August 6, 2025 • 35 mins
On this week's In Service Of, Empire Of The Sun's Luke Steele sits down with Steve Baltin for a deeply personal and moving conversation on grief as Steele opens up about losing his father right before the last tour and the catharsis music provided during this time.
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Speaker 1 (00:04):
Hey, Steve Balton, and welcome to in service of this
week a really special conversation with Luke Steele from Empire
of the Sun. We end up having what he called
felt like a therapy session, really deep in moving conversation
as we both talked about the loss of parents, they
talked about touring, the Imperians, all of that. So I
(00:24):
hope you enjoyed this conversation as much as I did.
I just finished an interviewing Christian McBride, the jazz great bassist,
and later on today I'm interviewing Willie Nelson, and I
(00:47):
am sure that I'm the only person in the history
of the universe to interview you and Christian McBride and
Willie Nelson in the same day. So if you guys
are playing a benefit together and see all start phenal,
what song do you want to chill with Willie and Christian?
Speaker 2 (01:05):
Oh, Willie's song something you get through from a record
It did a few years ago just broke my heart
because I found that song when writer as the pandemic
hit and all these people in the older generation the
seventies and eighties were losing the loved ones, you know,
(01:26):
and it was just so heartbreaking. You know, these people
been married for forty or fifty years and he just
released the song something You Get Through. I think I
posted on Empire where I just thought, wow, it was
the It's not something you can explain really, it's just
really something you get through. So that would have to
be the song. WILLI would have to take the lead
(01:47):
on that one.
Speaker 1 (01:49):
Interesting, Okay, I was kind of thinking more of a
general kind of anthem. But I like that you had
an answer right away. And it's an interesting one because
I don't even know that song. I'm gonna go and
listen to it after the Sinner. I mean, it's funny.
I like, I like the way you put it though.
It's just something that speaks to you. I mean, are
they're there songs that you think of that are just
you know? Or even more importantly, you know it's funny.
(02:11):
I went back and when we were doing the interview,
I was listening to your stuff again last night, and
I've always loved the song Alive and you know, having
nearly died twice, it takes on different meaning for you.
Are the stories you've heard about it that really like
resonate with you or they have you know, similar effect
for other people. That's something you get through or have
for you.
Speaker 2 (02:32):
Hmm exactly, I think because yeah, I came back to
that song because my father. My father passed away a
couple of months ago and we had the funeral and
then it was I had, you know, I'm on this
world tour. But my mom was like, man, you know,
my dad was a musician his whole life and by
the end in hiss like seventies, that's doing three shows awake,
(02:54):
And Mom said, you know, you gotta get on the road.
That's what he would have wont it. You know. I
was sitting in the back of the tour of us
and then that song for me, when I heard in
the pandemic came back up. So it's yeah, it's amazing.
Music is just such a it's like a beautiful friend,
you know or report or yeah, like a yeah, like
(03:19):
a close friend that just stays with you, you know.
Speaker 1 (03:23):
Yeah, it's funny for you. What are those songs from childhood?
Because I know exactly what you mean. There are the
songs that you've just like Firing Rain by James Taylor
is one for me. Those songs that have been with
you for like thirty years and you don't know why,
you don't know what it is about it. It's just
like it hits you when you're a kid, and it's
like that's your song.
Speaker 2 (03:44):
Incredible, incredible herd.
Speaker 1 (03:46):
Yeah, what are a couple of those ones for you?
Speaker 2 (03:52):
Oh? Obviously I always love John Lennon. You know, I'm
gone through my dad's bio collection probably when I was
ten or twelve or something, and just not knowing anything
about any of the artists, which is kind of a
beautiful thing. And then always coming back to Lenin, going man,
the melodies with this guy. Yeah, Lenin and Carol King,
(04:17):
James Tyler, you know, JJ Cole, all those John Prine,
all those old great artists.
Speaker 1 (04:28):
Yeah, all right, Well we'll switch gears in the second
to the tour. But I mean, it's interesting that we
started talking about this stuff. First of all, by the way,
you know, I lost my dad two years ago, so
I'm very sorry about your dad. And I know it's
like something that you know, it kind of hits you
each day and it resonates in a different way. I've
talked about this whole lot of artists, and grief is
not a linear thing at all. It just comes about
in very weird ways. So for you, have there been
(04:51):
you know, moments when you're on stage where there's just
this Catharsis you know, because obviously, like again one of
the reasons Hanna Joy was she was at the Circle show,
and I mean, I imagine it has to be like
you're in the middle of this grief and there's you know,
tens of thousands of people out there. It's got to
be like a really sort of weird, freeing combination of stuff.
Speaker 2 (05:14):
Yeah, yeah, I know, I know exactly what you mean. Yes,
so here about your dad as well, man, But there's
certain moments and triggers, and there's just a version we
deal with the song Asked that God in the show
where on the stage set there's kind of like this
(05:35):
big rock and I go and I stand on this
rock and rise it hits the chorus on the visual,
this giant hand comes across the stage and always that
moment it takes me to the to the very time
when he went to be with the Lord. You know,
it's quite it's quite incredible. It's always takes me to
(05:58):
that exact same place of crossing the rubicon, you know,
to the next life. But yeah, that's interesting.
Speaker 1 (06:10):
Then does a song change for you or has a
changed the meaning? Because that's the other thing I talk
about with people all the time, you know, you bring
your different experiences to music. So again, you know, Fire
and Rain might be my favorite song when I'm eighteen,
but it's my favorite song when I'm fifty for an
entirely different reason.
Speaker 2 (06:26):
Yeah. Yeah, that's what's so beautiful, right, it just thinks. Yeah,
music just takes on a whole Yeah, the lyrics and
the words or just taken a whole different meaning. And yeah,
I think for that one, because it was it just
(06:48):
say Heavenly, you know, the song is good. Ask that God,
you know, just don't ask the world, ask the Father,
you know. So I think it's just it's more powerful
now for me. Yeah, but it is.
Speaker 1 (07:02):
Yeah.
Speaker 2 (07:03):
I've been reading this CEUs Lewis book about grief and
then there's that my agent actually gave me in They
say that love is the price of grief, and you
get all these different quotes and stories about it, and
what's been quite amazing. I always wondered about people delivering
(07:24):
food to your house, you know, but I realized what
that is now, like when someone really close to your
passes away. You food and cooking and everything is such
a bizarre thing. But with us, it was hundreds of
hundreds of dishes and pasta and all this stuff.
Speaker 1 (07:40):
And this.
Speaker 2 (07:42):
I now see like that in the movie. So I
understand that it's quite amazing experience to understand that someone
bringing out Lasagner or something means so much. It's so
warming to your heart.
Speaker 1 (07:55):
Well, that's the thing about it is I found, you know,
losing parents is like because I asked both of them.
Unfortunately in the six year period. It's like people don't
necessarily know how to handle grief. So it's like they
want to just do whatever to be there, and also like,
you know, then I want you to have to do
the mundane things like cooking.
Speaker 2 (08:12):
Yeah.
Speaker 1 (08:13):
Yeah, So what was the comfort food during all of
this process?
Speaker 2 (08:18):
Oh? Oh, was that? You know, there's onions and bread
and all that kind of yeah, one of Yeah, this
is kinde of incredible to see the array of people
my father touched, you know, from young musicians to you know,
(08:40):
work with some disabled people. We worked with the Vietnam
veterans he worked with. So it was it was like
that film Big Fish. I don't know if you've seen
that film, where.
Speaker 1 (08:48):
I fucking love that movie.
Speaker 2 (08:49):
Yeah, where he talks about, well was this guy at
the circus and this gun and then at the funeral
they're all there and the son is like, wow, I
just keep thinking about that film because it was like,
you know, blues plays in Houston, Texas too. You know,
there was a choir that was put together and people
from the street and stuff, and he worked with his
(09:11):
choir and then he worked with the veterans and all that,
so it was it was quite amazing to say, different
fabrics alive and all the different yeah people's hearts he touched.
Speaker 1 (09:24):
And well, it's got to be so interesting though, because
what you're to do go through this at the same
time you're on the road, so you you know, you
see all the different lives he touched, and then you
get to be out there and see all the different
people come to see you and all the different lives
you touch, and it's gotta be so interesting to see, like,
you know, having seen what your father did in terms
(09:46):
of touching all those lives, it's got to be interesting
for you and give you a different perspective on like, Okay,
this means so much more to impact all these people
and it's like music. I talk about this all the time.
The name of the podcast I do is in Service Up.
It's really about giving back, and as a musician you're
always giving back. And even if you are like providing
Hannah or thousands of people, you know, two hours of
(10:07):
escape on a night, you know, and especially in this
time when the world is so fucked up, that escape
is so meaningful.
Speaker 2 (10:15):
Oh oh man, Yeah, you hit the now on the head.
I think going out on this tour, especially because he
kept in touch with hundreds of imperians around the world,
which is amazing. Sometimes I'd go over to be look
at this tattoo or this is what you know Rosi
in Mexico saying, you know, they just posted this painting
(10:37):
they did And I was always like, yeah, but going
out on this tour and seeing wow, it's you know,
me so much to people, and especially now, I notice
on this tour there's a real urge for people to
escape the world and to live in that live in
that place. And I ended up saying that quite a
lot on the stage. It's like this is our place,
(10:59):
you know, this is where you cries with, you love,
you dance, you know, you give it up to the Lord,
this is the time of letting go. And you know,
the shows took on a whole elevated meaning for that
because it's not just music. It's never just music, it's
always you know, I feel it with so many breakthroughs
(11:22):
and you know, spiritual overcomings and things.
Speaker 1 (11:26):
So yeah, just who first did that for you when
you were a kid, because I know exactly what you mean.
I mean for me because I remember seeing the Nick
Cave shows after his son died, and those were like unreal.
I mean that was the most emotional, spiritual thing I'd seen.
And I went to a Springsteen show after my dad died,
but I had seen Springsteen with my dad like thirty
(11:46):
times because we were both fans, and that was brutal.
I mean, I ended up doing a review of the
show that Bruce actually sent me a thank you note for,
which was insane. So for you, who were those artists
that had that spirit of community and catharsis where it's
just like you're watching a show and it's just you're
part of that world. Because obviously I imagine that influenced,
(12:09):
you know, the idea of the Empire shows as well,
which are as you know, hand and I talked about
there's so much production and there's such a like a
vibe and it's a city, it's a world, it's a community. Yeah.
Speaker 2 (12:23):
I can't think of the one show because I'm just
funny like that, but yeah, mine show, you know, the
show we do. It's took on a hold other man.
But yeah, I'm trying to think of yeah, because I
haven't been to any shows recently in this state.
Speaker 1 (12:45):
But well, I mean oftimes, it's show when you're younger anyway,
I mean there's that show that like influences you when
you're younger. I mean, I don't know if there's a
show that like your dad took you to or you know,
anything like that, but yeah.
Speaker 2 (13:01):
Yeah, oh yeah, yeah, I see what you mean. Yeah, yeah,
this everything from like John Spencer Blues Explosion to obviously
seeing the Boss. You know. I remember flying back in
from la actually on a super jet lag and someone's like,
we got three tickets to the Boss and it was
like one of those you know, I drink a few
(13:22):
wines and ended up just making as the Boss comes on.
That was just incredible. You know, BB King, I love
seeing bb King.
Speaker 1 (13:33):
That's funny. We were just talking about that because that
was the most nervous I ever gotten in an interview.
I was I was like twenty seven and he was
seventy one, and I'm like, what the fuck am I
going to ask? This guy? There has been asked a
million times, and he was the nicest guy in the
world about it.
Speaker 2 (13:46):
Oh wow wow.
Speaker 1 (13:48):
Yeah.
Speaker 2 (13:49):
I loved that because he it was just so like lastic, southern,
like American shairmanship. Like he had this big basket of
like gold obviously fake gold watchers, but he and necklosus
and he walked down the front and handed them out,
and you know, it was just so rich, reverent kind
(14:10):
of blues. And that was like Al Green first time.
I wasn't married at the time, but it was in
La doing a remix with Yokono. Actually I were at
a studio in Eagle Rock. We got the she asked
me to do a remix off Double Fantasy. I'm starting
over and actually got the original vocals from Double Fantasy
(14:31):
and we finished the session and then Al Green was
at Hollywood Bowl when never been to the Bowl and
managed to get some tickets and it was just at
the time, was carrying a little speaker on my hit,
you know, one of those little amps with the iPod
was with the iPods are around twenty years ago and
all the church groups from the south had come up,
(14:52):
so it'd be groups of ten or fifteen or walking
in singing Let's Stay Together. But that was another with
real reverence, you know, like he'd come down the front,
you go, you go, take his jacket off and you go, oh,
half the girls, ladies want me to keep it on.
I want me to take it off, you know. But
(15:13):
then he'd talk about like, you know, I'll be in
your car, I've been on your headphones. You know, I've
come to your front doors be locked. I've gone around
the back, I've been in your bedroom. And then it's
like you'd break into let's stay Together. But yeah, that
was just that was just such another memorable concert, you know,
(15:37):
first time in the Hollywood balls in Reverend al Green.
Speaker 1 (15:40):
And I love the fact that you call him the
Reverend Algrim because it's funny what you're saying exactly. It's
like there's that reverend part of him that still is
there and it comes into the show. By the way,
that might be my vote for the single greatest song
of the seventies. Let's say together. I mean, there were
so many great songs, but I mean that's just that's
a perfect song.
Speaker 2 (15:58):
That's what I mean. I've had a wedding dance to
Bridleness night. Yeah. And I always remember at the end
of the show, too big black bodyguards came up and
threw this black cloak over it over his head and
he walked off. But I loved that because he left
the stage anonymous. It was kind of I thought that
(16:21):
was a real humble.
Speaker 1 (16:25):
Very cool. So it's funny because when you think back
on it now, you know, do you see how the
all those shows kind of whether consciously or subconsciously. So
much music anyway is sub conscious, you know. Do you
see how it kind of influenced the whole empire, like
or you as a performer, because whether it's conscious subconscious,
it's like those moments they stick with you.
Speaker 2 (16:46):
Man. Well, there I was sitting there and so I
was like, I don't know, probably twenty twenty three years old,
and there was some part in my mind where sitting
in the bleachers right at the back of the Holy
Both my wife to be where I was like, I'm
gonna I'm gonna play here one day, you know, And
(17:07):
then twenty years later, sold out the Holy of Bowl.
Just played it recently sold out the Holy Bowl, Like
I've done it twice now, and it's yeah, incredible because like, yeah,
maybe he was the one right that planeted to say.
Speaker 1 (17:22):
To Yeah, but that's so interesting. Do you feel like
then maybe it's interesting because that second time, you know,
the first time, I feel like there's almost like it's
feeling of displeaf of like you don't almost get to
enjoy it. So do you feel like the second time
it was kind of more Also like then you know,
you sold it out the first time, then you saw
it out the second time, You're like, all right, this
isn't a polip Brown. This is like this is where
(17:44):
we belong.
Speaker 2 (17:56):
So yeah, so special but funny the second time because
I agents at the time said, oh, you should play
like a you know, five thousand sedar you know in downtown.
It's like, you know, they always do this thing like
it's a good look, you sell it out, And it
was like, yeah, you sell it out and then ten
thousand fans don't get your seat. Yeah it's a great
look in the press, but you know, it's just stupid.
(18:19):
And I was sitting in a prayer into my place
in New Zealand and thinking about this show, you know that.
They were like, yeah, Downtown, it's your big comeback and
I and Guy was like, nah, you got to go bigger, man, like,
you've got to have a bigger vision. And I went
back to them, I said, nah, I want to play
the whole Food Bowl. And Bill, it was the main promoter.
(18:46):
It's his name is Bill, Bill Silver. Yeah, it was
driven by the Bowl. Empire came on the radio and
then apparently someone had just canceled because it was all
booked up. And he was like, man, vampire wants the spot.
You've got it the last show with the whole season.
(19:08):
And it was like, man, we'll take it.
Speaker 1 (19:14):
What's that sul thing too? Because like you saw how
green there in that planet, that seed. But I mean,
I mean, is there that moment where you think about
the fact, you know, fuck, we're playing the same place
the Beatles played. How insane is that?
Speaker 2 (19:30):
Yeah? You always think about it, and it's the place
tells you that it is. You know, the Holloo Bowl
is quite incredible that right in the middle of the stage,
it's kind of like dead quiet. It's kind of like
being in the center of a of a church, or
being in the seat of the throne, or you know,
(19:52):
being at the altar getting married, or it's you know,
it's got that beautiful central peace, you know, kind of
like rocks and the red rocks are similar, but the
ball was just a welding to itself.
Speaker 1 (20:08):
Well, we'll come out of the circle show in one second,
but I want to ask you about something else first,
because this is funny. We're talking about the sense of community,
and you know the stories you hear from the empyreans
around the world. It's my new favorite question. I was
interviewing not long ago palaeontologist for a door story I
did for the La Times, and he was telling me
this crazy story about excavating dinosaur bones in Patagonia and
(20:29):
like listening to writers on the storm and I was
telling about John Densmore and Robbie Kreeger, who were amazed.
And you know, everybody has these crazy stories that they
hear of where they hear their music, because your music travels.
Once you put a song into the world, of course
it's not yours anymore, it goes everywhere. So for you,
what's your favorite story you've heard of your music? Being
heard in like some crazy setting or someplace that you've
(20:52):
heard it that you never expected. Like whisk Alfa was
telling me he was at an airport in South Korea
where everybody starts singing his music to him and he's like,
what the hell?
Speaker 2 (21:01):
Oh man. Yeah, there's so many stories. One I remember
is like it was my heritage is Belarussian. One time
we're playing in Lithuania on the Bord of Belarus and
(21:22):
we kind of started the show and it was just
like fifteen thousand Lithuanians, you know, just literally knew everything.
It was quite overwhelming, you know, just every single word
singing in English in a small country Lithuania. But yeah,
(21:49):
just endless stories. I remember, I've always had this friendship
we keep the Kings of Leon guys because when they
broke in Enemy kind of broke them in the UK,
and I was playing the night before they broke at
this venue called the Garage. It was like the Enemy
showcase and it was like they already had obviously the
(22:10):
front cover, like this is the band that's going to
break and I was there with Sleepy Jackson. But yeah,
a few years ago I saw Caleb and he was
telling me about they were out in the Hudson River
in New York, you know city, and on this like
two day kind of just binge and they had like
(22:33):
the Empire record on and I thought that was pretty cool.
But yeah, it was a funny story. Once in Northern Queensland,
when I'd finished his Shelder festival, got back to the
hotel and there was like a function area and it
was sort of at the end of the you know
the way it's the reception everyone's dancing. Walk on a
(22:54):
Dream came on and I walked past this center and
it looked like the bride was she was sort of
at the end of the day and the groom was
still sort of and then I just walked in, you know,
still my makeup smudged as walking the dream is playing,
and just went up to her and just went congratulations,
and she just was like giving her like, you know,
(23:17):
three hundred bags of cocaine or something. That was that,
you know, it was like the perfect bowl.
Speaker 1 (23:22):
In the end of the night, it was like, that's
all because that's one of the of course, you can't
plan it, but you got that moment it feels like,
all right, this is exactly where I'm supposed to be.
Speaker 2 (23:32):
It was so incredible, was that right at this moment,
end of the night, the singer is going to walk
in and give you a cuddle and have a dance
on the dance floor.
Speaker 1 (23:42):
How gratifying for that is that for you to know that, like,
you can bring that much joy to someone who's like,
I mean, that's her fucking wedding night. They're gonna remember
that for the rest of their lives.
Speaker 2 (23:54):
You know what's so funny is I'm just starting to
realize the joy, the amount of joy that comes from it.
I don't know whether that's just something that you go
into as maybe I'm finally becoming a man or something.
(24:15):
I don't know, but I think up till now you
think you know, you're singing songs, and I'm really glad
that you like it. But I think maybe I'm getting wiser.
But my mum sent me that, and my younger brother
and other people who are like, look at the joy,
and it's yeah, I'm finally realizing that, which is well.
Speaker 1 (24:38):
You know the other thing. I mean, you know, not
to go back, but I mean, look, man, nothing shapes
you more than loss. Do you feel like also having grief?
You know, it kind of gives you. It just gives
you a different perspective. So it's like you appreciate things
in a holy way, and having gone through loss, you
probably do appreciate joy much more.
Speaker 2 (24:57):
Yeah, yeah, you're right, man, This is like this is
like a therapy session.
Speaker 1 (25:02):
And I've heard that before, but yeah, well, unfortunately, you
know when you go through loss and it's smarter. I'm
not that smart, but gone through ship, so everybody, you know.
Speaker 2 (25:12):
Mm hmm. Yeah, it really does, like we do really
appreciate and value value what you have as well. Like
I think I value so much. I think post pandemic,
you know, because in the pandemic it was like me
and Nick have been talking about this woman in the
studio last few days, but I said to him, that's it,
like the bend's over done, tell the record label. But
(25:38):
I think leaving the match and leaving the castle and
going you know, I'm going to the hang on a
on an island and just go surfing for a while.
That really, like my wife always says, like, yeah, you know,
if it's meant to be, set it free, you know,
and it'll come back to you know, so when you
(26:01):
come back to it, you're like, oh wow, I realized,
what's so precious and beautiful and special about this in
the first place, And yeah, no, I can really nurture it.
Speaker 1 (26:12):
Well, that's such an interesting thing because I did hundreds,
if not thousands of interviews during the pandemic, you know,
and it was like a Warshack test to see how
musicians handled not being able to go out. Some really
enjoyed it, like David Ghetto was like, this is the
first time I've ever had a summer with my kids,
and others like I was Osborne, who are lifers on
the road. We're like, oh my god, I need to
get back out of the road. Sharon and I are
(26:33):
getting on each other's hits and I'm losing my fucking mind.
That's literally what he said. So for you, where did
you fall in that camp? Did you enjoy having the
time off or were you like road crazy?
Speaker 2 (26:45):
I loved it, man. It was the first time twenty
five years the industry has actually stopped for me, you know.
And you know, for the first six months it was
in this amazing place and Panta Monica and yeah, just
being with the kids and you know, they had to
dig kind of deep on the on the cave. You know,
one day where they're designing amusement park, and the next
(27:07):
day it's like making the water slide. And but then
it just opened all these these other doors. You know.
I began doing these giant, busky yet paintings I used
to do when I came out of art school. So
then I you know, restarted my whole art career again.
And then we decided to move up near Mount Lasson,
(27:30):
near matt Shaster. So we bought this log cabin, lived
on this six acre property that had like bears and
squirrels and mountain lions, and so that just turned into
a whole other thing, you know, like no one, no
one else around but just me and the kids kind of,
you know. I had this a massive white kind of beard.
Speaker 1 (27:54):
Yeah. So for us, it's interesting though, because one of
the things that we were talking about you mentioned painting,
and you know, Hannah and I talked about the visuals
for you, how involved are you in the state set
for Empire and how important is it to you to
you know, I mean, there's obviously such an amazing lineage
of musicians who paint. Dylan, Jonny Mitchell, John Mellencamp, you know,
(28:15):
Ronnie Wood, who've actually been very successful at it, and
Dylan and Jonny both think of themselves almost as painters. First.
Speaker 2 (28:22):
Wow, yeah, yeah, I'm over everything, you know, and I
think the funny the Hollywood ball, because that was one
time when I really got into three D animation, deeply
into three D animation, because I was, you know, probably
five or seven visuals already had and I needed another
(28:45):
five and every animator it's like I can look at
an idea for five five thousand, It's like look at
an idea, you know, you know that's where it starts,
and then you know, maybe maybe end up being about ten.
And so I need like five visuals six seven visuals.
What seventy thousand sex hundred thousand dollars Australian what's just
(29:07):
the visuals? It was like, you know, not Tagler switch.
So that was the point when and I've always been
like that. I was like, well, I'm just gonna learn
animation and how to make visuals. I got into Sinnema
four D and editing and premire and yeah, so so
(29:28):
it's it's kind of great, like now I can talk
to these animators and it's like, you know, change the texture,
put it here, give us a couple of different angles,
you know. Always been like that, I need to know
the different languages of different mediums, you know, so I
can be control of my own destiny.
Speaker 1 (29:47):
I imagine it's also just fun to learn all that
stuff too. But let's come onto the Circle show then
for a second, Ami, how much fun was it, by
the way, to like be the one who helped start
something off? Because I imagine that's really fun and interesting
saying this, like it's a new thing, you know. And
and as a musician I talk about those people all
the time. Anytime you get to do something new. It's
like when you play a festival. I know, you guys
(30:08):
are doing sel I love that festival, you know, and
it's like it's a good challenge because it's not just
your crowd, they're your fans there, but there's also people
there to see Olivia Rarigo.
Speaker 2 (30:21):
Yeah, it was pretty incredible, you know, having being able
to step into something you know, so immersive and you know,
so new. I guess we designed our show called the
Miracle Room map, so it was part of how asked
that got to it, And yeah, I built our show
(30:44):
based on that that you're walking through the desert and
you find this giant box and you walk into it
and it's you know, kind of like the new the
Church of the Future. You know, it's at least these
guys all around you on the roof, and you fall
into this transcendental prayer which goes through a whole cycle
(31:04):
of songs and ends with the cleansing and healing, and
that's what our show was designed about.
Speaker 1 (31:17):
Very cool. Well, unfortunately we only have like four minutes
left on the zoom. Is there anything you want to
add it and ask about? We ended up spending this
is We ended up going into like really deep interesting stuff.
So you know, is there anything that you want to
talk about there? I mean, you mentioned being in the
studio last couple of days. What's coming up for you guys.
Speaker 2 (31:37):
We've been recording the new recording in Hawaii. It's been now.
We actually worked there on the Two Vines record a
bit on the last album, but yeah, that's sort of
like our magic place. We get there and you know,
drink coconuts and kind of just fall into this warm
(32:01):
summer breeze. So yeah, we've been tracking there the next record,
trying to get ahead of the curve, and ye're just
in la here continuing on. You know, we're funny. It's
like every record we do, it's like it's like that
show Grand Designs. You know, it's always like building a
new you know, elaborate sculpture or something. So it's like
(32:25):
we're like collecting materials and sounds and mood boards and
things all around the world now. So yeah, it's in
a really exciting phase. Nick has just been in like
South France, and you know, he's incredible like that. He'll
be like, I just found this drummer who plays you know,
he plays some glass bottles and that, and I recorded
(32:47):
it on tape machines, and you know, we're kind of
I always love about that about the band. It's it's
like we're hungry teenagers, you know, working on the full track,
trying to find, you know, an analog plug in that
hasn't been invented.
Speaker 1 (33:08):
Was there one artist for you that you think about
who like I mean when you say that, of course,
the first person that comes to mind always is Bowie.
Is there one artist for you that you really admire
for the way their career evolved and the way they
grew And it's like again those artists who were like
Neil Young was great at this teatime way too. I'm
a huge fan of those people who just always managed
to reinvent themselves continuously.
Speaker 2 (33:28):
Oh, Prince, I think.
Speaker 1 (33:31):
I was just thinking him too.
Speaker 2 (33:32):
Yeah, Prince I admired so much for his discipline. You know.
It's just, you know, there's something so inspiring and beautiful
about that continual honing of your craft, you know, and
Prince was just like that to the final breath though.
It's still just you know, that's what I really get
(33:54):
inspired by, you know. So you know, we film our
shows and then we watch the shows back and changed
this one thing, this visual change, move it four seconds
this way, or these lights need less opacity on it,
or this has to be the song that ends the show.
It's got to be more beautiful. You know. There's always
(34:17):
honing and sculpting and crafting that can just go on forever.
But that's what makes things great. Yeah, And you want
people to feel like, I don't know, I always want
to have that feeling of like when you're twenty and
you go to a show and you're like just it
like knocks you over, like how did you end up there?
(34:39):
Like the US to an Australian band, called you and Ma.
They're still around. They were like that that'd come out so powerful,
the guitars and the windmills.
Speaker 1 (34:52):
You know, yeah, I know exactly what you mean. That
to me is mark of a great show when it
takes you out of your own hand.
Speaker 2 (35:00):
Yeah. Wait, we add we can keep going for ever.
Speaker 1 (35:04):
I mean, we can always log back in if you want.
I mean, it's interesting as hell to me. You know,
I might have to start charging your therapy prices, but
you know I enjoy it. So yeah cool, all right,
thanks man, It was great talking to you, and uh again,
very sorry for your loss because I've been there and
I know it. Like you know, it'd be interesting to
talk to you in an album or two and see
how it likes continues to shape you.
Speaker 2 (35:26):
Yeah, definitely, man, let's chat again. It's really awesome.
Speaker 1 (35:29):
Cool anytime. Ah Man, Thank you so much having on
Hey, Steve Balton, and welcome to in service of this
week a really special conversation with Luke Steele from Empire
of the Sun. We end up having what he called
felt like a therapy session, really deep in moving conversation
as we both talked about the loss of parents, they
talked about touring, the Imperians, all of that. So I
(00:24):
hope you enjoyed this conversation as much as I did.
I just finished an interviewing Christian McBride, the jazz great bassist,
and later on today I'm interviewing Willie Nelson, and I
(00:47):
am sure that I'm the only person in the history
of the universe to interview you and Christian McBride and
Willie Nelson in the same day. So if you guys
are playing a benefit together and see all start phenal,
what song do you want to chill with Willie and Christian?
Speaker 2 (01:05):
Oh, Willie's song something you get through from a record
It did a few years ago just broke my heart
because I found that song when writer as the pandemic
hit and all these people in the older generation the
seventies and eighties were losing the loved ones, you know,
(01:26):
and it was just so heartbreaking. You know, these people
been married for forty or fifty years and he just
released the song something You Get Through. I think I
posted on Empire where I just thought, wow, it was
the It's not something you can explain really, it's just
really something you get through. So that would have to
be the song. WILLI would have to take the lead
(01:47):
on that one.
Speaker 1 (01:49):
Interesting, Okay, I was kind of thinking more of a
general kind of anthem. But I like that you had
an answer right away. And it's an interesting one because
I don't even know that song. I'm gonna go and
listen to it after the Sinner. I mean, it's funny.
I like, I like the way you put it though.
It's just something that speaks to you. I mean, are
they're there songs that you think of that are just
you know? Or even more importantly, you know it's funny.
(02:11):
I went back and when we were doing the interview,
I was listening to your stuff again last night, and
I've always loved the song Alive and you know, having
nearly died twice, it takes on different meaning for you.
Are the stories you've heard about it that really like
resonate with you or they have you know, similar effect
for other people. That's something you get through or have
for you.
Speaker 2 (02:32):
Hmm exactly, I think because yeah, I came back to
that song because my father. My father passed away a
couple of months ago and we had the funeral and
then it was I had, you know, I'm on this
world tour. But my mom was like, man, you know,
my dad was a musician his whole life and by
the end in hiss like seventies, that's doing three shows awake,
(02:54):
And Mom said, you know, you gotta get on the road.
That's what he would have wont it. You know. I
was sitting in the back of the tour of us
and then that song for me, when I heard in
the pandemic came back up. So it's yeah, it's amazing.
Music is just such a it's like a beautiful friend,
you know or report or yeah, like a yeah, like
(03:19):
a close friend that just stays with you, you know.
Speaker 1 (03:23):
Yeah, it's funny for you. What are those songs from childhood?
Because I know exactly what you mean. There are the
songs that you've just like Firing Rain by James Taylor
is one for me. Those songs that have been with
you for like thirty years and you don't know why,
you don't know what it is about it. It's just
like it hits you when you're a kid, and it's
like that's your song.
Speaker 2 (03:44):
Incredible, incredible herd.
Speaker 1 (03:46):
Yeah, what are a couple of those ones for you?
Speaker 2 (03:52):
Oh? Obviously I always love John Lennon. You know, I'm
gone through my dad's bio collection probably when I was
ten or twelve or something, and just not knowing anything
about any of the artists, which is kind of a
beautiful thing. And then always coming back to Lenin, going man,
the melodies with this guy. Yeah, Lenin and Carol King,
(04:17):
James Tyler, you know, JJ Cole, all those John Prine,
all those old great artists.
Speaker 1 (04:28):
Yeah, all right, Well we'll switch gears in the second
to the tour. But I mean, it's interesting that we
started talking about this stuff. First of all, by the way,
you know, I lost my dad two years ago, so
I'm very sorry about your dad. And I know it's
like something that you know, it kind of hits you
each day and it resonates in a different way. I've
talked about this whole lot of artists, and grief is
not a linear thing at all. It just comes about
in very weird ways. So for you, have there been
(04:51):
you know, moments when you're on stage where there's just
this Catharsis you know, because obviously, like again one of
the reasons Hanna Joy was she was at the Circle show,
and I mean, I imagine it has to be like
you're in the middle of this grief and there's you know,
tens of thousands of people out there. It's got to
be like a really sort of weird, freeing combination of stuff.
Speaker 2 (05:14):
Yeah, yeah, I know, I know exactly what you mean. Yes,
so here about your dad as well, man, But there's
certain moments and triggers, and there's just a version we
deal with the song Asked that God in the show
where on the stage set there's kind of like this
(05:35):
big rock and I go and I stand on this
rock and rise it hits the chorus on the visual,
this giant hand comes across the stage and always that
moment it takes me to the to the very time
when he went to be with the Lord. You know,
it's quite it's quite incredible. It's always takes me to
(05:58):
that exact same place of crossing the rubicon, you know,
to the next life. But yeah, that's interesting.
Speaker 1 (06:10):
Then does a song change for you or has a
changed the meaning? Because that's the other thing I talk
about with people all the time, you know, you bring
your different experiences to music. So again, you know, Fire
and Rain might be my favorite song when I'm eighteen,
but it's my favorite song when I'm fifty for an
entirely different reason.
Speaker 2 (06:26):
Yeah. Yeah, that's what's so beautiful, right, it just thinks. Yeah,
music just takes on a whole Yeah, the lyrics and
the words or just taken a whole different meaning. And yeah,
I think for that one, because it was it just
(06:48):
say Heavenly, you know, the song is good. Ask that God,
you know, just don't ask the world, ask the Father,
you know. So I think it's just it's more powerful
now for me. Yeah, but it is.
Speaker 1 (07:02):
Yeah.
Speaker 2 (07:03):
I've been reading this CEUs Lewis book about grief and
then there's that my agent actually gave me in They
say that love is the price of grief, and you
get all these different quotes and stories about it, and
what's been quite amazing. I always wondered about people delivering
(07:24):
food to your house, you know, but I realized what
that is now, like when someone really close to your
passes away. You food and cooking and everything is such
a bizarre thing. But with us, it was hundreds of
hundreds of dishes and pasta and all this stuff.
Speaker 1 (07:40):
And this.
Speaker 2 (07:42):
I now see like that in the movie. So I
understand that it's quite amazing experience to understand that someone
bringing out Lasagner or something means so much. It's so
warming to your heart.
Speaker 1 (07:55):
Well, that's the thing about it is I found, you know,
losing parents is like because I asked both of them.
Unfortunately in the six year period. It's like people don't
necessarily know how to handle grief. So it's like they
want to just do whatever to be there, and also like,
you know, then I want you to have to do
the mundane things like cooking.
Speaker 2 (08:12):
Yeah.
Speaker 1 (08:13):
Yeah, So what was the comfort food during all of
this process?
Speaker 2 (08:18):
Oh? Oh, was that? You know, there's onions and bread
and all that kind of yeah, one of Yeah, this
is kinde of incredible to see the array of people
my father touched, you know, from young musicians to you know,
(08:40):
work with some disabled people. We worked with the Vietnam
veterans he worked with. So it was it was like
that film Big Fish. I don't know if you've seen
that film, where.
Speaker 1 (08:48):
I fucking love that movie.
Speaker 2 (08:49):
Yeah, where he talks about, well was this guy at
the circus and this gun and then at the funeral
they're all there and the son is like, wow, I
just keep thinking about that film because it was like,
you know, blues plays in Houston, Texas too. You know,
there was a choir that was put together and people
from the street and stuff, and he worked with his
(09:11):
choir and then he worked with the veterans and all that,
so it was it was quite amazing to say, different
fabrics alive and all the different yeah people's hearts he touched.
Speaker 1 (09:24):
And well, it's got to be so interesting though, because
what you're to do go through this at the same
time you're on the road, so you you know, you
see all the different lives he touched, and then you
get to be out there and see all the different
people come to see you and all the different lives
you touch, and it's gotta be so interesting to see, like,
you know, having seen what your father did in terms
(09:46):
of touching all those lives, it's got to be interesting
for you and give you a different perspective on like, Okay,
this means so much more to impact all these people
and it's like music. I talk about this all the time.
The name of the podcast I do is in Service Up.
It's really about giving back, and as a musician you're
always giving back. And even if you are like providing
Hannah or thousands of people, you know, two hours of
(10:07):
escape on a night, you know, and especially in this
time when the world is so fucked up, that escape
is so meaningful.
Speaker 2 (10:15):
Oh oh man, Yeah, you hit the now on the head.
I think going out on this tour, especially because he
kept in touch with hundreds of imperians around the world,
which is amazing. Sometimes I'd go over to be look
at this tattoo or this is what you know Rosi
in Mexico saying, you know, they just posted this painting
(10:37):
they did And I was always like, yeah, but going
out on this tour and seeing wow, it's you know,
me so much to people, and especially now, I notice
on this tour there's a real urge for people to
escape the world and to live in that live in
that place. And I ended up saying that quite a
lot on the stage. It's like this is our place,
(10:59):
you know, this is where you cries with, you love,
you dance, you know, you give it up to the Lord,
this is the time of letting go. And you know,
the shows took on a whole elevated meaning for that
because it's not just music. It's never just music, it's
always you know, I feel it with so many breakthroughs
(11:22):
and you know, spiritual overcomings and things.
Speaker 1 (11:26):
So yeah, just who first did that for you when
you were a kid, because I know exactly what you mean.
I mean for me because I remember seeing the Nick
Cave shows after his son died, and those were like unreal.
I mean that was the most emotional, spiritual thing I'd seen.
And I went to a Springsteen show after my dad died,
but I had seen Springsteen with my dad like thirty
(11:46):
times because we were both fans, and that was brutal.
I mean, I ended up doing a review of the
show that Bruce actually sent me a thank you note for,
which was insane. So for you, who were those artists
that had that spirit of community and catharsis where it's
just like you're watching a show and it's just you're
part of that world. Because obviously I imagine that influenced,
(12:09):
you know, the idea of the Empire shows as well,
which are as you know, hand and I talked about
there's so much production and there's such a like a
vibe and it's a city, it's a world, it's a community. Yeah.
Speaker 2 (12:23):
I can't think of the one show because I'm just
funny like that, but yeah, mine show, you know, the
show we do. It's took on a hold other man.
But yeah, I'm trying to think of yeah, because I
haven't been to any shows recently in this state.
Speaker 1 (12:45):
But well, I mean oftimes, it's show when you're younger anyway,
I mean there's that show that like influences you when
you're younger. I mean, I don't know if there's a
show that like your dad took you to or you know,
anything like that, but yeah.
Speaker 2 (13:01):
Yeah, oh yeah, yeah, I see what you mean. Yeah, yeah,
this everything from like John Spencer Blues Explosion to obviously
seeing the Boss. You know. I remember flying back in
from la actually on a super jet lag and someone's like,
we got three tickets to the Boss and it was
like one of those you know, I drink a few
(13:22):
wines and ended up just making as the Boss comes on.
That was just incredible. You know, BB King, I love
seeing bb King.
Speaker 1 (13:33):
That's funny. We were just talking about that because that
was the most nervous I ever gotten in an interview.
I was I was like twenty seven and he was
seventy one, and I'm like, what the fuck am I
going to ask? This guy? There has been asked a
million times, and he was the nicest guy in the
world about it.
Speaker 2 (13:46):
Oh wow wow.
Speaker 1 (13:48):
Yeah.
Speaker 2 (13:49):
I loved that because he it was just so like lastic, southern,
like American shairmanship. Like he had this big basket of
like gold obviously fake gold watchers, but he and necklosus
and he walked down the front and handed them out,
and you know, it was just so rich, reverent kind
(14:10):
of blues. And that was like Al Green first time.
I wasn't married at the time, but it was in
La doing a remix with Yokono. Actually I were at
a studio in Eagle Rock. We got the she asked
me to do a remix off Double Fantasy. I'm starting
over and actually got the original vocals from Double Fantasy
(14:31):
and we finished the session and then Al Green was
at Hollywood Bowl when never been to the Bowl and
managed to get some tickets and it was just at
the time, was carrying a little speaker on my hit,
you know, one of those little amps with the iPod
was with the iPods are around twenty years ago and
all the church groups from the south had come up,
(14:52):
so it'd be groups of ten or fifteen or walking
in singing Let's Stay Together. But that was another with
real reverence, you know, like he'd come down the front,
you go, you go, take his jacket off and you go, oh,
half the girls, ladies want me to keep it on.
I want me to take it off, you know. But
(15:13):
then he'd talk about like, you know, I'll be in
your car, I've been on your headphones. You know, I've
come to your front doors be locked. I've gone around
the back, I've been in your bedroom. And then it's
like you'd break into let's stay Together. But yeah, that
was just that was just such another memorable concert, you know,
(15:37):
first time in the Hollywood balls in Reverend al Green.
Speaker 1 (15:40):
And I love the fact that you call him the
Reverend Algrim because it's funny what you're saying exactly. It's
like there's that reverend part of him that still is
there and it comes into the show. By the way,
that might be my vote for the single greatest song
of the seventies. Let's say together. I mean, there were
so many great songs, but I mean that's just that's
a perfect song.
Speaker 2 (15:58):
That's what I mean. I've had a wedding dance to
Bridleness night. Yeah. And I always remember at the end
of the show, too big black bodyguards came up and
threw this black cloak over it over his head and
he walked off. But I loved that because he left
the stage anonymous. It was kind of I thought that
(16:21):
was a real humble.
Speaker 1 (16:25):
Very cool. So it's funny because when you think back
on it now, you know, do you see how the
all those shows kind of whether consciously or subconsciously. So
much music anyway is sub conscious, you know. Do you
see how it kind of influenced the whole empire, like
or you as a performer, because whether it's conscious subconscious,
it's like those moments they stick with you.
Speaker 2 (16:46):
Man. Well, there I was sitting there and so I
was like, I don't know, probably twenty twenty three years old,
and there was some part in my mind where sitting
in the bleachers right at the back of the Holy
Both my wife to be where I was like, I'm
gonna I'm gonna play here one day, you know, And
(17:07):
then twenty years later, sold out the Holy of Bowl.
Just played it recently sold out the Holy Bowl, Like
I've done it twice now, and it's yeah, incredible because like, yeah,
maybe he was the one right that planeted to say.
Speaker 1 (17:22):
To Yeah, but that's so interesting. Do you feel like
then maybe it's interesting because that second time, you know,
the first time, I feel like there's almost like it's
feeling of displeaf of like you don't almost get to
enjoy it. So do you feel like the second time
it was kind of more Also like then you know,
you sold it out the first time, then you saw
it out the second time, You're like, all right, this
isn't a polip Brown. This is like this is where
(17:44):
we belong.
Speaker 2 (17:56):
So yeah, so special but funny the second time because
I agents at the time said, oh, you should play
like a you know, five thousand sedar you know in downtown.
It's like, you know, they always do this thing like
it's a good look, you sell it out, And it
was like, yeah, you sell it out and then ten
thousand fans don't get your seat. Yeah it's a great
look in the press, but you know, it's just stupid.
(18:19):
And I was sitting in a prayer into my place
in New Zealand and thinking about this show, you know that.
They were like, yeah, Downtown, it's your big comeback and
I and Guy was like, nah, you got to go bigger, man, like,
you've got to have a bigger vision. And I went
back to them, I said, nah, I want to play
the whole Food Bowl. And Bill, it was the main promoter.
(18:46):
It's his name is Bill, Bill Silver. Yeah, it was
driven by the Bowl. Empire came on the radio and
then apparently someone had just canceled because it was all
booked up. And he was like, man, vampire wants the spot.
You've got it the last show with the whole season.
(19:08):
And it was like, man, we'll take it.
Speaker 1 (19:14):
What's that sul thing too? Because like you saw how
green there in that planet, that seed. But I mean,
I mean, is there that moment where you think about
the fact, you know, fuck, we're playing the same place
the Beatles played. How insane is that?
Speaker 2 (19:30):
Yeah? You always think about it, and it's the place
tells you that it is. You know, the Holloo Bowl
is quite incredible that right in the middle of the stage,
it's kind of like dead quiet. It's kind of like
being in the center of a of a church, or
being in the seat of the throne, or you know,
(19:52):
being at the altar getting married, or it's you know,
it's got that beautiful central peace, you know, kind of
like rocks and the red rocks are similar, but the
ball was just a welding to itself.
Speaker 1 (20:08):
Well, we'll come out of the circle show in one second,
but I want to ask you about something else first,
because this is funny. We're talking about the sense of community,
and you know the stories you hear from the empyreans
around the world. It's my new favorite question. I was
interviewing not long ago palaeontologist for a door story I
did for the La Times, and he was telling me
this crazy story about excavating dinosaur bones in Patagonia and
(20:29):
like listening to writers on the storm and I was
telling about John Densmore and Robbie Kreeger, who were amazed.
And you know, everybody has these crazy stories that they
hear of where they hear their music, because your music travels.
Once you put a song into the world, of course
it's not yours anymore, it goes everywhere. So for you,
what's your favorite story you've heard of your music? Being
heard in like some crazy setting or someplace that you've
(20:52):
heard it that you never expected. Like whisk Alfa was
telling me he was at an airport in South Korea
where everybody starts singing his music to him and he's like,
what the hell?
Speaker 2 (21:01):
Oh man. Yeah, there's so many stories. One I remember
is like it was my heritage is Belarussian. One time
we're playing in Lithuania on the Bord of Belarus and
(21:22):
we kind of started the show and it was just
like fifteen thousand Lithuanians, you know, just literally knew everything.
It was quite overwhelming, you know, just every single word
singing in English in a small country Lithuania. But yeah,
(21:49):
just endless stories. I remember, I've always had this friendship
we keep the Kings of Leon guys because when they
broke in Enemy kind of broke them in the UK,
and I was playing the night before they broke at
this venue called the Garage. It was like the Enemy
showcase and it was like they already had obviously the
(22:10):
front cover, like this is the band that's going to
break and I was there with Sleepy Jackson. But yeah,
a few years ago I saw Caleb and he was
telling me about they were out in the Hudson River
in New York, you know city, and on this like
two day kind of just binge and they had like
(22:33):
the Empire record on and I thought that was pretty cool.
But yeah, it was a funny story. Once in Northern Queensland,
when I'd finished his Shelder festival, got back to the
hotel and there was like a function area and it
was sort of at the end of the you know
the way it's the reception everyone's dancing. Walk on a
(22:54):
Dream came on and I walked past this center and
it looked like the bride was she was sort of
at the end of the day and the groom was
still sort of and then I just walked in, you know,
still my makeup smudged as walking the dream is playing,
and just went up to her and just went congratulations,
and she just was like giving her like, you know,
(23:17):
three hundred bags of cocaine or something. That was that,
you know, it was like the perfect bowl.
Speaker 1 (23:22):
In the end of the night, it was like, that's
all because that's one of the of course, you can't
plan it, but you got that moment it feels like,
all right, this is exactly where I'm supposed to be.
Speaker 2 (23:32):
It was so incredible, was that right at this moment,
end of the night, the singer is going to walk
in and give you a cuddle and have a dance
on the dance floor.
Speaker 1 (23:42):
How gratifying for that is that for you to know that, like,
you can bring that much joy to someone who's like,
I mean, that's her fucking wedding night. They're gonna remember
that for the rest of their lives.
Speaker 2 (23:54):
You know what's so funny is I'm just starting to
realize the joy, the amount of joy that comes from it.
I don't know whether that's just something that you go
into as maybe I'm finally becoming a man or something.
(24:15):
I don't know, but I think up till now you
think you know, you're singing songs, and I'm really glad
that you like it. But I think maybe I'm getting wiser.
But my mum sent me that, and my younger brother
and other people who are like, look at the joy,
and it's yeah, I'm finally realizing that, which is well.
Speaker 1 (24:38):
You know the other thing. I mean, you know, not
to go back, but I mean, look, man, nothing shapes
you more than loss. Do you feel like also having grief?
You know, it kind of gives you. It just gives
you a different perspective. So it's like you appreciate things
in a holy way, and having gone through loss, you
probably do appreciate joy much more.
Speaker 2 (24:57):
Yeah, yeah, you're right, man, This is like this is
like a therapy session.
Speaker 1 (25:02):
And I've heard that before, but yeah, well, unfortunately, you
know when you go through loss and it's smarter. I'm
not that smart, but gone through ship, so everybody, you know.
Speaker 2 (25:12):
Mm hmm. Yeah, it really does, like we do really
appreciate and value value what you have as well. Like
I think I value so much. I think post pandemic,
you know, because in the pandemic it was like me
and Nick have been talking about this woman in the
studio last few days, but I said to him, that's it,
like the bend's over done, tell the record label. But
(25:38):
I think leaving the match and leaving the castle and
going you know, I'm going to the hang on a
on an island and just go surfing for a while.
That really, like my wife always says, like, yeah, you know,
if it's meant to be, set it free, you know,
and it'll come back to you know, so when you
(26:01):
come back to it, you're like, oh wow, I realized,
what's so precious and beautiful and special about this in
the first place, And yeah, no, I can really nurture it.
Speaker 1 (26:12):
Well, that's such an interesting thing because I did hundreds,
if not thousands of interviews during the pandemic, you know,
and it was like a Warshack test to see how
musicians handled not being able to go out. Some really
enjoyed it, like David Ghetto was like, this is the
first time I've ever had a summer with my kids,
and others like I was Osborne, who are lifers on
the road. We're like, oh my god, I need to
get back out of the road. Sharon and I are
(26:33):
getting on each other's hits and I'm losing my fucking mind.
That's literally what he said. So for you, where did
you fall in that camp? Did you enjoy having the
time off or were you like road crazy?
Speaker 2 (26:45):
I loved it, man. It was the first time twenty
five years the industry has actually stopped for me, you know.
And you know, for the first six months it was
in this amazing place and Panta Monica and yeah, just
being with the kids and you know, they had to
dig kind of deep on the on the cave. You know,
one day where they're designing amusement park, and the next
(27:07):
day it's like making the water slide. And but then
it just opened all these these other doors. You know.
I began doing these giant, busky yet paintings I used
to do when I came out of art school. So
then I you know, restarted my whole art career again.
And then we decided to move up near Mount Lasson,
(27:30):
near matt Shaster. So we bought this log cabin, lived
on this six acre property that had like bears and
squirrels and mountain lions, and so that just turned into
a whole other thing, you know, like no one, no
one else around but just me and the kids kind of,
you know. I had this a massive white kind of beard.
Speaker 1 (27:54):
Yeah. So for us, it's interesting though, because one of
the things that we were talking about you mentioned painting,
and you know, Hannah and I talked about the visuals
for you, how involved are you in the state set
for Empire and how important is it to you to
you know, I mean, there's obviously such an amazing lineage
of musicians who paint. Dylan, Jonny Mitchell, John Mellencamp, you know,
(28:15):
Ronnie Wood, who've actually been very successful at it, and
Dylan and Jonny both think of themselves almost as painters. First.
Speaker 2 (28:22):
Wow, yeah, yeah, I'm over everything, you know, and I
think the funny the Hollywood ball, because that was one
time when I really got into three D animation, deeply
into three D animation, because I was, you know, probably
five or seven visuals already had and I needed another
(28:45):
five and every animator it's like I can look at
an idea for five five thousand, It's like look at
an idea, you know, you know that's where it starts,
and then you know, maybe maybe end up being about ten.
And so I need like five visuals six seven visuals.
What seventy thousand sex hundred thousand dollars Australian what's just
(29:07):
the visuals? It was like, you know, not Tagler switch.
So that was the point when and I've always been
like that. I was like, well, I'm just gonna learn
animation and how to make visuals. I got into Sinnema
four D and editing and premire and yeah, so so
(29:28):
it's it's kind of great, like now I can talk
to these animators and it's like, you know, change the texture,
put it here, give us a couple of different angles,
you know. Always been like that, I need to know
the different languages of different mediums, you know, so I
can be control of my own destiny.
Speaker 1 (29:47):
I imagine it's also just fun to learn all that
stuff too. But let's come onto the Circle show then
for a second, Ami, how much fun was it, by
the way, to like be the one who helped start
something off? Because I imagine that's really fun and interesting
saying this, like it's a new thing, you know. And
and as a musician I talk about those people all
the time. Anytime you get to do something new. It's
like when you play a festival. I know, you guys
(30:08):
are doing sel I love that festival, you know, and
it's like it's a good challenge because it's not just
your crowd, they're your fans there, but there's also people
there to see Olivia Rarigo.
Speaker 2 (30:21):
Yeah, it was pretty incredible, you know, having being able
to step into something you know, so immersive and you know,
so new. I guess we designed our show called the
Miracle Room map, so it was part of how asked
that got to it, And yeah, I built our show
(30:44):
based on that that you're walking through the desert and
you find this giant box and you walk into it
and it's you know, kind of like the new the
Church of the Future. You know, it's at least these
guys all around you on the roof, and you fall
into this transcendental prayer which goes through a whole cycle
(31:04):
of songs and ends with the cleansing and healing, and
that's what our show was designed about.
Speaker 1 (31:17):
Very cool. Well, unfortunately we only have like four minutes
left on the zoom. Is there anything you want to
add it and ask about? We ended up spending this
is We ended up going into like really deep interesting stuff.
So you know, is there anything that you want to
talk about there? I mean, you mentioned being in the
studio last couple of days. What's coming up for you guys.
Speaker 2 (31:37):
We've been recording the new recording in Hawaii. It's been now.
We actually worked there on the Two Vines record a
bit on the last album, but yeah, that's sort of
like our magic place. We get there and you know,
drink coconuts and kind of just fall into this warm
(32:01):
summer breeze. So yeah, we've been tracking there the next record,
trying to get ahead of the curve, and ye're just
in la here continuing on. You know, we're funny. It's
like every record we do, it's like it's like that
show Grand Designs. You know, it's always like building a
new you know, elaborate sculpture or something. So it's like
(32:25):
we're like collecting materials and sounds and mood boards and
things all around the world now. So yeah, it's in
a really exciting phase. Nick has just been in like
South France, and you know, he's incredible like that. He'll
be like, I just found this drummer who plays you know,
he plays some glass bottles and that, and I recorded
(32:47):
it on tape machines, and you know, we're kind of
I always love about that about the band. It's it's
like we're hungry teenagers, you know, working on the full track,
trying to find, you know, an analog plug in that
hasn't been invented.
Speaker 1 (33:08):
Was there one artist for you that you think about
who like I mean when you say that, of course,
the first person that comes to mind always is Bowie.
Is there one artist for you that you really admire
for the way their career evolved and the way they
grew And it's like again those artists who were like
Neil Young was great at this teatime way too. I'm
a huge fan of those people who just always managed
to reinvent themselves continuously.
Speaker 2 (33:28):
Oh, Prince, I think.
Speaker 1 (33:31):
I was just thinking him too.
Speaker 2 (33:32):
Yeah, Prince I admired so much for his discipline. You know.
It's just, you know, there's something so inspiring and beautiful
about that continual honing of your craft, you know, and
Prince was just like that to the final breath though.
It's still just you know, that's what I really get
(33:54):
inspired by, you know. So you know, we film our
shows and then we watch the shows back and changed
this one thing, this visual change, move it four seconds
this way, or these lights need less opacity on it,
or this has to be the song that ends the show.
It's got to be more beautiful. You know. There's always
(34:17):
honing and sculpting and crafting that can just go on forever.
But that's what makes things great. Yeah, And you want
people to feel like, I don't know, I always want
to have that feeling of like when you're twenty and
you go to a show and you're like just it
like knocks you over, like how did you end up there?
(34:39):
Like the US to an Australian band, called you and Ma.
They're still around. They were like that that'd come out so powerful,
the guitars and the windmills.
Speaker 1 (34:52):
You know, yeah, I know exactly what you mean. That
to me is mark of a great show when it
takes you out of your own hand.
Speaker 2 (35:00):
Yeah. Wait, we add we can keep going for ever.
Speaker 1 (35:04):
I mean, we can always log back in if you want.
I mean, it's interesting as hell to me. You know,
I might have to start charging your therapy prices, but
you know I enjoy it. So yeah cool, all right,
thanks man, It was great talking to you, and uh again,
very sorry for your loss because I've been there and
I know it. Like you know, it'd be interesting to
talk to you in an album or two and see
how it likes continues to shape you.
Speaker 2 (35:26):
Yeah, definitely, man, let's chat again. It's really awesome.
Speaker 1 (35:29):
Cool anytime. Ah Man, Thank you so much having on
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