and we have to rehearse for a week before too,
so there's a lot of moving parts.
Speaker 5 (09:44):
To make it happen, and it's not an.
Speaker 4 (09:47):
Easy thing to organize.
Speaker 3 (09:50):
So we're kind of just doing, you know, one big
splash and then you know, if there really is the demand,
then you know, you can always get need to go
back to Brazil for sure. I mean I'm in Brazil
right now, so.
Speaker 1 (10:05):
You live there now or a part time?
Speaker 3 (10:09):
I part time ish, I mean I kind of don't
live anywhere, but yeah, I do spend a lot of
time here.
Speaker 2 (10:17):
So was it Joe Beam that was the first person
that you discovered that got you into your love of
Brazil in general, and then that kind of all unraveled
from there.
Speaker 4 (10:28):
Yeah, more or less.
Speaker 3 (10:29):
Although my my my favorite guy, the one who really
like wrapped me in was Juan Chiberto, who has this
album called vois view Alone. So it's just him and
the guitar is like, it's it's pure butter like everything
about it. His voice, his guitar is playing. It's It's
(10:52):
one of the best albums of all time, for sure.
Speaker 2 (10:56):
I have to re listen to that. I'd love to
know more about the nitty gritty of your process, especially
writing in Portuguese. How cool? What is that process like
for you? Is it very different than writing in English?
Does it influence different kind of melodic ideas and harmony?
Speaker 3 (11:15):
Yeah, Writing in Portuguese definitely lends itself to different melodies.
Speaker 5 (11:18):
Which is what it's so fun to do.
Speaker 3 (11:20):
And I just find it to be, honestly a lot
more of a melodic language and it suits my voice well,
I think. But typically I'm working with a collaborator just
because it's not my first language. I'm not like writing
poetry in my free time in Portuguese, so I work
with poets and with friends who speak Portuguese to you know,
really work on the lyrics.
Speaker 1 (11:42):
It's really interesting though, because we have talked with everyone
who ever lived literally about songwriting in the way that
it's a form of channeling and the way that stuff
kind of comes in. So that's so fascinating to me.
Does stuff come into you in different languages now? Or
is it like more it's when it comes you know
what I mean? How like artists will tell you have
an antenna up and stuff just comes to you. And
(12:05):
of course there's so many stories of songs being written
in the dreams and all that. So do things come
to you now in Portuguese as well? Or like, does
it come to you in English? First?
Speaker 4 (12:15):
It depends on the song.
Speaker 3 (12:16):
I feel like the song will tell me if it's
supposed to be in Portuguese or in English. And sometimes
it starts in Portuguese and then turns English. But usually
it's just obvious based on the information that I have,
like the chords or the vibe of which language would
(12:38):
suit it best.
Speaker 1 (12:42):
That's still so fascinating this so like, has it always
been that way for you since you studied Portuguese from
the time you were fourteen? Or has it? Is it
something that when you started writing music in Portuguese started
coming to you that way.
Speaker 3 (12:54):
Yeah, I mean, so I first fell in love with
the language, and I was fourteen, but I didn't learn
it until I was in college. I was about nineteen
years old, I guess. And yeah, I would say ever
since then, I've been that way. You know, I've written
songs in both languages, and usually the song tells me
which language is best.
Speaker 1 (13:16):
Yeah, but you know what I mean, because like artists
will tell you, like like Nick Cave says, you haven't
like an antenna up and the song just comes in,
you know. So I mean I assume you've had that experience.
Speaker 5 (13:30):
Yeah, I would say, so.
Speaker 3 (13:31):
I don't know that I would describe it as an antenna.
But yeah, usually just like happens based on what I'm
inspired by and what I feel is best for the
information around you know, what's happening in my life, what's
(13:51):
happening in the music around me, what's happening in the
If there's a pre existing beat or or melody in
the instruments or whatever, then it hopefully, you know, then
it just flows the best songs too.
Speaker 1 (14:08):
All right. So wait, you mentioned the album being Butter.
Is that where the title came from.
Speaker 3 (14:14):
Uh yeah in part, but also the title came from
being sort of a sister album to our album Bread,
So Bread came out last year, and a lot of
the songs are there similar songs, just reimagined in a
more buttery way.
Speaker 2 (14:33):
Speaking of reimagining the collaborations on the project, can you
talk a little bit more about that. Obviously the big
change of a lot of it being live and not
comping is something that is really interesting, But just overall
those those collaborations, mm hmm.
Speaker 3 (14:50):
Yeah. There are some of my favorite artists on this album.
Like I've been a big fan of Silva for a
long time, also such a buttery voice, and actually I
became friends with him first and then invited him to
join us on the album, which was a really cool
experience for me as such a big fan of his.
(15:10):
And Seo Georgie is just one of the best chartists
of all time, so that was a crazy.
Speaker 5 (15:16):
Honor to get to be in the studio with him.
Speaker 3 (15:18):
And Lineker is really one of the most extraordinary presences
I've ever met, Like she just has this spiritual presence.
It's so powerful. And I met her at a party
actually that Marcia the guy who sort of produced the
(15:40):
whole thing was throwing and immediately I knew I wanted
to do a song with her, and so we wrote
a song with the one that's like a new, completely
new song on the album called Intensity.
Speaker 5 (15:54):
Who Else?
Speaker 3 (15:54):
And then Hiel, who's this artist? Actually met him a
couple of days ago. Really cool artists from Brazil. Yeah,
I mean there's so many It spans across a bunch
of different genres and.
Speaker 5 (16:08):
Just people I'm I'm huge fans of.
Speaker 2 (16:24):
And was there anything that you've found really interesting about
the workflow of how this music was put together. I
think there's a big kind of spiritual sensitivity to Brazilian music,
like intimacy, and I imagine like creating with people that
I've been seeped in that for their whole life. It's
(16:45):
a very different process.
Speaker 3 (16:48):
Like I said before, one of the most impressive things
really was just the way that people played from the
beginning to the end of the track, rather than comping.
You know, there are all these really minuscule changes and
details in the playing. You know, it's not just a
guitar loop the whole time. It's guitar played for you know,
(17:10):
five minutes and then you hear all the really interesting
discrepancies and details, and that part of it was really
special to me as someone who makes electronic music.
Speaker 2 (17:27):
How has your relationship to Brazil and the music what's
been maybe one of the most surprising parts of that
evolution for you.
Speaker 3 (17:40):
I mean, I think the music has always been first
for me. So I first fell in love with the music.
Then I learned the language, and you know, went to
Brazil and in this case, the same thing happened where
it was really about the music first. Like I knew
I wanted to make this album and Tarker was fully
in support of me doing it, but I didn't realize
(18:02):
when I decided to make the album how much it
would change my.
Speaker 5 (18:04):
Life, Like it started with the music and now like.
Speaker 3 (18:09):
I basically live here, you know, and it was because
of the making of the album. You know, I was
here for a long time and I developed relationships, I
fell in love, and I I created a life from music.
Came all of this other stuff that I never anticipated,
(18:32):
and I'm very happy with.
Speaker 1 (18:35):
It's really interesting because you know, I mentioned Ni Cave.
He said to me once said, as an artist, you
write what it is you're seeking. As a slow, like
he was saying, as a songwriter, when he's sad, he
writes happy songs, and when he's happy, he writes sad songs.
Do you feel like in a weird way that this
music manifested all this for you? Because like you had
always kind of you know again going back to being fourteen,
(18:59):
you know, I envision this. So do you feel like,
in a way, you know, doing this album manifested for
you falling in love and creating this light there?
Speaker 3 (19:09):
Yeah?
Speaker 5 (19:10):
I do think so.
Speaker 3 (19:11):
I think it was subconscious, but it certainly it certainly happened,
But I do I don't think it wasn't conscious at all.
I wasn't like, oh, you know, it's time for me
to go build a life in Brazil. I was like, no,
I really want to make this, you know, m the
Day album, and then the End of the Day album
(19:33):
turned into a lot more than that.
Speaker 1 (19:39):
Well, you're subconscious probably said now is you get a
fucking time as any to get out of America?
Speaker 4 (19:42):
So that was probably part of it, yeah, exactly, But
you know the other.
Speaker 1 (19:47):
It's interesting, I mean, so much of music comes from
so much anyway, so and then again, you know, you
figure it out after so when you look back on
it now, does it seem obvious to you in hindsight
that you were so ready to make this move on
this album?
Speaker 5 (20:04):
M yeah, in a way.
Speaker 3 (20:07):
In a way, I still think it's unfolding.
Speaker 1 (20:10):
You know.
Speaker 2 (20:14):
What's been some of the biggest shifts turning this music live,
like the whole start to finish, and all of the
musicians that will be joining you must be very different
than some of the other live sets that you put together.
Speaker 3 (20:33):
Yeah, well, we haven't started rehearsals yet, so that will
happen in July. And I'm really excited for it because again,
it's like it's it's a lot more tedious in some ways,
but it's something that I love to do, so I'm
really looking forward to it.
Speaker 1 (20:56):
I imagine what school as well is. I mean, so
you mentioned you did stage, which you know, I really
was impressed by the diversity of life if I don't
know if you got to see you know, much of it,
but then you know, I mean, as I was joking
with Sammy Hagar because he's an old friend, Like you know,
there's not many shows that are gonna have Sammy Hagar
and Alana Springsteen, you know, and Diplow and Backstreet Boys
(21:18):
and Nelly. That's just a weird fucking lineup. But you
know that's inspiring as a musician. And then of course
you're doing jazz Fest, which you know, I'm friends with
the guy who runs at Jay Smith and it's like
that's I mean, how inspiring is to get to be
around all of those incredible musicians.
Speaker 5 (21:35):
Yeah, it's really cool.
Speaker 3 (21:36):
Also, we went to college in Providence and so like
I went to Newport, you know, every summer, and it
was always such a huge deal for me. So I
never or maybe I did. Maybe there was a part
of me that that thought that I would always make
that kind of music, you know, and I have always
been interested in that type of music. But to get
(21:57):
to do it in the context of so We Tucker
and in my career now is like a surprise, a
really welcome surprise that I'm glad I've manifested, because really
that place means a lot to me.
Speaker 1 (22:12):
Yeah. I wish I could remember what party we met
at because it was you know, it's really funny. I
became friends with the band Mona Skin, and you know,
we were joking about like weird alive parties and because
they did that song Supermodel, which was kind of a
send up of that, and I remember asking them, I'm like,
what was the weirdest party you guys were at? And
they're like, they went to a party where models were
(22:33):
wrestling at Jello and I was like yeah, And so
that has led to my new favorite question, which is, actually, no,
I have a new favorite question now. For a while
I was asking what band you would wrestle with Jello?
But my new favorite question is I was you can
answer it if you want.
Speaker 5 (22:51):
I don't. I don't have an answer, but what's the quick.
Speaker 1 (22:53):
What's my favorite question is there's I was interviewing a
palaeontologist who was activated dinosaur bones in Patagonia and hired
gauchos cowboys, did you know, like drag these dinosaur bones?
And they would listen to the Doors writers on the
storm and this is all for Door's La Time story.
(23:16):
So my new favorite question is where's the craziest place
you've heard your music or heard of it being played back?
Speaker 5 (23:23):
Oh that's funny? Oh my god, who was it?
Speaker 3 (23:27):
They just told me something so funny. A friend of
mine just told me that, like they were having sex
and our music came on and they just kept it playing,
and I just thought that was the funniest thing I'd
ever heard. Like the fact that you know, we were
there subconsciously present in that intimate moment was just too good.
Speaker 1 (23:50):
Do you know what song it was?
Speaker 3 (23:53):
No, I think it was like a playlist, Like I
think it was like Sophie Tucker playlist. I'm trying to
remember who it was that told me this, but it
was not like.
Speaker 4 (24:05):
Whoever they were with didn't know. They were the only
one that knew.
Speaker 1 (24:08):
You know, what's more surprising is that they told you.
Speaker 4 (24:16):
No, it's so funny.
Speaker 3 (24:16):
Yeah, they were a close friend of mine, I Kim,
but I don't remember who it was. I'll remember until
you later, Okay, at all of that anyway, Yeah, I was.
Speaker 1 (24:26):
Gonna say, we probably don't want to put the name
of the story anyway, but yeah, but no, I just
love that question because, like, you know, the idea of
music being everywhere, and it's like it transcends, like and
you know, you get these interesting answers like Black Keys
were telling us that their music was actually played on
one of the raids going in to get Bin Lauden
by the pilots. So yeah, I know, your music like it.
(24:51):
You know, once you put your music out there, it's
like it's not yours anymore. So what was be the
coolest place then that you would hear the Brazilian mus
Is it getting back to you?
Speaker 4 (25:02):
Hmmm?
Speaker 3 (25:04):
The coolest place that I would hear the Brazilian music
getting back.
Speaker 1 (25:08):
To me, either that you would hear it or that
someone will you know, tell you that they heard it.
Speaker 3 (25:16):
I mean, I think for me, what's been so cool
about the song Brazilian Soul is we put it out
like I don't know, seven years ago, like quite a
while ago, and recently every time I'm back in Brazil,
I keep hearing it, and it was kind of meant
as like an ode to people like me who feel
(25:38):
connected to Brazil but who don't necessarily live there, And
so for it to actually have transformed into something that's
actually played in Brazil as like a as a song
that makes actual Brazilians feel proud to be Brazilian has
been really cool. And I think I feel the same
(25:59):
about Butter in that you know, if people who really
already live and breathe this music are living and breathing it,
that would just mean so much to me.
Speaker 1 (26:10):
We I'm gonna ask one more and then you know,
I'll let's say wrap it up. But goddess in disguise?
What makes a goddess in disguise?
Speaker 3 (26:21):
Well, like a lot of goddesses, she doesn't know the
full extent of her goddessness.
Speaker 1 (26:32):
All right, I have to ask you one more because
we haven't asked us yet. But you know, the name
of the podcast is in service up for you, you know,
talk about giving back and how that influences your music,
and like you said, it's interesting. It can go in
so many ways, whether philanthropically or as you say, just
making music that can make another country proud, you know.
I mean that's a form of giving back. So for
(26:53):
you talk about the importance of that and how you'd
like to manifest that through your music.
Speaker 3 (26:59):
Yeah. Well, actually there, Georgia told me something when we
were recording, because I asked him if he wanted to
sing in English or in Portuguese, and he showed me
this video of Bruce Springsteen singing in Portuguese in Brazil,
and he was just.
Speaker 4 (27:13):
Telling me, like how powerful.
Speaker 3 (27:15):
It is for Brazilians to see an American go out
of their way and learn Portuguese and so he was like, no, no, no,
you speak Portuguese and I'll do the English. He's like,
you know so often people, so often everyone just reverts
to English as the language, you know, and so it's
a form of respect to do the reverse. And I
(27:41):
really love being able to show that respect.
Speaker 2 (27:46):
That's really wonderful. I wanted to know a little bit
more about like curating the whole project. And then you
reimagined a couple of your older songs. You talk about
that process of reimagining, what made you choose those songs
and how that was inspired.
Speaker 3 (28:05):
Yeah, so it's the whole of the album Bread reimagined
as better songs. And then also there's there's a new
song called Intensity, and then Brazilian Soul, which to me
is like kind of the thesis that you know, never
belonged to an album, and I think, or this version
of it never belonged to an album, and I think
it's time. So yeah, each song was reimagined from scratch,
(28:31):
you know, we were just.
Speaker 4 (28:37):
It's cool.
Speaker 3 (28:37):
We have a documentary that we filmed while we were
making it that actually kind of shows the process behind
each one. We've released three episodes so far, and each
one was different but the album, the Bread album wasn't
even done yet. Like we were making them kind of
at the same time, so.
Speaker 5 (28:56):
It it felt like.
Speaker 3 (28:58):
This really active process. It wasn't just like taking something
that was already done, you know. It was like, I
don't know how to describe it. Each one was very different,
but we played around with it, you know, like like live,
like I'd sing it and Marcia was playing guitar and
(29:18):
we'd be like, oh, this rhythm really lends itself to
this melody, or let's slow it down a ton, or
let's beat it up a ton or whatever, until we
found like the ray genre to match the mood of
the song.
Speaker 1 (29:31):
Is there anything that you want to add that we
did not ask you about?
Speaker 3 (29:36):
Just I mean, I think just because he's not here,
just to speak to Tucker a little bit, like, uh,
when we started the band, basically ten years ago now,
Tucker promised me, because I had a fellowship, to go
back to Brazil because I knew I wanted to live
here and make music here.
Speaker 4 (29:57):
And he said to.
Speaker 3 (29:59):
Me, you know, will you form this electronic band and
move to New York with me? And I was like, no,
I have this other plan, and he was like you know,
if you really want to make a big difference in
the world, and if you really want to go back
to Brazil, like this is actually an even better path.
Like trust me, you know, we'll go back to Brazil
(30:21):
one day and you'll be able to have a bigger
platform and more opportunities if you start it this way
with me.
Speaker 4 (30:29):
And it was kind of like an.
Speaker 3 (30:31):
Argument at the time, just to you know, get me
to join the band, but he kept his promise and
it worked and I just.
Speaker 4 (30:41):
Means a lot to me.
Speaker 1 (30:46):
Very cool. Well do you feel like that's a good
wrap up note? So yeah, thank you so much for
your time, and you're actually listened as a record. It's
really fine, really interesting, and you know, I enjoyed it
a lot and so looking forward to seeing it live,
you know. So you can't tell us, yeap where the
other show is, but there will definitely be a one.
Exactly cool, all right, thank you so much.
Speaker 5 (31:09):
Thank you
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