December 6, 2024 • 25 mins
Join @thebuzzknight with rising Glassnote Records recording artist Dylan Cartlidge. He is the genre-bending musician from Yorkshire England, and he gives an inside look at creating new music, his new single "New Day" and how music has transformed and saved his life. You'll be captivated by the story of Dylan Cartlidge and his infectious spirit.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Walk.
Speaker 2 (00:01):
So I definitely see myself as like a storyteller first
and foremost. Like I feel like I've always been a storyteller.
I face a very very traumatic upbringing out, experienced a
lot of trauma.
Speaker 3 (00:10):
I was facing trauma.
Speaker 2 (00:11):
Addiction, just lots of really really bad things, like bad
circumstances that weren't gonna go anywhere fast. When I feel
like goofing around or like, you know, messing around, or
you know, not taking things as seriously as should be,
I really do remember that this is this means so
much more than just the music to me.
Speaker 4 (00:28):
Welcome to this episode of the Taking a Walk podcast,
where Buzz Night speaks with musicians from emerging artists to
Hall of famers. This episode is no exception with Glass
Notes Records recording artists Dylan Cartilage. Dylan is a multi
talented multi instrumentalist that mixes hip hop, soul, gospel, rock,
(00:49):
and R and B. You may have caught him on
the BBC documentary The Mighty Red Car, where he was
chasing a record deal. Dylan's a fascinating and talented artist
and we're delighted to have him join Buzz Night on
this episode of Taking a Walk.
Speaker 5 (01:06):
Well Dylan, Thanks for being on taking a Walk. I'm
so excited to be talking to you. One of the
joys for me of taking a Walk is music discovery
and discovering your new music, which we'll talk about the
song New Day. When I first heard it, I had
to listen to it again, and I had to listen
to it again and again and again.
Speaker 1 (01:26):
It's fantastic.
Speaker 3 (01:27):
Thank you, thank you.
Speaker 2 (01:29):
I love that bo was Thank you so much for
not only the intro but also the law and the music.
I really had a blast making it, and so yeah,
for you to listen and to get something from that,
really appreciate that.
Speaker 5 (01:38):
So tell us about your musical journey from rapping at
age thirteen to incorporating live instruments and diverse genres into
your sound.
Speaker 1 (01:50):
Talk about the beginnings.
Speaker 2 (01:52):
Man, it wasn't an easy transition at all. I began,
like I said, I've began wrapping at thirteen, and you know,
kind of faced a you know, a bit of a
traumatic upbringing and began, you know, putting my art and
my music into into my craft. And then I went
to college. I ended up exclusively only listening to rap
(02:13):
music and pop music. I was like anything that had
a live instrument or anything that sounded remotely kind of live.
I was like, Oh, that's not for me, you know,
that's for the metal heads, you know, keep it away.
I don't want it, you know. I was really closed minded.
And then I ended up joining like a college band,
and in that band, I met two guys who were
these sort of almost like telepic sort of like Cypriot
brothers who loved you know, Jimmy Hendrix and John Frishanty.
(02:36):
One was a drummer, one was a guitarist, and they
had this kind of they had the leather jackets and
Chelsea boots and they sort of you know, we joined
this college band and I never looked back. Really opened
my mind to so much music. They showed me the
black the black Keys, the white stripes, Chili Pepper's just
a whole bunch of music I've never ever ever had
any exposure to, or even one frankly wanted exposure to
(02:57):
at that time, you know, and it totally changed for me.
You know, being in a band and being a DIY
band for like three or four years and being on
the road or squashing into cars and you know, punching
holes in ceilings and ripping t shirts at gigs.
Speaker 3 (03:10):
It was very different from the music that I make now.
You know, it's very like, you know, my angsty teenage phase.
Speaker 2 (03:14):
I feel like I was cutting my teeth and it
taught me so much about songwriting, so much about composition
and just really about the music industry and the music business.
And I really real and that is really something that
I take massive, you know, value from and from then
on after the band, I ended up taking those experiences
after leaving the band, being what do I do next?
And so I was like I was a rapper before,
(03:35):
I'll be a rapper afterwards. And I just incorporated lots
of the you know, the sort of musical element settlment
from the band and put it into what I'm doing now.
Speaker 5 (03:42):
So any particular musical mentors that really impacted you early
on in your life?
Speaker 2 (03:49):
Yeah, So I met I met two guitarists actually, so
like I said, one of them, I joined a band with,
who was a guy called George and again just just
seeing his passion for music. And it's somebody who was
a student to the guitar student and who just love,
like I said, loves Jimi Hendrix, John Frashanti and just
listening to him talk with passion about those artists and
(04:10):
seeing him play and it was like, man, I was like,
this guy was possessed by the spirit of old blues
guys and you know, Blind Lemon, Jefferson and all these
dudes on the porch of the Moonshine. I was like,
Oh my god, this is crazy. Like it just gave
me such a vigor for it. I met another guy,
another guitar is called Tom, who was this kind of crazy,
you know, this kind of crazy guy who'd lived a
bit of a mad life.
Speaker 3 (04:29):
You know.
Speaker 2 (04:29):
He's a little bit older, and I used to go
over to his place and he had this kind of
little analog recording four track thing that we used to
go over to his house on a weekend. He lived
in this little attic apartment in his dad's place, and
we'd just sit and record stuff for hours and hours.
And I think that was really my first kind of
like two people that I met that sort of like
I was completely nutterly enamored with, and they really began
(04:50):
to show me music and the recording process.
Speaker 5 (04:53):
So your song Yellow Brick Road has an interesting origin story.
Can you share how that track came together in how
that pivotal studio session occurred.
Speaker 2 (05:06):
Oh man, that Yellow Road was kind of like, yeah,
So I was working in a bar at the time.
It's kind of like a you know, like a chain
here in the UK, like a you know, a kind
of chain of pubs, and I basically was working in
that bar. I had to beg my manager on the
day like kind of please take this day off. I
felt like I had one foot still working in this
(05:26):
bar and another foot potentially and what could be a
career in music. And so I've got the opportunity to
go down and record in the studio with a producer
called James Dring, who was amazing. He's worked a lot
with this artist in the UK called Jamie t who's
amazing and also a he produced a lot on Demon
Days by Guerrillas, which is an album that I absolutely love.
And so I had this one studio session and it
really felt like whether this was the objective truth or not,
(05:47):
if there's such a thing, it really felt as though
like it was all riding on this session. It was
like if I can prove that I you know, could
kind of take like a fish to water and you know,
crank some really good songs out then you know, this
will lead to a career, and if not, then I'm
just gonna have to go back to the bar. So
I begged my manager to get this day off and
I went to the studio session. Everything was going really,
(06:07):
really well. It was my first time I'd ever done it.
I went to a studio that was wall to wall
WI gear for the first time. Oh my god, it
was like a musical cave, you know. And so then
we were jamming. You know, it got to about like
a half past five in the afternoon and James had
to leave at six, And everything had gone so well
up to then, like if I could write like a
you know, like a Disney script up to that point,
(06:28):
or you know, like a Coen Brothers script or to
that point, that was like the precise moment about everything
would run like that would be it. But then the
last half an hour of the session, it was like
everything fell apart. We just didn't have a chorus, and
I could feel the window of opportunity closing. I could
feel James, you know, saying, oh, you know, sometimes it
just doesn't work out. Don't worry, There'll be opportunities. And
I know that there wasn't going to be any other opportunities,
(06:49):
you know, and this was my shot, this was my chance.
And so James had a hard caught off. You had
to go pick up his kids from an after school club,
so you had to go. It got to like, you know,
free four minutes past six, and James are saying, Dyl,
I need to leave.
Speaker 3 (07:02):
I have to leave it.
Speaker 2 (07:02):
And I'm like, oh my god, I'm freaking out. And I said,
please just put the microphone on one more to please.
Speaker 3 (07:06):
I know you gotta go.
Speaker 2 (07:07):
Can you please turn the microphone on? And I run
over to the microphone just like my eyes all over
the place, thinking about all the possibilities in which where
it's going to blow up. And I just sang the
chorus of the song and that was the chorus. And
we had this almost like crazy like religious moment, like
this ufar it moment where we were dancing around and
just like we just got it. It was there and
it was an eleventh hour the last minutes, but it worked.
Speaker 1 (07:28):
You know. Wow, what a story. Holy smokes, holy macro. Wow. Wow, Dylan.
Speaker 5 (07:37):
You did a great interview on our Companion podcast with
Lynn Hoffman called Music Save Me, and you talk about
how you overcame, you know, significant adversity in your in
your life.
Speaker 1 (07:50):
So I urge our listeners to check out that episode.
Speaker 5 (07:54):
But can you talk a bit how that adversity has
shaped your approach to music and the themes that you
explore in storytelling.
Speaker 2 (08:05):
So I definitely see myself as like a storyteller first
and foremost. Like I feel like I've always been a storyteller,
even when you know, been around the campfire as a kid,
you know, going camping with friends, or just being a kid,
you know, in this sort of I guess it would
be the the UK equivalent would be like the projects
you know, or you know, the American equivalent would be
the projects to like this sort of state housing in
the UK, and just you know, being a kid with
(08:26):
nothing to do in telling stories, you know. But I
faced a very very traumatic upbringing, experienced a lot of trauma,
you know, you know, unspeakable things that really you know,
I was living in and out since I was six
months old, you know, I was in and out of
foster care. I had you know, tons and tons of
different foster placements. I had an adoption at one point
that didn't work out. I came back. It was just
(08:47):
a very turbuled upbringing where I never really felt like
I had any roots, I never really felt like I
had any family. I never really felt like i'd started,
you know. I felt like every point to where by,
I don't know, there was a new start, or like,
hey this is where you live now, this is where
you go to school. It was just like I never
it never really got there, you know, And I faced
a lot of challenges, you know, and I made the
(09:08):
decision around fifteen years old, where you know, I had
kind of got the opportunity to move away with a
foster family and leave behind everything I knew. I was
facing trauma, addiction, just lots of really really bad things,
like bad circumstances that weren't going to go anywhere fast.
And the statistics were not good around people that looked
(09:28):
like me, not good around people that were from the
areas that I was from the experience some of the
things I'd experienced. So this really, this opportunity felt like
a hail Mary. You know, it felt like a chance
to turn things around. But I imagine, as your listeners
can relate to, like sometimes the most you know, the
hardest decisions to make or the hardest decisions for a reason,
you know, and particularly ones that you know, sometimes things
(09:50):
that seem easy, like in terms of like is this
a good or a bad thing for you, aren't always
the easy decision to make. And it meant leaving behind,
you know, my family, leaving behind a little brother who
had essentially raised, you know, and really starting my life over.
And I would feel, i'd say that how that has
impacted my, uh, you know, my songwriting and my process
is that I really do feel with every new song
(10:10):
I make and every new step I take as a musician,
or every accolade you know, I get as an artist,
whether that be you know, a numerical accolade of some
sort of stream or an award, or whether it be
fans or people at shows or whatever it might be.
That you know, that becomes a real possibility for people
that are from areas from and also from experiences that
(10:31):
I'm from. And so I really do feel a very
a big weight of responsibility, you know, as as a kid,
you know, from where I'm from and from the experiences
I've been to really get things right, you know, And
I really take that seriously. I feel like, you know,
sometimes you know, when I feel like goofing around or
like you know, messing around or you know, not taking
things as seriously as should be. I really do remember
(10:53):
that this is this means so much more than just
the music to me.
Speaker 5 (10:56):
You know, your debut album is titled Hope above Adversity. Now,
what does that phrase mean to you? And how does
it reflect your amazing artistic vision.
Speaker 2 (11:09):
It's a good, really good question. I would say, Hope
of adversity means to me really that, like you know,
that you make choices in life and live with the consequences.
You know, in my opinion, everybody has choices in life. Obviously,
some people's choices are impacted by, you know, factors outside
of the control. But you know, in terms of as
far as you know, outlook and happiness goes, you know,
(11:32):
obviously in my life, because that's what I'm you know,
probably most well versed on, hopefully most well versed on,
is is a.
Speaker 3 (11:41):
Choice to be happy.
Speaker 1 (11:42):
You know.
Speaker 2 (11:42):
I feel like, obviously you know, you can you can
force it sometimes. But I really do think that hope
of adversity means to me that when you're going through
difficult times, yes, there's things that you can you can
get stuck on and there's things that are genuinely unjust
and hurtful that can stick around for a long time,
but it doesn't have to define you. Like that's really
what it means to me, is that it's that you
can be given really crappy card, Like you can be
(12:04):
given a really crappy hand in life in terms of
like being the cards you're dealt, but it doesn't have
to define you.
Speaker 3 (12:09):
And I really believe that.
Speaker 5 (12:12):
Your single from your debut album, Molasses, walk the Walk
and we're on taking a Walk, isn't that something It
deals with burnout and losing sight of goals. How has
music helped you overcome creative blocks?
Speaker 2 (12:29):
I think that's definitely still an ongoing process for me,
you know, I think I you know, in so far
as anything, you know, I'm a big believer, and I
do really talk about, you know, life a lot in
my music because I do feel like art is a
reflection of life in lots of ways, you know, And
you know, for me, you know, kind of having the
outlook that I have and you know, and kind of
(12:50):
like and I don't want it to just come across
as they're like, oh, I'm mister happy. You know, I've
gone through bad things and now everything's great, because that's
not true, you know, and you know, anybody knows that.
You know, life is rarely black and white. There's lots
of nuances so great, and you know, as much as
there's lots of happy days, there's also lots of down days.
There's also you know, days where I'm not feeling so
great or I'm burnt out or whatever, you know, And
in those moments, I really think that, you know, how
(13:12):
I deal with those moments or how I try to
kind of you know, bring that into my How I
deal with that, I guess as an artist and deal
with those moments is to is to try my best
to sort of like when I am feeling crap, I
just will try my best to just go over to
the studio and at least try and get something from it.
Speaker 1 (13:28):
You know.
Speaker 2 (13:28):
I will feel like, oh, I can sit here and
feel like this and say, hey, this is wrong and
that's wrong, and I don't like this and I'm feeling
like this and that's good. But sometimes I allow myself
to feel that and I acknowledge that, but then I'm like, well,
why don't you go and record it and see what
comes from me? You know, at least then maybe you
will feel that way and it will pass and you'll
feel better, But then you'll be able to reflect on
it too, and maybe you've got something.
Speaker 1 (13:47):
How do you stay so grounded?
Speaker 3 (13:49):
Oh man, it's a hard question, you know what I think.
Speaker 2 (13:53):
I think it's definitely my experience, in my experiences in
a band definitely grounded me, like very quickly. I I
thought that when I joined the band, it was going
to be like the rock and roll lifestyle. I thought
I was going to be, you know, I was full
on going to be you know, Keith Richards. It was
going to be like Ozzy Osbourne, like you know, a
rock and roll lifestyle, you know, and all that kind
(14:13):
of vibe. And it took some degree on a small level,
it was, you know, we got to the point where
we're be about to get recognized and everything else, and
it went straight to my head.
Speaker 3 (14:21):
You know, it went so to my head.
Speaker 2 (14:22):
I was twenty years old walking around you know, the
big city where you know, where we'd moved to to
go to university, and I was literally planning like what
I was going to say on you know, on Jules Holland,
which is like I guess like the Jimmy Fallon equivalent,
which is like making music and we haven't got there
at all, but I'd already planned what I was going
to say. And every year in the UK they did
(14:44):
this thing called soccer Ade where it's basically a charity
event where they got big celebrities and you know, in
professional sports players to put on like a charity match,
like you know, kind of a televised event for charity
and to get celebrities involved in stuff I already planned,
like what soccer moves I was going to do at
that event, even though I hadn't got there.
Speaker 3 (15:00):
It was just my ego, you know.
Speaker 2 (15:01):
I was like, oh, you know, when I'm on this
talk show because I'm in this big band now, and
you know when I do this, And it didn't work
out like that, you know, the band ended up breaking
breaking up. And I went from you know, thinking that
in my head and walking around like missed the Big Boots,
to like working in a call center in the UK
where I had to log into a phone every morning
and press the button if I wanted to go to
the toilet, and I was only allowed to go for
three minutes a day, you know, And it was a
(15:23):
really humbling experience. So regardless of how things have changed
and regardless of how good you feel in any moment,
like you know, all good things come to an end.
And it's very much for me, I feel like about
the journey and not so much the destination.
Speaker 5 (15:37):
You're with an amazing record label and Glass Note Records.
How did your journey take you to Glass Note?
Speaker 2 (15:45):
So, yeah, one, Glass Note Records of the record label
that I'm with absolutely love Chris and Chris and Daniel,
Daniel Glass over Glass Note Records.
Speaker 3 (15:54):
So I met.
Speaker 2 (15:56):
How I met Glass Note is after putting out you know,
Yellower Crow, the story I just told about making that song.
I put that song out and there that's where things
really started to change for me. Within about six months
of releasing that song, I was, you know, working in
Electric Lady Studios in New York with Danger Mouse, and
everything went quite crazy very quickly. In the midst of
all this madness, I got invited to an afternoon sort
(16:19):
of dinner with Daniel, who was interested. There was a
few labels, you know, sort of fighting around about, you know,
who I was going to sign with, and so I
went and met Daniel, and what really struck me about
Glass Note is that every other place I've been to
they were like, oh, we can do this, we can
do that. But you know, and for me, I'm a
big you know, I'm a big believer in in in
(16:39):
in family values and honesty and this sort of thing.
And I remember sitting down with Daniel and you know,
he was with his wife, and we just sat down
and had a conversation.
Speaker 3 (16:48):
And it wasn't like.
Speaker 2 (16:49):
You know what artists, you're like, we can get you
on this stage, we can get you here. It was
very much just like Daniel wanted to know about me
as a person, and I wanted to know about him
as a person.
Speaker 3 (16:57):
He said, listen, there's.
Speaker 2 (16:58):
Probably other places that you can go, which which will
offer you more money, but we will be investing you
for the majority of your career. You know, We're investing
in you for the long term. You know, we're not
expecting instant success. The things don't work out in the
first role. Like, we believe in you, and we believe
in your art. We believe in the music you make.
And you know, for me, that's you know, very rare
these days. And I think that that's something that I
(17:19):
just totally and utterly resonated with and it's come into
fruition like I couldn't believe because it wasn't just false
words that Daniel, you know, and Chris said at the time.
It's been backed up with just absolute just faith support
and just yeah, just a really really yeah an ideal
situation in terms of like a creative and being supported
(17:42):
in that way and just having that experience and having
somebody that truly believes in you, because sometimes you don't
always believe in yourself, and having a team and having
people that you can speak to anytime or just pick
up the phone be like hey, I just wrote this song.
I'm not really sure about it, and people being like, hey,
you've got this, We've got you.
Speaker 5 (17:59):
So then new project, New Day, let's talk about it
and your work with Neil H. Pogue known for his
work with The Outcast, and Steve Lacey and Doja cat
So talk about the creation of the amazing song new Day.
Speaker 2 (18:15):
Oh Man, So New Day, Yeah, it was. It was
a crazy experience. So actually New Day I worked on
that with a with a producer called Egg White. He's
he's a really cool guy. He did a lot of
like he's one of these crazy people. In fact, the
first time I ever went to meet him, I don't
think it was a New Day recording session, but I
think it's the first time I ever met him. So
he's this kind of guy who's worked with like, you know,
(18:35):
Kalim Renou, Kadi Minogue and Celine Dion like really big
you know, Adele, like a really big you know, sort
of ballad singers and like, you know, big female kind
of pop stars, and it's kind of known for that.
But then also it's kind of have you know, it's
still trusted by artists today to do you know, kind
of do lots of stuff.
Speaker 3 (18:52):
And he has this crazy sort of.
Speaker 2 (18:54):
Back cave music studio that's like a thirty five foot
excavated kind of thing in the bottom of his house,
you know. And I remember the first time I went
there and worked with him. We were both crazy with
both very adhd, very mad, and Egg was running around
with one sock on with his old Puttnam preampts, like
turning things around, you know, fixing bits of equipment that
I you know, known it existed while he's playing the
(19:15):
drums and yeah, and I remember I said to Hi, Egg,
would you mind if I popped out and use a
toilet and the egg. The whole the whole door was
like a wall, like a soundproof wall that you had
to get in and out with a screwdriver. So if
you need a toilet, you needed literally needed a power
drill to get in and out. And so I was
literally was stuck in this basement making music, and I
needed to bo out to the loo and had to
(19:36):
use a power drill to get out, but I didn't
know how to use it.
Speaker 3 (19:38):
So it was all very crazy.
Speaker 2 (19:39):
But in the midst of that madness we ended up
making We ended up making New Day, which was a
really really dope song again which is informed by my experiences,
is about change, about new beginnings, about embracing the unknown.
And yeah, I absolutely the writing process was such a
such a cool thing. We have such a synergy between us.
We balance each other out and hopefully that comes across
in the music.
Speaker 5 (19:59):
So you formed in major festivals like Glastonbury, south By Southwest.
What's the most memorable live performance so far in your career.
Speaker 2 (20:09):
Oh, you know, it's a really good one, I will say,
as much as you know. South By Southwest in Glastonbury
great to which they were unbelievable experiences. I think the
most memorable live show I've ever done was a show
I did in my hometown where I'm originally from, which
is Stoke on Trent, I'd said. And it was around
the time I signed a Glass Note Records. I said
(20:30):
to my girlfriend at the time, Holly, I said, listen,
if I everot signed, I'm going to ask you to
marry me. And so anyway, I had the offer, you know,
from Glass Notes, and I hadn't told it yet, and
so I basically arranged this gig in my hometown and
I said to Holly, like, you know, you really want
to come down to the show. I've got the show
I'm doing that you should come. And her response was like, oh,
(20:51):
I can't just put my life on hold whenever you've
got a show, blah blah blah, and no, no, no, no,
you really want to.
Speaker 3 (20:55):
Come to this show, like it's going to be a
good show. And so then Holly came to the show.
Speaker 2 (20:59):
We had like a camera set up and everything like that,
and there's a part of the set where I have
like an interlude in the middle of the set where
I do a freestyle rap where I asked the audience
for words and improvise a rap with the words that
they give me. And at the end of this freestyle,
I've got on one knee and pulled out a ring
like the regal regal British gentleman. I am and asked
Holly to marry me and so and she said yes, luckily. So, yeah,
(21:19):
that's definitely the most vulnerable.
Speaker 3 (21:20):
One for me.
Speaker 1 (21:21):
And is Holly a doctor? Is that correct?
Speaker 4 (21:24):
Yeah?
Speaker 2 (21:25):
So, Holly, Holly, my wife is a doctor. And she's
also she comes on you know, she's my back and
vocalist live. So I did my first ever tour around
Europe the end of the year before last, and basically
Holly took all of her holiday from work all you know,
every single holiday she had from work and literally came
to every show we did around Europe. And it was me,
(21:45):
Holly and a couple of other guys in a van
and we travel around Europe together and played shows.
Speaker 3 (21:50):
You know, She's an amazing, amazing woman. I'm very lucky.
Speaker 1 (21:52):
Oh congratulations, what a story that is.
Speaker 3 (21:54):
My god, thank you, thank you really appreciate that.
Speaker 1 (21:57):
She's lucky and you're lucky. It sounds like in that regard, right.
Speaker 2 (22:02):
Thank you yeah, hopefully that's the case. That hopefully, unless
unless my football team loses and she's not so lucky,
that's what I will say.
Speaker 5 (22:08):
But there's a lot of musicians that often listen to
the podcast.
Speaker 1 (22:14):
And a lot of aspiring musicians.
Speaker 5 (22:18):
What advice would you give to an aspiring musician who
is working hard with their craft and maybe hasn't broken
through yet at this point, maybe hasn't had a lucky break.
Speaker 1 (22:30):
What advice would you give them?
Speaker 2 (22:33):
I think, you know, for me, like obviously the kneed
JIT reaction is to say, like don't give up or
keep going all things like this because you know, kind
of I guess that was you know, the kind of
the sort of like usual typical kind of advice that
you would give to somebody, which I think those things
are all valid and true. But for me, for me,
I would say advice that I would give to an
(22:54):
upcoming musician that maybe hasn't broken through yet, it's to
just it is to really hone their sound and their
craft and if they think something is cool, like keep
going with that. Like you if you think that you're
working on something and you know, you think it's really dope,
and also be creative, meet other people too, Like I
feel like for me, you know, I spent a long
time just trying to find my sound and trying to
find my thing. And if you feel like you've got
(23:15):
your sound and you've got your vibe, or even if
you haven't found that yet, I feel like it's always
a dope thing to go and meet other people. Like
I feel sometimes artists can be islands, you know, can
very much just like exist on their own being, their
own world and their own heads. And I feel like
that's a great thing to have, because that's how you
kind of create those artistic worlds. But never, ever, ever, ever,
in my personal opinion, you know, for whatever that's worth,
underestimate the value of finding other people and other creatives,
(23:38):
not only on a level to be able to be
inspired by and to say, hey, you know, here's this
massively cool, talented person that also hasn't had a lucky
break yet and so it isn't just me, you know,
because it can be quite easy to feel alone as
an artist. So I would say, you know, if you've
found your sound, you know, go and find some other
people who you dig, you respect, your love, and try
and come up together. And if you're still honing that sound, like,
(23:58):
keep looking for it, finding spread, go into you know,
frist stores and final crappy keyboards or whatever you might do,
or go down to local open mics and meet other
people who do stuff and how do you do that?
Speaker 3 (24:07):
How do you do this and ingratiate yourself with it?
You know?
Speaker 5 (24:11):
Well, Dylan in closing, if you could collaborate in the
future with anybody past or present in the music world,
who would some of those people be?
Speaker 3 (24:24):
Oh? You know what?
Speaker 2 (24:25):
I absolutely one thing that absolutely devastated my heart of
hearts was when Charles Bradley passed away. He was such
an amazing artist and somebody that would absolutely have loved
to work with, just somebody who you know again just
epitomizes that resilience and that character of like, you know,
being a James Brown. I think it was James Brown
(24:46):
tribute act. If I'm not mistaken, for like so many
years and to have this you know, unbelievable sort of
quintessential soul voice that like was amazing until have like
not been discovered until it's like late fifties, sixties, but
and to kind of you know, finally get his big
break at that time and not to have given up,
but just be this amazingly powerful, talented voice. You know
(25:08):
in one of the most powerful voices in this generation,
of any generation in my opinion. But that's somebody that
I really would have loved to collaborate with.
Speaker 5 (25:17):
Dylan, thank you so much for sharing your story. It
is wonderful to meet you. Your music is sensational. It
couldn't happen to a nicer person. We are all rooting
for you, and I'm so grateful that you took the
time to be on the.
Speaker 1 (25:32):
Taking a Walk Podcast.
Speaker 2 (25:33):
Dylan Cartilage Boys, thank you so much. It's been absolute
pleasure and thank you.
Speaker 4 (25:38):
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.
Walk.
Speaker 2 (00:01):
So I definitely see myself as like a storyteller first
and foremost. Like I feel like I've always been a storyteller.
I face a very very traumatic upbringing out, experienced a
lot of trauma.
Speaker 3 (00:10):
I was facing trauma.
Speaker 2 (00:11):
Addiction, just lots of really really bad things, like bad
circumstances that weren't gonna go anywhere fast. When I feel
like goofing around or like, you know, messing around, or
you know, not taking things as seriously as should be,
I really do remember that this is this means so
much more than just the music to me.
Speaker 4 (00:28):
Welcome to this episode of the Taking a Walk podcast,
where Buzz Night speaks with musicians from emerging artists to
Hall of famers. This episode is no exception with Glass
Notes Records recording artists Dylan Cartilage. Dylan is a multi
talented multi instrumentalist that mixes hip hop, soul, gospel, rock,
(00:49):
and R and B. You may have caught him on
the BBC documentary The Mighty Red Car, where he was
chasing a record deal. Dylan's a fascinating and talented artist
and we're delighted to have him join Buzz Night on
this episode of Taking a Walk.
Speaker 5 (01:06):
Well Dylan, Thanks for being on taking a Walk. I'm
so excited to be talking to you. One of the
joys for me of taking a Walk is music discovery
and discovering your new music, which we'll talk about the
song New Day. When I first heard it, I had
to listen to it again, and I had to listen
to it again and again and again.
Speaker 1 (01:26):
It's fantastic.
Speaker 3 (01:27):
Thank you, thank you.
Speaker 2 (01:29):
I love that bo was Thank you so much for
not only the intro but also the law and the music.
I really had a blast making it, and so yeah,
for you to listen and to get something from that,
really appreciate that.
Speaker 5 (01:38):
So tell us about your musical journey from rapping at
age thirteen to incorporating live instruments and diverse genres into
your sound.
Speaker 1 (01:50):
Talk about the beginnings.
Speaker 2 (01:52):
Man, it wasn't an easy transition at all. I began,
like I said, I've began wrapping at thirteen, and you know,
kind of faced a you know, a bit of a
traumatic upbringing and began, you know, putting my art and
my music into into my craft. And then I went
to college. I ended up exclusively only listening to rap
(02:13):
music and pop music. I was like anything that had
a live instrument or anything that sounded remotely kind of live.
I was like, Oh, that's not for me, you know,
that's for the metal heads, you know, keep it away.
I don't want it, you know. I was really closed minded.
And then I ended up joining like a college band,
and in that band, I met two guys who were
these sort of almost like telepic sort of like Cypriot
brothers who loved you know, Jimmy Hendrix and John Frishanty.
(02:36):
One was a drummer, one was a guitarist, and they
had this kind of they had the leather jackets and
Chelsea boots and they sort of you know, we joined
this college band and I never looked back. Really opened
my mind to so much music. They showed me the
black the black Keys, the white stripes, Chili Pepper's just
a whole bunch of music I've never ever ever had
any exposure to, or even one frankly wanted exposure to
(02:57):
at that time, you know, and it totally changed for me.
You know, being in a band and being a DIY
band for like three or four years and being on
the road or squashing into cars and you know, punching
holes in ceilings and ripping t shirts at gigs.
Speaker 3 (03:10):
It was very different from the music that I make now.
You know, it's very like, you know, my angsty teenage phase.
Speaker 2 (03:14):
I feel like I was cutting my teeth and it
taught me so much about songwriting, so much about composition
and just really about the music industry and the music business.
And I really real and that is really something that
I take massive, you know, value from and from then
on after the band, I ended up taking those experiences
after leaving the band, being what do I do next?
And so I was like I was a rapper before,
(03:35):
I'll be a rapper afterwards. And I just incorporated lots
of the you know, the sort of musical element settlment
from the band and put it into what I'm doing now.
Speaker 5 (03:42):
So any particular musical mentors that really impacted you early
on in your life?
Speaker 2 (03:49):
Yeah, So I met I met two guitarists actually, so
like I said, one of them, I joined a band with,
who was a guy called George and again just just
seeing his passion for music. And it's somebody who was
a student to the guitar student and who just love,
like I said, loves Jimi Hendrix, John Frashanti and just
listening to him talk with passion about those artists and
(04:10):
seeing him play and it was like, man, I was like,
this guy was possessed by the spirit of old blues
guys and you know, Blind Lemon, Jefferson and all these
dudes on the porch of the Moonshine. I was like,
Oh my god, this is crazy. Like it just gave
me such a vigor for it. I met another guy,
another guitar is called Tom, who was this kind of crazy,
you know, this kind of crazy guy who'd lived a
bit of a mad life.
Speaker 3 (04:29):
You know.
Speaker 2 (04:29):
He's a little bit older, and I used to go
over to his place and he had this kind of
little analog recording four track thing that we used to
go over to his house on a weekend. He lived
in this little attic apartment in his dad's place, and
we'd just sit and record stuff for hours and hours.
And I think that was really my first kind of
like two people that I met that sort of like
I was completely nutterly enamored with, and they really began
(04:50):
to show me music and the recording process.
Speaker 5 (04:53):
So your song Yellow Brick Road has an interesting origin story.
Can you share how that track came together in how
that pivotal studio session occurred.
Speaker 2 (05:06):
Oh man, that Yellow Road was kind of like, yeah,
So I was working in a bar at the time.
It's kind of like a you know, like a chain
here in the UK, like a you know, a kind
of chain of pubs, and I basically was working in
that bar. I had to beg my manager on the
day like kind of please take this day off. I
felt like I had one foot still working in this
(05:26):
bar and another foot potentially and what could be a
career in music. And so I've got the opportunity to
go down and record in the studio with a producer
called James Dring, who was amazing. He's worked a lot
with this artist in the UK called Jamie t who's
amazing and also a he produced a lot on Demon
Days by Guerrillas, which is an album that I absolutely love.
And so I had this one studio session and it
really felt like whether this was the objective truth or not,
(05:47):
if there's such a thing, it really felt as though
like it was all riding on this session. It was
like if I can prove that I you know, could
kind of take like a fish to water and you know,
crank some really good songs out then you know, this
will lead to a career, and if not, then I'm
just gonna have to go back to the bar. So
I begged my manager to get this day off and
I went to the studio session. Everything was going really,
(06:07):
really well. It was my first time I'd ever done it.
I went to a studio that was wall to wall
WI gear for the first time. Oh my god, it
was like a musical cave, you know. And so then
we were jamming. You know, it got to about like
a half past five in the afternoon and James had
to leave at six, And everything had gone so well
up to then, like if I could write like a
you know, like a Disney script up to that point,
(06:28):
or you know, like a Coen Brothers script or to
that point, that was like the precise moment about everything
would run like that would be it. But then the
last half an hour of the session, it was like
everything fell apart. We just didn't have a chorus, and
I could feel the window of opportunity closing. I could
feel James, you know, saying, oh, you know, sometimes it
just doesn't work out. Don't worry, There'll be opportunities. And
I know that there wasn't going to be any other opportunities,
(06:49):
you know, and this was my shot, this was my chance.
And so James had a hard caught off. You had
to go pick up his kids from an after school club,
so you had to go. It got to like, you know,
free four minutes past six, and James are saying, Dyl,
I need to leave.
Speaker 3 (07:02):
I have to leave it.
Speaker 2 (07:02):
And I'm like, oh my god, I'm freaking out. And I said,
please just put the microphone on one more to please.
Speaker 3 (07:06):
I know you gotta go.
Speaker 2 (07:07):
Can you please turn the microphone on? And I run
over to the microphone just like my eyes all over
the place, thinking about all the possibilities in which where
it's going to blow up. And I just sang the
chorus of the song and that was the chorus. And
we had this almost like crazy like religious moment, like
this ufar it moment where we were dancing around and
just like we just got it. It was there and
it was an eleventh hour the last minutes, but it worked.
Speaker 1 (07:28):
You know. Wow, what a story. Holy smokes, holy macro. Wow. Wow, Dylan.
Speaker 5 (07:37):
You did a great interview on our Companion podcast with
Lynn Hoffman called Music Save Me, and you talk about
how you overcame, you know, significant adversity in your in
your life.
Speaker 1 (07:50):
So I urge our listeners to check out that episode.
Speaker 5 (07:54):
But can you talk a bit how that adversity has
shaped your approach to music and the themes that you
explore in storytelling.
Speaker 2 (08:05):
So I definitely see myself as like a storyteller first
and foremost. Like I feel like I've always been a storyteller,
even when you know, been around the campfire as a kid,
you know, going camping with friends, or just being a kid,
you know, in this sort of I guess it would
be the the UK equivalent would be like the projects
you know, or you know, the American equivalent would be
the projects to like this sort of state housing in
the UK, and just you know, being a kid with
(08:26):
nothing to do in telling stories, you know. But I
faced a very very traumatic upbringing, experienced a lot of trauma,
you know, you know, unspeakable things that really you know,
I was living in and out since I was six
months old, you know, I was in and out of
foster care. I had you know, tons and tons of
different foster placements. I had an adoption at one point
that didn't work out. I came back. It was just
(08:47):
a very turbuled upbringing where I never really felt like
I had any roots, I never really felt like I
had any family. I never really felt like i'd started,
you know. I felt like every point to where by,
I don't know, there was a new start, or like,
hey this is where you live now, this is where
you go to school. It was just like I never
it never really got there, you know, And I faced
a lot of challenges, you know, and I made the
(09:08):
decision around fifteen years old, where you know, I had
kind of got the opportunity to move away with a
foster family and leave behind everything I knew. I was
facing trauma, addiction, just lots of really really bad things,
like bad circumstances that weren't going to go anywhere fast.
And the statistics were not good around people that looked
(09:28):
like me, not good around people that were from the
areas that I was from the experience some of the
things I'd experienced. So this really, this opportunity felt like
a hail Mary. You know, it felt like a chance
to turn things around. But I imagine, as your listeners
can relate to, like sometimes the most you know, the
hardest decisions to make or the hardest decisions for a reason,
you know, and particularly ones that you know, sometimes things
(09:50):
that seem easy, like in terms of like is this
a good or a bad thing for you, aren't always
the easy decision to make. And it meant leaving behind,
you know, my family, leaving behind a little brother who
had essentially raised, you know, and really starting my life over.
And I would feel, i'd say that how that has
impacted my, uh, you know, my songwriting and my process
is that I really do feel with every new song
(10:10):
I make and every new step I take as a musician,
or every accolade you know, I get as an artist,
whether that be you know, a numerical accolade of some
sort of stream or an award, or whether it be
fans or people at shows or whatever it might be.
That you know, that becomes a real possibility for people
that are from areas from and also from experiences that
(10:31):
I'm from. And so I really do feel a very
a big weight of responsibility, you know, as as a kid,
you know, from where I'm from and from the experiences
I've been to really get things right, you know, And
I really take that seriously. I feel like, you know,
sometimes you know, when I feel like goofing around or
like you know, messing around or you know, not taking
things as seriously as should be. I really do remember
(10:53):
that this is this means so much more than just
the music to me.
Speaker 5 (10:56):
You know, your debut album is titled Hope above Adversity. Now,
what does that phrase mean to you? And how does
it reflect your amazing artistic vision.
Speaker 2 (11:09):
It's a good, really good question. I would say, Hope
of adversity means to me really that, like you know,
that you make choices in life and live with the consequences.
You know, in my opinion, everybody has choices in life. Obviously,
some people's choices are impacted by, you know, factors outside
of the control. But you know, in terms of as
far as you know, outlook and happiness goes, you know,
(11:32):
obviously in my life, because that's what I'm you know,
probably most well versed on, hopefully most well versed on,
is is a.
Speaker 3 (11:41):
Choice to be happy.
Speaker 1 (11:42):
You know.
Speaker 2 (11:42):
I feel like, obviously you know, you can you can
force it sometimes. But I really do think that hope
of adversity means to me that when you're going through
difficult times, yes, there's things that you can you can
get stuck on and there's things that are genuinely unjust
and hurtful that can stick around for a long time,
but it doesn't have to define you. Like that's really
what it means to me, is that it's that you
can be given really crappy card, Like you can be
(12:04):
given a really crappy hand in life in terms of
like being the cards you're dealt, but it doesn't have
to define you.
Speaker 3 (12:09):
And I really believe that.
Speaker 5 (12:12):
Your single from your debut album, Molasses, walk the Walk
and we're on taking a Walk, isn't that something It
deals with burnout and losing sight of goals. How has
music helped you overcome creative blocks?
Speaker 2 (12:29):
I think that's definitely still an ongoing process for me,
you know, I think I you know, in so far
as anything, you know, I'm a big believer, and I
do really talk about, you know, life a lot in
my music because I do feel like art is a
reflection of life in lots of ways, you know, And
you know, for me, you know, kind of having the
outlook that I have and you know, and kind of
(12:50):
like and I don't want it to just come across
as they're like, oh, I'm mister happy. You know, I've
gone through bad things and now everything's great, because that's
not true, you know, and you know, anybody knows that.
You know, life is rarely black and white. There's lots
of nuances so great, and you know, as much as
there's lots of happy days, there's also lots of down days.
There's also you know, days where I'm not feeling so
great or I'm burnt out or whatever, you know, And
in those moments, I really think that, you know, how
(13:12):
I deal with those moments or how I try to
kind of you know, bring that into my How I
deal with that, I guess as an artist and deal
with those moments is to is to try my best
to sort of like when I am feeling crap, I
just will try my best to just go over to
the studio and at least try and get something from it.
Speaker 1 (13:28):
You know.
Speaker 2 (13:28):
I will feel like, oh, I can sit here and
feel like this and say, hey, this is wrong and
that's wrong, and I don't like this and I'm feeling
like this and that's good. But sometimes I allow myself
to feel that and I acknowledge that, but then I'm like, well,
why don't you go and record it and see what
comes from me? You know, at least then maybe you
will feel that way and it will pass and you'll
feel better, But then you'll be able to reflect on
it too, and maybe you've got something.
Speaker 1 (13:47):
How do you stay so grounded?
Speaker 3 (13:49):
Oh man, it's a hard question, you know what I think.
Speaker 2 (13:53):
I think it's definitely my experience, in my experiences in
a band definitely grounded me, like very quickly. I I
thought that when I joined the band, it was going
to be like the rock and roll lifestyle. I thought
I was going to be, you know, I was full
on going to be you know, Keith Richards. It was
going to be like Ozzy Osbourne, like you know, a
rock and roll lifestyle, you know, and all that kind
(14:13):
of vibe. And it took some degree on a small level,
it was, you know, we got to the point where
we're be about to get recognized and everything else, and
it went straight to my head.
Speaker 3 (14:21):
You know, it went so to my head.
Speaker 2 (14:22):
I was twenty years old walking around you know, the
big city where you know, where we'd moved to to
go to university, and I was literally planning like what
I was going to say on you know, on Jules Holland,
which is like I guess like the Jimmy Fallon equivalent,
which is like making music and we haven't got there
at all, but I'd already planned what I was going
to say. And every year in the UK they did
(14:44):
this thing called soccer Ade where it's basically a charity
event where they got big celebrities and you know, in
professional sports players to put on like a charity match,
like you know, kind of a televised event for charity
and to get celebrities involved in stuff I already planned,
like what soccer moves I was going to do at
that event, even though I hadn't got there.
Speaker 3 (15:00):
It was just my ego, you know.
Speaker 2 (15:01):
I was like, oh, you know, when I'm on this
talk show because I'm in this big band now, and
you know when I do this, And it didn't work
out like that, you know, the band ended up breaking
breaking up. And I went from you know, thinking that
in my head and walking around like missed the Big Boots,
to like working in a call center in the UK
where I had to log into a phone every morning
and press the button if I wanted to go to
the toilet, and I was only allowed to go for
three minutes a day, you know, And it was a
(15:23):
really humbling experience. So regardless of how things have changed
and regardless of how good you feel in any moment,
like you know, all good things come to an end.
And it's very much for me, I feel like about
the journey and not so much the destination.
Speaker 5 (15:37):
You're with an amazing record label and Glass Note Records.
How did your journey take you to Glass Note?
Speaker 2 (15:45):
So, yeah, one, Glass Note Records of the record label
that I'm with absolutely love Chris and Chris and Daniel,
Daniel Glass over Glass Note Records.
Speaker 3 (15:54):
So I met.
Speaker 2 (15:56):
How I met Glass Note is after putting out you know,
Yellower Crow, the story I just told about making that song.
I put that song out and there that's where things
really started to change for me. Within about six months
of releasing that song, I was, you know, working in
Electric Lady Studios in New York with Danger Mouse, and
everything went quite crazy very quickly. In the midst of
all this madness, I got invited to an afternoon sort
(16:19):
of dinner with Daniel, who was interested. There was a
few labels, you know, sort of fighting around about, you know,
who I was going to sign with, and so I
went and met Daniel, and what really struck me about
Glass Note is that every other place I've been to
they were like, oh, we can do this, we can
do that. But you know, and for me, I'm a
big you know, I'm a big believer in in in
(16:39):
in family values and honesty and this sort of thing.
And I remember sitting down with Daniel and you know,
he was with his wife, and we just sat down
and had a conversation.
Speaker 3 (16:48):
And it wasn't like.
Speaker 2 (16:49):
You know what artists, you're like, we can get you
on this stage, we can get you here. It was
very much just like Daniel wanted to know about me
as a person, and I wanted to know about him
as a person.
Speaker 3 (16:57):
He said, listen, there's.
Speaker 2 (16:58):
Probably other places that you can go, which which will
offer you more money, but we will be investing you
for the majority of your career. You know, We're investing
in you for the long term. You know, we're not
expecting instant success. The things don't work out in the
first role. Like, we believe in you, and we believe
in your art. We believe in the music you make.
And you know, for me, that's you know, very rare
these days. And I think that that's something that I
(17:19):
just totally and utterly resonated with and it's come into
fruition like I couldn't believe because it wasn't just false
words that Daniel, you know, and Chris said at the time.
It's been backed up with just absolute just faith support
and just yeah, just a really really yeah an ideal
situation in terms of like a creative and being supported
(17:42):
in that way and just having that experience and having
somebody that truly believes in you, because sometimes you don't
always believe in yourself, and having a team and having
people that you can speak to anytime or just pick
up the phone be like hey, I just wrote this song.
I'm not really sure about it, and people being like, hey,
you've got this, We've got you.
Speaker 5 (17:59):
So then new project, New Day, let's talk about it
and your work with Neil H. Pogue known for his
work with The Outcast, and Steve Lacey and Doja cat
So talk about the creation of the amazing song new Day.
Speaker 2 (18:15):
Oh Man, So New Day, Yeah, it was. It was
a crazy experience. So actually New Day I worked on
that with a with a producer called Egg White. He's
he's a really cool guy. He did a lot of
like he's one of these crazy people. In fact, the
first time I ever went to meet him, I don't
think it was a New Day recording session, but I
think it's the first time I ever met him. So
he's this kind of guy who's worked with like, you know,
(18:35):
Kalim Renou, Kadi Minogue and Celine Dion like really big
you know, Adele, like a really big you know, sort
of ballad singers and like, you know, big female kind
of pop stars, and it's kind of known for that.
But then also it's kind of have you know, it's
still trusted by artists today to do you know, kind
of do lots of stuff.
Speaker 3 (18:52):
And he has this crazy sort of.
Speaker 2 (18:54):
Back cave music studio that's like a thirty five foot
excavated kind of thing in the bottom of his house,
you know. And I remember the first time I went
there and worked with him. We were both crazy with
both very adhd, very mad, and Egg was running around
with one sock on with his old Puttnam preampts, like
turning things around, you know, fixing bits of equipment that
I you know, known it existed while he's playing the
(19:15):
drums and yeah, and I remember I said to Hi, Egg,
would you mind if I popped out and use a
toilet and the egg. The whole the whole door was
like a wall, like a soundproof wall that you had
to get in and out with a screwdriver. So if
you need a toilet, you needed literally needed a power
drill to get in and out. And so I was
literally was stuck in this basement making music, and I
needed to bo out to the loo and had to
(19:36):
use a power drill to get out, but I didn't
know how to use it.
Speaker 3 (19:38):
So it was all very crazy.
Speaker 2 (19:39):
But in the midst of that madness we ended up
making We ended up making New Day, which was a
really really dope song again which is informed by my experiences,
is about change, about new beginnings, about embracing the unknown.
And yeah, I absolutely the writing process was such a
such a cool thing. We have such a synergy between us.
We balance each other out and hopefully that comes across
in the music.
Speaker 5 (19:59):
So you formed in major festivals like Glastonbury, south By Southwest.
What's the most memorable live performance so far in your career.
Speaker 2 (20:09):
Oh, you know, it's a really good one, I will say,
as much as you know. South By Southwest in Glastonbury
great to which they were unbelievable experiences. I think the
most memorable live show I've ever done was a show
I did in my hometown where I'm originally from, which
is Stoke on Trent, I'd said. And it was around
the time I signed a Glass Note Records. I said
(20:30):
to my girlfriend at the time, Holly, I said, listen,
if I everot signed, I'm going to ask you to
marry me. And so anyway, I had the offer, you know,
from Glass Notes, and I hadn't told it yet, and
so I basically arranged this gig in my hometown and
I said to Holly, like, you know, you really want
to come down to the show. I've got the show
I'm doing that you should come. And her response was like, oh,
(20:51):
I can't just put my life on hold whenever you've
got a show, blah blah blah, and no, no, no, no,
you really want to.
Speaker 3 (20:55):
Come to this show, like it's going to be a
good show. And so then Holly came to the show.
Speaker 2 (20:59):
We had like a camera set up and everything like that,
and there's a part of the set where I have
like an interlude in the middle of the set where
I do a freestyle rap where I asked the audience
for words and improvise a rap with the words that
they give me. And at the end of this freestyle,
I've got on one knee and pulled out a ring
like the regal regal British gentleman. I am and asked
Holly to marry me and so and she said yes, luckily. So, yeah,
(21:19):
that's definitely the most vulnerable.
Speaker 3 (21:20):
One for me.
Speaker 1 (21:21):
And is Holly a doctor? Is that correct?
Speaker 4 (21:24):
Yeah?
Speaker 2 (21:25):
So, Holly, Holly, my wife is a doctor. And she's
also she comes on you know, she's my back and
vocalist live. So I did my first ever tour around
Europe the end of the year before last, and basically
Holly took all of her holiday from work all you know,
every single holiday she had from work and literally came
to every show we did around Europe. And it was me,
(21:45):
Holly and a couple of other guys in a van
and we travel around Europe together and played shows.
Speaker 3 (21:50):
You know, She's an amazing, amazing woman. I'm very lucky.
Speaker 1 (21:52):
Oh congratulations, what a story that is.
Speaker 3 (21:54):
My god, thank you, thank you really appreciate that.
Speaker 1 (21:57):
She's lucky and you're lucky. It sounds like in that regard, right.
Speaker 2 (22:02):
Thank you yeah, hopefully that's the case. That hopefully, unless
unless my football team loses and she's not so lucky,
that's what I will say.
Speaker 5 (22:08):
But there's a lot of musicians that often listen to
the podcast.
Speaker 1 (22:14):
And a lot of aspiring musicians.
Speaker 5 (22:18):
What advice would you give to an aspiring musician who
is working hard with their craft and maybe hasn't broken
through yet at this point, maybe hasn't had a lucky break.
Speaker 1 (22:30):
What advice would you give them?
Speaker 2 (22:33):
I think, you know, for me, like obviously the kneed
JIT reaction is to say, like don't give up or
keep going all things like this because you know, kind
of I guess that was you know, the kind of
the sort of like usual typical kind of advice that
you would give to somebody, which I think those things
are all valid and true. But for me, for me,
I would say advice that I would give to an
(22:54):
upcoming musician that maybe hasn't broken through yet, it's to
just it is to really hone their sound and their
craft and if they think something is cool, like keep
going with that. Like you if you think that you're
working on something and you know, you think it's really dope,
and also be creative, meet other people too, Like I
feel like for me, you know, I spent a long
time just trying to find my sound and trying to
find my thing. And if you feel like you've got
(23:15):
your sound and you've got your vibe, or even if
you haven't found that yet, I feel like it's always
a dope thing to go and meet other people. Like
I feel sometimes artists can be islands, you know, can
very much just like exist on their own being, their
own world and their own heads. And I feel like
that's a great thing to have, because that's how you
kind of create those artistic worlds. But never, ever, ever, ever,
in my personal opinion, you know, for whatever that's worth,
underestimate the value of finding other people and other creatives,
(23:38):
not only on a level to be able to be
inspired by and to say, hey, you know, here's this
massively cool, talented person that also hasn't had a lucky
break yet and so it isn't just me, you know,
because it can be quite easy to feel alone as
an artist. So I would say, you know, if you've
found your sound, you know, go and find some other
people who you dig, you respect, your love, and try
and come up together. And if you're still honing that sound, like,
(23:58):
keep looking for it, finding spread, go into you know,
frist stores and final crappy keyboards or whatever you might do,
or go down to local open mics and meet other
people who do stuff and how do you do that?
Speaker 3 (24:07):
How do you do this and ingratiate yourself with it?
You know?
Speaker 5 (24:11):
Well, Dylan in closing, if you could collaborate in the
future with anybody past or present in the music world,
who would some of those people be?
Speaker 3 (24:24):
Oh? You know what?
Speaker 2 (24:25):
I absolutely one thing that absolutely devastated my heart of
hearts was when Charles Bradley passed away. He was such
an amazing artist and somebody that would absolutely have loved
to work with, just somebody who you know again just
epitomizes that resilience and that character of like, you know,
being a James Brown. I think it was James Brown
(24:46):
tribute act. If I'm not mistaken, for like so many
years and to have this you know, unbelievable sort of
quintessential soul voice that like was amazing until have like
not been discovered until it's like late fifties, sixties, but
and to kind of you know, finally get his big
break at that time and not to have given up,
but just be this amazingly powerful, talented voice. You know
(25:08):
in one of the most powerful voices in this generation,
of any generation in my opinion. But that's somebody that
I really would have loved to collaborate with.
Speaker 5 (25:17):
Dylan, thank you so much for sharing your story. It
is wonderful to meet you. Your music is sensational. It
couldn't happen to a nicer person. We are all rooting
for you, and I'm so grateful that you took the
time to be on the.
Speaker 1 (25:32):
Taking a Walk Podcast.
Speaker 2 (25:33):
Dylan Cartilage Boys, thank you so much. It's been absolute
pleasure and thank you.
Speaker 4 (25:38):
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.
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