September 22, 2025 • 11 mins
An update from another of New Zealand’s talented musicians – Harper Finn.
Finn is finally releasing his debut album, ‘Silo Park’ coming out at the end of next month.
The album is a journey through change, isolation, and discovery, set against the dual backdrops of his homes in New Zealand and New York, recorded in the Woodstock region upstate.
He moved to the US in 2022, which was sparked by a desire for a change of scenery, Finn saying he felt like he was plateauing in the years since being named Breakthrough Artist of the Year in 2021.
“I needed to have another experience, a sort of substantial experience to write about.”
“Three months there is a year’s worth of activity,” he told Hosking.
“So those three years I’ve spent there, I felt like I’ve been there for close to a decade.”
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Time for a catch up with Harper Fin. Could have
sworn when he was last year he was talking about
his album, but that can't be right because his debut
comes out next month. Solo Park is accompanied by a
couple of shows in the country, and Harper Fin is
back with this Good morning morning mate. Right since we
were last talking, Yes, you told me you lived in Dumbo.
Is it Dumbo? Yes, Dumbo? Not anymore? No, well you
(00:21):
move your upper east side.
Speaker 2 (00:22):
Now lower east side, So yeah, lower east side, the
lower east side of the island.
Speaker 1 (00:26):
Yes, very nice. Is that Is that sort of a
move in the right direction?
Speaker 2 (00:29):
I think so once you cross the river and you
get a little bit closer to the city. For me,
at least coming from New Zealand, I think the idea
of New York has always Manhattan being a being amongst
the size skyscrapers.
Speaker 1 (00:39):
Because since we last talked, I went to New York
and I ended up in Dumbo. Oh yeah, and it's beautiful.
It is fantastic. The whole area is. It's just it's creative, vibe, nice,
nice place to live.
Speaker 2 (00:50):
Oh yeah, the market's there is a really fantastic market
they have on the weekends underneath the archway in the
under the bridge, So it seems it's a really good
spot to kind of see the city because you need
to be, of course, on the Brooklyn side to really see.
Speaker 1 (01:01):
The hundred percent skate. Do you think New York is
you forever? I think so. I miss it.
Speaker 2 (01:06):
It's a place that you kind of I've heard it
can be kind of addicting in a way where you
sort of you need it every so often. But for me,
I feel very at home there. I think, you know,
I've spent three years there now, So.
Speaker 1 (01:16):
The arduousness of it, the grind.
Speaker 2 (01:19):
Yeah, the sort of was saying this to someone last night,
I think your tough days in New York are like
tougher than anywhere else in the world. But then your
great days are, you know, super great. So it sort
of feels like you're kind of the highs and the
lower It's quite volatile, kind of sling swing ups and downs.
Speaker 1 (01:32):
Fantastic. So you're back. So last time we talked it
was an EP. So we've got the album. The debut
album's taken a bit of time to I mean, so
when did you win that the best breakthrough Artist? I
won that in twenty twenty one. So we've been waiting
for you. Have you broken through? Was it? Yeah? That's
it's funny.
Speaker 2 (01:50):
I mean, you know, I went to the States to
sort of effectively start again because you know, not many
people knew who I was in America, so I've kind
of taken the time to you know, put myself through
experience that really challenged me and just sort of built
myself back up again, similar to moving to a new school.
I sort of thought, it's that idea of having to
reintroduce yourself and sort of build.
Speaker 1 (02:08):
Yourself back up.
Speaker 2 (02:09):
And you know, that was a part of what I
wanted to do for this record because I think after
the award, you know, I sort of felt like, you know,
sort of in those COVID years, sort of plateauing, feeling
like the scenery was feeling the same. I needed to
have another experience, a sort of substantial experience to write about.
Speaker 1 (02:24):
Wow. Yeah, And so New York does that for you,
I mean, goes to New York to experienced something, don't they.
Speaker 2 (02:29):
Based I mean three months there is a year's worth
of activity, so you kind of all your relationships, all
your experiences are very accelerated. So though those those three
years I've spent there. I felt like I've been there
for close to a decade.
Speaker 1 (02:40):
And do you did you do this on your own?
This record?
Speaker 2 (02:43):
I worked with a producer called Sam Evian. He's an
American producer who is based up in Woodstock, which is
where I made most of this record. So, you know,
would write about it in the city, or you know,
did all the writing in the city, but then would
go on the train up the Hudson River to Woodstock
to work with Sam.
Speaker 1 (02:59):
How much did you know about Woodstock? Not much?
Speaker 2 (03:02):
I mean, you know, found out that the festival was
not actually held in Woodstock, it was.
Speaker 1 (03:06):
You know, a little bit further up the road. But
for the sake of the.
Speaker 2 (03:09):
Tourism and whatnot, it's you know, Woodstock is Woodstocks. Yeah,
it's I mean, you can't really. There's probably no more
significant place for music in the Northeast.
Speaker 1 (03:18):
Is he there because of that? And did you ultimately
record it there because of him? Or did you see
it as a creative space that you could get a
bit of something there.
Speaker 2 (03:26):
I think yeah, I think the latter it was there's
a bit of a scene up there. I'd say not
as many musicians live in New York as say Los Angeles.
Speaker 1 (03:33):
But the Woodstock.
Speaker 2 (03:34):
A lot of musicians are sort of moving up there
because it's been more affordable than the city. Obviously, you
get a lot more space. There's no noise complaints up there,
and you know, I think this's the music history of
the Bob. I mean Sam Evan, he's a big Bob
Dylan fan. So he would he would get on his
motorcycle after we would record and just listen to the songs,
weaving through the streets or weaving you know, upstate New York.
So it was like, can't really help, but let that
(03:56):
affect the music.
Speaker 1 (03:58):
I've never been to upstate New York, not that any
one cares, but I did see a thing Architectural Digest
do a really cool thing with so called famous people
who let you into their house to show you around.
Walton Gobbins, you know Walton, he lives in upstate New York.
All right, He's got a magnificent cabin type thing up there.
It looks beautiful, is what I'm saying.
Speaker 2 (04:16):
Oh, it's an absolutely like I think Californians sort of
they love to say, O New York. You know, we've
got so much better nature all this that I have
to say. You leave two hours out of the city
and you're in the forest in the woods, and there's
a thick, green, green wood. So it was quite a
magical kind of journey to leave the city this concrete,
gray jungle and then you move into an actual forest.
(04:38):
So you kind of get best at both worlds when you're.
Speaker 1 (04:40):
There, all right, without getting into the weeds on this.
You did this on sixteen track on a sixteen track tape,
right tape machine.
Speaker 2 (04:46):
Yeah, old white. I just I've spent to me, that's
new technology. I've spent my whole life working on computers,
quantizing things, making things perfectly accurate. I mean, because it's
this sort of the default when you work on a computer.
So this was very much an effort to put more
humanity back into the music. The imperfections, the mistakes, the
sort of things that we've in and out of time.
(05:07):
I feel like we're really important for me to put
on this record because those you know, I'm still young, guys, Mike.
Speaker 1 (05:12):
Was all these things.
Speaker 2 (05:13):
I feel like a new way of doing it, So
I was excited.
Speaker 1 (05:16):
To so I've never heard it explain that way before.
It would be new. If you hadn't delta, it would
be brain What do you make of it?
Speaker 2 (05:23):
I mean, I love the kind of the how deliberate
and considered everything is, or and sort.
Speaker 1 (05:29):
Of the opposite of that.
Speaker 2 (05:29):
If you make a mistake, because it's tape, you can't
just stop right there and restart.
Speaker 1 (05:34):
You've got to push through.
Speaker 2 (05:35):
So like you kind of find that there's these these
it's just more human that way, you know, it's not
We're not doing lots of little bits and.
Speaker 1 (05:43):
Piecing it all together.
Speaker 2 (05:44):
It's one long, continuous tape.
Speaker 1 (05:46):
When I started in this industry, this will bore you
with an old man story. When I started, so we
put everything on tape, and so this interview would be
on tape. Wow. And then what would happen is if
you swore or something, we would literally take the tape
and would slice it and would cut it out and
slice it and slice it back to get and so
so you couldn't hear it. And that was that was
just it was the way it was done.
Speaker 2 (06:06):
It was yeah, and I mean it's it's it's finite.
So you just I think, you know, for us, the
whole kind of ethos of the record as well was
you know, trying to do less with more or trying,
you know, being you know, not just having an infinite
amount of this, an infinite out of that. We were
trying to really restrict ourselves less instruments. There's tapes, so
we can only do sex. Takes all these kind of
parameters because I think that frees you up when you're
(06:26):
making music, the more kind of rules you have, because
if your sport for choice, you can sit there for hours,
can't agree more, just twiddling your thumbs trying to decide
on the sound for the synthesizer. When if you have,
you know, only two guitars and one piano to choose from,
it's very easy to make a record sound cohesive, fantastic.
Speaker 1 (06:41):
Yeah, what do you make of the sound? And when
I say that the actual sound, yeah, is it a
better sound to your real I think?
Speaker 2 (06:47):
I mean, these days it is very hard to tell.
I like to say, as someone who's very into analog
that there's a sort of a warmth and a crisp
I say, it's crispy, an actually sizzle to it. I mean,
I'd love to hear those interviews you did it on
tape and sort of do an a B.
Speaker 1 (06:59):
It's a different it is one hundred. One of the
things that fascinated to me is I remember when CDs
first came out, yes, and that was all about the sound.
It was like, you wait till you hear the sound
of our CD, which was partially true. But then we've
gone into the streaming thing, and no one seems to
care about no sound anymore, not at all.
Speaker 2 (07:16):
I mean most people are listening to out their phone.
I mean it was funny when we were finishing this record,
Sam Evan said that he was more it was concentrating
on how it would sound out of a phone speaker
than he was out of real speakers, because he said,
that's sort of if it sounds great in that way,
then you know, no one's going to really be fantastic.
Speaker 1 (07:34):
A couple of other quick things. I don't know if
you're up on this because you only just come back
to the country, but Tikitani pulled his music off right
Spotify and the batsap too. Do you care about the
streaming thing for you as an artist? Is that an
issue in terms of revenue? Revenue?
Speaker 2 (07:50):
Yeah, I mean it's it's very hard to make. I
think something they say a million streams is seven thousand dollars.
You know, to get to a million streams is you know,
it's an uphill battle. So you really got to work
hard to get there. And you know, all the work
and effort you put in to sort of make say
seven grand or however much it is, it doesn't really
feel like it is. The scales are right there.
Speaker 1 (08:09):
Yeah, But at.
Speaker 2 (08:10):
The same time, it's you know, it's it's never been
good for musicians, but maybe that's.
Speaker 1 (08:14):
Here's here's my thing is that it's I agree with you.
So it's never been great. But what the streaming has
allowed you to do is get to the world in
the way that if you go that forty years, no
one did you hate to get a record company. You
were beholden to the record company. They owned you. You
did it. So now you can sit in your bedroom
do your thing. You're out in the world and.
Speaker 2 (08:31):
It's yeah, I mean anywhere anywhere can just I mean,
that's what happens to me. Often as people will go
what's your music, what's your name, I'll say it's hyper fin.
They'll search it up right there and then add me
and then it's gone, and then that you know, that
person may never see me again. But I've for that
five seconds, have just left them like a business card
or left them.
Speaker 1 (08:47):
Someone find me.
Speaker 2 (08:48):
So with that, you know, that's so much easier than
directing someone to a store or trying to figure out
a way that people can get your music instantly.
Speaker 1 (08:55):
Of course, So I'm embarrassed because I looked up Balu
Bradegha yesterday. Yeah, and you were playing the piano for Yes,
they are locals. There are locals. They from my Angybay.
They're just you know, I mean, for goodness sake, they're
on tour. You were on tour with them in South America.
We're twenty one pilots.
Speaker 2 (09:12):
Yeah, no, I've sort of I've I've I'm glad you
raise it because I feel like, I mean, we played
They're a Kiwi band through and through and they were playing.
We played in Mexico City to sixty six thousand people.
We opened for twenty one pilots. It was yeah, where
Oats are playing? Now? We got to walk on that
stage in front of a foot full house.
Speaker 1 (09:29):
See here's so I look up twenty one pilots. I
know twenty one pilots. Yes, they're charging three four hundred
dollars a ticket. They're a real deal. They're like, they're
a big.
Speaker 2 (09:38):
News stadium rock band in South America state and it's
two guys. So you're sort of going, like, you know,
sort of the rest of the world can kind of
not really you know, hear about this band who down
there are stadium level and so we were and we
were the band that got to open a baru with
the band that got to open for them, and it
was just us and them, and everyone in South America
(09:58):
shows up when the doors are and when the music starts,
they're happy, they don't care who's playing. And so we
were playing to full houses and sort of going, how
were a bunch of kiv's playing many people for an
American band as well. It's not even an Australian New
Zewn band, So it felt very surreal to sort of
be representing New Zealand a little bit, you know, on
that in that in that part of the world.
Speaker 1 (10:18):
So the album we're going to play after the little
snippet of it, what's the song we're playing? The snippet
of the song is called Satellite. Is it any good?
It is good? I'm really very proud of this one.
The album the album you're loving.
Speaker 2 (10:30):
I'm loving the album. I mean it's as sort of
as you were saying at the start, like it has
taken a while to come out. But I think there's
a part of me that's grown into these songs more
than when I sort of wrote them, which is, you know,
kind of strange to to say, but I feel like
they feel like me more than they did in the past.
Speaker 1 (10:46):
I could well, congratulations on this new SA season. You're
doing a couple of shows and everything. Great to catch
up with you, and don't don't don't be a stranger.
We'll talk about New York again. Absolutely, go well. Good
by the Way Thursday, twenty November. Double Whammy Auckland twenty
two November, Meow and Wellington. For more from The Mic
Asking Breakfast, listen live to News Talks at B from
(11:08):
six am weekdays, or follow the podcast on iHeartRadio
Time for a catch up with Harper Fin. Could have
sworn when he was last year he was talking about
his album, but that can't be right because his debut
comes out next month. Solo Park is accompanied by a
couple of shows in the country, and Harper Fin is
back with this Good morning morning mate. Right since we
were last talking, Yes, you told me you lived in Dumbo.
Is it Dumbo? Yes, Dumbo? Not anymore? No, well you
(00:21):
move your upper east side.
Speaker 2 (00:22):
Now lower east side, So yeah, lower east side, the
lower east side of the island.
Speaker 1 (00:26):
Yes, very nice. Is that Is that sort of a
move in the right direction?
Speaker 2 (00:29):
I think so once you cross the river and you
get a little bit closer to the city. For me,
at least coming from New Zealand, I think the idea
of New York has always Manhattan being a being amongst
the size skyscrapers.
Speaker 1 (00:39):
Because since we last talked, I went to New York
and I ended up in Dumbo. Oh yeah, and it's beautiful.
It is fantastic. The whole area is. It's just it's creative, vibe, nice,
nice place to live.
Speaker 2 (00:50):
Oh yeah, the market's there is a really fantastic market
they have on the weekends underneath the archway in the
under the bridge, So it seems it's a really good
spot to kind of see the city because you need
to be, of course, on the Brooklyn side to really see.
Speaker 1 (01:01):
The hundred percent skate. Do you think New York is
you forever? I think so. I miss it.
Speaker 2 (01:06):
It's a place that you kind of I've heard it
can be kind of addicting in a way where you
sort of you need it every so often. But for me,
I feel very at home there. I think, you know,
I've spent three years there now, So.
Speaker 1 (01:16):
The arduousness of it, the grind.
Speaker 2 (01:19):
Yeah, the sort of was saying this to someone last night,
I think your tough days in New York are like
tougher than anywhere else in the world. But then your
great days are, you know, super great. So it sort
of feels like you're kind of the highs and the
lower It's quite volatile, kind of sling swing ups and downs.
Speaker 1 (01:32):
Fantastic. So you're back. So last time we talked it
was an EP. So we've got the album. The debut
album's taken a bit of time to I mean, so
when did you win that the best breakthrough Artist? I
won that in twenty twenty one. So we've been waiting
for you. Have you broken through? Was it? Yeah? That's
it's funny.
Speaker 2 (01:50):
I mean, you know, I went to the States to
sort of effectively start again because you know, not many
people knew who I was in America, so I've kind
of taken the time to you know, put myself through
experience that really challenged me and just sort of built
myself back up again, similar to moving to a new school.
I sort of thought, it's that idea of having to
reintroduce yourself and sort of build.
Speaker 1 (02:08):
Yourself back up.
Speaker 2 (02:09):
And you know, that was a part of what I
wanted to do for this record because I think after
the award, you know, I sort of felt like, you know,
sort of in those COVID years, sort of plateauing, feeling
like the scenery was feeling the same. I needed to
have another experience, a sort of substantial experience to write about.
Speaker 1 (02:24):
Wow. Yeah, And so New York does that for you,
I mean, goes to New York to experienced something, don't they.
Speaker 2 (02:29):
Based I mean three months there is a year's worth
of activity, so you kind of all your relationships, all
your experiences are very accelerated. So though those those three
years I've spent there. I felt like I've been there
for close to a decade.
Speaker 1 (02:40):
And do you did you do this on your own?
This record?
Speaker 2 (02:43):
I worked with a producer called Sam Evian. He's an
American producer who is based up in Woodstock, which is
where I made most of this record. So, you know,
would write about it in the city, or you know,
did all the writing in the city, but then would
go on the train up the Hudson River to Woodstock
to work with Sam.
Speaker 1 (02:59):
How much did you know about Woodstock? Not much?
Speaker 2 (03:02):
I mean, you know, found out that the festival was
not actually held in Woodstock, it was.
Speaker 1 (03:06):
You know, a little bit further up the road. But
for the sake of the.
Speaker 2 (03:09):
Tourism and whatnot, it's you know, Woodstock is Woodstocks. Yeah,
it's I mean, you can't really. There's probably no more
significant place for music in the Northeast.
Speaker 1 (03:18):
Is he there because of that? And did you ultimately
record it there because of him? Or did you see
it as a creative space that you could get a
bit of something there.
Speaker 2 (03:26):
I think yeah, I think the latter it was there's
a bit of a scene up there. I'd say not
as many musicians live in New York as say Los Angeles.
Speaker 1 (03:33):
But the Woodstock.
Speaker 2 (03:34):
A lot of musicians are sort of moving up there
because it's been more affordable than the city. Obviously, you
get a lot more space. There's no noise complaints up there,
and you know, I think this's the music history of
the Bob. I mean Sam Evan, he's a big Bob
Dylan fan. So he would he would get on his
motorcycle after we would record and just listen to the songs,
weaving through the streets or weaving you know, upstate New York.
So it was like, can't really help, but let that
(03:56):
affect the music.
Speaker 1 (03:58):
I've never been to upstate New York, not that any
one cares, but I did see a thing Architectural Digest
do a really cool thing with so called famous people
who let you into their house to show you around.
Walton Gobbins, you know Walton, he lives in upstate New York.
All right, He's got a magnificent cabin type thing up there.
It looks beautiful, is what I'm saying.
Speaker 2 (04:16):
Oh, it's an absolutely like I think Californians sort of
they love to say, O New York. You know, we've
got so much better nature all this that I have
to say. You leave two hours out of the city
and you're in the forest in the woods, and there's
a thick, green, green wood. So it was quite a
magical kind of journey to leave the city this concrete,
gray jungle and then you move into an actual forest.
(04:38):
So you kind of get best at both worlds when you're.
Speaker 1 (04:40):
There, all right, without getting into the weeds on this.
You did this on sixteen track on a sixteen track tape,
right tape machine.
Speaker 2 (04:46):
Yeah, old white. I just I've spent to me, that's
new technology. I've spent my whole life working on computers,
quantizing things, making things perfectly accurate. I mean, because it's
this sort of the default when you work on a computer.
So this was very much an effort to put more
humanity back into the music. The imperfections, the mistakes, the
sort of things that we've in and out of time.
(05:07):
I feel like we're really important for me to put
on this record because those you know, I'm still young, guys, Mike.
Speaker 1 (05:12):
Was all these things.
Speaker 2 (05:13):
I feel like a new way of doing it, So
I was excited.
Speaker 1 (05:16):
To so I've never heard it explain that way before.
It would be new. If you hadn't delta, it would
be brain What do you make of it?
Speaker 2 (05:23):
I mean, I love the kind of the how deliberate
and considered everything is, or and sort.
Speaker 1 (05:29):
Of the opposite of that.
Speaker 2 (05:29):
If you make a mistake, because it's tape, you can't
just stop right there and restart.
Speaker 1 (05:34):
You've got to push through.
Speaker 2 (05:35):
So like you kind of find that there's these these
it's just more human that way, you know, it's not
We're not doing lots of little bits and.
Speaker 1 (05:43):
Piecing it all together.
Speaker 2 (05:44):
It's one long, continuous tape.
Speaker 1 (05:46):
When I started in this industry, this will bore you
with an old man story. When I started, so we
put everything on tape, and so this interview would be
on tape. Wow. And then what would happen is if
you swore or something, we would literally take the tape
and would slice it and would cut it out and
slice it and slice it back to get and so
so you couldn't hear it. And that was that was
just it was the way it was done.
Speaker 2 (06:06):
It was yeah, and I mean it's it's it's finite.
So you just I think, you know, for us, the
whole kind of ethos of the record as well was
you know, trying to do less with more or trying,
you know, being you know, not just having an infinite
amount of this, an infinite out of that. We were
trying to really restrict ourselves less instruments. There's tapes, so
we can only do sex. Takes all these kind of
parameters because I think that frees you up when you're
(06:26):
making music, the more kind of rules you have, because
if your sport for choice, you can sit there for hours,
can't agree more, just twiddling your thumbs trying to decide
on the sound for the synthesizer. When if you have,
you know, only two guitars and one piano to choose from,
it's very easy to make a record sound cohesive, fantastic.
Speaker 1 (06:41):
Yeah, what do you make of the sound? And when
I say that the actual sound, yeah, is it a
better sound to your real I think?
Speaker 2 (06:47):
I mean, these days it is very hard to tell.
I like to say, as someone who's very into analog
that there's a sort of a warmth and a crisp
I say, it's crispy, an actually sizzle to it. I mean,
I'd love to hear those interviews you did it on
tape and sort of do an a B.
Speaker 1 (06:59):
It's a different it is one hundred. One of the
things that fascinated to me is I remember when CDs
first came out, yes, and that was all about the sound.
It was like, you wait till you hear the sound
of our CD, which was partially true. But then we've
gone into the streaming thing, and no one seems to
care about no sound anymore, not at all.
Speaker 2 (07:16):
I mean most people are listening to out their phone.
I mean it was funny when we were finishing this record,
Sam Evan said that he was more it was concentrating
on how it would sound out of a phone speaker
than he was out of real speakers, because he said,
that's sort of if it sounds great in that way,
then you know, no one's going to really be fantastic.
Speaker 1 (07:34):
A couple of other quick things. I don't know if
you're up on this because you only just come back
to the country, but Tikitani pulled his music off right
Spotify and the batsap too. Do you care about the
streaming thing for you as an artist? Is that an
issue in terms of revenue? Revenue?
Speaker 2 (07:50):
Yeah, I mean it's it's very hard to make. I
think something they say a million streams is seven thousand dollars.
You know, to get to a million streams is you know,
it's an uphill battle. So you really got to work
hard to get there. And you know, all the work
and effort you put in to sort of make say
seven grand or however much it is, it doesn't really
feel like it is. The scales are right there.
Speaker 1 (08:09):
Yeah, But at.
Speaker 2 (08:10):
The same time, it's you know, it's it's never been
good for musicians, but maybe that's.
Speaker 1 (08:14):
Here's here's my thing is that it's I agree with you.
So it's never been great. But what the streaming has
allowed you to do is get to the world in
the way that if you go that forty years, no
one did you hate to get a record company. You
were beholden to the record company. They owned you. You
did it. So now you can sit in your bedroom
do your thing. You're out in the world and.
Speaker 2 (08:31):
It's yeah, I mean anywhere anywhere can just I mean,
that's what happens to me. Often as people will go
what's your music, what's your name, I'll say it's hyper fin.
They'll search it up right there and then add me
and then it's gone, and then that you know, that
person may never see me again. But I've for that
five seconds, have just left them like a business card
or left them.
Speaker 1 (08:47):
Someone find me.
Speaker 2 (08:48):
So with that, you know, that's so much easier than
directing someone to a store or trying to figure out
a way that people can get your music instantly.
Speaker 1 (08:55):
Of course, So I'm embarrassed because I looked up Balu
Bradegha yesterday. Yeah, and you were playing the piano for Yes,
they are locals. There are locals. They from my Angybay.
They're just you know, I mean, for goodness sake, they're
on tour. You were on tour with them in South America.
We're twenty one pilots.
Speaker 2 (09:12):
Yeah, no, I've sort of I've I've I'm glad you
raise it because I feel like, I mean, we played
They're a Kiwi band through and through and they were playing.
We played in Mexico City to sixty six thousand people.
We opened for twenty one pilots. It was yeah, where
Oats are playing? Now? We got to walk on that
stage in front of a foot full house.
Speaker 1 (09:29):
See here's so I look up twenty one pilots. I
know twenty one pilots. Yes, they're charging three four hundred
dollars a ticket. They're a real deal. They're like, they're
a big.
Speaker 2 (09:38):
News stadium rock band in South America state and it's
two guys. So you're sort of going, like, you know,
sort of the rest of the world can kind of
not really you know, hear about this band who down
there are stadium level and so we were and we
were the band that got to open a baru with
the band that got to open for them, and it
was just us and them, and everyone in South America
(09:58):
shows up when the doors are and when the music starts,
they're happy, they don't care who's playing. And so we
were playing to full houses and sort of going, how
were a bunch of kiv's playing many people for an
American band as well. It's not even an Australian New
Zewn band, So it felt very surreal to sort of
be representing New Zealand a little bit, you know, on
that in that in that part of the world.
Speaker 1 (10:18):
So the album we're going to play after the little
snippet of it, what's the song we're playing? The snippet
of the song is called Satellite. Is it any good?
It is good? I'm really very proud of this one.
The album the album you're loving.
Speaker 2 (10:30):
I'm loving the album. I mean it's as sort of
as you were saying at the start, like it has
taken a while to come out. But I think there's
a part of me that's grown into these songs more
than when I sort of wrote them, which is, you know,
kind of strange to to say, but I feel like
they feel like me more than they did in the past.
Speaker 1 (10:46):
I could well, congratulations on this new SA season. You're
doing a couple of shows and everything. Great to catch
up with you, and don't don't don't be a stranger.
We'll talk about New York again. Absolutely, go well. Good
by the Way Thursday, twenty November. Double Whammy Auckland twenty
two November, Meow and Wellington. For more from The Mic
Asking Breakfast, listen live to News Talks at B from
(11:08):
six am weekdays, or follow the podcast on iHeartRadio
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