May 13, 2025 • 31 mins
Join @thebuzzknight for a captivating stroll in this special episode of Takin’ a Walk, as we step into the world of internationally acclaimed pianist and composer, Chloe Flower. Known for her electrifying performances and genre-defying style, Chloe shares the soundtrack of her life while talking about her musical journey, creative inspirations, and the power of blending classical music with contemporary sounds.
Along the way, Chloe opens up about her passion for making classical music accessible to all, her work with iconic artists, and the stories behind her viral performances. Whether you’re a music lover or simply curious about the creative process, this episode promises inspiring insights, laughter, and a few unexpected notes.
Lace up your shoes and tune in as we take a walk with Chloe Flower-where every step is set to a beautiful melody.
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Buzz Knight
Founder Buzz Knight Media Productions
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Taking a Walk.
Speaker 2 (00:01):
When I was twelve years old, one of my best
friends was coming to visit me for my birthday, and
she and her boyfriend were her like, not her boyfriend
but because we were like twelve, but like, you know,
her little boyfriend friend. They were hit by a train
and killed, and I remember her sister called me and
(00:22):
was like, Melissa, can't come to your birthday. She died
in a train accident, and it was so traumatizing, like
for me, and I immediately went to the piano and
just played Chopin for like five days straight.
Speaker 3 (00:34):
Welcome to the Taken a Walk Podcast, where Buzz Night
speaks with musicians of all types that are making their mark.
Buzz is thrilled to be joined by a true musical trailblazer,
Chloe Flower. Chloe is a world renowned pianist, composer, and
producer who's redefining what it means to be a classical
musician in the modern era. Known for her electrifying performances
(00:58):
and her signature popsicles sound a seamless blend of classical
and pop, Chloe's captivated audiences everywhere from the Grammy stage
to viral social media clips. Chloe is here to discuss
your brand new album I Love Me More, and we
welcome her right now to the Taking a Walk Podcast
with buzz Night.
Speaker 4 (01:19):
Hi Chloe, thanks for being on Taking a Walk.
Speaker 2 (01:22):
Thank you for having me.
Speaker 1 (01:24):
It's so special.
Speaker 4 (01:25):
So since we call this podcast taking a Walk, I
have to ask you if you could take a walk
with someone living or dead. They don't have to be
involved in the world of music, but they could be.
But it could be someone also important to you in
different ways. Who would you like to take a walk
(01:45):
with and where would you take that walk?
Speaker 2 (01:50):
You know, it's funny because some of my best ideas
and my best thinking happens when I walk. And so
I recently sprained both of my ankles. Oh yeah, it's
been a struggle for me and I really didn't know
how much I missed taking those walks. So this is
(02:11):
a great question for me. I think if I could
walk with anybody, it would be Rock mon and Off.
And the reason I say that, like it's really hard
for me. I would always I would choose a musician,
but it's like between mozart Sister and rock monon Off,
like I can't decide. Basically, I would ask Mozart's sister, like,
(02:31):
tell me everything, what did you write, what did you
really write? What did you not get credit for? But
you know, Rock Mononoff, really his story really interests me.
You know, he almost didn't write the Second Piano Concerto,
which is like one of the most the love pieces
in the world in the classical space. And actually the
(02:52):
love for that piece extends so far beyond you hear
it in All by Myself, and you hear that theme
in so many pop songs in that I even took
that little theme and recreated it for my first album.
But he almost didn't write that piece because he went
through like a severe depression after his first symphony he wrote.
I think it was in the late eighteen hundreds. He
(03:15):
wrote a symphony in D minor and it was a disaster,
like everybody hated it, and he went into a severe
depression and almost never composed again. But he saw therapy.
He went to this doctor, I think it was doctor
dol And I want to know what they talked about,
because they don't ever tell you what was said. You
(03:37):
just have these letters written by him that you know
he was so depressed and he never was going to
compose again. And then oh, I sought help, went to
a hypnotist, which I think we call a therapist today,
and now you know, I feel re energized and reinspired,
and he wrote the most beautiful piece in the world.
And so I think for me, as an artist, I
would love to know how he coped with that, because
(03:59):
as an artist, especially in the classical space, we're so
subject to criticism and I would just like to know
how he dealt with that on such a large scale.
And I feel like that would take up the whole walk.
Speaker 4 (04:13):
And I believe I've only spent a couple of minutes
with you. I believe you would uncover the secret in
the story.
Speaker 1 (04:22):
It wouldn't take you very very.
Speaker 2 (04:24):
Long, I hope. Well maybe one day in another world,
an there you go.
Speaker 4 (04:31):
Maybe that's right. So what's the earliest memory for you
of playing music? I mean, I know you started at
an incredibly young age, but beyond the age of three,
which is I believe when you started. Do you have
an earlier memory than that in terms of you playing.
Speaker 2 (04:53):
I started at two and my mother said that she
actually corrected I did during the pandemic. I did this
zoom performance and she joined because it was my sister's
company and I was speaking and this was kind of
when people didn't understand zoom as well as they do
now it's like new. And she interrupted my talk cause
(05:14):
I was talking about my first childhood, my first performance
ever at three years but I thought I was six
at a nursing home and my mother was like, no,
you were three. Like she didn't mute herself, she just
started talking, and so it was funny, but it was news, right,
So I was like, oh, I thought I was six,
but I was three actually, And I do remember being
(05:35):
in this nursing home in my hometown and sitting on
a telephone book because we had telephone books back then,
and a little pillow and playing. I remember looking at
at the audience and seeing everybody was asleep and nobody
was really listening to me play. But I remember afterwards
like they clapped and I was such a baby. But
(05:57):
I remember feeling like, oh, this music is and this
music is healing. I remember thinking like, I don't sorry,
my dog is here. I remember thinking like I don't
I kind of at a very early age, them even
having me there made me understand and appreciate the power
of music therapy and live performance for people and how
(06:20):
special that was, even though I was three and I
probably didn't play very well. But yeah, so that's kind
of an early I mean even earlier than that, the
very first memory I have. I remember stickers on the piano,
but oh, she hears her.
Speaker 4 (06:35):
We welcome We welcome dogs to the Taking a Walk podcast.
Speaker 1 (06:39):
What is your dog's name?
Speaker 2 (06:40):
This is Wolfy her her her full name is Wolfguardea Dang,
but Wolfguard the female version.
Speaker 1 (06:48):
What kind of dog is Wolfy?
Speaker 2 (06:50):
She's a she's a Chihuahua. She's a rescue. She's my
ninth foster that kind of turned into I kept her.
But she's such a good girl, and oh she's beautiful.
She's beautiful. So I got her at a very young age,
so she has no trauma, unlike a lot of my
other fosters, so I really I'm grateful. But she just
saw her boyfriend, so she's freaking out.
Speaker 1 (07:12):
You can tell, right.
Speaker 4 (07:12):
Yeah, we're going to get into your masterpiece new release.
I Love me More, which is just incredible. But I
do want to talk a little bit more about you
and your career. I have a question for you, though,
(07:34):
from a fellow musician who admires you.
Speaker 1 (07:39):
His name is Black Bok.
Speaker 3 (07:41):
Oh.
Speaker 2 (07:41):
I love Black Bok.
Speaker 1 (07:43):
He's a New Yorker, he is, he's a big fan.
And so here's his question.
Speaker 2 (07:51):
Okay.
Speaker 4 (07:51):
He said, classical music is known for its structure and tradition.
So what inspired you, as a trained pianist to take
a different creative path instead of following the traditional concert
pianist root and how has that sort of shaped your
(08:13):
art as a whole.
Speaker 2 (08:15):
Wow, that's a really great question. I think you know,
when you've spent your whole life studying classical music, it's
very rigorous, the discipline, the training, the sacrifice that you
make to be a classical musician as a profession. It
is a lot of structure, not just within the music,
(08:38):
but within the career space. And for me, I loved
the structure of classical music. You know, I love I
love classical music, but I also grew up loving pop music,
and I always compartmentalize those two genres like this is
my pop life and this is you know, when I'm listening,
when I'm listening in my room, I can listen to
(09:00):
this when I'm not practicing. And often when I was practicing,
I would practice two hours at a time and then
I would take a fifteen minute break and then practice
another hour or two hours, And during those fifteen minutes,
I spent the entire time listening to pop music, like
you know, like top forty music. What was available to me,
you know, And we didn't have like Spotify and things
(09:23):
like that. We had YouTube, but we didn't have like
streaming services like Amazon Music and Apple Music. And I
think like having done that like every day for my
whole life, it just naturally gave me this sensitivity and
(09:43):
feeling for pop music as well, not just not just
not just the aesthetic, but like the structure, Like pop
structure is very different, but it still has a structure.
And so I think for me, it was all about
not being stuck in this box. Like I loved music
from the Beatles, I loved music from you know, pop artists,
(10:07):
and I just always thought that I was going to
be a classical musician and I couldn't do both. And
so as I got older, I was like, well, why
can't I do both? And I think part of the
beautiful thing about music is being able to not live
in a box. I think that's the glory of music,
is to experiment. And it was hard for me, because
(10:29):
you know, it was looked down upon. I was kicked
out of a chamber group. I did a hip hop
concert in New York, and I remember my chamber group
was like, that's selling out. We don't want you in
our group anymore. And so that, you know, I struggled
with a lot of that, but that actually fired me
up because I was like, that is not fair, and
(10:50):
I don't think it's the right approach. I think if
you really love music, you can love all styles of music.
So for me, it was more it was almost like
a bellion breaking out of that classical structure and doing
experimenting and doing doing things that I hadn't heard before.
And with that comes confusion, but also it's very exciting,
(11:13):
and so I think I kind of fed off of
that excitement.
Speaker 4 (11:17):
And you created a new path called popsicle.
Speaker 1 (11:20):
Right.
Speaker 2 (11:22):
If I try to explain to you what popsicle is,
it would be so long and hard. So it just
found that word popsicle to be very like easy pop.
Speaker 1 (11:30):
But I think you just did.
Speaker 4 (11:32):
You just did explain it without me even asking you did.
You did just explain it. There is a furthermore, by
the way, I can't forget that black Bawk said, he said,
and and furthermore, when can we collaborate?
Speaker 2 (11:44):
That was his other Furthermore, as I love what he does.
He does great tiktoks, he does really cool things. He's
such a swag. I love him. He's so he did
a show over at Joe's Pub that sadly I missed,
But I can't wait to collaborate. I love collaborating. You know,
as a pianist, he would understand how solitary it can be.
We don't have an orchestra that we go to. You know,
(12:06):
I serve on the board of the Manhattan School of
Music and I just came literally just walked in the
door from that meeting, and there we were talking about
Aspen Summer Music Festival, and I was laughing that like,
as a pianist, I was much less busier than the
violinists because I was always alone practicing in my practice
room as opposed to doing different, you know, orchestral sessions
and stuff. So it's always nice to collaborate.
Speaker 4 (12:31):
Well, speaking of collaborating, your performance with Cardi b was
a pretty amazing moment there at the Grammys.
Speaker 1 (12:40):
How did that come about?
Speaker 4 (12:42):
And as you reflect on it now, how did that
really impact your career?
Speaker 2 (12:47):
Yeah, I mean that obviously, you know, happened to twenty nineteen,
and you know people are still talking about that and
wanting to talk about that, So I know how much
of an impact culturally and musically that performance had. But
had I not stepped outside of that structure, and had
I not gone to another level musically experimentally, I wouldn't
(13:09):
have had that opportunity. I was actually on social media
just playing around with pop songs and just playing over
top of them. That particular performance. Her team had seen
me perform Humble by Kendrick Lamar over his playing some
piano over his song, and when they heard that, that's
(13:30):
when they reached out to me. They just called me.
They got my number from my friend who's also a publicist,
Lauren Chardini, and they reached out to her through They
reached out to me through her, and yeah, and they
were like, we saw this Humble cover and we want
you to come play with Cardi and it's amazing. I
think had I not really openly stepped out of the
(13:53):
box on socials and shown people and social media is
great because it gives you that platform to experiment and
I wouldn't have had that, and I probably wouldn't be
talking to you today. Maybe maybe I would be, but
you know, maybe not.
Speaker 4 (14:07):
There's always a reason, right that things happen, for sure. Yeah,
so let's talk about this fantastic project. You must be
so excited about it. The world is excited about I
love me More. There's so many elements that I want
to talk about. First of all, how when you're embarking
(14:27):
on such a project like that do you first consider
the specific songs and then how do you then like
work through who the collaborators are going to be.
Speaker 2 (14:40):
Yeah, Actually, for a pianist, picking the music is probably
the hardest part, I think. I think there's so much
amazing repersoire it's really hard to narrow it down to
like fourteen to eighteen songs. Like if I could, I
would record a thousand song album probably, But what I
(15:01):
have to do is first pick songs that I love
because it's going to be a lot of time orchestrating
and arranging and writing around these themes. But also they
have to work on piano. So when you transcribe something
that was original like Flowers for instance, Flowers was written
(15:21):
for a vocal and when I was arranging it for
solo piano. I wasn't sure if it was going to
work because without you know, piano doesn't have the ability
to do like portamento or any kind of slides or
vibrato like a string instrument. So first I have to
figure out while choosing songs if it's gonna work sonically,
(15:45):
and then you know, it's a matter of just narrowing.
It's always like fifty sixty songs I start with and
then narrowing them down to tell a story. I think
instrumental music is so amazing because there are no words,
so you can really craft a story and you can
really be creative when when picking repertoire. Yeah, and I
(16:08):
always I always want to I for this album in
particular and my last Christmas album, I wanted to include
different genres. So we have you know, modern pop songs,
we have rama, which was you know, from the seventeen hundreds,
and then we have original music. So all of that
was really important to me to include all of the
genres that matter to me. But the song was the
(16:31):
album was actually supposed to be a Valentine's Day album,
and as I was going through the songs, I realized
I was like thinking about Oh, I was like, oh,
I listened to this song when I was going through
a breakup, or oh, I would listen to this song,
you know, when I was feeling really down. And then
I thought, what would be so much cooler and just
more impactful for me is to make the album about
(16:52):
loving yourself self love, because you really can't love somebody
until you love yourself right, and the most important love
you have is the love you have with yourself. So
I chose songs that were empowering, but also songs that
I listened to when I was feeling down, and then
a couple songs I wrote when I was feeling really down.
(17:13):
So that was how I created the track list for
this particular album.
Speaker 3 (17:19):
We'll be right back with more of the Taken a
Walk podcast. Welcome back to the Taking a Walk Podcast.
Speaker 4 (17:30):
The folks that you end up collaborating with, is that
sort of a bit of a trial and error as well,
that you're going to bring them on board with the
project or does that just happen organically?
Speaker 1 (17:42):
You know?
Speaker 2 (17:42):
I think for features, I was very intentional about my features.
The features on my album. They are such pros of
pro so we have Babyface, we have Jojo, we have
Nicol Schers and request Love. They all brought something very
specific to the song that they worked on with me
and performed with me. And as I was choosing songs
(18:06):
and writing the arrangements, I didn't necessarily think I was
going to be able to have features because these are
huge names. There's huge stars like I don't know if
they have time to come record with me. So it
had to work both without the vocal and with as
I was writing the arrangement. But then, you know, when
I when I was listening, I would think who would
be good for this song and who would be you know, Babyface,
(18:30):
And yesterday was like perfect, you know perfect?
Speaker 4 (18:33):
And I know that you have a history with with
him obviously, right he he he helped start things for you,
didn't he absolutely?
Speaker 2 (18:41):
And yeah, yeah, having that history with him allowed me
to really understand his vocals, his range, how he what
kind of songs mean me mean something to him, how
his how he sings. And I was like, oh gosh,
if he did yesterday like with that falsetto, you know,
it will be so angelic and and my version is
much slower than the original. And Jojo, you know. I
(19:03):
was actually with her at the opening of Sunset Boulevard.
We were there to see Nicole Scherzinger for her opening
night and we were talking during intermission and I was like,
you know, I'm doing the very thought of you and
you could kill that. I was like, you could kill it.
Even though it's an f I'm so sorry, it's two
whole steps above your vocal range, but I still feel
like you can kill this song. And so basically I
(19:27):
had recorded the whole album as is, without any vocal features,
without any without any confirmation that these features were going
to happen. Except Babyface. Babyface I knew was going to happen.
He came to London with me. But the rest I
really had to be very intentional about asking and sending
the piece and making sure that I felt authentically that
(19:50):
it was a perfect match.
Speaker 4 (19:52):
I mean, yesterday is just the beauty of it just
you know, brings you to tears and it's just it's
just marvelous. How about being in Abbey Roads Studios and
working there, What did that mean to you?
Speaker 2 (20:08):
Oh my gosh, it was just such a dream come true.
I'm a huge Beatles fan. I think the Beatles are
like the You know, not only are they one of
the best groups in the world, a lot of their
music has been inspired by classical music, and I think
that is so beautiful, Like Hey Jude, is the same
(20:29):
theme as a Bach harpsichord concerto, the Arioso, I think
it's called. And I really respect musicians who appreciate classical
music and incorporate that into their music, because when you're
that big of a star, you're bringing classical music to
so many other people. So Yesterday is actually also a
(20:52):
little bit of its theme is based off of a
piano sonata of brockmaninoff very obscure one that people don't
really know. But still it's very very beautiful. And yeah,
so I was a huge fan, like from the from
the Womb, and Yesterday was on my bucket list to
(21:13):
write and arrange because my mother and I listened to
that song all the time when I was little. She
actually used to have this VHS tape of a TV
shown Korea called Yesterday shipped to us by her friend,
and it played the theme song like all the whole
way through the every episode, like in Korea, like Korean
(21:35):
soap operas are like forty episodes per season, like maybe fifties,
you have to hear it. I like listened to a
lot of yesterday and it like, it was so cool
to see this song in a Korean drama coming here
on like you know, on a VHS tape and me
listening it to with my mother, who is you know,
an immigrant. It was this connection. So for me to
(21:57):
record it at Abbey Road with the Royal Philharmonic in
a place where Ringo star, in the same room where
Ringo star did all his drums was just like it
was just such an incredible experience. I feel so grateful.
Speaker 4 (22:10):
Do you ever just stop and think and go, okay,
going from mechanics Burg, Pennsylvania to Abbey Roads Studios, How
did this happen?
Speaker 2 (22:25):
You know? I think maybe my Like you know, I
always joke that my superpower isn't my talent, but it's luck, right,
I think, And I'm very aware of the opportunity I've
been given and the luck that I've been given by
the universe or God or whoever you want to call it.
If I had not had access, I had parents who
(22:47):
really supported the arts and made it a very conscious
effort to give me Violin lessons and piano lessons and cello.
I played cello for ten years as well, and I
understand how lucky I am to have that, but luck
to you know, my piano teacher always said uck is
when preparation meets opportunity. So I think being lucky and
then also working hard and just never you know, never
(23:09):
having a dream too small. You know, it was a
crazy dream. Are there lots of mechanics and mechanics Burg.
Everyone in New York would ask me that, And you know,
going from mechanics Burg to New York and then and
then going to London. I mean, it's just such a
it's such a wh when I look back, I almost
can't believe it, like I never expected it. But also
(23:31):
I had big dreams and I didn't want to stay
in the Mechanicsburg. I wanted to expose people to classical music.
I wanted to have a career in music, and I
told myself, like, I'm going to be open minded whatever
it takes to have a career in classical music. I'm
going to make sure that I work hard for that
and seize every opportunity. So that was kind of my focus.
(23:52):
But yeah, I could have never I didn't even think
I was gonna be at Abbey Road like three years ago.
Three years ago, I was like, like, couldn't have imagined
me going to abby Road and recording with the Royal Philharmonic.
It was amazing.
Speaker 4 (24:06):
So is it the sense of incredible gratitude that you
have that ultimately influences you and led you to being
such an advocate for you know the issue of human
trafficking being recognized and also you know music.
Speaker 1 (24:27):
Education as well.
Speaker 4 (24:29):
Is it that at its core that has driven you
to have this purpose?
Speaker 3 (24:34):
Oh?
Speaker 2 (24:34):
Absolutely, I think that is the core. You nailed it.
When I got involved in anti human trafficking, it was
two thousand and six. I was in Cambodia kind of
on a vacation, and I considered myself well traveled. I
considered myself, you know, reasonably intelligent. I watched the news
(24:56):
and I knew nothing about human trafficking. I had no idea.
Back then, it was only a one point five billion
dollar industry. Now it's like four hundred and fifty billion
dollar year industry. But I had no idea, and I
thought that was just horrible. And what I realized was
that access to music education, like human trafficking, is largely
(25:20):
based on geography, and justice can never be based on geography.
And if I had been born in cm Reape who
I probably wouldn't be performing with Cardi B at the Grammys.
I probably wouldn't have the same opportunity and education to music.
But also I would be much more vulnerable to human trafficking. Right, So,
(25:41):
I think having been given so much opportunity, having understanding
how lucky I am has definitely made me feel like
I had. My purpose is to advocate for music education
so that everybody has access, because I really do believe
that music education is a tool of prevention against human
trafficking because when you look at human trafficking as a whole,
(26:04):
what are the root causes of human trafficking Poverty, lack
of identity, lack of self worth and self esteem, lack
of community. And then when you look at what music
education programs can do for a community, they provide self worth, identity,
connection to your community, and they kind of overcome material
poverty in a way because all of a sudden you
(26:27):
have this worth is self worth. And so I made
that discovery back in twenty ten, and when I was
writing a speech at the un it just occurred to
me at this like light bulb moment when I was like,
how am I going to talk about music education and
human trafficking in one speech? And so then that really
was I was able to really hone in on this
(26:49):
music education and show people like, really, this is very important.
Even though it's not a tangible thing that you can touch,
the benefits of having a music program in a school
and a community are one of them powerful tools we
have to create a better society. So that became my purpose,
and I think the only way for me to enjoy
life and live a long, happy life is to have purpose.
(27:11):
Though that was important to me, and.
Speaker 4 (27:13):
But I also bringing you know, back to the beginning,
bringing classical music more upfront to people, and you know,
intertwining it brilliantly with pop music and all other genres,
making it more accessible to people.
Speaker 2 (27:30):
The goal is to show people who don't necessarily have
access that this art form is valuable and it's relevant
and all of us can benefit from it. It's like
push ups for your brain, you know. I say to
adults all the time who are telling me, oh I
wish I never quit piano, or oh I wish I
learned piano I'm like, it's not really like too late
(27:53):
at all.
Speaker 3 (27:54):
You know.
Speaker 2 (27:54):
It's like, would you tell an athlete like, oh I
wish you know, I don't exercise because I'm not going
to become a professional athlete. It's a why exercise, right,
It's the same thing. It's like, it's exercise for your brain,
it's exercise for your soul. It's something that I think
we should all be participating in at least once a week.
Speaker 1 (28:12):
Well.
Speaker 4 (28:12):
Enclosing, I think I know the answer to this question
because you touched on this earlier, but I do have
to ask you. I produce this other podcast and it's
called Music Save Me, and it's about the healing power
of music on so many different levels. So do you believe,
(28:33):
Chloe that music has healing power?
Speaker 1 (28:36):
Oh?
Speaker 2 (28:37):
Absolutely. I mean if you're feeling really down and you
listen to your favorite song ever, like, you're not going
to feel worse after, right, You're probably going to feel better.
If you know, you might even have goosebumps, you might
even feel happier. And that's why they do all these
studies about listening to music while you exercise can be motivating.
So definitely, I think I think music has this amazing
(28:59):
ability to to heal, whether you're playing or just listening.
And I when I was I don't think anybody knows
this story. In fact, you're probably going to be the
first person to hear the story. But when I was
twelve years old, one of my best friends was coming
to visit me for my birthday and she and her
boyfriend were her like not her boyfriend, but like because
(29:19):
we were like twelve, but like, you know, her little
boyfriend friend. They were hit by a train and killed.
And I remember her sister called me and was like, Melissa,
can't come to your birthday. She died in a train accident.
And it was so traumatizing, like for me, and I
immediately went to the piano and just played chopin for
(29:41):
like five days straight, very emotional chopin pieces right, and
that really got me through like a very traumatic experience
instead of like doing something negative, you know, I put
all of that emotion into music. And I always wished
that other people could have that opportunity to be able
to channel their emotions, whether they're good or bad, into music.
(30:04):
And that's why I think music therapy is so important,
especially especially in healing and in hospitals, in therapy centers
and just in your home. So yes, sorry that was
a long answer.
Speaker 1 (30:16):
No, sorry whatsoever. Chloe.
Speaker 4 (30:20):
I feel like, even though you've been at it for decades,
that you're just beginning. I know this, This this incredible adventure,
and I'm so grateful that you took the time to
be on Taking a Walk. Congratulations on the new album
I Love Me More and.
Speaker 1 (30:40):
It's it's sensational. Your work is amazing.
Speaker 4 (30:44):
I can't wait to continue to see your your star
rise even more. And I hope someday you'll come back
and say hi and we can we can catch.
Speaker 2 (30:55):
Up wise and hopefully in person next time.
Speaker 1 (30:58):
That would be That would be wonderful.
Speaker 2 (31:00):
Yes, thank you so much for having me, and thank
you for all of the work that you do on
your podcast and the other one. It's really amazing. So
thank you for having.
Speaker 1 (31:08):
Me, Chloe Flower. Thanks for being on Taking a Walk.
Speaker 3 (31:12):
Thanks for listening to this episode of the Taking a
Walk podcast. Share this and other episodes with your friends
and follow us so you never miss an episode. Taking
a Walk is available on the iHeartRadio app, Apple Podcasts,
and wherever you get your podcasts.
Taking a Walk.
Speaker 2 (00:01):
When I was twelve years old, one of my best
friends was coming to visit me for my birthday, and
she and her boyfriend were her like, not her boyfriend
but because we were like twelve, but like, you know,
her little boyfriend friend. They were hit by a train
and killed, and I remember her sister called me and
(00:22):
was like, Melissa, can't come to your birthday. She died
in a train accident, and it was so traumatizing, like
for me, and I immediately went to the piano and
just played Chopin for like five days straight.
Speaker 3 (00:34):
Welcome to the Taken a Walk Podcast, where Buzz Night
speaks with musicians of all types that are making their mark.
Buzz is thrilled to be joined by a true musical trailblazer,
Chloe Flower. Chloe is a world renowned pianist, composer, and
producer who's redefining what it means to be a classical
musician in the modern era. Known for her electrifying performances
(00:58):
and her signature popsicles sound a seamless blend of classical
and pop, Chloe's captivated audiences everywhere from the Grammy stage
to viral social media clips. Chloe is here to discuss
your brand new album I Love Me More, and we
welcome her right now to the Taking a Walk Podcast
with buzz Night.
Speaker 4 (01:19):
Hi Chloe, thanks for being on Taking a Walk.
Speaker 2 (01:22):
Thank you for having me.
Speaker 1 (01:24):
It's so special.
Speaker 4 (01:25):
So since we call this podcast taking a Walk, I
have to ask you if you could take a walk
with someone living or dead. They don't have to be
involved in the world of music, but they could be.
But it could be someone also important to you in
different ways. Who would you like to take a walk
(01:45):
with and where would you take that walk?
Speaker 2 (01:50):
You know, it's funny because some of my best ideas
and my best thinking happens when I walk. And so
I recently sprained both of my ankles. Oh yeah, it's
been a struggle for me and I really didn't know
how much I missed taking those walks. So this is
(02:11):
a great question for me. I think if I could
walk with anybody, it would be Rock mon and Off.
And the reason I say that, like it's really hard
for me. I would always I would choose a musician,
but it's like between mozart Sister and rock monon Off,
like I can't decide. Basically, I would ask Mozart's sister, like,
(02:31):
tell me everything, what did you write, what did you
really write? What did you not get credit for? But
you know, Rock Mononoff, really his story really interests me.
You know, he almost didn't write the Second Piano Concerto,
which is like one of the most the love pieces
in the world in the classical space. And actually the
(02:52):
love for that piece extends so far beyond you hear
it in All by Myself, and you hear that theme
in so many pop songs in that I even took
that little theme and recreated it for my first album.
But he almost didn't write that piece because he went
through like a severe depression after his first symphony he wrote.
I think it was in the late eighteen hundreds. He
(03:15):
wrote a symphony in D minor and it was a disaster,
like everybody hated it, and he went into a severe
depression and almost never composed again. But he saw therapy.
He went to this doctor, I think it was doctor
dol And I want to know what they talked about,
because they don't ever tell you what was said. You
(03:37):
just have these letters written by him that you know
he was so depressed and he never was going to
compose again. And then oh, I sought help, went to
a hypnotist, which I think we call a therapist today,
and now you know, I feel re energized and reinspired,
and he wrote the most beautiful piece in the world.
And so I think for me, as an artist, I
would love to know how he coped with that, because
(03:59):
as an artist, especially in the classical space, we're so
subject to criticism and I would just like to know
how he dealt with that on such a large scale.
And I feel like that would take up the whole walk.
Speaker 4 (04:13):
And I believe I've only spent a couple of minutes
with you. I believe you would uncover the secret in
the story.
Speaker 1 (04:22):
It wouldn't take you very very.
Speaker 2 (04:24):
Long, I hope. Well maybe one day in another world,
an there you go.
Speaker 4 (04:31):
Maybe that's right. So what's the earliest memory for you
of playing music? I mean, I know you started at
an incredibly young age, but beyond the age of three,
which is I believe when you started. Do you have
an earlier memory than that in terms of you playing.
Speaker 2 (04:53):
I started at two and my mother said that she
actually corrected I did during the pandemic. I did this
zoom performance and she joined because it was my sister's
company and I was speaking and this was kind of
when people didn't understand zoom as well as they do
now it's like new. And she interrupted my talk cause
(05:14):
I was talking about my first childhood, my first performance
ever at three years but I thought I was six
at a nursing home and my mother was like, no,
you were three. Like she didn't mute herself, she just
started talking, and so it was funny, but it was news, right,
So I was like, oh, I thought I was six,
but I was three actually, And I do remember being
(05:35):
in this nursing home in my hometown and sitting on
a telephone book because we had telephone books back then,
and a little pillow and playing. I remember looking at
at the audience and seeing everybody was asleep and nobody
was really listening to me play. But I remember afterwards
like they clapped and I was such a baby. But
(05:57):
I remember feeling like, oh, this music is and this
music is healing. I remember thinking like, I don't sorry,
my dog is here. I remember thinking like I don't
I kind of at a very early age, them even
having me there made me understand and appreciate the power
of music therapy and live performance for people and how
(06:20):
special that was, even though I was three and I
probably didn't play very well. But yeah, so that's kind
of an early I mean even earlier than that, the
very first memory I have. I remember stickers on the piano,
but oh, she hears her.
Speaker 4 (06:35):
We welcome We welcome dogs to the Taking a Walk podcast.
Speaker 1 (06:39):
What is your dog's name?
Speaker 2 (06:40):
This is Wolfy her her her full name is Wolfguardea Dang,
but Wolfguard the female version.
Speaker 1 (06:48):
What kind of dog is Wolfy?
Speaker 2 (06:50):
She's a she's a Chihuahua. She's a rescue. She's my
ninth foster that kind of turned into I kept her.
But she's such a good girl, and oh she's beautiful.
She's beautiful. So I got her at a very young age,
so she has no trauma, unlike a lot of my
other fosters, so I really I'm grateful. But she just
saw her boyfriend, so she's freaking out.
Speaker 1 (07:12):
You can tell, right.
Speaker 4 (07:12):
Yeah, we're going to get into your masterpiece new release.
I Love me More, which is just incredible. But I
do want to talk a little bit more about you
and your career. I have a question for you, though,
(07:34):
from a fellow musician who admires you.
Speaker 1 (07:39):
His name is Black Bok.
Speaker 3 (07:41):
Oh.
Speaker 2 (07:41):
I love Black Bok.
Speaker 1 (07:43):
He's a New Yorker, he is, he's a big fan.
And so here's his question.
Speaker 2 (07:51):
Okay.
Speaker 4 (07:51):
He said, classical music is known for its structure and tradition.
So what inspired you, as a trained pianist to take
a different creative path instead of following the traditional concert
pianist root and how has that sort of shaped your
(08:13):
art as a whole.
Speaker 2 (08:15):
Wow, that's a really great question. I think you know,
when you've spent your whole life studying classical music, it's
very rigorous, the discipline, the training, the sacrifice that you
make to be a classical musician as a profession. It
is a lot of structure, not just within the music,
(08:38):
but within the career space. And for me, I loved
the structure of classical music. You know, I love I
love classical music, but I also grew up loving pop music,
and I always compartmentalize those two genres like this is
my pop life and this is you know, when I'm listening,
when I'm listening in my room, I can listen to
(09:00):
this when I'm not practicing. And often when I was practicing,
I would practice two hours at a time and then
I would take a fifteen minute break and then practice
another hour or two hours, And during those fifteen minutes,
I spent the entire time listening to pop music, like
you know, like top forty music. What was available to me,
you know, And we didn't have like Spotify and things
(09:23):
like that. We had YouTube, but we didn't have like
streaming services like Amazon Music and Apple Music. And I
think like having done that like every day for my
whole life, it just naturally gave me this sensitivity and
(09:43):
feeling for pop music as well, not just not just
not just the aesthetic, but like the structure, Like pop
structure is very different, but it still has a structure.
And so I think for me, it was all about
not being stuck in this box. Like I loved music
from the Beatles, I loved music from you know, pop artists,
(10:07):
and I just always thought that I was going to
be a classical musician and I couldn't do both. And
so as I got older, I was like, well, why
can't I do both? And I think part of the
beautiful thing about music is being able to not live
in a box. I think that's the glory of music,
is to experiment. And it was hard for me, because
(10:29):
you know, it was looked down upon. I was kicked
out of a chamber group. I did a hip hop
concert in New York, and I remember my chamber group
was like, that's selling out. We don't want you in
our group anymore. And so that, you know, I struggled
with a lot of that, but that actually fired me
up because I was like, that is not fair, and
(10:50):
I don't think it's the right approach. I think if
you really love music, you can love all styles of music.
So for me, it was more it was almost like
a bellion breaking out of that classical structure and doing
experimenting and doing doing things that I hadn't heard before.
And with that comes confusion, but also it's very exciting,
(11:13):
and so I think I kind of fed off of
that excitement.
Speaker 4 (11:17):
And you created a new path called popsicle.
Speaker 1 (11:20):
Right.
Speaker 2 (11:22):
If I try to explain to you what popsicle is,
it would be so long and hard. So it just
found that word popsicle to be very like easy pop.
Speaker 1 (11:30):
But I think you just did.
Speaker 4 (11:32):
You just did explain it without me even asking you did.
You did just explain it. There is a furthermore, by
the way, I can't forget that black Bawk said, he said,
and and furthermore, when can we collaborate?
Speaker 2 (11:44):
That was his other Furthermore, as I love what he does.
He does great tiktoks, he does really cool things. He's
such a swag. I love him. He's so he did
a show over at Joe's Pub that sadly I missed,
But I can't wait to collaborate. I love collaborating. You know,
as a pianist, he would understand how solitary it can be.
We don't have an orchestra that we go to. You know,
(12:06):
I serve on the board of the Manhattan School of
Music and I just came literally just walked in the
door from that meeting, and there we were talking about
Aspen Summer Music Festival, and I was laughing that like,
as a pianist, I was much less busier than the
violinists because I was always alone practicing in my practice
room as opposed to doing different, you know, orchestral sessions
and stuff. So it's always nice to collaborate.
Speaker 4 (12:31):
Well, speaking of collaborating, your performance with Cardi b was
a pretty amazing moment there at the Grammys.
Speaker 1 (12:40):
How did that come about?
Speaker 4 (12:42):
And as you reflect on it now, how did that
really impact your career?
Speaker 2 (12:47):
Yeah, I mean that obviously, you know, happened to twenty nineteen,
and you know people are still talking about that and
wanting to talk about that, So I know how much
of an impact culturally and musically that performance had. But
had I not stepped outside of that structure, and had
I not gone to another level musically experimentally, I wouldn't
(13:09):
have had that opportunity. I was actually on social media
just playing around with pop songs and just playing over
top of them. That particular performance. Her team had seen
me perform Humble by Kendrick Lamar over his playing some
piano over his song, and when they heard that, that's
(13:30):
when they reached out to me. They just called me.
They got my number from my friend who's also a publicist,
Lauren Chardini, and they reached out to her through They
reached out to me through her, and yeah, and they
were like, we saw this Humble cover and we want
you to come play with Cardi and it's amazing. I
think had I not really openly stepped out of the
(13:53):
box on socials and shown people and social media is
great because it gives you that platform to experiment and
I wouldn't have had that, and I probably wouldn't be
talking to you today. Maybe maybe I would be, but
you know, maybe not.
Speaker 4 (14:07):
There's always a reason, right that things happen, for sure. Yeah,
so let's talk about this fantastic project. You must be
so excited about it. The world is excited about I
love me More. There's so many elements that I want
to talk about. First of all, how when you're embarking
(14:27):
on such a project like that do you first consider
the specific songs and then how do you then like
work through who the collaborators are going to be.
Speaker 2 (14:40):
Yeah, Actually, for a pianist, picking the music is probably
the hardest part, I think. I think there's so much
amazing repersoire it's really hard to narrow it down to
like fourteen to eighteen songs. Like if I could, I
would record a thousand song album probably, But what I
(15:01):
have to do is first pick songs that I love
because it's going to be a lot of time orchestrating
and arranging and writing around these themes. But also they
have to work on piano. So when you transcribe something
that was original like Flowers for instance, Flowers was written
(15:21):
for a vocal and when I was arranging it for
solo piano. I wasn't sure if it was going to
work because without you know, piano doesn't have the ability
to do like portamento or any kind of slides or
vibrato like a string instrument. So first I have to
figure out while choosing songs if it's gonna work sonically,
(15:45):
and then you know, it's a matter of just narrowing.
It's always like fifty sixty songs I start with and
then narrowing them down to tell a story. I think
instrumental music is so amazing because there are no words,
so you can really craft a story and you can
really be creative when when picking repertoire. Yeah, and I
(16:08):
always I always want to I for this album in
particular and my last Christmas album, I wanted to include
different genres. So we have you know, modern pop songs,
we have rama, which was you know, from the seventeen hundreds,
and then we have original music. So all of that
was really important to me to include all of the
genres that matter to me. But the song was the
(16:31):
album was actually supposed to be a Valentine's Day album,
and as I was going through the songs, I realized
I was like thinking about Oh, I was like, oh,
I listened to this song when I was going through
a breakup, or oh, I would listen to this song,
you know, when I was feeling really down. And then
I thought, what would be so much cooler and just
more impactful for me is to make the album about
(16:52):
loving yourself self love, because you really can't love somebody
until you love yourself right, and the most important love
you have is the love you have with yourself. So
I chose songs that were empowering, but also songs that
I listened to when I was feeling down, and then
a couple songs I wrote when I was feeling really down.
(17:13):
So that was how I created the track list for
this particular album.
Speaker 3 (17:19):
We'll be right back with more of the Taken a
Walk podcast. Welcome back to the Taking a Walk Podcast.
Speaker 4 (17:30):
The folks that you end up collaborating with, is that
sort of a bit of a trial and error as well,
that you're going to bring them on board with the
project or does that just happen organically?
Speaker 1 (17:42):
You know?
Speaker 2 (17:42):
I think for features, I was very intentional about my features.
The features on my album. They are such pros of
pro so we have Babyface, we have Jojo, we have
Nicol Schers and request Love. They all brought something very
specific to the song that they worked on with me
and performed with me. And as I was choosing songs
(18:06):
and writing the arrangements, I didn't necessarily think I was
going to be able to have features because these are
huge names. There's huge stars like I don't know if
they have time to come record with me. So it
had to work both without the vocal and with as
I was writing the arrangement. But then, you know, when
I when I was listening, I would think who would
be good for this song and who would be you know, Babyface,
(18:30):
And yesterday was like perfect, you know perfect?
Speaker 4 (18:33):
And I know that you have a history with with
him obviously, right he he he helped start things for you,
didn't he absolutely?
Speaker 2 (18:41):
And yeah, yeah, having that history with him allowed me
to really understand his vocals, his range, how he what
kind of songs mean me mean something to him, how
his how he sings. And I was like, oh gosh,
if he did yesterday like with that falsetto, you know,
it will be so angelic and and my version is
much slower than the original. And Jojo, you know. I
(19:03):
was actually with her at the opening of Sunset Boulevard.
We were there to see Nicole Scherzinger for her opening
night and we were talking during intermission and I was like,
you know, I'm doing the very thought of you and
you could kill that. I was like, you could kill it.
Even though it's an f I'm so sorry, it's two
whole steps above your vocal range, but I still feel
like you can kill this song. And so basically I
(19:27):
had recorded the whole album as is, without any vocal features,
without any without any confirmation that these features were going
to happen. Except Babyface. Babyface I knew was going to happen.
He came to London with me. But the rest I
really had to be very intentional about asking and sending
the piece and making sure that I felt authentically that
(19:50):
it was a perfect match.
Speaker 4 (19:52):
I mean, yesterday is just the beauty of it just
you know, brings you to tears and it's just it's
just marvelous. How about being in Abbey Roads Studios and
working there, What did that mean to you?
Speaker 2 (20:08):
Oh my gosh, it was just such a dream come true.
I'm a huge Beatles fan. I think the Beatles are
like the You know, not only are they one of
the best groups in the world, a lot of their
music has been inspired by classical music, and I think
that is so beautiful, Like Hey Jude, is the same
(20:29):
theme as a Bach harpsichord concerto, the Arioso, I think
it's called. And I really respect musicians who appreciate classical
music and incorporate that into their music, because when you're
that big of a star, you're bringing classical music to
so many other people. So Yesterday is actually also a
(20:52):
little bit of its theme is based off of a
piano sonata of brockmaninoff very obscure one that people don't
really know. But still it's very very beautiful. And yeah,
so I was a huge fan, like from the from
the Womb, and Yesterday was on my bucket list to
(21:13):
write and arrange because my mother and I listened to
that song all the time when I was little. She
actually used to have this VHS tape of a TV
shown Korea called Yesterday shipped to us by her friend,
and it played the theme song like all the whole
way through the every episode, like in Korea, like Korean
(21:35):
soap operas are like forty episodes per season, like maybe fifties,
you have to hear it. I like listened to a
lot of yesterday and it like, it was so cool
to see this song in a Korean drama coming here
on like you know, on a VHS tape and me
listening it to with my mother, who is you know,
an immigrant. It was this connection. So for me to
(21:57):
record it at Abbey Road with the Royal Philharmonic in
a place where Ringo star, in the same room where
Ringo star did all his drums was just like it
was just such an incredible experience. I feel so grateful.
Speaker 4 (22:10):
Do you ever just stop and think and go, okay,
going from mechanics Burg, Pennsylvania to Abbey Roads Studios, How
did this happen?
Speaker 2 (22:25):
You know? I think maybe my Like you know, I
always joke that my superpower isn't my talent, but it's luck, right,
I think, And I'm very aware of the opportunity I've
been given and the luck that I've been given by
the universe or God or whoever you want to call it.
If I had not had access, I had parents who
(22:47):
really supported the arts and made it a very conscious
effort to give me Violin lessons and piano lessons and cello.
I played cello for ten years as well, and I
understand how lucky I am to have that, but luck
to you know, my piano teacher always said uck is
when preparation meets opportunity. So I think being lucky and
then also working hard and just never you know, never
(23:09):
having a dream too small. You know, it was a
crazy dream. Are there lots of mechanics and mechanics Burg.
Everyone in New York would ask me that, And you know,
going from mechanics Burg to New York and then and
then going to London. I mean, it's just such a
it's such a wh when I look back, I almost
can't believe it, like I never expected it. But also
(23:31):
I had big dreams and I didn't want to stay
in the Mechanicsburg. I wanted to expose people to classical music.
I wanted to have a career in music, and I
told myself, like, I'm going to be open minded whatever
it takes to have a career in classical music. I'm
going to make sure that I work hard for that
and seize every opportunity. So that was kind of my focus.
(23:52):
But yeah, I could have never I didn't even think
I was gonna be at Abbey Road like three years ago.
Three years ago, I was like, like, couldn't have imagined
me going to abby Road and recording with the Royal Philharmonic.
It was amazing.
Speaker 4 (24:06):
So is it the sense of incredible gratitude that you
have that ultimately influences you and led you to being
such an advocate for you know the issue of human
trafficking being recognized and also you know music.
Speaker 1 (24:27):
Education as well.
Speaker 4 (24:29):
Is it that at its core that has driven you
to have this purpose?
Speaker 3 (24:34):
Oh?
Speaker 2 (24:34):
Absolutely, I think that is the core. You nailed it.
When I got involved in anti human trafficking, it was
two thousand and six. I was in Cambodia kind of
on a vacation, and I considered myself well traveled. I
considered myself, you know, reasonably intelligent. I watched the news
(24:56):
and I knew nothing about human trafficking. I had no idea.
Back then, it was only a one point five billion
dollar industry. Now it's like four hundred and fifty billion
dollar year industry. But I had no idea, and I
thought that was just horrible. And what I realized was
that access to music education, like human trafficking, is largely
(25:20):
based on geography, and justice can never be based on geography.
And if I had been born in cm Reape who
I probably wouldn't be performing with Cardi B at the Grammys.
I probably wouldn't have the same opportunity and education to music.
But also I would be much more vulnerable to human trafficking. Right, So,
(25:41):
I think having been given so much opportunity, having understanding
how lucky I am has definitely made me feel like
I had. My purpose is to advocate for music education
so that everybody has access, because I really do believe
that music education is a tool of prevention against human
trafficking because when you look at human trafficking as a whole,
(26:04):
what are the root causes of human trafficking Poverty, lack
of identity, lack of self worth and self esteem, lack
of community. And then when you look at what music
education programs can do for a community, they provide self worth, identity,
connection to your community, and they kind of overcome material
poverty in a way because all of a sudden you
(26:27):
have this worth is self worth. And so I made
that discovery back in twenty ten, and when I was
writing a speech at the un it just occurred to
me at this like light bulb moment when I was like,
how am I going to talk about music education and
human trafficking in one speech? And so then that really
was I was able to really hone in on this
(26:49):
music education and show people like, really, this is very important.
Even though it's not a tangible thing that you can touch,
the benefits of having a music program in a school
and a community are one of them powerful tools we
have to create a better society. So that became my purpose,
and I think the only way for me to enjoy
life and live a long, happy life is to have purpose.
(27:11):
Though that was important to me, and.
Speaker 4 (27:13):
But I also bringing you know, back to the beginning,
bringing classical music more upfront to people, and you know,
intertwining it brilliantly with pop music and all other genres,
making it more accessible to people.
Speaker 2 (27:30):
The goal is to show people who don't necessarily have
access that this art form is valuable and it's relevant
and all of us can benefit from it. It's like
push ups for your brain, you know. I say to
adults all the time who are telling me, oh I
wish I never quit piano, or oh I wish I
learned piano I'm like, it's not really like too late
(27:53):
at all.
Speaker 3 (27:54):
You know.
Speaker 2 (27:54):
It's like, would you tell an athlete like, oh I
wish you know, I don't exercise because I'm not going
to become a professional athlete. It's a why exercise, right,
It's the same thing. It's like, it's exercise for your brain,
it's exercise for your soul. It's something that I think
we should all be participating in at least once a week.
Speaker 1 (28:12):
Well.
Speaker 4 (28:12):
Enclosing, I think I know the answer to this question
because you touched on this earlier, but I do have
to ask you. I produce this other podcast and it's
called Music Save Me, and it's about the healing power
of music on so many different levels. So do you believe,
(28:33):
Chloe that music has healing power?
Speaker 1 (28:36):
Oh?
Speaker 2 (28:37):
Absolutely. I mean if you're feeling really down and you
listen to your favorite song ever, like, you're not going
to feel worse after, right, You're probably going to feel better.
If you know, you might even have goosebumps, you might
even feel happier. And that's why they do all these
studies about listening to music while you exercise can be motivating.
So definitely, I think I think music has this amazing
(28:59):
ability to to heal, whether you're playing or just listening.
And I when I was I don't think anybody knows
this story. In fact, you're probably going to be the
first person to hear the story. But when I was
twelve years old, one of my best friends was coming
to visit me for my birthday and she and her
boyfriend were her like not her boyfriend, but like because
(29:19):
we were like twelve, but like, you know, her little
boyfriend friend. They were hit by a train and killed.
And I remember her sister called me and was like, Melissa,
can't come to your birthday. She died in a train accident.
And it was so traumatizing, like for me, and I
immediately went to the piano and just played chopin for
(29:41):
like five days straight, very emotional chopin pieces right, and
that really got me through like a very traumatic experience
instead of like doing something negative, you know, I put
all of that emotion into music. And I always wished
that other people could have that opportunity to be able
to channel their emotions, whether they're good or bad, into music.
(30:04):
And that's why I think music therapy is so important,
especially especially in healing and in hospitals, in therapy centers
and just in your home. So yes, sorry that was
a long answer.
Speaker 1 (30:16):
No, sorry whatsoever. Chloe.
Speaker 4 (30:20):
I feel like, even though you've been at it for decades,
that you're just beginning. I know this, This this incredible adventure,
and I'm so grateful that you took the time to
be on Taking a Walk. Congratulations on the new album
I Love Me More and.
Speaker 1 (30:40):
It's it's sensational. Your work is amazing.
Speaker 4 (30:44):
I can't wait to continue to see your your star
rise even more. And I hope someday you'll come back
and say hi and we can we can catch.
Speaker 2 (30:55):
Up wise and hopefully in person next time.
Speaker 1 (30:58):
That would be That would be wonderful.
Speaker 2 (31:00):
Yes, thank you so much for having me, and thank
you for all of the work that you do on
your podcast and the other one. It's really amazing. So
thank you for having.
Speaker 1 (31:08):
Me, Chloe Flower. Thanks for being on Taking a Walk.
Speaker 3 (31:12):
Thanks for listening to this episode of the Taking a
Walk podcast. Share this and other episodes with your friends
and follow us so you never miss an episode. Taking
a Walk is available on the iHeartRadio app, Apple Podcasts,
and wherever you get your podcasts.
Host
Lynn Hoffman
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