Grammy-nominated sister duo Larkin Poe join Buzz Knight on Takin’ A Walk for an unforgettable conversation about their journey from bluegrass roots to becoming one of rock music’s most electrifying acts. Rebecca and Megan Lovell share the inspiring story behind their unique blend of Southern rock, blues, and roots music that has earned them multiple Grammy nominations and a devoted global following.
In this candid interview, the Lovell sisters open up about their creative process, the evolution of their signature sound, and what it takes to thrive as independent artists in today’s music industry. From their early days performing bluegrass to crafting powerful rock anthems, Larkin Poe discusses the pivotal moments that shaped their career and the deep family bonds that fuel their musical partnership.
Buzz and the sisters explore their approach to guitar-driven rock, their commitment to authentic storytelling through song, and how they’ve built a sustainable career while maintaining complete artistic control. They share insights about their acclaimed albums, the inspiration behind their most powerful tracks, and their experiences performing at major festivals and venues worldwide.
This episode offers rare perspective on what it means to be Grammy-nominated independent artists navigating the modern music landscape, the importance of staying true to your artistic vision, and how dedication to craft can lead to both critical acclaim and commercial success. Larkin Poe’s story serves as inspiration for musicians and music lovers alike, demonstrating how talent, hard work, and sisterhood can create something truly special in rock and roll.
#walk #knight #music and resilience #weekly music history #music journey #career breakthrough #larkinpoeinterview #iheartpodcast #inspiring icons #nashville music history #music legends #guitar mastery #music history on foot #artistic reinvention #music journey #music history on foot
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Taking a Walk.
Speaker 2 (00:01):
I think about the fact that Megan and I for
years have started, you know, and maintained a YouTube channel
where we cover a wide variety of songs, and we
started out doing that just for fun, just as a
way like in between tours for us to stay fresh
and sharp, and you know, go and learn a Tom
Petty song, Go and learn a Black Sabbath song, Go
(00:21):
and learn a Pat Metheenie song, Go and learn a
Steve Moore song. And that was sort of like our
way of educating ourselves further in the language of music.
Speaker 1 (00:30):
Welcome to the Taking a Walk Podcast, the show where
Buzz Night talks to musicians and gets to the heart
of their craft and their creative process. On this episode,
he talks with Rebecca and Meghan Lovell, two sisters who
lead the roots rock and Americana band Lark and Poe.
Here's Buzz Night with Lark and Poe on Taking a Walk.
Speaker 3 (00:53):
Rebecca and Meghan, Lark and Poe. So great to have
you on the Taken a Walk Podcast.
Speaker 2 (01:00):
It is so fun to be here.
Speaker 4 (01:01):
Yeah, thank you for having us.
Speaker 3 (01:03):
Take me back both of you sitting at a piano
with your mom learning to sing. What do you remember
about that important moment in your career.
Speaker 4 (01:14):
Our mom grew up singing with her siblings, so harmony
was always a big part of our musical heritage. I
guess you could say our mom grew up listening to
a lot of folk artists and grew up in the
land of Dolly Parton, so I think that siblings singing
together was a big part of her hurt growing up
(01:36):
as well. So she sat down and taught us to sing.
There's a four siblings all together, but the three sisters
are the ones that sang together. So Rebecca and I
and our older sister, we learned to sing harmony before
we could even read.
Speaker 3 (01:52):
And it's a pivotal moment that really shaped both of you.
Speaker 1 (01:55):
Right.
Speaker 2 (01:57):
Yeah, at the time, I guess we weren't even considering
it as as a career because it was a very
special gift that my mother gave us from you know,
three and four years old, our parents allowing us to
start taking classical violin and piano lessons and making music
such an integral part of our household. And again, like,
(02:18):
even from our parents' perspective, I don't think that they
were ever intending us to treat music as a livelihood.
It was just a joy that they experienced and wanted
us to be able to have use of a language,
the language of music.
Speaker 4 (02:34):
I feel so fortunate that music really was a part
of our daily lives, and they instilled in us a
love of music, and they listened to all different kinds
of music, from you know, rock to jazz, to bluegrass,
to classical music, world music, all of the hard rock. Yeah,
so we grew up having kind of a diverse love.
Speaker 5 (03:00):
Well.
Speaker 3 (03:00):
I feel like as Lark and Poe has evolved, I
really feel that you're really not typecast in terms of genre.
In my view, I think you are a little bit
of this and a little bit of that, and you're
constantly exploring. Is that a fair assessment, Absolutely.
Speaker 2 (03:21):
And it is. It's interesting as well. I think the
older that we get, or I'll speak from my perspective,
the older that I get when I look back at
our track record, so many of the pivotal moments in
our career or the practices that have ultimately shaped us
the most, we're very rarely intentional, or we're very rarely like,
(03:44):
you know, a means to an end. Like I think
about the fact that Megan and I for years have started,
you know, and maintained a YouTube channel where we cover
a wide variety of songs. And we started out doing
that just for fun, just as a way like in
between tours, for us to stay fresh and sharp, and
you know, go and learn a Tom Petty song, go
(04:06):
and learn a Black Sabbath song, Go and learn a
Pat Metheeni song, Go and learn a Steve Moore song.
And that was sort of like our way of educating
ourselves further in the language of music. But I think
as a result, and we never would have premedicated this,
that people view us, I think as a less attached
to genre because they know us for our original material
(04:28):
and they also know us for covering anything from rockabilly
to you know to hard rock from our YouTube series.
So I think that that has actually, somewhat unexpectedly been
such a boon to us and allowing Lark and Poe
to kind of skate on like the surface of a
very broad musical lake. And in that way, it's like
(04:50):
such a gift.
Speaker 4 (04:51):
Also, we played for a long time and we're kind
of mentored by Elvis Costello, and that's also a man
who has a very diverse career in terms of genre,
and it allows him to change it up and keep
himself fresh. And he kind of imparted that wisdom onto us, like,
don't box yourselves in, keep try and keep audiences guessing
(05:14):
a little bit so that you can be at the
forefront of your own game.
Speaker 3 (05:21):
Talk about some other career turning points that have really
sort of continued to free you creatively.
Speaker 2 (05:29):
I feel twenty seventeen is a big one. Twenty seventeen
is the year that we self produced our first record together, Peach,
and we started our record label, and that really has
been one of the more the single most impactful moments
of our career because it was a very intimidating move
(05:49):
to make and it felt a little bit fullhardy. I
think both my sister and I, even for being touring
musicians in the entertainment field, we're fairly risk averse, even
though you would think otherwise it's a very risky line
of work to try and make a buck in, but
being able, I think to come together as a team
and be like, you know what, we're going to jump
off this cliff. We're gonna do it ourselves. We've always
(06:13):
known from the beginning that we've had very strong creative opinions. Clearly,
our mother and our father raised us to like to
do what we want to do when we want to
do it, and for that I'm eternally grateful because it
has allowed us, I think, to reach that point in
our career and have the sense of self and the
faith to take that leap and start our own label
and start producing our own records. And that was really
(06:37):
our first taste of pure, unfettered creative freedom and there's
no going back for us.
Speaker 3 (06:43):
Now, where did you get the desire to always seek
continuous improvement? Is that from your parents? I know they
were in sort of the medical field, right, m.
Speaker 4 (06:56):
Yeah, they were both in the medical field and both
very much do it yourselfers, and both of them have
a very strong drive and work ethic. So I do
think that we got a lot of that from them,
and I think it's also helped to have a little
bit of sibling rivalry as well, in healthy and unhealthy ways,
(07:22):
but mostly healthy. You know, I think that we push
each other and there's no resting on laurels when you've
got somebody beside you who really who really knows you
and kind of wants to see you improve. As well.
So I think I think we do push each other.
Speaker 2 (07:41):
Yeah, that's it's fair to say. That's very fair to say,
and I agree. I think that that is a blessing
and a curse because I think especially in the music
industry of today's time, where there is such a hand
in glove relationship with social media, and so there's always
this upping of the ante. There's this this this image conscious,
(08:06):
this never resting, twenty four hour news cycle approach to
the creative arts at this point that sometimes I think,
because we are we do have a very high expectation
of the kind of work that we can do together
as a teen that finding those moments where it's like
you know what, Hey, actually we need to dial back
(08:27):
the self criticism. We need to dial back sort of
the always on because I think back to you know,
when we were in our early teens, late teens, we
would have uninterrupted hours of time to sit and hone
our craft, just sitting and noodling on our instruments, sitting
and toying with a song. And nowadays, like the ratio
(08:49):
of time it's so weighted in, like our calendar is full,
we have so much stuff to do. There's these extra
pressures that I think if you don't keep it in check,
if you don't keep that that work ethic of the
work side of running a band, running a business, running
a record label, being a toying musician, the work side
(09:12):
of busy work. You have to keep that in an
appropriate relationship to the meat of our work, which is
being created, which is being musicians. And that I think
is something that we're especially in our thirties now and
in our thirties now that we have arrived at this
(09:32):
new point in time where we're trying to be super
intentional about dialing back some of that push, push, push
and be like, you know what, actually, let's make sure
our priorities are in line.
Speaker 3 (09:42):
Rebecca, what's the one thing Megan does to push you
to greater heights? And then conversely, Megan, what's the thing
Rebecca does to push you.
Speaker 2 (09:55):
The thing that I love about one of the many,
many things that I love about my sister is Meghan
doesn't mince the truth that I think there is in
our relationship. I sense that Megan really respects me to
handle the truth from her, and so she will give
me her undiluted truth that in some ways for me
(10:15):
like I'm definitely like a little bit more of a
pr agent, like, well, how can we like the room
was basically sold out, you know what I mean? That
kind of an energy, a little bit of a used
car salesman energy. But she's not that. Megan is like
the world of tables and chairs and like, this is
how I see it. I'm going to tell you how
I see it. And so sometimes when I can get
(10:37):
like as a little sis all get like super in
my head about my prowess as an instrumentalist, or my
body image or like all the things that I think
can get distorted. Again, speaking back to social media, you
can kind of get in your head and have a
warped view of reality. And I appreciate Meghan to the
(10:58):
best of her ability bringing me back to the reality
as she sees it. And I trust this woman, I
really do. So that's one thing that I feel super
super grateful for and the way that she continues to
educate me to be like, hey, just take it as
it comes. Breathe, relax. Think about this from a different perspective.
It's all perspective. I respect your ability to tap into that.
Speaker 4 (11:21):
We are very different people, but I think that we
marry mirror each other very well. That we're kind of
like puzzle pieces a little bit so different, and yet
we fit together. And I think that I am a
very concrete person. But to match that, you need somebody
(11:42):
who has their head in the clouds a little bit,
somebody who's like wants to jump in and take action.
And that's something that Rebecca is really good at. She
is very much a move forward like momentum is king,
and you've got to to get started on the journey
in order to continue. Like I think it's really important
(12:05):
to remember that you've got it. The hardest part is
starting something, and she's very good at starting and sometimes
has to drag me along a little bit maybe, But
also it's been really good for me to be in
that energy because I think that I sometimes want to
research something to death before I even get started. Sometimes
(12:28):
you just have to jump in and learn trial by fire,
sink or swim.
Speaker 3 (12:35):
So I love your fascination with the technical aspects of
your your playing, the relationship that you have with Beard,
you know, instruments, and just sort of those nuances there.
I had Skunk Baxter on many months ago on the podcast,
(12:55):
and he talked about how he sort of reverse engineered
certain versions of guitars and kind of you know, had
that sort of mindset.
Speaker 5 (13:04):
Are you both wired sort of that way.
Speaker 3 (13:06):
As far as the technical aspects of the instruments, I.
Speaker 2 (13:11):
Would say no, But then there is evidence that would
speak contrarily to that. No. I think as it relates
to like our pedal boards or effects pedals or amplifiers,
we're very low like, we're very low maintenance when it
comes to that kind of stuff. We like to find
(13:33):
something that works and then stick.
Speaker 4 (13:35):
Like.
Speaker 2 (13:35):
We're not the kind of touring musicians who are like, oh,
I went to like a guitar shop in Saint Louis
and found this new fuzz and I'm going to dismantle
my board and put a new Like. We like the consistency,
I think, especially because we've toured for so many years
and had so much stuff break, and like the pressure
of shaking up the ghosts in the machine. We want
(13:55):
the ghosts to just rest. Just don't talk to the ghosts,
don't acknowledge the ghosts, and the thing will just work.
But when it comes to the creativity of engineering a
new instrument, shout out to Megan for yeah, reverse engineering
her instrument and starting a new line of slide guitars
called ELECTROLEGH.
Speaker 4 (14:15):
Because I would I would say that I'm not a tweaky,
deeky kind of a person, but I am. I do
know what I'm looking for, and I'm going to be
very very picky until I get to that point where
I feel satisfied and I think that you're the same,
you know what you're looking for. I don't really care
how we get there, just as long as we get there,
(14:36):
and then I want to stick with that. So I
for a long time have played Rickenbacker lap steels, which
are just incredible and I love them. They're very very
heavy instruments, so I was finding that it was impacting
me on a day to day basis touring, so I
want I just wanted basically my Rickenbacker accept light and
(15:01):
made more for standing and running around the stage. So
I worked with Beer Guitars and we were able to
develop this this lap steal that's half the way to
the Electro League, yet it still has that tone that
I'm looking for and is shaped better for standing on stage.
Speaker 1 (15:18):
We'll be right back with more of the Taken a
Walk podcast. Welcome back to the Taken a walk podcast.
Speaker 3 (15:29):
How did your life change when you discovered the dobro
and the lap as well?
Speaker 4 (15:37):
Oh, definitely changed my life. I heard Jerry Douglas playing,
and we had grown up listening to a lot of
Alison Kraus and Union Station featuring Jerry Douglas, so I
had that sound in my head. But it wasn't until
I actually saw a dobro being played that I really
connected the dots. I was like, Oh, this is the
this is the instrument I've been searching for. I'm a
(16:01):
relatively quiet person. I don't sing lead. I sing harmony
to Rebecca, who sings lead. So I think I was
always searching for my voice in an instrument. And lap
steel dobro, these slide instruments, I think have such a
vocal quality to them. It's like a fingerprint. I feel
like the way that people play slides or it's very
(16:23):
unique in the speed of the vibrato and the way
that the slide touches the strings. It's it's very human,
I think. So I was. I was extremely drawn to
that and seeking that in my life.
Speaker 3 (16:41):
I love that. It's amazing. Jerry Douglass is amazing too.
Who are some other folks that have influenced the both
of you that to this day you learn from either
from observing them or your you know, interactions in person
with them.
Speaker 2 (16:58):
In terms of other artists, definitely shout out Jerry. Jerry
Douglas is just I mean, I remember, like Slide Rule
was such a pivotal record for us, and we learned
every melody. At the time, I was playing mandolin, so
I learned all the Manlin solos and stuff, and just
a great, great piece of work that was really important
(17:19):
for us. We have to shout out once again Elvis Costello.
He has had an indelible impact on our career and
who we are as people. He's become a very dear
friend and mentor. So we got to shout out Elvis.
Who else comes to your mind? I'm actually curious.
Speaker 4 (17:35):
We have in the last I would say decade been
super influenced by blues music because we grew up listening
to a lot of Allman Brothers and going back and
sort of researching whoo who were well who was influencing
like southern rock music, and so we love Skip James
(17:58):
and Son House really inspired by some of the Delta
blues musicians.
Speaker 2 (18:04):
Yeah, that is kind of a fascinating point of conversation,
the fact that a lot of the records that we
are seeking inspiration from and that have influenced the way
that we write. I mean, clearly, anybody who listens to
our records could say that we make music that is
adjacent to the blues. We are not a blues band.
(18:27):
But so many of these artists somehow skip James Muddy,
like the Three Kings. These are the guys that we're
listening to and taking tips of writing, tips of tone,
tips of expression, and these are people that will never
rub shoulders with on the physical plane. So it is
(18:47):
really special to meet individuals like out on the touring circuit.
And we run into so many thoughtful, considerate, kind humans
out on the fest circuit, increasingly so many more women
out on the touring circuit that I feel like we're
all it's sort of like the collective toolbox, where everyone's like, hey,
(19:08):
have you thought about this, have you tried this, how
do you feel when you're on stage and you're sick,
or just like random information that we're constantly all gleaning
from those that have committed their lives to the road
as we have. But again, it is sort of like
that spiritual like the realm of Like I think of
Chris Whitley. He's a huge inspiration to me and he
(19:32):
died before I was born. I think of Ozzy Osbourne,
who I odds are I'm never going to meet Ozzy Osbourne,
but the impact that his music has had on my
life is huge. So it's that's a very fun question
to think about. How how we glean impacts from people
(19:53):
around us, if it's on a spiritual level, or if
it really is, like, hey, Elvis is our buddy and
I'm going to call him up and get advice on something.
It's neat the many myriad ways in which we can
all impact one another in this world.
Speaker 1 (20:06):
Yeah.
Speaker 5 (20:07):
I thought of three.
Speaker 3 (20:10):
Either artists or bands that you know, when I listened
to the vibe of Lark and Poe that I wondered about,
whether you know you'd researched it all. One is Little Feet,
just due to you know, once again, this incredible musicianship
(20:30):
that they have and that.
Speaker 5 (20:33):
You guys have. I thought a Ry Cooter as well.
Speaker 3 (20:39):
You know, once again, the vibe and the stellar you know,
musicianship matches what what Lark and Poe is is certainly
all about.
Speaker 5 (20:54):
Does that resonate with you at all? Those Yes?
Speaker 4 (20:57):
Who was the third.
Speaker 5 (20:59):
Yeah, just looking up into the air and it floated
above me. So when it comes down, Oh.
Speaker 4 (21:04):
No, worries.
Speaker 2 (21:04):
I'm just curious because that that is exactly the space,
like the space between Little Feet Rye Cooter, And like,
what would you add is a third point? Maybe the Crows,
maybe the Black Crows. It's like, because we want to rock,
we want we want to get on stage and kick ass,
but we don't want to shred. Like neither my sister
or I are like we need to have a thousand
(21:26):
notes in order to like prove a point. We're definitely in.
Like I think of the melodies that ry Cooter writes
with his guitar, and I think of the lyrical depth
of a band like Little Feet, where it's like you
can crawl inside the story and get a little piece
of the human experience. So that that's a really great
little trilogy for us. Thank you, that's such such kind compliments.
Speaker 5 (21:49):
And I did think of the third one.
Speaker 3 (21:50):
I'm embarrassed you're probably for forgetting briefly gonna you know,
hang up on me, But Bonnie rate, oh yay.
Speaker 2 (22:00):
The Queen the Queen.
Speaker 4 (22:02):
I love Bonnie Ray. Yeah, and especially as a female
slide player. I revere Bonnie. She was she was doing
something in her time that nobody was doing. There's nobody
who looked like her laying the way that she did.
So yeah, huge respect.
Speaker 3 (22:23):
So I love the version of running Down a Dream
that that you do on the Petty Collection, and it's
also in Bad Monkey.
Speaker 5 (22:33):
It's amazing. I think Running Down a Dream is one.
Speaker 3 (22:37):
Of those greatest driving songs certainly of all time. What
are some of your favorite driving songs as well?
Speaker 4 (22:46):
Oh, another run in song, Running on Empty is a
huge one for me. That's a great driving featuring David
Linley of course on lap steel playing one of the
most iconic guitar so of all time. I think that's
a great driving song.
Speaker 2 (23:04):
I'm gonna actually this is sort of a random one,
but anytime we drive in the Little Rock we have
to listen to Little Rock by Colin Ray. Do you
know that song?
Speaker 4 (23:16):
I can mom mo roll here a little Rock.
Speaker 2 (23:20):
Like anytime you cross the state line, like out of Tennessee,
it's like, all right, crank up, Colin Ray, let's go.
So that's a huge driving song for me. Yeah, it's
a big one.
Speaker 5 (23:30):
That's a good one. Tell me about your creative process
in the studio.
Speaker 3 (23:37):
Take us inside that. How does that work, what's the
give and take of it? Give us a little glimpse
of that.
Speaker 2 (23:44):
I would describe it as ever evolving. I think, especially
as kids of the nineties and growing up with the
advent of garage, band and logic, our relationship to recording
is like constantly on the move. We you know, in
(24:04):
early Larkin po days, we've recorded live records. We've recorded
records in our bedrooms using laptops to program drums, But
most recently we've phased into attempting as as much as
possible to try and represent who we are on the
live stage in the studio. So we've definitely done a
(24:28):
lot of live tracking, but I think the goal for
us is to do an all live record because there
is there is something, There is something unique, and you
used the word earlier fingerprint. There's a fingerprint of spiritual
energy that exists when humans make music together, which I
(24:49):
think is truly the antidote to AI's.
Speaker 4 (24:52):
Participation in music creation.
Speaker 2 (24:55):
That AI can never recreate the unique energy of humans
responding spontaneously with one another in the live space that
increasingly I would have such an interest in trying to
capture on our records, but there is also budgetary limitations.
(25:17):
We've actually made the last I mean what four or
five of our records in our home studio, and it's
a very petite space, so being able to have everyone
set up in a circle and tracking together, it's just
not physically possible due to our spacial limitations. But we're
really excited. We're in the process of building a recording
studio so that hopefully Larcompoe records in the future will
(25:40):
be able to be performed alive with the appropriate isolation. Well,
we'll have a booth to put Meg in a booth
to put me drummer in the live room and everyone
looking at each other and capturing those live performances.
Speaker 5 (25:54):
Are you mentoring anybody on the label these days?
Speaker 2 (26:00):
We have actually not branched out into mentoring at this
point in terms of signing an artist or producing another artist,
But I feel that that is something that we I
think that we will have a passion for, and I
think that we would be really well suited as a
team to work with an artist in the capacity. Right now,
I feel like we're just remaxed, maxed out.
Speaker 4 (26:23):
We're so busy as handling everything lark and po But
once we have a little bit more time, I feel
like we would love to devote some energy to mentoring
the next generation of music makers. That would be that
would be incredibly meaningful.
Speaker 2 (26:39):
I'm excited for that, and that I think is the
one thing that I do find a lot of like
comfort and excitement in it is that even though being
a touring musician it comes with a very unique set
of stressors. The unpredictability of the work. You know, some
(26:59):
of the secon srifes that it requires. The thing that
it really gives, the gifts it gives in spades are
are the fact that it's ever changing. That you know,
within the next five to ten years, the kind of
work that we're doing, it'll still be creative work, but
it may look very different. And I'm super excited for
the future in that respect.
Speaker 3 (27:19):
I love how you've built your fan base and worked
so hard at it almost it seems as a fair
to say in a one fan at a time sort
of basis, can you talk a little bit about how
you built the fan base.
Speaker 4 (27:36):
It was person by person by person, our twenties were
definitely dedicated towards a huge grassroots effort. I feel like
we went everywhere and played to five people, you know,
and we'll come back through a city and there's a
few more people, and come back through again and there's
(27:56):
a few more. And then there's a little bit of
a snowball effect that has happened over the past few
years where we were suddenly like jumping up and selling
out places and selling out entire tours, and that was
extremely exciting continued, especially considering that we've we've spent many
years playing to sometimes just the bar staff at a bar,
(28:17):
you know. So it's it's definitely hard one, but that
also ties us to our supporters, and these people that
that that come out and spend their time and energy
on us were tied together in a in a very
emotional way, and it's it's super meaningful. And I think
the relationships that you can form with music lovers is
(28:40):
is huge and it keeps us going. It's it's it's
the joy of our life to be able to go
out and connect with people.
Speaker 3 (28:51):
In closing then, and I think you sort of already
led to this, how do you describe musical happiness.
Speaker 2 (28:59):
You musical happiness. Oh my gosh, you are so good
at your job. That is a wonderful question, and I'm
really curious to hear what we each have to say.
What do you do you have a little neural synapsies
firing off?
Speaker 4 (29:20):
For me, musical happiness, I think is time to experiment,
to create something new that then can go out into
the world and mean something to somebody else. I think
that musical happiness is me creating something within myself that
(29:43):
then doesn't belong to me anymore. Ooh, I love that.
Speaker 2 (29:50):
I'm going to go to the opposite direction. I'm going
to go introspective because I was actually what first popped
into my mind was this was maybe a month and
a half two months ago. Meghan and I backed up
on You played dobro and lapsteel and I played mandolin.
One of our heroes we love t Bone. Burnett and
(30:10):
t Bone released an incredible record and he played a
scattering of shows in the Southeast and so we were
able to come out and support him on.
Speaker 4 (30:19):
One as part of his band.
Speaker 2 (30:22):
And it was such a cool experience to sit acoustically
on the stage and it was Megan on my left
and there was an upright bass player, Dennis Crouch to
my right, and there was a fiddle player across the stage,
and everyone was playing in concert together, and it was
acoustic because clearly we're playing a rock and roll show,
(30:42):
as Larkin Poe the majority of the time, which requires
there to be like the introduction of tech where we've
got we're wearing in years so that we can actually
have isolation over the drums, because for years we toured
on monitors where you have speakers on the stage blasting
sound at you. I was routinely singing my voice out
trying to sing over the drums. So there, I think,
(31:05):
by necessity, some of our some of our touring implements
create a little bit of a barrier between us and
the music just by nature of kind of like the
way the world turns and the way you're able to
do the amount of shows that we book. But I
think in the future, for some ar compos tours, I
(31:26):
would want to recreate that intimacy because again it was
it was a bunch of humans sitting within feet of
each other, and the sound waves coming from one human
to the next was impacting all of us and our
chemistry on stage, which in turn, was spilling over and
to speak to your points well, touching the audience. So
(31:47):
I think being able to create that kind of a
musical experience on stage which you and I share all
the time. I feel so blessed to be able to
sit literally right next to one of my best friends
and play music that is instinctual and so rarely we're
able to carry that out on stage in its purest
(32:07):
raw form for a crowd, and I think that'll be
really cool at some point in the future. So that's
physical happiness to me.
Speaker 4 (32:12):
So would you say it's a conversation, yes, Yeah, when
music is allowed to be a conversation, when it's not
too premeditated, there's not too much tech.
Speaker 2 (32:21):
Involved, there isn't pressure. Musical happiness is when it's conversational.
Speaker 3 (32:27):
Yeah, Well, Rebecca and Megan. For me, podcasting happiness is
this is an example of it. I get to do
it frequently, and this is one of those moments that
I'm so grateful for. And I'm grateful for the music
you continue to give us. And thank you for being
(32:47):
on the Taking a Walk Podcast.
Speaker 2 (32:49):
Thank you so much.
Speaker 1 (32:52):
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):
I think about the fact that Megan and I for
years have started, you know, and maintained a YouTube channel
where we cover a wide variety of songs, and we
started out doing that just for fun, just as a
way like in between tours for us to stay fresh
and sharp, and you know, go and learn a Tom
Petty song, Go and learn a Black Sabbath song, Go
(00:21):
and learn a Pat Metheenie song, Go and learn a
Steve Moore song. And that was sort of like our
way of educating ourselves further in the language of music.
Speaker 1 (00:30):
Welcome to the Taking a Walk Podcast, the show where
Buzz Night talks to musicians and gets to the heart
of their craft and their creative process. On this episode,
he talks with Rebecca and Meghan Lovell, two sisters who
lead the roots rock and Americana band Lark and Poe.
Here's Buzz Night with Lark and Poe on Taking a Walk.
Speaker 3 (00:53):
Rebecca and Meghan, Lark and Poe. So great to have
you on the Taken a Walk Podcast.
Speaker 2 (01:00):
It is so fun to be here.
Speaker 4 (01:01):
Yeah, thank you for having us.
Speaker 3 (01:03):
Take me back both of you sitting at a piano
with your mom learning to sing. What do you remember
about that important moment in your career.
Speaker 4 (01:14):
Our mom grew up singing with her siblings, so harmony
was always a big part of our musical heritage. I
guess you could say our mom grew up listening to
a lot of folk artists and grew up in the
land of Dolly Parton, so I think that siblings singing
together was a big part of her hurt growing up
(01:36):
as well. So she sat down and taught us to sing.
There's a four siblings all together, but the three sisters
are the ones that sang together. So Rebecca and I
and our older sister, we learned to sing harmony before
we could even read.
Speaker 3 (01:52):
And it's a pivotal moment that really shaped both of you.
Speaker 1 (01:55):
Right.
Speaker 2 (01:57):
Yeah, at the time, I guess we weren't even considering
it as as a career because it was a very
special gift that my mother gave us from you know,
three and four years old, our parents allowing us to
start taking classical violin and piano lessons and making music
such an integral part of our household. And again, like,
(02:18):
even from our parents' perspective, I don't think that they
were ever intending us to treat music as a livelihood.
It was just a joy that they experienced and wanted
us to be able to have use of a language,
the language of music.
Speaker 4 (02:34):
I feel so fortunate that music really was a part
of our daily lives, and they instilled in us a
love of music, and they listened to all different kinds
of music, from you know, rock to jazz, to bluegrass,
to classical music, world music, all of the hard rock. Yeah,
so we grew up having kind of a diverse love.
Speaker 5 (03:00):
Well.
Speaker 3 (03:00):
I feel like as Lark and Poe has evolved, I
really feel that you're really not typecast in terms of genre.
In my view, I think you are a little bit
of this and a little bit of that, and you're
constantly exploring. Is that a fair assessment, Absolutely.
Speaker 2 (03:21):
And it is. It's interesting as well. I think the
older that we get, or I'll speak from my perspective,
the older that I get when I look back at
our track record, so many of the pivotal moments in
our career or the practices that have ultimately shaped us
the most, we're very rarely intentional, or we're very rarely like,
(03:44):
you know, a means to an end. Like I think
about the fact that Megan and I for years have started,
you know, and maintained a YouTube channel where we cover
a wide variety of songs. And we started out doing
that just for fun, just as a way like in
between tours, for us to stay fresh and sharp, and
you know, go and learn a Tom Petty song, go
(04:06):
and learn a Black Sabbath song, Go and learn a
Pat Metheeni song, Go and learn a Steve Moore song.
And that was sort of like our way of educating
ourselves further in the language of music. But I think
as a result, and we never would have premedicated this,
that people view us, I think as a less attached
to genre because they know us for our original material
(04:28):
and they also know us for covering anything from rockabilly
to you know to hard rock from our YouTube series.
So I think that that has actually, somewhat unexpectedly been
such a boon to us and allowing Lark and Poe
to kind of skate on like the surface of a
very broad musical lake. And in that way, it's like
(04:50):
such a gift.
Speaker 4 (04:51):
Also, we played for a long time and we're kind
of mentored by Elvis Costello, and that's also a man
who has a very diverse career in terms of genre,
and it allows him to change it up and keep
himself fresh. And he kind of imparted that wisdom onto us, like,
don't box yourselves in, keep try and keep audiences guessing
(05:14):
a little bit so that you can be at the
forefront of your own game.
Speaker 3 (05:21):
Talk about some other career turning points that have really
sort of continued to free you creatively.
Speaker 2 (05:29):
I feel twenty seventeen is a big one. Twenty seventeen
is the year that we self produced our first record together, Peach,
and we started our record label, and that really has
been one of the more the single most impactful moments
of our career because it was a very intimidating move
(05:49):
to make and it felt a little bit fullhardy. I
think both my sister and I, even for being touring
musicians in the entertainment field, we're fairly risk averse, even
though you would think otherwise it's a very risky line
of work to try and make a buck in, but
being able, I think to come together as a team
and be like, you know what, we're going to jump
off this cliff. We're gonna do it ourselves. We've always
(06:13):
known from the beginning that we've had very strong creative opinions. Clearly,
our mother and our father raised us to like to
do what we want to do when we want to
do it, and for that I'm eternally grateful because it
has allowed us, I think, to reach that point in
our career and have the sense of self and the
faith to take that leap and start our own label
and start producing our own records. And that was really
(06:37):
our first taste of pure, unfettered creative freedom and there's
no going back for us.
Speaker 3 (06:43):
Now, where did you get the desire to always seek
continuous improvement? Is that from your parents? I know they
were in sort of the medical field, right, m.
Speaker 4 (06:56):
Yeah, they were both in the medical field and both
very much do it yourselfers, and both of them have
a very strong drive and work ethic. So I do
think that we got a lot of that from them,
and I think it's also helped to have a little
bit of sibling rivalry as well, in healthy and unhealthy ways,
(07:22):
but mostly healthy. You know, I think that we push
each other and there's no resting on laurels when you've
got somebody beside you who really who really knows you
and kind of wants to see you improve. As well.
So I think I think we do push each other.
Speaker 2 (07:41):
Yeah, that's it's fair to say. That's very fair to say,
and I agree. I think that that is a blessing
and a curse because I think especially in the music
industry of today's time, where there is such a hand
in glove relationship with social media, and so there's always
this upping of the ante. There's this this this image conscious,
(08:06):
this never resting, twenty four hour news cycle approach to
the creative arts at this point that sometimes I think,
because we are we do have a very high expectation
of the kind of work that we can do together
as a teen that finding those moments where it's like
you know what, Hey, actually we need to dial back
(08:27):
the self criticism. We need to dial back sort of
the always on because I think back to you know,
when we were in our early teens, late teens, we
would have uninterrupted hours of time to sit and hone
our craft, just sitting and noodling on our instruments, sitting
and toying with a song. And nowadays, like the ratio
(08:49):
of time it's so weighted in, like our calendar is full,
we have so much stuff to do. There's these extra
pressures that I think if you don't keep it in check,
if you don't keep that that work ethic of the
work side of running a band, running a business, running
a record label, being a toying musician, the work side
(09:12):
of busy work. You have to keep that in an
appropriate relationship to the meat of our work, which is
being created, which is being musicians. And that I think
is something that we're especially in our thirties now and
in our thirties now that we have arrived at this
(09:32):
new point in time where we're trying to be super
intentional about dialing back some of that push, push, push
and be like, you know what, actually, let's make sure
our priorities are in line.
Speaker 3 (09:42):
Rebecca, what's the one thing Megan does to push you
to greater heights? And then conversely, Megan, what's the thing
Rebecca does to push you.
Speaker 2 (09:55):
The thing that I love about one of the many,
many things that I love about my sister is Meghan
doesn't mince the truth that I think there is in
our relationship. I sense that Megan really respects me to
handle the truth from her, and so she will give
me her undiluted truth that in some ways for me
(10:15):
like I'm definitely like a little bit more of a
pr agent, like, well, how can we like the room
was basically sold out, you know what I mean? That
kind of an energy, a little bit of a used
car salesman energy. But she's not that. Megan is like
the world of tables and chairs and like, this is
how I see it. I'm going to tell you how
I see it. And so sometimes when I can get
(10:37):
like as a little sis all get like super in
my head about my prowess as an instrumentalist, or my
body image or like all the things that I think
can get distorted. Again, speaking back to social media, you
can kind of get in your head and have a
warped view of reality. And I appreciate Meghan to the
(10:58):
best of her ability bringing me back to the reality
as she sees it. And I trust this woman, I
really do. So that's one thing that I feel super
super grateful for and the way that she continues to
educate me to be like, hey, just take it as
it comes. Breathe, relax. Think about this from a different perspective.
It's all perspective. I respect your ability to tap into that.
Speaker 4 (11:21):
We are very different people, but I think that we
marry mirror each other very well. That we're kind of
like puzzle pieces a little bit so different, and yet
we fit together. And I think that I am a
very concrete person. But to match that, you need somebody
(11:42):
who has their head in the clouds a little bit,
somebody who's like wants to jump in and take action.
And that's something that Rebecca is really good at. She
is very much a move forward like momentum is king,
and you've got to to get started on the journey
in order to continue. Like I think it's really important
(12:05):
to remember that you've got it. The hardest part is
starting something, and she's very good at starting and sometimes
has to drag me along a little bit maybe, But
also it's been really good for me to be in
that energy because I think that I sometimes want to
research something to death before I even get started. Sometimes
(12:28):
you just have to jump in and learn trial by fire,
sink or swim.
Speaker 3 (12:35):
So I love your fascination with the technical aspects of
your your playing, the relationship that you have with Beard,
you know, instruments, and just sort of those nuances there.
I had Skunk Baxter on many months ago on the podcast,
(12:55):
and he talked about how he sort of reverse engineered
certain versions of guitars and kind of you know, had
that sort of mindset.
Speaker 5 (13:04):
Are you both wired sort of that way.
Speaker 3 (13:06):
As far as the technical aspects of the instruments, I.
Speaker 2 (13:11):
Would say no, But then there is evidence that would
speak contrarily to that. No. I think as it relates
to like our pedal boards or effects pedals or amplifiers,
we're very low like, we're very low maintenance when it
comes to that kind of stuff. We like to find
(13:33):
something that works and then stick.
Speaker 4 (13:35):
Like.
Speaker 2 (13:35):
We're not the kind of touring musicians who are like, oh,
I went to like a guitar shop in Saint Louis
and found this new fuzz and I'm going to dismantle
my board and put a new Like. We like the consistency,
I think, especially because we've toured for so many years
and had so much stuff break, and like the pressure
of shaking up the ghosts in the machine. We want
(13:55):
the ghosts to just rest. Just don't talk to the ghosts,
don't acknowledge the ghosts, and the thing will just work.
But when it comes to the creativity of engineering a
new instrument, shout out to Megan for yeah, reverse engineering
her instrument and starting a new line of slide guitars
called ELECTROLEGH.
Speaker 4 (14:15):
Because I would I would say that I'm not a tweaky,
deeky kind of a person, but I am. I do
know what I'm looking for, and I'm going to be
very very picky until I get to that point where
I feel satisfied and I think that you're the same,
you know what you're looking for. I don't really care
how we get there, just as long as we get there,
(14:36):
and then I want to stick with that. So I
for a long time have played Rickenbacker lap steels, which
are just incredible and I love them. They're very very
heavy instruments, so I was finding that it was impacting
me on a day to day basis touring, so I
want I just wanted basically my Rickenbacker accept light and
(15:01):
made more for standing and running around the stage. So
I worked with Beer Guitars and we were able to
develop this this lap steal that's half the way to
the Electro League, yet it still has that tone that
I'm looking for and is shaped better for standing on stage.
Speaker 1 (15:18):
We'll be right back with more of the Taken a
Walk podcast. Welcome back to the Taken a walk podcast.
Speaker 3 (15:29):
How did your life change when you discovered the dobro
and the lap as well?
Speaker 4 (15:37):
Oh, definitely changed my life. I heard Jerry Douglas playing,
and we had grown up listening to a lot of
Alison Kraus and Union Station featuring Jerry Douglas, so I
had that sound in my head. But it wasn't until
I actually saw a dobro being played that I really
connected the dots. I was like, Oh, this is the
this is the instrument I've been searching for. I'm a
(16:01):
relatively quiet person. I don't sing lead. I sing harmony
to Rebecca, who sings lead. So I think I was
always searching for my voice in an instrument. And lap
steel dobro, these slide instruments, I think have such a
vocal quality to them. It's like a fingerprint. I feel
like the way that people play slides or it's very
(16:23):
unique in the speed of the vibrato and the way
that the slide touches the strings. It's it's very human,
I think. So I was. I was extremely drawn to
that and seeking that in my life.
Speaker 3 (16:41):
I love that. It's amazing. Jerry Douglass is amazing too.
Who are some other folks that have influenced the both
of you that to this day you learn from either
from observing them or your you know, interactions in person
with them.
Speaker 2 (16:58):
In terms of other artists, definitely shout out Jerry. Jerry
Douglas is just I mean, I remember, like Slide Rule
was such a pivotal record for us, and we learned
every melody. At the time, I was playing mandolin, so
I learned all the Manlin solos and stuff, and just
a great, great piece of work that was really important
(17:19):
for us. We have to shout out once again Elvis Costello.
He has had an indelible impact on our career and
who we are as people. He's become a very dear
friend and mentor. So we got to shout out Elvis.
Who else comes to your mind? I'm actually curious.
Speaker 4 (17:35):
We have in the last I would say decade been
super influenced by blues music because we grew up listening
to a lot of Allman Brothers and going back and
sort of researching whoo who were well who was influencing
like southern rock music, and so we love Skip James
(17:58):
and Son House really inspired by some of the Delta
blues musicians.
Speaker 2 (18:04):
Yeah, that is kind of a fascinating point of conversation,
the fact that a lot of the records that we
are seeking inspiration from and that have influenced the way
that we write. I mean, clearly, anybody who listens to
our records could say that we make music that is
adjacent to the blues. We are not a blues band.
(18:27):
But so many of these artists somehow skip James Muddy,
like the Three Kings. These are the guys that we're
listening to and taking tips of writing, tips of tone,
tips of expression, and these are people that will never
rub shoulders with on the physical plane. So it is
(18:47):
really special to meet individuals like out on the touring circuit.
And we run into so many thoughtful, considerate, kind humans
out on the fest circuit, increasingly so many more women
out on the touring circuit that I feel like we're
all it's sort of like the collective toolbox, where everyone's like, hey,
(19:08):
have you thought about this, have you tried this, how
do you feel when you're on stage and you're sick,
or just like random information that we're constantly all gleaning
from those that have committed their lives to the road
as we have. But again, it is sort of like
that spiritual like the realm of Like I think of
Chris Whitley. He's a huge inspiration to me and he
(19:32):
died before I was born. I think of Ozzy Osbourne,
who I odds are I'm never going to meet Ozzy Osbourne,
but the impact that his music has had on my
life is huge. So it's that's a very fun question
to think about. How how we glean impacts from people
(19:53):
around us, if it's on a spiritual level, or if
it really is, like, hey, Elvis is our buddy and
I'm going to call him up and get advice on something.
It's neat the many myriad ways in which we can
all impact one another in this world.
Speaker 1 (20:06):
Yeah.
Speaker 5 (20:07):
I thought of three.
Speaker 3 (20:10):
Either artists or bands that you know, when I listened
to the vibe of Lark and Poe that I wondered about,
whether you know you'd researched it all. One is Little Feet,
just due to you know, once again, this incredible musicianship
(20:30):
that they have and that.
Speaker 5 (20:33):
You guys have. I thought a Ry Cooter as well.
Speaker 3 (20:39):
You know, once again, the vibe and the stellar you know,
musicianship matches what what Lark and Poe is is certainly
all about.
Speaker 5 (20:54):
Does that resonate with you at all? Those Yes?
Speaker 4 (20:57):
Who was the third.
Speaker 5 (20:59):
Yeah, just looking up into the air and it floated
above me. So when it comes down, Oh.
Speaker 4 (21:04):
No, worries.
Speaker 2 (21:04):
I'm just curious because that that is exactly the space,
like the space between Little Feet Rye Cooter, And like,
what would you add is a third point? Maybe the Crows,
maybe the Black Crows. It's like, because we want to rock,
we want we want to get on stage and kick ass,
but we don't want to shred. Like neither my sister
or I are like we need to have a thousand
(21:26):
notes in order to like prove a point. We're definitely in.
Like I think of the melodies that ry Cooter writes
with his guitar, and I think of the lyrical depth
of a band like Little Feet, where it's like you
can crawl inside the story and get a little piece
of the human experience. So that that's a really great
little trilogy for us. Thank you, that's such such kind compliments.
Speaker 5 (21:49):
And I did think of the third one.
Speaker 3 (21:50):
I'm embarrassed you're probably for forgetting briefly gonna you know,
hang up on me, But Bonnie rate, oh yay.
Speaker 2 (22:00):
The Queen the Queen.
Speaker 4 (22:02):
I love Bonnie Ray. Yeah, and especially as a female
slide player. I revere Bonnie. She was she was doing
something in her time that nobody was doing. There's nobody
who looked like her laying the way that she did.
So yeah, huge respect.
Speaker 3 (22:23):
So I love the version of running Down a Dream
that that you do on the Petty Collection, and it's
also in Bad Monkey.
Speaker 5 (22:33):
It's amazing. I think Running Down a Dream is one.
Speaker 3 (22:37):
Of those greatest driving songs certainly of all time. What
are some of your favorite driving songs as well?
Speaker 4 (22:46):
Oh, another run in song, Running on Empty is a
huge one for me. That's a great driving featuring David
Linley of course on lap steel playing one of the
most iconic guitar so of all time. I think that's
a great driving song.
Speaker 2 (23:04):
I'm gonna actually this is sort of a random one,
but anytime we drive in the Little Rock we have
to listen to Little Rock by Colin Ray. Do you
know that song?
Speaker 4 (23:16):
I can mom mo roll here a little Rock.
Speaker 2 (23:20):
Like anytime you cross the state line, like out of Tennessee,
it's like, all right, crank up, Colin Ray, let's go.
So that's a huge driving song for me. Yeah, it's
a big one.
Speaker 5 (23:30):
That's a good one. Tell me about your creative process
in the studio.
Speaker 3 (23:37):
Take us inside that. How does that work, what's the
give and take of it? Give us a little glimpse
of that.
Speaker 2 (23:44):
I would describe it as ever evolving. I think, especially
as kids of the nineties and growing up with the
advent of garage, band and logic, our relationship to recording
is like constantly on the move. We you know, in
(24:04):
early Larkin po days, we've recorded live records. We've recorded
records in our bedrooms using laptops to program drums, But
most recently we've phased into attempting as as much as
possible to try and represent who we are on the
live stage in the studio. So we've definitely done a
(24:28):
lot of live tracking, but I think the goal for
us is to do an all live record because there
is there is something, There is something unique, and you
used the word earlier fingerprint. There's a fingerprint of spiritual
energy that exists when humans make music together, which I
(24:49):
think is truly the antidote to AI's.
Speaker 4 (24:52):
Participation in music creation.
Speaker 2 (24:55):
That AI can never recreate the unique energy of humans
responding spontaneously with one another in the live space that
increasingly I would have such an interest in trying to
capture on our records, but there is also budgetary limitations.
(25:17):
We've actually made the last I mean what four or
five of our records in our home studio, and it's
a very petite space, so being able to have everyone
set up in a circle and tracking together, it's just
not physically possible due to our spacial limitations. But we're
really excited. We're in the process of building a recording
studio so that hopefully Larcompoe records in the future will
(25:40):
be able to be performed alive with the appropriate isolation. Well,
we'll have a booth to put Meg in a booth
to put me drummer in the live room and everyone
looking at each other and capturing those live performances.
Speaker 5 (25:54):
Are you mentoring anybody on the label these days?
Speaker 2 (26:00):
We have actually not branched out into mentoring at this
point in terms of signing an artist or producing another artist,
But I feel that that is something that we I
think that we will have a passion for, and I
think that we would be really well suited as a
team to work with an artist in the capacity. Right now,
I feel like we're just remaxed, maxed out.
Speaker 4 (26:23):
We're so busy as handling everything lark and po But
once we have a little bit more time, I feel
like we would love to devote some energy to mentoring
the next generation of music makers. That would be that
would be incredibly meaningful.
Speaker 2 (26:39):
I'm excited for that, and that I think is the
one thing that I do find a lot of like
comfort and excitement in it is that even though being
a touring musician it comes with a very unique set
of stressors. The unpredictability of the work. You know, some
(26:59):
of the secon srifes that it requires. The thing that
it really gives, the gifts it gives in spades are
are the fact that it's ever changing. That you know,
within the next five to ten years, the kind of
work that we're doing, it'll still be creative work, but
it may look very different. And I'm super excited for
the future in that respect.
Speaker 3 (27:19):
I love how you've built your fan base and worked
so hard at it almost it seems as a fair
to say in a one fan at a time sort
of basis, can you talk a little bit about how
you built the fan base.
Speaker 4 (27:36):
It was person by person by person, our twenties were
definitely dedicated towards a huge grassroots effort. I feel like
we went everywhere and played to five people, you know,
and we'll come back through a city and there's a
few more people, and come back through again and there's
(27:56):
a few more. And then there's a little bit of
a snowball effect that has happened over the past few
years where we were suddenly like jumping up and selling
out places and selling out entire tours, and that was
extremely exciting continued, especially considering that we've we've spent many
years playing to sometimes just the bar staff at a bar,
(28:17):
you know. So it's it's definitely hard one, but that
also ties us to our supporters, and these people that
that that come out and spend their time and energy
on us were tied together in a in a very
emotional way, and it's it's super meaningful. And I think
the relationships that you can form with music lovers is
(28:40):
is huge and it keeps us going. It's it's it's
the joy of our life to be able to go
out and connect with people.
Speaker 3 (28:51):
In closing then, and I think you sort of already
led to this, how do you describe musical happiness.
Speaker 2 (28:59):
You musical happiness. Oh my gosh, you are so good
at your job. That is a wonderful question, and I'm
really curious to hear what we each have to say.
What do you do you have a little neural synapsies
firing off?
Speaker 4 (29:20):
For me, musical happiness, I think is time to experiment,
to create something new that then can go out into
the world and mean something to somebody else. I think
that musical happiness is me creating something within myself that
(29:43):
then doesn't belong to me anymore. Ooh, I love that.
Speaker 2 (29:50):
I'm going to go to the opposite direction. I'm going
to go introspective because I was actually what first popped
into my mind was this was maybe a month and
a half two months ago. Meghan and I backed up
on You played dobro and lapsteel and I played mandolin.
One of our heroes we love t Bone. Burnett and
(30:10):
t Bone released an incredible record and he played a
scattering of shows in the Southeast and so we were
able to come out and support him on.
Speaker 4 (30:19):
One as part of his band.
Speaker 2 (30:22):
And it was such a cool experience to sit acoustically
on the stage and it was Megan on my left
and there was an upright bass player, Dennis Crouch to
my right, and there was a fiddle player across the stage,
and everyone was playing in concert together, and it was
acoustic because clearly we're playing a rock and roll show,
(30:42):
as Larkin Poe the majority of the time, which requires
there to be like the introduction of tech where we've
got we're wearing in years so that we can actually
have isolation over the drums, because for years we toured
on monitors where you have speakers on the stage blasting
sound at you. I was routinely singing my voice out
trying to sing over the drums. So there, I think,
(31:05):
by necessity, some of our some of our touring implements
create a little bit of a barrier between us and
the music just by nature of kind of like the
way the world turns and the way you're able to
do the amount of shows that we book. But I
think in the future, for some ar compos tours, I
(31:26):
would want to recreate that intimacy because again it was
it was a bunch of humans sitting within feet of
each other, and the sound waves coming from one human
to the next was impacting all of us and our
chemistry on stage, which in turn, was spilling over and
to speak to your points well, touching the audience. So
(31:47):
I think being able to create that kind of a
musical experience on stage which you and I share all
the time. I feel so blessed to be able to
sit literally right next to one of my best friends
and play music that is instinctual and so rarely we're
able to carry that out on stage in its purest
(32:07):
raw form for a crowd, and I think that'll be
really cool at some point in the future. So that's
physical happiness to me.
Speaker 4 (32:12):
So would you say it's a conversation, yes, Yeah, when
music is allowed to be a conversation, when it's not
too premeditated, there's not too much tech.
Speaker 2 (32:21):
Involved, there isn't pressure. Musical happiness is when it's conversational.
Speaker 3 (32:27):
Yeah, Well, Rebecca and Megan. For me, podcasting happiness is
this is an example of it. I get to do
it frequently, and this is one of those moments that
I'm so grateful for. And I'm grateful for the music
you continue to give us. And thank you for being
(32:47):
on the Taking a Walk Podcast.
Speaker 2 (32:49):
Thank you so much.
Speaker 1 (32:52):
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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