September 25, 2023 • 28 mins
Let's get to know the AMAZING Gareth Emery!
Gareth is one of the most prolific trance DJ/producers, having been in the music business for decades with hundreds of songs to his credit. But after one of his first songs blew up, he couldn't reproduce the success for years, and almost gave up entirely!
Recorded back in 2020 (while construction was going on next door to him lol), Gareth shares who he blamed for his lack of success during that time, what got him through the lows, and what snapped him out of his lull to get back on his road to success!!
Follow: @AmericasDance30 on all socials!
Count down the biggest dance songs in the country every week with Brian Fink on America’s Dance 30; listen on stations around the world!
Gareth is one of the most prolific trance DJ/producers, having been in the music business for decades with hundreds of songs to his credit. But after one of his first songs blew up, he couldn't reproduce the success for years, and almost gave up entirely!
Recorded back in 2020 (while construction was going on next door to him lol), Gareth shares who he blamed for his lack of success during that time, what got him through the lows, and what snapped him out of his lull to get back on his road to success!!
Follow: @AmericasDance30 on all socials!
Count down the biggest dance songs in the country every week with Brian Fink on America’s Dance 30; listen on stations around the world!
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Thank you so much for being apart of America's Dance thirty and following and
subscribing to America's Dance thirty the podcastwherever you get your podcasts, and of
course counting down the biggest dance songsin the country every week on stations around
the world. Just check America's Dancethirty dot com for stations, days and
(00:21):
times. It's Brian Fink. Iam Brian Fink on Instagram. We were
supposed to be chatting with Peggy Gooall about her smash. It goes like
na Na, NA, find outhow the song was born, plus get
to know Peggy Goo a little better. Unfortunately, her and her management,
I guess feel that they are toobusy for us. Because they confirmed,
(00:46):
had me prep all the questions andsend them to her in advance so that
she could be ready come in earlyto record with her because she was going
to be in South Korea, andthen postponed because she wasn't in Korea she
was traveling, and then confirmed again, and then postponed again and then canceled,
(01:10):
So we will not be chatting withPeggy Goo, and I am fine
with that. America's Dance thirty moveson perfectly without her. Instead, this
week we will be getting to knowGareth Emery, who is one of the
most prolific trance dance EEDM producers andDJs around and we almost lost him.
(01:34):
So this is another episode from myprevious podcast, The Seesaw Sessions, and
it is a perfect example of whyyou can never quit and you have to
have to keep going if you wantsomething bad enough without further ado, the
amazing Gareth Emery counting down the biggestdance farms in the country. This is
(02:12):
America's Dance thirty. Gareth, doyou know how many songs you've produced over
the years. I don't keep goodrecords. It's hundreds, though, I
guess three to four hundred. Ilast counted over a decade ago and it
was about one hundred then, soa lot. And do you know how
many shows you've done, like,how many festivals and clubs have you?
(02:36):
You probably last count with that too. Yeah, I don't keep good records.
I'm trying to be better at that. But you know, things have
often moved so fast at times it'sjust hard to sort of stop and sort
of look around and appreciate what's goingon. But you know, of the
years when I did the most gigs, and now I try to be a
bit more selective to have time forsort of family and studio. But for
(02:57):
a good few years, I'll dosort of one hundred and fifty hundred sick
gigs a year. I probably didthat for seven or eight years, so
there's a good thousand then, andnow I'll probably still do like seventy or
eighty, so I'll slow down abit. And then you've got three studio
albums, right, three studio albums, Yeah, and a bunch of mixed
compilations and stuff, but yeah,those are the ones I'm most proud of
the studio albums, and a fourthjust about to drop. Yes, Gareth
(03:21):
Emery, thank you for being myguest. Pleasure to be here. So
before we get into how we almostdidn't have any of that, we almost
didn't have trance classics like Concrete Angel, like on a Good Day or Gareth,
how you made me cry, I'mgonna tell you that coming off I've
heard I've heard this one with fewpeople. Let's do the three words.
(03:46):
Every episode of the CESAW sessions,I have my guests give the three words
that they feel best describes them.So that we can get an idea of
how they think of themselves in theirown minds. Gareth, what three words
best describe you? Oh gosh,that's difficult. It's funny, isn't it.
I'm perfectly capable of telling long,rambling stories about myself, but ask
(04:08):
me to pin it down to threewords, and that is difficult. So
let's go with resilient. I definitelyhave got good at not giving up when
things get tough. Anxious. Ithink a lot a lot of my success
(04:28):
comes down to some sort of anxietyabout what would happen if I didn't have
it without wanting to psychoanalyze myself toomuch. And I don't I don't know
what the third one would be likesongwriter, Maybe I've been I've been having
a lot of fun discovering myself asa writer of songs as well as being
just a producer. So well,I'm sure given a day, I could
have done better. But we'll gowith those. And I definitely think fun
(04:54):
should be one of them, becauseobviously with the cv N T five that
you guys did, and every timeit was fun, every time I've had
you come through with evolution and iHeartradio You've always been fun doing interviews,
so so I would I would definitelythink that fun describes you as well.
I try and make it fun,try and make it fun. I think
(05:16):
this business can be too serious alot of the time. And yeah,
you got you got to enjoy it. You got to enjoy what you're doing.
Amen. Now did I see thatyou had a degree in politics when
you came out of college? Idid want University is where I went to
(05:40):
college, which it's amazingly is actuallyone of the UK's best universities. So
that was the one thing I didto keep my parents happy. Went to
good college, got a degree inpolitics, and I haven't really done too
much after that too. Well know, like in the five years after that,
I kind of sat in my roomand played on computer. So they
were a little disappointed following that,but they were happy with the degree in
(06:02):
politics. Now leading up to there, what did you want to be when
you were a kid? It wasalways music, right, Music was always
my thing, and but I justdidn't come from a background where becoming a
professional musician was even you know,in the portfolio of options. You know,
I was a very middle class family. My parents were teachers and all
(06:25):
we knew was conventional jobs. Andsure my parents would have known that musicians
existed, like they knew bands existed, and they obviously were aware that there
were people whose entire job was writingand playing music, but that was just
never something that was ever discussed likeever. So, you know, growing
up, what was kind of pushedon me that being a doctor that was
(06:46):
the prime job. You know,doctors in England tend to receive these like
superhero levels of reverence. So itwas being a doctor or an accountant or
loyal or something like that. AndI remember a big change for me was
when I first listened to NWA hiphop group, very different to what I
ended up doing. But I rememberdoctor Dre was said in one of the
(07:10):
songs he was like making more ina week than a doctor makes in a
year. And I remember I wasonly like twelve years old, but I
was thinking more in a week thanthe doctor makes a year. You've got
to qualify for seven years to bea doctor, and yet doctor Dre is
making more. I was like,and he's a record producer. I'm gonna
be a record producer. You're like, strew this whole doctor thing. Yeah,
(07:31):
doctor doctor Dre's making more So thatwas kind of and that stuck with
me, right, you know,and even sort of nearly thirty years on,
I still remember hearing that lyric andkind of the the impression had on
me. So I think music wasalways my thing. It was always I
wasn't good at sports, even thoughI loved sports, so that wasn't going
to be a viable career choice.So I think it was always going to
be music. And if people hadsaid to me, you know, age
(07:54):
twelve or thirteen, what you wantto do, it would have been music.
But then, of course you doyour schoolfications and then you go to
college and nobody in the career advicesection is going, hey, you can
be a famous DJ. It's like, what bank do you want to work
for? Is it going to beyou know, JP Morgan or Merrill Lynch
or I don't know, Gulman,Saxel or whatever. So I didn't really
(08:16):
know, and I just knew Iwanted to work for myself rather than other
people. Now, we had theguys at Cash Cash, who were also
a punk electoral pop group before goinginto edm Okay, I know you were
in a punk band. How didyou go from being in a punk band
in the nineties to making trance music. Yeah, we had a few bands,
and I had one a school thatwas really good and we were like
(08:39):
fourteen or fifteen, and we playedin all the local pubs. And then
I'd won a college which was whichwas more of a fun band, and
I did both things simultaneously, youknow. I liked both genres, and
for most of my time in collegeI played in the punk band and I
was also making dance music on theside. And when I first heard trance,
which ended up being the music calledgenre that would kind of define my
(09:01):
career, it was a night onour college and I didn't know what music
they were playing because back then itwas all white label vinyls. So we'd
go out and I'd hear this musicand I was like, Wow, this
music is amazing, but what isit. And I was like, it's
not like any house music I've everheard, because I didn't care too much
for a house music at that point. And a friend of mine said,
no, no, it's not house, said it's kind of trancy. That
(09:22):
was the first time I ever heardthe word. And then that year Ministry
of Sound released TransNation, which finallythis music had a name. And I
think it's easy to forget how inaccessibledance music was twenty years ago. There
was no Shazam, there was noSpotify. The internet was in its infancy,
so you'd go out and hear stuffand you'd often never ever find out
(09:45):
what it was. So yeah,I figured out soon trans was my thing,
that was what I wanted to do. And for years I made trance
records or I also made records inthe band, and I kind of thought,
whicheveryone takes off first, that's whatI'm doing and luckily for me,
electronic took off first. Yeah,because I think I've had much more longevity
on my own than I would havehad in a band, and lucky for
(10:07):
us too, or else we wouldhave never had Gareth Emery right exactly.
I gotta be honest, I've beena huge fan of your music because it's
so melodic and the lyrics for mostof them are so amazing. But I
had no idea about the story ofyou almost walking away from it all until
you posted on Instagram. Yeah,let's go through this really quick now.
(10:30):
Your first dance release was what twothousand and two, It was two thousand
and two. That was my firstprofessional release. Yeah, and in two
thousand three, you release Mistral.Right, Yeah, Mistral was like late
two thousand and two, but itpopped in two thousand and three. That
was when everybody sort of heard it, I think. And how did it
blow up? It began with PaulVan Dyke and I was sending out white
(10:54):
label vinyls of my previous release toa bunch of DJs. I just finished
the first draft of Mistral and Iwas sending this vinyl of a completely different
release to Paul Van Dyke and somethingjust told me to throw in this Mistral
CD. And it was unlabeled,it didn't have a name, so I
send him this vinyl. I waslike, well, he's not going to
play with them anyway, because itwas very difficult to get DJs to play
(11:16):
your stuff, especially as a kneecomer. But I was like, you know
what, I'll throw it in there. Maybe I felt it would be more
his thing. So I chucked inthe CD Mistral, And then the next
to a couple of weeks later,my friend sends me a message on MSN
Messenger. Don't know if anybody remembersthat, but it was kind of what
we all used to use back then, and he was like, Paul van
(11:37):
Dyke is playing your in track onradio the Nature One festival in Germany.
So I downloaded the set and sureenough he was playing it. And I
got a record deal from Mistral withthe real record label called called five AM,
and all of a sudden, fromthere it moved very very fast because
I've been doing stuff myself, butall of a sudden, with five AM
(11:58):
sending out my promos, I hadcredentials, right. I was coming from
a trusted source. And arm Inloved the record. Tiesto loved it,
put it on his compilation that year, Fairy Corston loved it. So,
you know, in the space ofa year, I kind of went from
like unsigned, you know, kiddoing nothing to playing all of the clubs,
which are you know, being beenlooking up to. Like I was
(12:20):
going to these nightclubs a year agoand then like a year later I was
playing them all. That is incredible. You've got all the biggest trance DJ's
playing your song. Now. Howwere you feeling when this was happening,
you know, like I was happyit was working, and I was happy
that it was finally going. Iwasn't surprised like I because I felt the
(12:41):
song was good and at the time, I was just working incredibly hard on
my craft, trying to get betteras a producer, and I knew I'd
been getting better for the last threeor four years, and I also kind
of knew if I continued getting better, like it was just inevitable that a
record was going to blow up eventually. So mainly I was just trying to
capture the moment and build as muchas I could. So I was like,
I've got to get an age,and I want to play these clubs,
(13:03):
and you know, when you're hotand when that first record blows up,
things are really easy in a waybecause you have hype on your side,
and when you're sort of the hotnew act that you can take a
lot of shortcuts. So I justdid everything I could to maximize the success
of that record. Well, that'sincredible that you didn't just like sit there
and try to ride the wave,that you actually took the opportunities that you
(13:24):
could off of that. Well thatyeah, that that did come a few
years later, and that's how weget to nearly giving up. And but
yeah, when when Mistral first blewIt was amazing and I rode the way.
Even all of a sudden, Iwas playing these clubs that I'd been
attending. I was like wow.I was like, I thought it would
take me like two or three yearsto play all these venues, and I've
done them all. So I wentinto an Australia, I got some money
(13:46):
for publishing advance, and I gaveup my job. It was like bamback
baggage just at it just all happenedfast. Now let's get into the story
that we've been teasing. You sharedthis on Instagram. You talk about nearly
quitting in two thousand and six.What went on between this song blowing up
(14:13):
and you taking all the opportunities intwo thousand and three to two thousand and
six when you're nearly quitting. Yeah, So the song that blew up in
two thousand and three was a littlelucky, and I don't think i'd really
learned how to write a good songat that point. I kind of lucked
out. I stumbled on the melodythat worked really well, and I didn't
(14:33):
have that much production skill set,and all of a sudden, I wrote
this track, which became one ofthe biggest trance records of that year.
So I really struggle to follow thattrack up. Two thousand and four,
nothing hit the mark that I made, like, nothing even close to the
successor Mistral. Two thousand and five, nothing hit the mark like again,
(14:54):
like not even like I made sometracks that were like nearly as big,
Like it wasn't going from like anumber one hit, like number three hit.
It was going from like a numberone hit to a tract that didn't
even break like the top one hundred. That was the level of my follow
ups. And with hindsight, Ijust had to learn, right, I
had to learn how to write musicwell. I bought a load of gear
(15:15):
which I didn't really know how touse, And so two thousand and four
and two thousand and five, thebuzz on me just went. And it
was a really good lesson in howimportant hype is and when that hype goes,
how hard things can become. Sowhat I didn't realize was two thousand
and three was my year. Imade my big record, and I had
(15:35):
the hype. Two thousand and fourand two thousand and five they were other
people's years, and other artists madethe big records and other people got that
hype and other people got the gigs. So all of a sudden, the
clubs I was getting booked out oftwo thousand and three, they didn't one
mean two thousand and four, andI think two thousand and four was probably
good enough because the hype still lasted. In two thousand and five. It
(15:58):
just went down and down and down, like wouldn't follow it up. And
so then we hit two thousand andsix and for the first three months of
the year, I didn't have asingle single professional gig. Oh my god,
Yeah, not a single one.And just before the three months of
nothing, I went to Singapore fora show and I got paid five hundred
(16:21):
pounds for the show, and itwas kind of a demon and I stayed
like four days because I had nothingelse going on, and it was kind
of a demonstration of how things changedwhen I'd first gone there in two thousand
and three. The promoters wanted totake me out for dinner, like I
was hot, like they wanted tohang with me. I was like,
Wow, we want to see whatgoff was like going back in like two
thousand and six. Nobody cared.I was like, just the driver picked
(16:41):
me up, never even saw thepromoters. I just I was no longer
the hot property. I was nolonger that interesting. And I remember just
walking around Singapore for four days onmy own, like I didn't have a
girlfriend. I was like on myown. It just sucked, right,
And I was like wow. Iwas like, this is this feels like
it's coming to an end. Soback home and I speak to my friends,
(17:02):
speak to my family, and mymum was like, yeah, it
probably is time to knocks on thehead. Yeah, And I talked to
some mates and like one of mymates and I still lived at home,
right, So like I was makingmaybe twelve thousand dollars a year, lived
at home with my parents, rentfree, and I was twenty six.
Like my friends were in jobs wherethey're making real money with career prospects and
in like pension plans and then entirelives were stretching ahead of them. And
(17:26):
I literally, you know, Iwas four years out of five years out
of university and I'd really like notdone much. So I'd say to mate,
what should I do? And oneof my best mates, and he
was a big fan of mine,he goes, well, you know,
he goes, You're a great DJ. He goes, I really think you're
a brilliant DJ. He said,but you're twenty five years old and you're
still living with your parents. Hegoes, I think maybe you've taken this
(17:47):
as far as you can do it. So I start applying for jobs.
I talked to a friend of minethat worked at the investment band Credit Sweet
and I was like, I said, mate, can you can you get
me in there? And he goes, well, but he can. He
goes, but you're coming in fiveyears late. And he said, you
know, he said, a twentytwo year old is going to have seniority
over you. And he said,are you going to be all right with
(18:08):
joining this bank? And you'll literallybottom of the ladder and you'll have some
snotty twenty two year old who's likea year out of university telling you,
Tenny, you what to do.He goes, I don't think you're going
to enjoy it. So, youknow, none of the jobs I applied
for really really came through. Andthen there was a turning point which I'll
always remember. And my dad neverhe's kind of doesn't have much to say
(18:29):
about this stuff, so it'd neverbeen encouraging or discouraging, just kind of
like, let me do my ownthing. And one dinner I was like,
yeah, I'm getting a job.I'm giving up, and he just
looked at me. He goes,he goes, you haven't tried, and
I was like, are you joking? I worked so hard, which I
thought I did, and he goes, you don't. He goes, You're
lying bed till midday. He goes, you're sit up there. He said,
you're not making music. He said, you're messing around on websites.
(18:52):
You're reading what people are writing aboutyou on the internet, you're posting on
message boards. He's like, you'reYou're not You're not doing your job.
And I went nut because I couldnot handle the truth at that point,
and I was almost like how dareyou put But something about that conversation,
the little voice was like, maybehe is right, And in some ways
(19:14):
I wanted to prove this is ridiculous. I almost wanted to prove that I
had tried my hardest and then Icould give up and he'd have to shut
his mouth. So I was like, you know, well, I'm gonna
give myself six months to try andturn this around. And look, you
can't turn around your career in sixmonths. It takes a lot longer than
that. However, we got somegreen shoot. So the first thing I
(19:36):
did started my podcast, and againI did this because I literally had nothing
to do. I was like,well, I've got all day sitting around,
Let's make a podcast. And thatbecame the Gareth Henry Podcast. We'd
ended up running for ten years andsort of over four hundred episodes and was
a really amazing thing for my career. And then I met my girlfriend who
is now my wife a couple ofmonths later, so that kind of fell
(19:57):
into place and with her, allof a sudden, I kind of had
somebody else to pull for other thanme. And later that year I made
one track I was actually collaboration withLane. They finally popped again and it
was four years after Mistral, LikeI took four years and I couldn't follow
this song up and it didn't gobigger, but it went about the same,
(20:19):
and I like after that, Iwas like, like, I wasn't
a one who wonder because what Iwas doing while I was down, I
was reading what people were saying aboutme on the internet. Oh god,
everyone was writing me off. Firstlylike he was tumbleweed, Like nobody gave
and I remember reading this message board. I remember the poster, and there
was a post about my new album, right, and it was a compilation
(20:41):
album and nobody really gave a fewpeople talking about it, and one person
wrote he should just give up.That kind of had really struck me.
He should just give up, AndI ended up nearly giving up. I'm
sure the poster is that person thatwrote that message is not listening to this
NAT, but if they are,I sat here looking over looking over Los
(21:03):
Angeles, and lives worked out prettywell. So yeah, you know,
I got in a funk and tome, i'd lost my confidence and it
seemed like there was no way out. And in reality, it was my
It was my own fault and nobodyelse was to blame. And I love
how you say that in the video, And you know, I definitely want
to get into more positive stuff likesaving light. But before we leave this,
(21:25):
what was it like during their time? How did you get through?
Because I mean you're at a highand then all of a sudden you're pretty
much at your lowest point where nothingis clicking. How did you make it
through their time? Well, Imean I didn't make it through well,
I mean I blamed the world.Right, I blamed politics for the fact
that I was not my music wasn'tgoing well. I was like, yeah,
he just does Theda is not playingit because it's political, because I'm
(21:48):
like a threat to them or whatever, and like for everything, I had
an excuse and it was never myfault. I never and yeah, I
didn't have any real mentors. Ididn't have anybody to say to me,
hey, you're kind of to blamehere in a way. And it's much
easier to stay in our funk whenwe're convinced, because look, it's the
(22:11):
easiest explanation in the world. Isthe world's against us. That's so easy.
We can all go there for everythingin our life that isn't working.
It's not fair, the world's againstus. It's other people's fault. Because
that removes your own personal responsibility muchmuch harder to go. This is my
fault. I take responsibility. Thereason I'm in a bad place is because
(22:32):
I haven't done things that I shouldhave done. And once I reached the
place of personal responsibility, it becamemuch easier. But for years I did
not take responsibility, and that waskind of how why I was in that
place for so long. That isso incredible, and it's so incredible that
You're dad actually had that conversation withyou to somewhat snap you out of it.
(23:02):
So let's talk about your songs.Saving Light. Yeah, the video
had me in tears, Gareth.Yeah, so Saving Light is actually it's
been around. I wouldn't say it'snot new, it's been about a little
while. But I reposted the videoof it because I just felt not enough
people had seen it. And Ithink a lot of people know the song,
but they don't necessarily haven't necessarily seenthe video. And I'm about to
(23:25):
go on to play all my classics, which I've never done before. It's
kind of as almost like a palatecleanser before my perform my new album.
We're going to go out on theroad and to all the old stuff.
And yeah, that video, Ijust the subjects that tackles, and it's
kind of done so well. Icould not watch it the first I tear
up the first nine or ten times, so I saw it. It's a
(23:47):
powerful video. Yeah, absolutely,What made you want to take on bullying
and suicide? Well, the lyricsthat Haley and the vocalist wrote for the
song were kind of incredibly personal andit was about a really tough time in
a life when Shard dealt with alot of that stuff, and we were
like, well, that's the meaningbehind the song. Like I kind of
(24:07):
thought, I'd love to make somesort of narrative music video that digs into
that. I also knew that Iwould not necessarily handle the issue in the
right way because I've not been inschool for a long time. So we
actually brought in an amazing British charity, a bunch of people are called Ditch
the Label and one of the sortof Internet's foremost anti bullying charities, really
(24:32):
amazing bunch of people, and wekind of got them to consult on it
and I sent over like a scriptof the music video of how it was
going to go, and we said, what do you think of this,
Like are we handling the issue?Well? Like, I don't want to
come across as like sanctimonious or preachy, like that's not what I'm trying to
do. What we're trying to dohere, And they were incredibly helpful in
making sure we handled the issue inthe right way. And we had a
(24:52):
great director, a guy called LeeJones, that just casts some really talented
young actors in the video and gosh, yeah, I mean, and the
thing it helps that the song ispowerful, but yeah, it just came
out as like an absolute teer checker. I mean, it really was so
powerful. And I think why ithit me even more is because I actually
did go through being bullied and soit was very easy for me to relate
(25:17):
to and watching this girl going throughthat was like, oh, oh my
god, it was so powerful.So incredible job with that, Oh thank
you. And you know, Ithink my aim of music is always just
to evoke an emotion, right,And the only way I judge whether a
song of mine is any good iswhether I get an emotional response to it,
(25:37):
And if I do, I can'tsecond guess who other people are going
to feel. But I'm like,you know what, if this song gives
me goose bumps or puts a tearin my eye or kind of creates that
emotional response for me, I wouldhope that it does if other people as
well. So yeah, and thenif you can find a video that enhances
the emotional impact of the song,then you're kind of on your way.
(25:59):
And the cool thing was I thinkwe gave the first month for royalties to
ditch the label and gave a quitedecent little check to that charity. So
we did some good with us songas well. That is so incredible,
And it's also incredible that philosophy thatyou have with your music, because I
kind of go into it the sameway with my radio show in that,
you know, I act like acomplete idiot sometimes on the ear, just
(26:21):
trying to make myself laugh because Ikind of figure if I can make myself
laugh, hopefully I'm making somebody elselaugh as well. Right, And that's
the exact way to look at it, because it's just too difficult and also
just not fun by the way thatthere are people, I imagine comedians who
go, what do the audience wantto hear? And they write jokes for
the audience. But that's bloody difficultand it's much more fun if you just
(26:45):
go, you know what, I'mgoing to do what makes me laugh,
or I'm going to write the musicthat makes me feel emotional, or I'm
going to paint pictures that I wantto look at and just have faith that
there will be enough people that feelthe same way as you will that will
come and follow you and let metell you that you've done an amazing job
so far, so keep doing it, Garrett, Thanks so much. Man.
(27:07):
What's next for Gareth Emry? Iknow you've got the album? Yeah,
so the album comes out actually notuntil the summer, but the first
single, which is called You'll BeOkay, actually drops March thirteen, which
is cool. So that's going tobe out soon. And the new album's
pretty interesting because it's really the firstone where I didn't work with songwriters like
in the previous albums. I waslucky to work with some amazing songwriters that
(27:32):
would sort of, you know,come up with music and lyrics, and
this time I was like, youknow what, I just want to do
it myself. So every song,every lyric all written by me and it's
made for it feels like my firstalbum because that's how personal sort of everything
on this one is to me.So yeah, if people have liked the
previous ones, I think this isthe most kind of like artistically pure,
(27:52):
kind of Gareth Emory album that there'sbeen. Now everybody can follow you with
Gareth Emery dot com, yep,Gareth emy dot com, Gareth em on
Instagram, Twitter, YouTube, anywherewhere there's there's people I'll be thank in
my space, my space. I'vestill I've still got the page. Well,
Garrett, like I said, I'vebeen a huge fan of your music
(28:15):
for a long time. I meanone of my ex girlfriend's favorite songs was
Concrete Angel, so amazing. Feelyou can still listen to it, I
do, unfortunately, Okay, Okay, Garett. It's always incredible talking to
you. I'm glad I got thischance to really get to know Garett Emery.
Thank you for spending this time.Good time is bo Thank you so
(28:37):
much. Right America's Dance Dirty.Counting down the biggest dance songs in the
country. America's Dance Dirty
Thank you so much for being apart of America's Dance thirty and following and
subscribing to America's Dance thirty the podcastwherever you get your podcasts, and of
course counting down the biggest dance songsin the country every week on stations around
the world. Just check America's Dancethirty dot com for stations, days and
(00:21):
times. It's Brian Fink. Iam Brian Fink on Instagram. We were
supposed to be chatting with Peggy Gooall about her smash. It goes like
na Na, NA, find outhow the song was born, plus get
to know Peggy Goo a little better. Unfortunately, her and her management,
I guess feel that they are toobusy for us. Because they confirmed,
(00:46):
had me prep all the questions andsend them to her in advance so that
she could be ready come in earlyto record with her because she was going
to be in South Korea, andthen postponed because she wasn't in Korea she
was traveling, and then confirmed again, and then postponed again and then canceled,
(01:10):
So we will not be chatting withPeggy Goo, and I am fine
with that. America's Dance thirty moveson perfectly without her. Instead, this
week we will be getting to knowGareth Emery, who is one of the
most prolific trance dance EEDM producers andDJs around and we almost lost him.
(01:34):
So this is another episode from myprevious podcast, The Seesaw Sessions, and
it is a perfect example of whyyou can never quit and you have to
have to keep going if you wantsomething bad enough without further ado, the
amazing Gareth Emery counting down the biggestdance farms in the country. This is
(02:12):
America's Dance thirty. Gareth, doyou know how many songs you've produced over
the years. I don't keep goodrecords. It's hundreds, though, I
guess three to four hundred. Ilast counted over a decade ago and it
was about one hundred then, soa lot. And do you know how
many shows you've done, like,how many festivals and clubs have you?
(02:36):
You probably last count with that too. Yeah, I don't keep good records.
I'm trying to be better at that. But you know, things have
often moved so fast at times it'sjust hard to sort of stop and sort
of look around and appreciate what's goingon. But you know, of the
years when I did the most gigs, and now I try to be a
bit more selective to have time forsort of family and studio. But for
(02:57):
a good few years, I'll dosort of one hundred and fifty hundred sick
gigs a year. I probably didthat for seven or eight years, so
there's a good thousand then, andnow I'll probably still do like seventy or
eighty, so I'll slow down abit. And then you've got three studio
albums, right, three studio albums, Yeah, and a bunch of mixed
compilations and stuff, but yeah,those are the ones I'm most proud of
the studio albums, and a fourthjust about to drop. Yes, Gareth
(03:21):
Emery, thank you for being myguest. Pleasure to be here. So
before we get into how we almostdidn't have any of that, we almost
didn't have trance classics like Concrete Angel, like on a Good Day or Gareth,
how you made me cry, I'mgonna tell you that coming off I've
heard I've heard this one with fewpeople. Let's do the three words.
(03:46):
Every episode of the CESAW sessions,I have my guests give the three words
that they feel best describes them.So that we can get an idea of
how they think of themselves in theirown minds. Gareth, what three words
best describe you? Oh gosh,that's difficult. It's funny, isn't it.
I'm perfectly capable of telling long,rambling stories about myself, but ask
(04:08):
me to pin it down to threewords, and that is difficult. So
let's go with resilient. I definitelyhave got good at not giving up when
things get tough. Anxious. Ithink a lot a lot of my success
(04:28):
comes down to some sort of anxietyabout what would happen if I didn't have
it without wanting to psychoanalyze myself toomuch. And I don't I don't know
what the third one would be likesongwriter, Maybe I've been I've been having
a lot of fun discovering myself asa writer of songs as well as being
just a producer. So well,I'm sure given a day, I could
have done better. But we'll gowith those. And I definitely think fun
(04:54):
should be one of them, becauseobviously with the cv N T five that
you guys did, and every timeit was fun, every time I've had
you come through with evolution and iHeartradio You've always been fun doing interviews,
so so I would I would definitelythink that fun describes you as well.
I try and make it fun,try and make it fun. I think
(05:16):
this business can be too serious alot of the time. And yeah,
you got you got to enjoy it. You got to enjoy what you're doing.
Amen. Now did I see thatyou had a degree in politics when
you came out of college? Idid want University is where I went to
(05:40):
college, which it's amazingly is actuallyone of the UK's best universities. So
that was the one thing I didto keep my parents happy. Went to
good college, got a degree inpolitics, and I haven't really done too
much after that too. Well know, like in the five years after that,
I kind of sat in my roomand played on computer. So they
were a little disappointed following that,but they were happy with the degree in
(06:02):
politics. Now leading up to there, what did you want to be when
you were a kid? It wasalways music, right, Music was always
my thing, and but I justdidn't come from a background where becoming a
professional musician was even you know,in the portfolio of options. You know,
I was a very middle class family. My parents were teachers and all
(06:25):
we knew was conventional jobs. Andsure my parents would have known that musicians
existed, like they knew bands existed, and they obviously were aware that there
were people whose entire job was writingand playing music, but that was just
never something that was ever discussed likeever. So, you know, growing
up, what was kind of pushedon me that being a doctor that was
(06:46):
the prime job. You know,doctors in England tend to receive these like
superhero levels of reverence. So itwas being a doctor or an accountant or
loyal or something like that. AndI remember a big change for me was
when I first listened to NWA hiphop group, very different to what I
ended up doing. But I rememberdoctor Dre was said in one of the
(07:10):
songs he was like making more ina week than a doctor makes in a
year. And I remember I wasonly like twelve years old, but I
was thinking more in a week thanthe doctor makes a year. You've got
to qualify for seven years to bea doctor, and yet doctor Dre is
making more. I was like,and he's a record producer. I'm gonna
be a record producer. You're like, strew this whole doctor thing. Yeah,
(07:31):
doctor doctor Dre's making more So thatwas kind of and that stuck with
me, right, you know,and even sort of nearly thirty years on,
I still remember hearing that lyric andkind of the the impression had on
me. So I think music wasalways my thing. It was always I
wasn't good at sports, even thoughI loved sports, so that wasn't going
to be a viable career choice.So I think it was always going to
be music. And if people hadsaid to me, you know, age
(07:54):
twelve or thirteen, what you wantto do, it would have been music.
But then, of course you doyour schoolfications and then you go to
college and nobody in the career advicesection is going, hey, you can
be a famous DJ. It's like, what bank do you want to work
for? Is it going to beyou know, JP Morgan or Merrill Lynch
or I don't know, Gulman,Saxel or whatever. So I didn't really
(08:16):
know, and I just knew Iwanted to work for myself rather than other
people. Now, we had theguys at Cash Cash, who were also
a punk electoral pop group before goinginto edm Okay, I know you were
in a punk band. How didyou go from being in a punk band
in the nineties to making trance music. Yeah, we had a few bands,
and I had one a school thatwas really good and we were like
(08:39):
fourteen or fifteen, and we playedin all the local pubs. And then
I'd won a college which was whichwas more of a fun band, and
I did both things simultaneously, youknow. I liked both genres, and
for most of my time in collegeI played in the punk band and I
was also making dance music on theside. And when I first heard trance,
which ended up being the music calledgenre that would kind of define my
(09:01):
career, it was a night onour college and I didn't know what music
they were playing because back then itwas all white label vinyls. So we'd
go out and I'd hear this musicand I was like, Wow, this
music is amazing, but what isit. And I was like, it's
not like any house music I've everheard, because I didn't care too much
for a house music at that point. And a friend of mine said,
no, no, it's not house, said it's kind of trancy. That
(09:22):
was the first time I ever heardthe word. And then that year Ministry
of Sound released TransNation, which finallythis music had a name. And I
think it's easy to forget how inaccessibledance music was twenty years ago. There
was no Shazam, there was noSpotify. The internet was in its infancy,
so you'd go out and hear stuffand you'd often never ever find out
(09:45):
what it was. So yeah,I figured out soon trans was my thing,
that was what I wanted to do. And for years I made trance
records or I also made records inthe band, and I kind of thought,
whicheveryone takes off first, that's whatI'm doing and luckily for me,
electronic took off first. Yeah,because I think I've had much more longevity
on my own than I would havehad in a band, and lucky for
(10:07):
us too, or else we wouldhave never had Gareth Emery right exactly.
I gotta be honest, I've beena huge fan of your music because it's
so melodic and the lyrics for mostof them are so amazing. But I
had no idea about the story ofyou almost walking away from it all until
you posted on Instagram. Yeah,let's go through this really quick now.
(10:30):
Your first dance release was what twothousand and two, It was two thousand
and two. That was my firstprofessional release. Yeah, and in two
thousand three, you release Mistral.Right, Yeah, Mistral was like late
two thousand and two, but itpopped in two thousand and three. That
was when everybody sort of heard it, I think. And how did it
blow up? It began with PaulVan Dyke and I was sending out white
(10:54):
label vinyls of my previous release toa bunch of DJs. I just finished
the first draft of Mistral and Iwas sending this vinyl of a completely different
release to Paul Van Dyke and somethingjust told me to throw in this Mistral
CD. And it was unlabeled,it didn't have a name, so I
send him this vinyl. I waslike, well, he's not going to
play with them anyway, because itwas very difficult to get DJs to play
(11:16):
your stuff, especially as a kneecomer. But I was like, you know
what, I'll throw it in there. Maybe I felt it would be more
his thing. So I chucked inthe CD Mistral, And then the next
to a couple of weeks later,my friend sends me a message on MSN
Messenger. Don't know if anybody remembersthat, but it was kind of what
we all used to use back then, and he was like, Paul van
(11:37):
Dyke is playing your in track onradio the Nature One festival in Germany.
So I downloaded the set and sureenough he was playing it. And I
got a record deal from Mistral withthe real record label called called five AM,
and all of a sudden, fromthere it moved very very fast because
I've been doing stuff myself, butall of a sudden, with five AM
(11:58):
sending out my promos, I hadcredentials, right. I was coming from
a trusted source. And arm Inloved the record. Tiesto loved it,
put it on his compilation that year, Fairy Corston loved it. So,
you know, in the space ofa year, I kind of went from
like unsigned, you know, kiddoing nothing to playing all of the clubs,
which are you know, being beenlooking up to. Like I was
(12:20):
going to these nightclubs a year agoand then like a year later I was
playing them all. That is incredible. You've got all the biggest trance DJ's
playing your song. Now. Howwere you feeling when this was happening,
you know, like I was happyit was working, and I was happy
that it was finally going. Iwasn't surprised like I because I felt the
(12:41):
song was good and at the time, I was just working incredibly hard on
my craft, trying to get betteras a producer, and I knew I'd
been getting better for the last threeor four years, and I also kind
of knew if I continued getting better, like it was just inevitable that a
record was going to blow up eventually. So mainly I was just trying to
capture the moment and build as muchas I could. So I was like,
I've got to get an age,and I want to play these clubs,
(13:03):
and you know, when you're hotand when that first record blows up,
things are really easy in a waybecause you have hype on your side,
and when you're sort of the hotnew act that you can take a
lot of shortcuts. So I justdid everything I could to maximize the success
of that record. Well, that'sincredible that you didn't just like sit there
and try to ride the wave,that you actually took the opportunities that you
(13:24):
could off of that. Well thatyeah, that that did come a few
years later, and that's how weget to nearly giving up. And but
yeah, when when Mistral first blewIt was amazing and I rode the way.
Even all of a sudden, Iwas playing these clubs that I'd been
attending. I was like wow.I was like, I thought it would
take me like two or three yearsto play all these venues, and I've
done them all. So I wentinto an Australia, I got some money
(13:46):
for publishing advance, and I gaveup my job. It was like bamback
baggage just at it just all happenedfast. Now let's get into the story
that we've been teasing. You sharedthis on Instagram. You talk about nearly
quitting in two thousand and six.What went on between this song blowing up
(14:13):
and you taking all the opportunities intwo thousand and three to two thousand and
six when you're nearly quitting. Yeah, So the song that blew up in
two thousand and three was a littlelucky, and I don't think i'd really
learned how to write a good songat that point. I kind of lucked
out. I stumbled on the melodythat worked really well, and I didn't
(14:33):
have that much production skill set,and all of a sudden, I wrote
this track, which became one ofthe biggest trance records of that year.
So I really struggle to follow thattrack up. Two thousand and four,
nothing hit the mark that I made, like, nothing even close to the
successor Mistral. Two thousand and five, nothing hit the mark like again,
(14:54):
like not even like I made sometracks that were like nearly as big,
Like it wasn't going from like anumber one hit, like number three hit.
It was going from like a numberone hit to a tract that didn't
even break like the top one hundred. That was the level of my follow
ups. And with hindsight, Ijust had to learn, right, I
had to learn how to write musicwell. I bought a load of gear
(15:15):
which I didn't really know how touse, And so two thousand and four
and two thousand and five, thebuzz on me just went. And it
was a really good lesson in howimportant hype is and when that hype goes,
how hard things can become. Sowhat I didn't realize was two thousand
and three was my year. Imade my big record, and I had
(15:35):
the hype. Two thousand and fourand two thousand and five they were other
people's years, and other artists madethe big records and other people got that
hype and other people got the gigs. So all of a sudden, the
clubs I was getting booked out oftwo thousand and three, they didn't one
mean two thousand and four, andI think two thousand and four was probably
good enough because the hype still lasted. In two thousand and five. It
(15:58):
just went down and down and down, like wouldn't follow it up. And
so then we hit two thousand andsix and for the first three months of
the year, I didn't have asingle single professional gig. Oh my god,
Yeah, not a single one.And just before the three months of
nothing, I went to Singapore fora show and I got paid five hundred
(16:21):
pounds for the show, and itwas kind of a demon and I stayed
like four days because I had nothingelse going on, and it was kind
of a demonstration of how things changedwhen I'd first gone there in two thousand
and three. The promoters wanted totake me out for dinner, like I
was hot, like they wanted tohang with me. I was like,
Wow, we want to see whatgoff was like going back in like two
thousand and six. Nobody cared.I was like, just the driver picked
(16:41):
me up, never even saw thepromoters. I just I was no longer
the hot property. I was nolonger that interesting. And I remember just
walking around Singapore for four days onmy own, like I didn't have a
girlfriend. I was like on myown. It just sucked, right,
And I was like wow. Iwas like, this is this feels like
it's coming to an end. Soback home and I speak to my friends,
(17:02):
speak to my family, and mymum was like, yeah, it
probably is time to knocks on thehead. Yeah, And I talked to
some mates and like one of mymates and I still lived at home,
right, So like I was makingmaybe twelve thousand dollars a year, lived
at home with my parents, rentfree, and I was twenty six.
Like my friends were in jobs wherethey're making real money with career prospects and
in like pension plans and then entirelives were stretching ahead of them. And
(17:26):
I literally, you know, Iwas four years out of five years out
of university and I'd really like notdone much. So I'd say to mate,
what should I do? And oneof my best mates, and he
was a big fan of mine,he goes, well, you know,
he goes, You're a great DJ. He goes, I really think you're
a brilliant DJ. He said,but you're twenty five years old and you're
still living with your parents. Hegoes, I think maybe you've taken this
(17:47):
as far as you can do it. So I start applying for jobs.
I talked to a friend of minethat worked at the investment band Credit Sweet
and I was like, I said, mate, can you can you get
me in there? And he goes, well, but he can. He
goes, but you're coming in fiveyears late. And he said, you
know, he said, a twentytwo year old is going to have seniority
over you. And he said,are you going to be all right with
(18:08):
joining this bank? And you'll literallybottom of the ladder and you'll have some
snotty twenty two year old who's likea year out of university telling you,
Tenny, you what to do.He goes, I don't think you're going
to enjoy it. So, youknow, none of the jobs I applied
for really really came through. Andthen there was a turning point which I'll
always remember. And my dad neverhe's kind of doesn't have much to say
(18:29):
about this stuff, so it'd neverbeen encouraging or discouraging, just kind of
like, let me do my ownthing. And one dinner I was like,
yeah, I'm getting a job.I'm giving up, and he just
looked at me. He goes,he goes, you haven't tried, and
I was like, are you joking? I worked so hard, which I
thought I did, and he goes, you don't. He goes, You're
lying bed till midday. He goes, you're sit up there. He said,
you're not making music. He said, you're messing around on websites.
(18:52):
You're reading what people are writing aboutyou on the internet, you're posting on
message boards. He's like, you'reYou're not You're not doing your job.
And I went nut because I couldnot handle the truth at that point,
and I was almost like how dareyou put But something about that conversation,
the little voice was like, maybehe is right, And in some ways
(19:14):
I wanted to prove this is ridiculous. I almost wanted to prove that I
had tried my hardest and then Icould give up and he'd have to shut
his mouth. So I was like, you know, well, I'm gonna
give myself six months to try andturn this around. And look, you
can't turn around your career in sixmonths. It takes a lot longer than
that. However, we got somegreen shoot. So the first thing I
(19:36):
did started my podcast, and againI did this because I literally had nothing
to do. I was like,well, I've got all day sitting around,
Let's make a podcast. And thatbecame the Gareth Henry Podcast. We'd
ended up running for ten years andsort of over four hundred episodes and was
a really amazing thing for my career. And then I met my girlfriend who
is now my wife a couple ofmonths later, so that kind of fell
(19:57):
into place and with her, allof a sudden, I kind of had
somebody else to pull for other thanme. And later that year I made
one track I was actually collaboration withLane. They finally popped again and it
was four years after Mistral, LikeI took four years and I couldn't follow
this song up and it didn't gobigger, but it went about the same,
(20:19):
and I like after that, Iwas like, like, I wasn't
a one who wonder because what Iwas doing while I was down, I
was reading what people were saying aboutme on the internet. Oh god,
everyone was writing me off. Firstlylike he was tumbleweed, Like nobody gave
and I remember reading this message board. I remember the poster, and there
was a post about my new album, right, and it was a compilation
(20:41):
album and nobody really gave a fewpeople talking about it, and one person
wrote he should just give up.That kind of had really struck me.
He should just give up, AndI ended up nearly giving up. I'm
sure the poster is that person thatwrote that message is not listening to this
NAT, but if they are,I sat here looking over looking over Los
(21:03):
Angeles, and lives worked out prettywell. So yeah, you know,
I got in a funk and tome, i'd lost my confidence and it
seemed like there was no way out. And in reality, it was my
It was my own fault and nobodyelse was to blame. And I love
how you say that in the video, And you know, I definitely want
to get into more positive stuff likesaving light. But before we leave this,
(21:25):
what was it like during their time? How did you get through?
Because I mean you're at a highand then all of a sudden you're pretty
much at your lowest point where nothingis clicking. How did you make it
through their time? Well, Imean I didn't make it through well,
I mean I blamed the world.Right, I blamed politics for the fact
that I was not my music wasn'tgoing well. I was like, yeah,
he just does Theda is not playingit because it's political, because I'm
(21:48):
like a threat to them or whatever, and like for everything, I had
an excuse and it was never myfault. I never and yeah, I
didn't have any real mentors. Ididn't have anybody to say to me,
hey, you're kind of to blamehere in a way. And it's much
easier to stay in our funk whenwe're convinced, because look, it's the
(22:11):
easiest explanation in the world. Isthe world's against us. That's so easy.
We can all go there for everythingin our life that isn't working.
It's not fair, the world's againstus. It's other people's fault. Because
that removes your own personal responsibility muchmuch harder to go. This is my
fault. I take responsibility. Thereason I'm in a bad place is because
(22:32):
I haven't done things that I shouldhave done. And once I reached the
place of personal responsibility, it becamemuch easier. But for years I did
not take responsibility, and that waskind of how why I was in that
place for so long. That isso incredible, and it's so incredible that
You're dad actually had that conversation withyou to somewhat snap you out of it.
(23:02):
So let's talk about your songs.Saving Light. Yeah, the video
had me in tears, Gareth.Yeah, so Saving Light is actually it's
been around. I wouldn't say it'snot new, it's been about a little
while. But I reposted the videoof it because I just felt not enough
people had seen it. And Ithink a lot of people know the song,
but they don't necessarily haven't necessarily seenthe video. And I'm about to
(23:25):
go on to play all my classics, which I've never done before. It's
kind of as almost like a palatecleanser before my perform my new album.
We're going to go out on theroad and to all the old stuff.
And yeah, that video, Ijust the subjects that tackles, and it's
kind of done so well. Icould not watch it the first I tear
up the first nine or ten times, so I saw it. It's a
(23:47):
powerful video. Yeah, absolutely,What made you want to take on bullying
and suicide? Well, the lyricsthat Haley and the vocalist wrote for the
song were kind of incredibly personal andit was about a really tough time in
a life when Shard dealt with alot of that stuff, and we were
like, well, that's the meaningbehind the song. Like I kind of
(24:07):
thought, I'd love to make somesort of narrative music video that digs into
that. I also knew that Iwould not necessarily handle the issue in the
right way because I've not been inschool for a long time. So we
actually brought in an amazing British charity, a bunch of people are called Ditch
the Label and one of the sortof Internet's foremost anti bullying charities, really
(24:32):
amazing bunch of people, and wekind of got them to consult on it
and I sent over like a scriptof the music video of how it was
going to go, and we said, what do you think of this,
Like are we handling the issue?Well? Like, I don't want to
come across as like sanctimonious or preachy, like that's not what I'm trying to
do. What we're trying to dohere, And they were incredibly helpful in
making sure we handled the issue inthe right way. And we had a
(24:52):
great director, a guy called LeeJones, that just casts some really talented
young actors in the video and gosh, yeah, I mean, and the
thing it helps that the song ispowerful, but yeah, it just came
out as like an absolute teer checker. I mean, it really was so
powerful. And I think why ithit me even more is because I actually
did go through being bullied and soit was very easy for me to relate
(25:17):
to and watching this girl going throughthat was like, oh, oh my
god, it was so powerful.So incredible job with that, Oh thank
you. And you know, Ithink my aim of music is always just
to evoke an emotion, right,And the only way I judge whether a
song of mine is any good iswhether I get an emotional response to it,
(25:37):
And if I do, I can'tsecond guess who other people are going
to feel. But I'm like,you know what, if this song gives
me goose bumps or puts a tearin my eye or kind of creates that
emotional response for me, I wouldhope that it does if other people as
well. So yeah, and thenif you can find a video that enhances
the emotional impact of the song,then you're kind of on your way.
(25:59):
And the cool thing was I thinkwe gave the first month for royalties to
ditch the label and gave a quitedecent little check to that charity. So
we did some good with us songas well. That is so incredible,
And it's also incredible that philosophy thatyou have with your music, because I
kind of go into it the sameway with my radio show in that,
you know, I act like acomplete idiot sometimes on the ear, just
(26:21):
trying to make myself laugh because Ikind of figure if I can make myself
laugh, hopefully I'm making somebody elselaugh as well. Right, And that's
the exact way to look at it, because it's just too difficult and also
just not fun by the way thatthere are people, I imagine comedians who
go, what do the audience wantto hear? And they write jokes for
the audience. But that's bloody difficultand it's much more fun if you just
(26:45):
go, you know what, I'mgoing to do what makes me laugh,
or I'm going to write the musicthat makes me feel emotional, or I'm
going to paint pictures that I wantto look at and just have faith that
there will be enough people that feelthe same way as you will that will
come and follow you and let metell you that you've done an amazing job
so far, so keep doing it, Garrett, Thanks so much. Man.
(27:07):
What's next for Gareth Emry? Iknow you've got the album? Yeah,
so the album comes out actually notuntil the summer, but the first
single, which is called You'll BeOkay, actually drops March thirteen, which
is cool. So that's going tobe out soon. And the new album's
pretty interesting because it's really the firstone where I didn't work with songwriters like
in the previous albums. I waslucky to work with some amazing songwriters that
(27:32):
would sort of, you know,come up with music and lyrics, and
this time I was like, youknow what, I just want to do
it myself. So every song,every lyric all written by me and it's
made for it feels like my firstalbum because that's how personal sort of everything
on this one is to me.So yeah, if people have liked the
previous ones, I think this isthe most kind of like artistically pure,
(27:52):
kind of Gareth Emory album that there'sbeen. Now everybody can follow you with
Gareth Emery dot com, yep,Gareth emy dot com, Gareth em on
Instagram, Twitter, YouTube, anywherewhere there's there's people I'll be thank in
my space, my space. I'vestill I've still got the page. Well,
Garrett, like I said, I'vebeen a huge fan of your music
(28:15):
for a long time. I meanone of my ex girlfriend's favorite songs was
Concrete Angel, so amazing. Feelyou can still listen to it, I
do, unfortunately, Okay, Okay, Garett. It's always incredible talking to
you. I'm glad I got thischance to really get to know Garett Emery.
Thank you for spending this time.Good time is bo Thank you so
(28:37):
much. Right America's Dance Dirty.Counting down the biggest dance songs in the
country. America's Dance Dirty
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