March 11, 2025 • 47 mins
Returning guest Zach Keim takes us behind the scenes of his stunning sophomore album "Battery Lane," revealing how a street address in Bethesda, Maryland became the cornerstone of his musical reinvention. With characteristic openness, Zach shares the fascinating origin story of his hit single "Canyon" — recorded as a voice memo while delivering Uber Eats during the pandemic — and how this moment of inspiration ultimately shaped his entire album.
Our conversation explores the eight-year journey between Zach's debut album and this latest release, touching on the importance of artistic ownership in today's music industry. Having signed away his rights at just 16, Zach now approaches his career with hard-earned wisdom, maintaining control of his masters while collaborating with trusted partners like Super Sport Records for distribution.
The geographic and emotional landscapes of "Battery Lane" reveal themselves as we discuss how transition, upheaval, and personal loss influenced Zach's songwriting. From the jubilant "Canyon" to the introspective title track, each song represents a different facet of his journey through the Washington D.C. area and back to his Pittsburgh roots. Particularly moving is Zach's reflection on how his late father's musical obsession continues to fuel his own passion for creating and performing.
Throughout our discussion, Zach's DIY ethos shines through as he details booking his own tours, coordinating band members across continents, and balancing full-band performances with intimate acoustic shows. His excitement about upcoming appearances at South by Southwest and Tree Fort Music Festival, along with plans for a potential live album, demonstrates an artist hitting his stride while maintaining complete creative control.
Whether you're a musician navigating the industry's complexities or simply someone who appreciates authentic artistic expression, Zach's journey offers both inspiration and practical wisdom. Listen now, then catch him on tour or pick up the vinyl at your local record store to experience "Battery Lane" in all its glory.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:28):
Welcome.
Season 5, episode number 3.
I have a returning guest again,which I always love having
because we get to continue ourjourney or the musical journey
story.
I have Zach Keim coming in fromPittsburgh and today we are
going to talk a lot about hisnew record.
(00:48):
We kind of got an intro to Zachback in episode one.
Believe it or not, people, Ithink he was actually Zach.
You might not help me with this, but I think you were episode
14 or 8, 14.
That number is popping outaround, but very early on, when
this cast was just getting goingand we had such a great
(01:10):
conversation.
I I listened to it today and Iwas just I'm just so happy that
zach is here.
So, zach, welcome to.
If it be your podcast fornumber two, well, thanks for
having me, chris, as always.
Speaker 2 (01:24):
I uh, I've done a lot of podcasts, but I think your
podcast has been one of my favesin my musical journey, or?
Speaker 1 (01:31):
career.
Yeah, well, I appreciate that.
We.
We love you here too.
Um, I've been following andit's been quite the adventure as
of late.
Um, so zach just put out aself-released um record called
battery lane came out february7th of this year epic, epic
record.
Um, zach, you'd been working onthis for a while, right,
(01:54):
because I just looked at theyears, so you put your first
record out 2017.
Um, self-titled no First Steps,it was called and 2017, and
then 2025, your second albumcomes out.
Now, yes, you had your KnoxBoys, had a record that came out
in between that time, but quitea distance of time that took
(02:17):
place and I feel like singlesfor you were coming out.
Pretty like, how many singlesdid you have off of Battery Lane
that you'd put out before therecord?
Speaker 2 (02:27):
we would have okay.
So first was uh, I'm just goingoff the top of my head but yeah
, but I think it was like canoncame out.
Speaker 1 (02:37):
I mean, canyon was uh a single 22, yeah, better days
also was a single that came outlater.
Yeah, that was uh 2024, 2023probably yeah, and alice too is
an older song, or yeah it?
Speaker 2 (02:56):
was canyon alice matt uh, better days maggie right.
Um, I did a pixies cover andthen, when the record rolled out
, I did incredible washington dcbattery land in 25 years, and
then the record came out.
Speaker 1 (03:09):
Well well, so, like as you were building, like
obviously these songs weren'tall recorded in in one, in one
sitting, can you kind of walk usthrough, like how is this
record assembled?
Like how did the songs come tobe over?
You know, it seems like a niceperiod of time.
Um, like, how did how did therecord come to be assembled
(03:32):
together this way?
Um, with all those singles thathad come out and then the
launch of the record this year.
Speaker 2 (03:38):
I don't know.
I think that I just kind of, uh, my whole theory with releasing
this record was that, um, kindof my whole theory with
releasing this record was that Iwanted to be an active musician
where I was touring and I wastouring while this record was
being recorded and written and Iwas in the studio at the same
time and then I was releasingsingles and then I released
(04:01):
Canyon and then that you know,that came out and then that
randomly caught the attention oflike random people like Ryan
Adams, oddly enough, findingthat music song and posting that
, that.
So it was like just all theselike random events of me
(04:26):
releasing music and peoplefinding my music and uh, working
with collaborators inPittsburgh Jake Hanner and Chad
Montague and Josh and my friendJordan and a bunch of other
people that I trust and I thinkwhen we were talking I was going
going on my first, this last,podcast, when I was on your
podcast we were talking about.
(04:46):
it was my first solo tour goingover and doing uh, Europe and
Spain on my own, that's it.
Speaker 1 (04:55):
Yeah, I think you were just back, um, you were a
few days just back, so you'restill kind of jet lagged and
stuff, um, which I think addedto our conversation actually.
Speaker 2 (05:07):
but yeah, for sure, like I remember that, um, and
hearing about how spain was justlike all over your music yeah,
I think so and a little bit well, kind of kind of not actually
in a way, because I think thatyou know when you're
transitioning.
I don't know if this is aquestion that a lot of artists
bring up, but maybe artists thatcome from like different, like
(05:28):
starting in one genre which islike garage rock, which is like
a very pigeonholed sort of genre, I think, to some people.
But I think that, like, peoplein Spain wanted to hear my
garage rock songs and then Istarted doing my own stuff and
they're like oh Canyon cool song.
It's cool, cool vibe, my ownstuff, and they're like oh
canyon cool song.
(05:48):
But today is cool, cool vibe.
They slowly got warmed up to itand then, um, when I came back
on my second spanish tour, mymusic got.
I got a random.
I remember I was like drivinguber at like pittsburgh airport
and I remember I got a random dmfrom evan westfall and he's
from this band called Camp 2 A'sand they're a really humongous
band they like tour with likeLumineers and stuff.
(06:10):
But he discovered my music andthen he eventually put out a
cassette tape for me and then wesold out of the cassette tape
and that was on his label, right, yeah yeah, and we just became
really close friends and he'sbeen through the music industry
and he's touring and activeartist and I was trying to
(06:34):
figure out who was going to putout the record, like emailing
labels, like some pretty label,big label, indie labels and
different things, and uh, I, uh,I don't know, I just decided
that I wanted to own everythingon all my music and uh, evan was
like, I think for him becausehe just started this kind of
(06:55):
small startup label, that, um,he wanted to kind of push out
his label and we just bothagreed that I agreed to put out
the first pressing of my albumbattery lane on his label.
Speaker 1 (07:08):
Okay, we pressed a thousand copies, nice, nice, and
so do you retain your rights?
Then, like is was that theagreement that yeah, all my
masters, my publishing cool Imean that's important to an
artist.
No, I've never talked to thisabout an artist, but like
maintaining the rights of yoursongs is would seem important.
Speaker 2 (07:29):
No, I think it's very important because I think that
I I've been doing music 28 now,so I've been doing music for
shit, you're 16, maybe, like Iremember you being 16 maybe,
like I remember you well, 16, 17, right, but the first recording
contract I signed was when Iwas 16 and you know, I mean it's
(07:54):
a label that I worked for and II'm friends with my label now
get hip.
But they, they did.
You know, I signed over mypublishing and I signed over my
uh, you know my masters and etc.
You know my masters and etcetera.
You know.
But and then you know, when thetime comes and like, somebody
wants to like, place your musicin a TV show or or whatever, or
(08:15):
you know, someone wants torelease a record, it's just, I
have more freedom to do what Iwant with my music and I think I
prefer that.
I think a little bit more morestress for me that I I don't
really have a label.
I mean, I have evan and he'shelped me tremendously, but I
don't have we're kind of workingon this together and uh, I kind
(08:35):
of have more, uh, I have morefreedom to do what I want with
my music.
But I think with more freedomand more control there, there's
more responsibility.
Speaker 1 (08:44):
For sure, for sure.
I mean.
I remember in season four Italked with David Lowery of
Cracker and Kemper Bon Beethovenand he is now a professor in
the music business industry andhe had to because Virgin owned
the rights to all their firstthree records and they couldn't
just put out a greatest hitsanymore or what you know a
(09:07):
compilation.
They had to always go backthrough their label.
So what they did is theyre-recorded everything.
They called it the redux and itgave them their rights back of
their, of their songs.
Um, I mean, it was their, thesecond versions, I guess you
would say, of their songs.
I mean, it was there that thissecond versions, I guess you
would say, of their songs.
But he said that that wasprobably one of his biggest
(09:29):
mistakes when he was coming up,that he just didn't know is to
keep your.
Keep your music yours, cause ifnot, you have no control over
it.
Right, like they'll, theydictate when you can put it out
and what and how.
You know like it.
Just it's like, wait a fuckingminute, this is my fucking music
.
What are you telling me?
I can't do this stuff, but yeah, it's.
I think that doesn't exist asmuch anymore, in the sense that
(09:53):
labels are smaller.
And you know, I'm sure, thatthe big bands out there, well,
or the big artists out there,tend to not have to give up too
much of their rights.
Speaker 2 (10:03):
But um, it's like the wild West.
Speaker 1 (10:07):
It is.
Speaker 2 (10:08):
You never know.
I mean yeah, yeah.
Speaker 1 (10:11):
And what was that Like?
What was your like?
You were talking about therecording.
Like you, you went to Los, toCalifornia, and like, where was
the chunk of battery lanerecorded?
Like, where did you record mostof what we hear on the record
today?
Speaker 2 (10:28):
all of the record, besides better days, was
recorded in pittsburgh at myfriend jay canner studio, which
he lives like sort of in thelike not in the city city, but
like the suburbs but he's awonderful studio and I trust him
fully with everything that I do.
And he did like some, likeother versions of songs and
(10:48):
stuff that are out now onSpotify, but all the record was
recorded at Jake's and thenbetter days was recorded with
Matt Okay and that song waswritten, recorded and mixed in
like 12 hours Wow.
Speaker 1 (11:03):
Wow, they're really impressive too.
Like the thing about thisrecord is that it's so hard to
pigeonhole, which is, I think,an amazing thing, because there
are such different feelingsbetween the songs, yet there is
a thread that definitelyconnects them all.
What was your vision when youwanted to create this record?
(11:23):
Now I know that your firstrecord, first steps Steps, was
very acoustic-y, very yousinger-songwriting, not much
instrumentation.
How did your mindset shift alittle bit to I want a band, I
want a bigger sound, I want somefast songs, I want some
not-so-fast songs.
How did all of this kind ofevolve over time, zach, like of
(11:46):
of coming to the product of thisrecord of, and you know how you
arrange the songs how did howdid that um, kind of collection
happen?
Where was it, like intentional,once you had finished your solo
the, the first record, that youreally wanted to kind of bring
it a little bit more closer tothe Knox Boys aesthetic?
(12:08):
Or can you expand on that a bit?
Speaker 2 (12:12):
I think it was just all through trial and error, I
think just sort of growing upand sort of figuring out.
I mean, I think that it's justdeveloping, just listening to
all sorts of different types ofmusic and drawing inspiration
from artists that I like and uh,I guess maybe not being
pigeonholed, or sort of uh, Ikeep saying pigeonholed but not
(12:36):
like to say it like, I just likenot, I guess.
Another thing not having alabel.
It's like I can do what I wantto do.
I don't have to create thisaesthetic or this sort of
persona.
(12:56):
I had producers which Chad Jake,josh Jordan and Jake Hanner and
Animal Scream, and then Jordan,obviously too from the Frights,
but I think that I just kind of.
And Costa, I think that, andthen shake hander and animal
scream, and then jordan,obviously too from the frights,
but uh, I think that I just kindof, and costa.
I think that I think, witheverybody that was involved with
this record, they just wantedthe best of like what, like my
songs that I wrote and like howwe could make them um what
(13:21):
speaks true to me as an artistInteresting.
Speaker 1 (13:25):
And like, like what song started it all?
Like what song of the of thelatest that you like?
What was the one that startedthe stream that would then
eventually evolve into thisrecord, canyon?
Speaker 2 (13:38):
Okay, Nice to see the top top track, I mean.
I released that song and I wasjust running ads on instagram
and ryan adams found it and hereposted it, and matt found me
and, um, reckless eric found mymusic and uh what do you think
it is about that song thatpeople are like connected to
that, are like I don't know,maybe they love that 60s sort of
(14:02):
canned heat vibe that's likelike sort of a common I guess, I
don't know.
Speaker 1 (14:06):
Yeah, yeah, Cause it is a very like it brings you.
It's nostalgic a bit, but alsolike it's very new and fresh
sounding and yeah, I don't know.
Speaker 2 (14:16):
I mean the song you like.
What do you like about thatsong?
Speaker 1 (14:19):
I don't know, I like the start of it because it just
is so joyful as it begins and Ilike how it kind of tumbles a
bit.
You know it has that kind oftumbling feel to the lyrical
play with it and it's just likea solid toe-tapper.
(14:39):
You know, Like I can't likelive.
It must be, like people mustjust go nuts when you play that,
particularly if they know thesong.
But I think even if you didn'tknow that song, you heard it for
the first time.
You'd be up moving, You'd haveto move, You'd have to like do
something with your body Causeyour body wouldn't be able to
hold itself back.
(15:01):
And it's always been somethingthat it's a song that you know,
sometimes you listen to a songand you're like, OK, I don't
want to play it too much becauseI don't want to get old and not
want to listen to it anymore.
And I find with Canon, it's oneof the few songs that I could
listen to.
You know, since I first heardit I could just keep listening
and listening and not worryabout it like getting old on me.
(15:22):
You know, in my years, Like itjust always feels fresh and
exciting and fun.
Um, I just it's always been oneof my, my top ones.
So I love how you open this newrecord with that song.
But yeah, I think better daysalso is one that, like those two
(15:45):
, just feed.
I love how you put Canon firstand then it goes into Better
Days, Because they just work sowell as one after the other
Really pretty.
What were you going to sayabout that?
Speaker 2 (16:01):
No, I think that, yeah, it's funny.
I like grew up with my friend,one of my close friends, growing
up.
It's like we were, we were inbands together growing up and
you know, you have like one ofthose high school buddies and
he's like nothing I did, heliked, and he's like that one
song.
He's like singing along andsinging it like crazy.
It's like this is such a strongCanyon, Right, and I was like
(16:24):
like a reaction I got from likea lot of people yeah, yeah.
Speaker 1 (16:28):
So like once that song, you kind of had that song
down, did it open doors forother songs that we see on the
record?
Speaker 2 (16:37):
uh, yeah, I think so.
I mean Better Days.
Better Days is like veryheavily inspired by Canyon.
Actually, it is the same.
They're in the same exact key,right right.
That's probably why the and Ithink they are actually the same
exact chords.
Okay, yeah, a few secrets ofthe tree.
(17:01):
Yeah, yeah, yeah, yeah, a fewsecrets of the tree.
Speaker 1 (17:04):
Yeah, yeah, yeah because I'd always had that
sense that canon just led sobeautifully into better days we
take a guitar, yeah.
Speaker 2 (17:18):
And then canyon is what canyon is, that's Canyon.
Yeah answers your prayer.
And can you?
You're my best friend, sothat's capo g at two.
(17:47):
And then so when we wrotebetter days, we're like matt
really, really loved that songand we were at his house writing
in his garden in Laguna Beachand we just started.
I was like why change anything?
Like let's just write anothersong like this so we wrote.
Better Days, you know, sittingin a chair, flavor down a seat,
(18:07):
Waitress outside that I want tomeet Smoking and a mind that
just won't let me be.
Speaker 1 (18:24):
No, et cetera.
So it's the same exact chords.
Yeah, that's, music's amazing.
Eh, like, how many songs werewritten in that chord that
sounds so different?
Like it's just, I mean, wenever get enough songs like
there's never, there'll never bea point where there'll be just
like no, no, that's another,that that's been done before,
that's been done before it.
Uh, it's interesting, like I Iwork with with kids sometimes
and I get them to do all thesame things, um, with the same
(18:50):
materials, same time limit, sameprompts, yet they all same
materials, same time limit, sameprompts, yet they all produce
something different.
You know, and I'm like kids,hey, what?
Why?
You know, I gave you the sameinstructions, same stuff, same
prompt.
Like, what's?
Why are they all different?
You know, and they come to thisrealization probably pretty
easily.
And they're like Chris, don'tbe an idiot, it's because we're
(19:10):
all different.
But again, the illustrationthat a simple series of chords
put together can be rejigged inso many different ways and lead
to different avenues.
Speaker 2 (19:26):
We were working on Better Days.
We didn't work on it that long,but it's like we don't know
what key it should be in.
Speaker 1 (19:31):
Should we move up the cable here and then Matt's like
you know what key it should beand should we move up the cable
here.
And then matt's, like you know,he's like, he's like you know
what, zach, let's just do itsame key, you know and then it
just clicked, like you said,that that song too, a better
days, was one that that justkind of flowed out to you guys.
Speaker 2 (19:53):
It like took, didn't take very long to yeah, when we
decided on the key and then westarted writing and then I had,
I mean, I think the song startedout.
It just started out with likesort of a um three chords and
then I was just like you know, Ihad the better days line.
(20:13):
I remember better days, betterdays.
And then we just startedwriting and talking about um,
like the lyrics, like sitting inthe cherry flavored diner seat,
like chad and I.
When we arrived at laguna beachwe never, well, chad's been
there before, but I when wearrived there we were at this
random diner withcherry-flavored diner seats
(20:36):
having breakfast, waiting forMatt to get back from his
meditation or whatever the heckhe does.
And then we went to his placeand then I'm sitting in a
cherry-flavored diner seatwaitress outside, but I don't
want any smoking in my mind.
There's a meter outside thatdidn't pay a chip in my tooth,
every little thing coming downon me today.
(20:56):
And then matt and I were justtalking about life.
My dad was like really not ingood health at the time and, uh,
he actually passed away like amonth later after that song and
actually never got to hear thesong um yeah, I remember you had
mentioned that sack yeah,losing dad and it's a tough one.
Speaker 1 (21:13):
It's a tough one, um were, were you able, just
talking of that, were you, wereyou able, to get some music into
the therapy of kind ofaccepting the loss of such an
important person in your life?
Like, did that spur on any?
Speaker 2 (21:28):
uh, I think it made me more obsessed with music,
because my father was likereally, really, um obsessed with
music this is.
This is a photo of my dadplaying drums.
Actually it's my one on myphone, but this is uh.
Oh shit, how do I uh?
Speaker 1 (21:48):
it's my dad what a beauty nice yeah, but nice, was
he a big musician as well, like?
Did he play with other peopleas well, like?
Speaker 2 (21:58):
music.
No, he was just like.
Uh, I mean he grew up, I grewup listening to his record
collection and then, like he wasin bands in high school and you
know, I think his peak yearswere his high school years.
He like managed a band andbooked a band around like
western pennsylvania and uh, andI think when I was growing up,
you know, we just went to somany freaking concerts like I
(22:20):
would go to concerts like three,four concerts a week, just like
traveling places.
My dad like going to like likeoutdoor music festivals or like
open mic nights or justdifferent things, like I mean
not necessarily playing until myteens, but just going to
concerts, to seeing his friendsplay, because like people he
grew up seeing like play thebands and stuff.
(22:40):
So I think I just got exposedto a lot of music and my mom not
I mean definitely my mom was itlike a different sort of
interaction music.
My mom was like more into like,like more like soul and like
R&B, like Marvin Gaye or likelike that sort of stuff.
So like my dad was more intolike, like, more like soul and
like R&B like Marvin Gaye orlike like that sort of stuff.
So like my dad was more intolike more of the classics like
(23:00):
Jackson Brown or Beatles andstuff.
But, yeah, I just, and then thatdefinitely inspired my music
journey.
And then, like working for arecord label, for like get hip,
for like four years and likeworking for like Greg and
Barbara barbara, who are theowners of the label, but I I
just became obsessed, I mean, II think, and then playing music,
and then it's like there's likeno turning back now, which is
(23:22):
kind of great, you're locked in.
Yeah, yeah, I mean I could havedone something else with my
life and maybe a better life,but uh, I enjoy it and I, you
know it's so cool, like I justplayed in la and it's like I I
played acoustic and I've beentesting that out because I
played in Madrid recentlyacoustic and I'd sold 70 tickets
, just me and a guitar, wow.
And then LA was 50 tickets,just me and a guitar, and like
(23:45):
an internet, sort of likecocktail jazzy cabaret club.
Speaker 1 (23:49):
But how does that feel, zach, compared to when you
have the whole band together asopposed to just you up there
alone on stage with your guitar,like there's nowhere to hide?
How does that feel for you,like those experiences when
you're doing it live?
Speaker 2 (24:04):
I love both.
I think it's cool.
I think it's a cool thing aboutmy music now it's like I can do
both Mm-hmm, mm-hmm.
Speaker 1 (24:18):
You can get a guitar and just like go to any open mic
or, you know, just startplaying anywhere.
Speaker 2 (24:20):
Really right, like you have that ability to just
launch into song yeah, and whenI play these songs off the
record, I mean, I played all thesongs on the record, even 25
years, just like a hard song toplay acoustic.
But I think that, uh, I justplayed them more like stripped
down a little bit right, rightmyself, and the band is like the
full thing, you know rightright zach.
Speaker 1 (24:42):
How did?
How did?
What was the transition likebetween um working at get hip
and them putting out one of yourrecords and the the knox boys
records, and then this latestone where you, where you went
off to um, you know super sportrecords, but what was that
transition like like?
Was it a time for you to moveon like?
(25:03):
Is that what it felt like like,or were you looking for
something different in in, in alabel?
Um, it brought people into yourlife that were different as
well.
I imagine Like, what was thattransition like for you?
Speaker 2 (25:19):
I mean Get Hip.
They distribute my album, sothey distribute Battery Land so
you can buy the record from them.
They carry it and they supportme with my music and stuff and
Evan it's on his label andEvan's helping.
I think both are bothsupportive of my journey and, uh
, they coincide with each other.
But I think that there's nodifference, it's just the only
(25:42):
thing.
Difference is like that I, uh,you know, I, it's my little, my
little baby that I hold on tonow.
I guess, I mean, they help getmy music out there to the world
because they, you know, and theyhave been supportive and I
don't think without them, Idon't think I would be where I'm
at today.
Speaker 1 (26:02):
When did you start working for Get Hip, has it been
quite a while?
Speaker 2 (26:07):
I worked.
Well, I'm 28 now so I workedfor them.
I like in high school, likewhen I started the Knox Boys, I
like worked at like Taco Bell orlike McDonald's or like random
guys or whatever odd job I couldfind a warehouse job.
And then I think I was workinga warehouse job and they, they
have a.
They have a facility in theNorth side of Pittsburgh which
is a by the water and there's awarehouse there I was working at
(26:29):
, uh, I forget what thewarehouse was.
I was like, uh, moving around,like uh, camouflage apparel or
something Cool.
And then I uh, and then I wentto go visit them periodically
and they're like hey, you shouldlike work here part time.
Like you know labels, they'realways looking for people to
(26:50):
work for them.
But uh, like, so I was justlike stocking cds and stuff and
uh, and then, like, I was likestocking cds, fulfilling orders,
um, and then I uh, yeah, I justworked my way up and then I
started like talking the recordstores.
I talked to like ox 33 tours inmontreal um, I forget what other
(27:14):
.
I talked to a couple of Torontostores in Canada, Speed City
Records.
He's in Ottawa.
I think he's a cool dude.
I just talked to a lot ofrecord stores and then I built
relationships with record storesaround the country and the
world.
I think that also helped me.
As an independent, I don't havea booking agent, so I have to
(27:34):
book all these tours myself,which it's kind of like
thankfully a whole other jobright Like it's a job.
So, like I book all the toursand then, um, the Spain stuff.
Luckily my tour driver in Spain, marika, she now is my agent
over in Spain, so thecorporation over there.
She now is my agent over inspain, so the corporation over
(27:56):
there and then I'm out.
Speaker 1 (27:57):
I mean the, the relationships that you built,
are helping support your, yourcareer as well, like in the
sense that everybody, that allof these people and people that
you've brought into your lifeI'm sure you can call on for
different things at differenttimes and, like that support,
community is there for you.
That you built, like not onlydid you, did you build how your
(28:20):
records are coming out, how theywere listened to, like all of
that, the design of the frontcover, of how you're going to
post, what tour you're going togo on, has all been a part of
your fabric, and now you haveall of these agents out there
supporting you with it.
Um, it must feel pretty cool tohave all that support yeah, it
(28:42):
was cool.
Speaker 2 (28:42):
I kind of just kind of wrapped and then I left, get
hip.
Uh, when I like I met a girllike do my late, it's like like
my boss, like she, she was ayoga instructor and I met a girl
that I was I met through myboss and then I moved to dc and
then fell in love and then Imoved to dc and then I was
dating a girl in dc and I livedin dc and that, and then
(29:05):
eventually nox boys were doingour first european tour to like
italy and spain and uh, that gotcanceled because of covid and
then I got stuck in this randomapartment which was battery
Battery Lane, and then that, andthen that inspired the whole
record, and then Canyon and allthe other songs, yeah, yeah, I
was going to ask you where,where Battery Lane fits into
(29:26):
this, this voyage of yours sofar?
Speaker 1 (29:29):
So, from Washington DC.
Speaker 2 (29:31):
Yeah, it's like a it's apartment street.
I lived on in the DC area, theDMV area, which is DC, maryland,
virginia, but Marylandtechnically it's in Bethesda,
maryland, which like right nextto DC.
And uh, yeah, I lived in thisapartment and it really just
inspired me when I was living onmy own for the first time and I
was like out of relationship.
(29:51):
I was no longer on a labelbecause, like I didn't I didn't
work for them anymore and Ididn't have a label.
At the time I was like justtrying to figure out how to
survive and I was living in thisapartment and I wrote I would
just like I was delivering UberEats during COVID and like I
just like would go out, deliverfood and then like come back,
(30:12):
write songs, go back out, likeI'll be like delivering, like I
was like delivering like achipotle order and like I like
was right and like I mean I havethe demo right here.
Hold on, let's find the demo.
I got the.
I got the uber eats demo.
It's never been uber eats democanyon.
Uber eats demo, canyon.
(30:33):
Uber Eats demo.
Let's see here.
Yeah, one second here.
Uber Eats Canyon, uber Eatsdemo.
It's kind of hard to seebecause we're on Zoom, but it
says Uber Eats demo 2021.
Yeah, canyon, I miss thosenights.
(30:54):
I miss those nights.
And yet, where the water usedto Over the hills, you can hear
my turn signal.
As I'm turning slightly, I'mjust randomly singing on my
phone.
Well, that's a cool one and I'meating probably food too at the
(31:20):
same time not the person's food,but probably snack.
When I wrote that, that wasreally cool and I then I rushed
home and then I got my guitarand then started the first demo,
that and then that's when Ithat started the whole canyon,
started everything right beforebattery.
Speaker 1 (31:35):
Yeah yeah, yeah, I wanted to ask about battery lane
too, just as a song like it'sso beautiful, zach, like what a
great song, where that's like Imean obviously you were living
there and it was your street andstuff, but do you remember how
that song came to be?
Speaker 2 (31:50):
it's, it's, it's starting kind of bubbling up of
that song uh, I mean thatstarted as another demo in my
apartment that I wrote and thenI mean, I wrote the majority of
that song.
I eventually took it to mycousin which I he was the bass
player in the nox boys mitchellmcdermott and he plays keyboards
(32:12):
in my band now.
Um, he's a very talented, likecollege educated Berkeley grad.
He's like a weird at anyinstrument but he, he helped me
finish the song lyrically but Iwrote the majority of it and he
helped me with some of the lines.
We wrote it together and, uh, Iwrote it and then he helped me
(32:33):
finish it and uh, yeah, and thatkind of, uh, I don't know, I
had this whole idea.
After that song I was like I'mgonna write this record battery
lane.
I just found it so fascinating.
Uh, I don't know, I mean I likethe beatles a lot, like penny
lane and like different, likeyeah and like having an.
I remember I saw this albumcover.
I was probably with my friendadia in Baltimore and she was
(32:57):
the one who designed the artworkfor Canyon, like the orange
cover, right.
I think I was visiting her inBaltimore at the time and we
went to maybe it was like soundexchange in Baltimore or some
record store.
But we went to a store andthere's this old, like seventies
record.
It was not like a Phil Oaksrecord or something something,
but it's like some like old,like you know 70s record where,
(33:19):
like the dude's on a street andthere's like a sign and I was
like wow, that'd be so cool if Icall it like battery lane, like
make this record and like that.
That's kind of what that waslike the concept.
And then I got really into justdifferent musicians.
I was just into different musicat the time and I mean a lot of
(33:40):
different music.
But I think as far as theconcept goes, like Canyon and
finding random Phil Oakes orwhatever, that folk like an old
folk, that I found kind ofinspired.
Speaker 1 (33:54):
Yeah, yeah, I mean again it comes back to the
variety of this record.
Like it's just.
But I think how you place thesongs are so good.
Like I feel like that WoodleyPark you know 48-second
instrumental there on track four.
(34:14):
Like it almost feels a part ofbattery lane song.
Like it just.
I know that you separated themtoo, but it just kind of is this
beautiful introduction tobattery lane which comes in and
just like mind blowinglybeautiful song.
Speaker 2 (34:30):
Thanks, I wrote that instrumental.
Like the concept of it at theapartment, but Woodley park is
like it's a.
It's a neighborhood inWashington DC, like the concept
of it at the apartment, butWoodley park is like it's a.
It's a neighborhood inWashington DC, like further down
where I lived.
Interesting, interesting.
Speaker 1 (34:42):
I would hang out there.
There's definitely speckles ofof of DC all over this record.
Speaker 2 (34:48):
Um yeah.
Speaker 1 (34:49):
So Zach, kind of like as we bring things to a close
here, um, the record's been outnow for 20 days.
We'll say yeah 20 days.
I need to get all these ordersoff.
How have you felt the reactionhas been Like?
I know that.
Speaker 2 (35:05):
It's good.
It's just like it's got toomuch work to do and it's like
I'm always like, oh, and thenlike I don't know, maybe I
should have a manager, but Idon't really want a manager
right now.
I'm trying to do everythingmyself.
Speaker 1 (35:19):
But, uh, don't bring yourself out.
But at the same time it's goodto have that kind of getting to
know all the parts and pieceswhich you've been doing most of
your career.
Now, how do you, how do you?
How do you see the record nowwith a little bit of distance
between it, I mean when you'rein it?
It's really because you'relistening to every single little
(35:40):
note in second and um, with alittle bit of distance from the
release of battery lane?
How, how do you look back andsee it all here on record now,
on vinyl, like what?
What's your reaction to thisaccomplishment 20 days after
that you've released it?
Speaker 2 (36:03):
I don't know it's, it's just like it's kind of a
crazy thing.
It's like you know, whateverlife you know you can take
different directions in life and, like you know, I kind of took
the direction of, like I wantedto make this album and then, you
know, here it is.
You know, it's like you know,like it had done other things in
(36:25):
my life but I, I I'm reallyproud and, uh, happy and it's a
record that I'm really proud ofand, like I think it's probably
my favorite record so far in myjourney as a musician cool so
you're up in your game everyrelease, which is I mean ideal
right we haven't.
The best is yet to come rightlet's sell some records right
(36:52):
now, but yeah, yeah yeah, sowhat's coming down the pipe for
2025?
Speaker 1 (36:57):
so the record came out.
I know you're touring and stuff.
What are some other things thatyou could, you can mention to,
uh, the listeners?
Speaker 2 (37:05):
You can buy the record.
I mean, if you're listening tothis podcast, just go to your
local record store and be like,hey, I want to buy Zach Kamm's
record and maybe mention thatyou can buy it from Get Hip.
They're a distributor, theydistribute all around the world
and your local record storecould order the record and you
can buy it from an independentrecord store.
(37:26):
Or you can buy it on my bandcamp or you can get on get hip
or supersportrecordscom.
Um it's out on lp, cd and tapeand um I'm going on tour on this
friday, do you mean tomorrow,correct, great.
(37:46):
And then I'm also like I'm alsothe guy who has like a plan.
Like you know, it's complicatedwhen you have like four other
guys in your band you're likewhere are we gonna stay and what
we're gonna like?
you know, I get all these likestupid questions.
They'll text you like oh man,what should we do about this
problem?
Lots of putting out fires, butuh should I bring my capo?
Speaker 1 (38:07):
do you got enough picks and yeah, totally that's
I'm like a road manager too.
How long is this stretch oftour like, do you have a bit of
like, is it pretty straight?
Speaker 2 (38:20):
it's gonna be from friday to next saturday, okay,
okay, but there's gonna be likea break in between Monday and
Tuesday.
I'll come back home, but it'slike basically like DC out to
New York, penn State StateCollege, and then back to
Pittsburgh, and then out toCleveland, chicago, columbus and
Pittsburgh, back to Pittsburghand doing a home show, and then
(38:43):
after that I'm going out toSouth by Southwest to do a
couple shows, shows and I'mplaying a show in Columbus,
again flying back to Columbus,and then after that the
following week I got to fly toIdaho to play a tree Fort music
festival, which is like a bigmusic festival out in Idaho.
That's a great one too.
We're looking at that one.
But yeah that was kind ofsurprising too, because I isn't
(39:06):
the guy who runs the festival.
His name's eric and I.
I submitted the application and, uh, he responded my email for
a couple days and his number wasthere and I just gave him a
call on the phone.
I was like, hey, uh, this iszach kime.
He's like zach who and he'slike, and he's like, uh, oh,
it's that kind like my album'son camp's label, like evan's
label, it's like, oh, you shouldhave said that, man.
It's like I love your album, Iwould love to have you find your
(39:30):
really good spot.
And, like you know, there'slike the festival lineup and
like there's like three tiersand three spots.
My name's on the first tier.
I'm like how did that?
Nice, that was crazy, but soI'm playing.
I'm playing next to the mainstage, uh, when delicate Steve's
playing around the time, uh,time, but around the same stage,
or something, but uh, and thenafter that I might go out to
(39:53):
Portland to do an in-store, andthen I'll Seattle, maybe, and
then going out to Europe againand then Spain, not England.
I have a bass player anddrummer in England who are going
to fly to Spain.
It's for the fly guys in theUnited States.
Speaker 1 (40:11):
Yeah, for sure, amazing coordinations.
Speaker 2 (40:16):
I'm going out to Denver, colorado.
That's all I have booked rightnow.
I'm going to try to do Detroit,madison, toronto as well,
coming up in April in upstateNew York, then Montreal.
It's going to happen eventually.
It like Detroit, madison andthen Toronto as well, coming up
in April, and upstate New Yorkand then Montreal.
It's going to happen eventually.
It'll happen eventually.
It's just like the.
Of course it's going to happen.
Speaker 1 (40:33):
Of course it will happen, that's for sure.
Well, zach, this has been areal treat, as always, it's
great to talk with you again.
We'll do it again.
Are you still penning tunes too, like you're?
Speaker 2 (40:49):
this came out, but you're still getting into your
process now and then uh, yeah,I'm writing a little bit, but I
think that right now it's justkind of heavily focused on this
album and just out there um anduh, trying to play as much as
possible.
And uh, yeah, I think thatanother eye-opening thing is
recently doing the band showsand then doing acoustic shows.
(41:10):
So I mean, I might be playingthese cities banned, but then
also I might go back to thesecities and play them acoustic
eventually, like maybe anacoustic tour cool, cool that.
That would be amazing to see Ithink, an acoustic tour, and
then also I want to do a liverecord, like a live record where
, like a like like Zach Klein atlike a cabaret, like sort of
(41:31):
like cocktail bar vibe, I do alive album.
Speaker 1 (41:35):
Like a little Rufus-y style, wainwright-y show tune-y
.
Oh, that would be so amazing.
I think that would.
Speaker 2 (41:43):
That would complement your, your style really nicely
as well such a good idea, zach,like a live, like battery lane
and like the whole album live,yeah, like acoustic or something
or a band, I don't know, Igotta figure it out, but I think
that'd be in los angeles fun.
Speaker 1 (42:02):
Wow, I'm excited for you and, um, I'm happy that you
got this record out and I'm gladthat you're doing all this
stuff for us.
I do encourage all of mylisteners out there.
Please go and check Zach out.
He's on tour.
He'll be playing probablysomewhere close to you and pick
his record up at the show.
(42:22):
And also get a t-shirt and goand say hi to zach, and he is
such a lovely person and it'sjust so fun to talk with you,
zach, and share um.
I feel like I'm I'm I'm thatlittle bird on your shoulder as
you're walking around.
I get to see all of yourexperiences and live through you
.
So thank you and I wish you allthe best with your tour and the
(42:47):
record.
Um, zach, what song are wegoing to play it here at the end
of the um podcast for people tolisten to?
Speaker 2 (42:56):
I don't know what's your favorite.
That I mean, obviously, theones we haven't played before.
We're not canyon or the betterdays.
What's one that speaks to you?
Speaker 1 (43:02):
battery lane.
Okay, cool, why don I'm goingto also put.
You'll hear at the start ofthis podcast I'm going to put
Woodley Park on Because I thinkit's a great little intro.
Yeah, definitely.
Speaker 2 (43:14):
Woodley Park to Battery.
Speaker 1 (43:14):
Lane, absolutely so.
We'll bookend this podcast withtwo amazing tunes, so stay
tuned, people Don't turn thething off.
Zach, thank you.
I wish you all the best.
It's really good to see you andtalk with you, reconnect and
we'll talk soon definitely, man.
Speaker 2 (43:32):
Thank you so much, chris.
Cheers man travel the long road, saw the shape of a rainbow.
(43:58):
I loved the weight of myunfinished dreams Tripping over
my destiny.
God loves, let it go.
Naive but eager eyes make astain on a Friday night.
(44:35):
I need my strings to come undone.
I'm more absurd than a funeraldrum.
What a pretty life this couldbe.
And I'm going to Battery LaneSomething deep inside, quiet
(44:59):
strange.
I'm going by Battery Lane Tolet myself Live Again.
I'm going back Battery lane,naked walls and our eyes.
I'm going back, start all overagain again.
(45:22):
Feet and face.
I used to know sepia prints onthe window.
(45:48):
I hear a song from the otherroom.
A place that reminds me of you.
I got a letter to let you goand I'm going to Battery Lane.
(46:12):
Through the storm I paid ashame Going back to Battery Lane
To leave myself here again.
I'm going back to Battery Lane.
(46:34):
I love you and I'm going toBarry Lane.
Speaker 1 (47:04):
That's where I'll Intend to stay.
I'm going back to the barrenlane.
Let myself dream again.
Speaker 2 (47:17):
I'm going back to the barren lane.
I'll never want to be the same.
I'm going to run and start overagain.
Welcome.
Season 5, episode number 3.
I have a returning guest again,which I always love having
because we get to continue ourjourney or the musical journey
story.
I have Zach Keim coming in fromPittsburgh and today we are
going to talk a lot about hisnew record.
(00:48):
We kind of got an intro to Zachback in episode one.
Believe it or not, people, Ithink he was actually Zach.
You might not help me with this, but I think you were episode
14 or 8, 14.
That number is popping outaround, but very early on, when
this cast was just getting goingand we had such a great
(01:10):
conversation.
I I listened to it today and Iwas just I'm just so happy that
zach is here.
So, zach, welcome to.
If it be your podcast fornumber two, well, thanks for
having me, chris, as always.
Speaker 2 (01:24):
I uh, I've done a lot of podcasts, but I think your
podcast has been one of my favesin my musical journey, or?
Speaker 1 (01:31):
career.
Yeah, well, I appreciate that.
We.
We love you here too.
Um, I've been following andit's been quite the adventure as
of late.
Um, so zach just put out aself-released um record called
battery lane came out february7th of this year epic, epic
record.
Um, zach, you'd been working onthis for a while, right,
(01:54):
because I just looked at theyears, so you put your first
record out 2017.
Um, self-titled no First Steps,it was called and 2017, and
then 2025, your second albumcomes out.
Now, yes, you had your KnoxBoys, had a record that came out
in between that time, but quitea distance of time that took
(02:17):
place and I feel like singlesfor you were coming out.
Pretty like, how many singlesdid you have off of Battery Lane
that you'd put out before therecord?
Speaker 2 (02:27):
we would have okay.
So first was uh, I'm just goingoff the top of my head but yeah
, but I think it was like canoncame out.
Speaker 1 (02:37):
I mean, canyon was uh a single 22, yeah, better days
also was a single that came outlater.
Yeah, that was uh 2024, 2023probably yeah, and alice too is
an older song, or yeah it?
Speaker 2 (02:56):
was canyon alice matt uh, better days maggie right.
Um, I did a pixies cover andthen, when the record rolled out
, I did incredible washington dcbattery land in 25 years, and
then the record came out.
Speaker 1 (03:09):
Well well, so, like as you were building, like
obviously these songs weren'tall recorded in in one, in one
sitting, can you kind of walk usthrough, like how is this
record assembled?
Like how did the songs come tobe over?
You know, it seems like a niceperiod of time.
Um, like, how did how did therecord come to be assembled
(03:32):
together this way?
Um, with all those singles thathad come out and then the
launch of the record this year.
Speaker 2 (03:38):
I don't know.
I think that I just kind of, uh, my whole theory with releasing
this record was that, um, kindof my whole theory with
releasing this record was that Iwanted to be an active musician
where I was touring and I wastouring while this record was
being recorded and written and Iwas in the studio at the same
time and then I was releasingsingles and then I released
(04:01):
Canyon and then that you know,that came out and then that
randomly caught the attention oflike random people like Ryan
Adams, oddly enough, findingthat music song and posting that
, that.
So it was like just all theselike random events of me
(04:26):
releasing music and peoplefinding my music and uh, working
with collaborators inPittsburgh Jake Hanner and Chad
Montague and Josh and my friendJordan and a bunch of other
people that I trust and I thinkwhen we were talking I was going
going on my first, this last,podcast, when I was on your
podcast we were talking about.
(04:46):
it was my first solo tour goingover and doing uh, Europe and
Spain on my own, that's it.
Speaker 1 (04:55):
Yeah, I think you were just back, um, you were a
few days just back, so you'restill kind of jet lagged and
stuff, um, which I think addedto our conversation actually.
Speaker 2 (05:07):
but yeah, for sure, like I remember that, um, and
hearing about how spain was justlike all over your music yeah,
I think so and a little bit well, kind of kind of not actually
in a way, because I think thatyou know when you're
transitioning.
I don't know if this is aquestion that a lot of artists
bring up, but maybe artists thatcome from like different, like
(05:28):
starting in one genre which islike garage rock, which is like
a very pigeonholed sort of genre, I think, to some people.
But I think that, like, peoplein Spain wanted to hear my
garage rock songs and then Istarted doing my own stuff and
they're like oh Canyon cool song.
It's cool, cool vibe, my ownstuff, and they're like oh
canyon cool song.
(05:48):
But today is cool, cool vibe.
They slowly got warmed up to itand then, um, when I came back
on my second spanish tour, mymusic got.
I got a random.
I remember I was like drivinguber at like pittsburgh airport
and I remember I got a random dmfrom evan westfall and he's
from this band called Camp 2 A'sand they're a really humongous
band they like tour with likeLumineers and stuff.
(06:10):
But he discovered my music andthen he eventually put out a
cassette tape for me and then wesold out of the cassette tape
and that was on his label, right, yeah yeah, and we just became
really close friends and he'sbeen through the music industry
and he's touring and activeartist and I was trying to
(06:34):
figure out who was going to putout the record, like emailing
labels, like some pretty label,big label, indie labels and
different things, and uh, I, uh,I don't know, I just decided
that I wanted to own everythingon all my music and uh, evan was
like, I think for him becausehe just started this kind of
(06:55):
small startup label, that, um,he wanted to kind of push out
his label and we just bothagreed that I agreed to put out
the first pressing of my albumbattery lane on his label.
Speaker 1 (07:08):
Okay, we pressed a thousand copies, nice, nice, and
so do you retain your rights?
Then, like is was that theagreement that yeah, all my
masters, my publishing cool Imean that's important to an
artist.
No, I've never talked to thisabout an artist, but like
maintaining the rights of yoursongs is would seem important.
Speaker 2 (07:29):
No, I think it's very important because I think that
I I've been doing music 28 now,so I've been doing music for
shit, you're 16, maybe, like Iremember you being 16 maybe,
like I remember you well, 16, 17, right, but the first recording
contract I signed was when Iwas 16 and you know, I mean it's
(07:54):
a label that I worked for and II'm friends with my label now
get hip.
But they, they did.
You know, I signed over mypublishing and I signed over my
uh, you know my masters and etc.
You know my masters and etcetera.
You know.
But and then you know, when thetime comes and like, somebody
wants to like, place your musicin a TV show or or whatever, or
(08:15):
you know, someone wants torelease a record, it's just, I
have more freedom to do what Iwant with my music and I think I
prefer that.
I think a little bit more morestress for me that I I don't
really have a label.
I mean, I have evan and he'shelped me tremendously, but I
don't have we're kind of workingon this together and uh, I kind
(08:35):
of have more, uh, I have morefreedom to do what I want with
my music.
But I think with more freedomand more control there, there's
more responsibility.
Speaker 1 (08:44):
For sure, for sure.
I mean.
I remember in season four Italked with David Lowery of
Cracker and Kemper Bon Beethovenand he is now a professor in
the music business industry andhe had to because Virgin owned
the rights to all their firstthree records and they couldn't
just put out a greatest hitsanymore or what you know a
(09:07):
compilation.
They had to always go backthrough their label.
So what they did is theyre-recorded everything.
They called it the redux and itgave them their rights back of
their, of their songs.
Um, I mean, it was their, thesecond versions, I guess you
would say, of their songs.
I mean, it was there that thissecond versions, I guess you
would say, of their songs.
But he said that that wasprobably one of his biggest
(09:29):
mistakes when he was coming up,that he just didn't know is to
keep your.
Keep your music yours, cause ifnot, you have no control over
it.
Right, like they'll, theydictate when you can put it out
and what and how.
You know like it.
Just it's like, wait a fuckingminute, this is my fucking music
.
What are you telling me?
I can't do this stuff, but yeah, it's.
I think that doesn't exist asmuch anymore, in the sense that
(09:53):
labels are smaller.
And you know, I'm sure, thatthe big bands out there, well,
or the big artists out there,tend to not have to give up too
much of their rights.
Speaker 2 (10:03):
But um, it's like the wild West.
Speaker 1 (10:07):
It is.
Speaker 2 (10:08):
You never know.
I mean yeah, yeah.
Speaker 1 (10:11):
And what was that Like?
What was your like?
You were talking about therecording.
Like you, you went to Los, toCalifornia, and like, where was
the chunk of battery lanerecorded?
Like, where did you record mostof what we hear on the record
today?
Speaker 2 (10:28):
all of the record, besides better days, was
recorded in pittsburgh at myfriend jay canner studio, which
he lives like sort of in thelike not in the city city, but
like the suburbs but he's awonderful studio and I trust him
fully with everything that I do.
And he did like some, likeother versions of songs and
(10:48):
stuff that are out now onSpotify, but all the record was
recorded at Jake's and thenbetter days was recorded with
Matt Okay and that song waswritten, recorded and mixed in
like 12 hours Wow.
Speaker 1 (11:03):
Wow, they're really impressive too.
Like the thing about thisrecord is that it's so hard to
pigeonhole, which is, I think,an amazing thing, because there
are such different feelingsbetween the songs, yet there is
a thread that definitelyconnects them all.
What was your vision when youwanted to create this record?
(11:23):
Now I know that your firstrecord, first steps Steps, was
very acoustic-y, very yousinger-songwriting, not much
instrumentation.
How did your mindset shift alittle bit to I want a band, I
want a bigger sound, I want somefast songs, I want some
not-so-fast songs.
How did all of this kind ofevolve over time, zach, like of
(11:46):
of coming to the product of thisrecord of, and you know how you
arrange the songs how did howdid that um, kind of collection
happen?
Where was it, like intentional,once you had finished your solo
the, the first record, that youreally wanted to kind of bring
it a little bit more closer tothe Knox Boys aesthetic?
(12:08):
Or can you expand on that a bit?
Speaker 2 (12:12):
I think it was just all through trial and error, I
think just sort of growing upand sort of figuring out.
I mean, I think that it's justdeveloping, just listening to
all sorts of different types ofmusic and drawing inspiration
from artists that I like and uh,I guess maybe not being
pigeonholed, or sort of uh, Ikeep saying pigeonholed but not
(12:36):
like to say it like, I just likenot, I guess.
Another thing not having alabel.
It's like I can do what I wantto do.
I don't have to create thisaesthetic or this sort of
persona.
(12:56):
I had producers which Chad Jake,josh Jordan and Jake Hanner and
Animal Scream, and then Jordan,obviously too from the Frights,
but I think that I just kind of.
And Costa, I think that, andthen shake hander and animal
scream, and then jordan,obviously too from the frights,
but uh, I think that I just kindof, and costa.
I think that I think, witheverybody that was involved with
this record, they just wantedthe best of like what, like my
songs that I wrote and like howwe could make them um what
(13:21):
speaks true to me as an artistInteresting.
Speaker 1 (13:25):
And like, like what song started it all?
Like what song of the of thelatest that you like?
What was the one that startedthe stream that would then
eventually evolve into thisrecord, canyon?
Speaker 2 (13:38):
Okay, Nice to see the top top track, I mean.
I released that song and I wasjust running ads on instagram
and ryan adams found it and hereposted it, and matt found me
and, um, reckless eric found mymusic and uh what do you think
it is about that song thatpeople are like connected to
that, are like I don't know,maybe they love that 60s sort of
(14:02):
canned heat vibe that's likelike sort of a common I guess, I
don't know.
Speaker 1 (14:06):
Yeah, yeah, Cause it is a very like it brings you.
It's nostalgic a bit, but alsolike it's very new and fresh
sounding and yeah, I don't know.
Speaker 2 (14:16):
I mean the song you like.
What do you like about thatsong?
Speaker 1 (14:19):
I don't know, I like the start of it because it just
is so joyful as it begins and Ilike how it kind of tumbles a
bit.
You know it has that kind oftumbling feel to the lyrical
play with it and it's just likea solid toe-tapper.
(14:39):
You know, Like I can't likelive.
It must be, like people mustjust go nuts when you play that,
particularly if they know thesong.
But I think even if you didn'tknow that song, you heard it for
the first time.
You'd be up moving, You'd haveto move, You'd have to like do
something with your body Causeyour body wouldn't be able to
hold itself back.
(15:01):
And it's always been somethingthat it's a song that you know,
sometimes you listen to a songand you're like, OK, I don't
want to play it too much becauseI don't want to get old and not
want to listen to it anymore.
And I find with Canon, it's oneof the few songs that I could
listen to.
You know, since I first heardit I could just keep listening
and listening and not worryabout it like getting old on me.
(15:22):
You know, in my years, Like itjust always feels fresh and
exciting and fun.
Um, I just it's always been oneof my, my top ones.
So I love how you open this newrecord with that song.
But yeah, I think better daysalso is one that, like those two
(15:45):
, just feed.
I love how you put Canon firstand then it goes into Better
Days, Because they just work sowell as one after the other
Really pretty.
What were you going to sayabout that?
Speaker 2 (16:01):
No, I think that, yeah, it's funny.
I like grew up with my friend,one of my close friends, growing
up.
It's like we were, we were inbands together growing up and
you know, you have like one ofthose high school buddies and
he's like nothing I did, heliked, and he's like that one
song.
He's like singing along andsinging it like crazy.
It's like this is such a strongCanyon, Right, and I was like
(16:24):
like a reaction I got from likea lot of people yeah, yeah.
Speaker 1 (16:28):
So like once that song, you kind of had that song
down, did it open doors forother songs that we see on the
record?
Speaker 2 (16:37):
uh, yeah, I think so.
I mean Better Days.
Better Days is like veryheavily inspired by Canyon.
Actually, it is the same.
They're in the same exact key,right right.
That's probably why the and Ithink they are actually the same
exact chords.
Okay, yeah, a few secrets ofthe tree.
(17:01):
Yeah, yeah, yeah, yeah, a fewsecrets of the tree.
Speaker 1 (17:04):
Yeah, yeah, yeah because I'd always had that
sense that canon just led sobeautifully into better days we
take a guitar, yeah.
Speaker 2 (17:18):
And then canyon is what canyon is, that's Canyon.
Yeah answers your prayer.
And can you?
You're my best friend, sothat's capo g at two.
(17:47):
And then so when we wrotebetter days, we're like matt
really, really loved that songand we were at his house writing
in his garden in Laguna Beachand we just started.
I was like why change anything?
Like let's just write anothersong like this so we wrote.
Better Days, you know, sittingin a chair, flavor down a seat,
(18:07):
Waitress outside that I want tomeet Smoking and a mind that
just won't let me be.
Speaker 1 (18:24):
No, et cetera.
So it's the same exact chords.
Yeah, that's, music's amazing.
Eh, like, how many songs werewritten in that chord that
sounds so different?
Like it's just, I mean, wenever get enough songs like
there's never, there'll never bea point where there'll be just
like no, no, that's another,that that's been done before,
that's been done before it.
Uh, it's interesting, like I Iwork with with kids sometimes
and I get them to do all thesame things, um, with the same
(18:50):
materials, same time limit, sameprompts, yet they all same
materials, same time limit, sameprompts, yet they all produce
something different.
You know, and I'm like kids,hey, what?
Why?
You know, I gave you the sameinstructions, same stuff, same
prompt.
Like, what's?
Why are they all different?
You know, and they come to thisrealization probably pretty
easily.
And they're like Chris, don'tbe an idiot, it's because we're
(19:10):
all different.
But again, the illustrationthat a simple series of chords
put together can be rejigged inso many different ways and lead
to different avenues.
Speaker 2 (19:26):
We were working on Better Days.
We didn't work on it that long,but it's like we don't know
what key it should be in.
Speaker 1 (19:31):
Should we move up the cable here and then Matt's like
you know what key it should beand should we move up the cable
here.
And then matt's, like you know,he's like, he's like you know
what, zach, let's just do itsame key, you know and then it
just clicked, like you said,that that song too, a better
days, was one that that justkind of flowed out to you guys.
Speaker 2 (19:53):
It like took, didn't take very long to yeah, when we
decided on the key and then westarted writing and then I had,
I mean, I think the song startedout.
It just started out with likesort of a um three chords and
then I was just like you know, Ihad the better days line.
(20:13):
I remember better days, betterdays.
And then we just startedwriting and talking about um,
like the lyrics, like sitting inthe cherry flavored diner seat,
like chad and I.
When we arrived at laguna beachwe never, well, chad's been
there before, but I when wearrived there we were at this
random diner withcherry-flavored diner seats
(20:36):
having breakfast, waiting forMatt to get back from his
meditation or whatever the heckhe does.
And then we went to his placeand then I'm sitting in a
cherry-flavored diner seatwaitress outside, but I don't
want any smoking in my mind.
There's a meter outside thatdidn't pay a chip in my tooth,
every little thing coming downon me today.
(20:56):
And then matt and I were justtalking about life.
My dad was like really not ingood health at the time and, uh,
he actually passed away like amonth later after that song and
actually never got to hear thesong um yeah, I remember you had
mentioned that sack yeah,losing dad and it's a tough one.
Speaker 1 (21:13):
It's a tough one, um were, were you able, just
talking of that, were you, wereyou able, to get some music into
the therapy of kind ofaccepting the loss of such an
important person in your life?
Like, did that spur on any?
Speaker 2 (21:28):
uh, I think it made me more obsessed with music,
because my father was likereally, really, um obsessed with
music this is.
This is a photo of my dadplaying drums.
Actually it's my one on myphone, but this is uh.
Oh shit, how do I uh?
Speaker 1 (21:48):
it's my dad what a beauty nice yeah, but nice, was
he a big musician as well, like?
Did he play with other peopleas well, like?
Speaker 2 (21:58):
music.
No, he was just like.
Uh, I mean he grew up, I grewup listening to his record
collection and then, like he wasin bands in high school and you
know, I think his peak yearswere his high school years.
He like managed a band andbooked a band around like
western pennsylvania and uh, andI think when I was growing up,
you know, we just went to somany freaking concerts like I
(22:20):
would go to concerts like three,four concerts a week, just like
traveling places.
My dad like going to like likeoutdoor music festivals or like
open mic nights or justdifferent things, like I mean
not necessarily playing until myteens, but just going to
concerts, to seeing his friendsplay, because like people he
grew up seeing like play thebands and stuff.
(22:40):
So I think I just got exposedto a lot of music and my mom not
I mean definitely my mom was itlike a different sort of
interaction music.
My mom was like more into like,like more like soul and like
R&B, like Marvin Gaye or likelike that sort of stuff.
So like my dad was more intolike, like, more like soul and
like R&B like Marvin Gaye orlike like that sort of stuff.
So like my dad was more intolike more of the classics like
(23:00):
Jackson Brown or Beatles andstuff.
But, yeah, I just, and then thatdefinitely inspired my music
journey.
And then, like working for arecord label, for like get hip,
for like four years and likeworking for like Greg and
Barbara barbara, who are theowners of the label, but I I
just became obsessed, I mean, II think, and then playing music,
and then it's like there's likeno turning back now, which is
(23:22):
kind of great, you're locked in.
Yeah, yeah, I mean I could havedone something else with my
life and maybe a better life,but uh, I enjoy it and I, you
know it's so cool, like I justplayed in la and it's like I I
played acoustic and I've beentesting that out because I
played in Madrid recentlyacoustic and I'd sold 70 tickets
, just me and a guitar, wow.
And then LA was 50 tickets,just me and a guitar, and like
(23:45):
an internet, sort of likecocktail jazzy cabaret club.
Speaker 1 (23:49):
But how does that feel, zach, compared to when you
have the whole band together asopposed to just you up there
alone on stage with your guitar,like there's nowhere to hide?
How does that feel for you,like those experiences when
you're doing it live?
Speaker 2 (24:04):
I love both.
I think it's cool.
I think it's a cool thing aboutmy music now it's like I can do
both Mm-hmm, mm-hmm.
Speaker 1 (24:18):
You can get a guitar and just like go to any open mic
or, you know, just startplaying anywhere.
Speaker 2 (24:20):
Really right, like you have that ability to just
launch into song yeah, and whenI play these songs off the
record, I mean, I played all thesongs on the record, even 25
years, just like a hard song toplay acoustic.
But I think that, uh, I justplayed them more like stripped
down a little bit right, rightmyself, and the band is like the
full thing, you know rightright zach.
Speaker 1 (24:42):
How did?
How did?
What was the transition likebetween um working at get hip
and them putting out one of yourrecords and the the knox boys
records, and then this latestone where you, where you went
off to um, you know super sportrecords, but what was that
transition like like?
Was it a time for you to moveon like?
(25:03):
Is that what it felt like like,or were you looking for
something different in in, in alabel?
Um, it brought people into yourlife that were different as
well.
I imagine Like, what was thattransition like for you?
Speaker 2 (25:19):
I mean Get Hip.
They distribute my album, sothey distribute Battery Land so
you can buy the record from them.
They carry it and they supportme with my music and stuff and
Evan it's on his label andEvan's helping.
I think both are bothsupportive of my journey and, uh
, they coincide with each other.
But I think that there's nodifference, it's just the only
(25:42):
thing.
Difference is like that I, uh,you know, I, it's my little, my
little baby that I hold on tonow.
I guess, I mean, they help getmy music out there to the world
because they, you know, and theyhave been supportive and I
don't think without them, Idon't think I would be where I'm
at today.
Speaker 1 (26:02):
When did you start working for Get Hip, has it been
quite a while?
Speaker 2 (26:07):
I worked.
Well, I'm 28 now so I workedfor them.
I like in high school, likewhen I started the Knox Boys, I
like worked at like Taco Bell orlike McDonald's or like random
guys or whatever odd job I couldfind a warehouse job.
And then I think I was workinga warehouse job and they, they
have a.
They have a facility in theNorth side of Pittsburgh which
is a by the water and there's awarehouse there I was working at
(26:29):
, uh, I forget what thewarehouse was.
I was like, uh, moving around,like uh, camouflage apparel or
something Cool.
And then I uh, and then I wentto go visit them periodically
and they're like hey, you shouldlike work here part time.
Like you know labels, they'realways looking for people to
(26:50):
work for them.
But uh, like, so I was justlike stocking cds and stuff and
uh, and then, like, I was likestocking cds, fulfilling orders,
um, and then I uh, yeah, I justworked my way up and then I
started like talking the recordstores.
I talked to like ox 33 tours inmontreal um, I forget what other
(27:14):
.
I talked to a couple of Torontostores in Canada, Speed City
Records.
He's in Ottawa.
I think he's a cool dude.
I just talked to a lot ofrecord stores and then I built
relationships with record storesaround the country and the
world.
I think that also helped me.
As an independent, I don't havea booking agent, so I have to
(27:34):
book all these tours myself,which it's kind of like
thankfully a whole other jobright Like it's a job.
So, like I book all the toursand then, um, the Spain stuff.
Luckily my tour driver in Spain, marika, she now is my agent
over in Spain, so thecorporation over there.
She now is my agent over inspain, so the corporation over
(27:56):
there and then I'm out.
Speaker 1 (27:57):
I mean the, the relationships that you built,
are helping support your, yourcareer as well, like in the
sense that everybody, that allof these people and people that
you've brought into your lifeI'm sure you can call on for
different things at differenttimes and, like that support,
community is there for you.
That you built, like not onlydid you, did you build how your
(28:20):
records are coming out, how theywere listened to, like all of
that, the design of the frontcover, of how you're going to
post, what tour you're going togo on, has all been a part of
your fabric, and now you haveall of these agents out there
supporting you with it.
Um, it must feel pretty cool tohave all that support yeah, it
(28:42):
was cool.
Speaker 2 (28:42):
I kind of just kind of wrapped and then I left, get
hip.
Uh, when I like I met a girllike do my late, it's like like
my boss, like she, she was ayoga instructor and I met a girl
that I was I met through myboss and then I moved to dc and
then fell in love and then Imoved to dc and then I was
dating a girl in dc and I livedin dc and that, and then
(29:05):
eventually nox boys were doingour first european tour to like
italy and spain and uh, that gotcanceled because of covid and
then I got stuck in this randomapartment which was battery
Battery Lane, and then that, andthen that inspired the whole
record, and then Canyon and allthe other songs, yeah, yeah, I
was going to ask you where,where Battery Lane fits into
(29:26):
this, this voyage of yours sofar?
Speaker 1 (29:29):
So, from Washington DC.
Speaker 2 (29:31):
Yeah, it's like a it's apartment street.
I lived on in the DC area, theDMV area, which is DC, maryland,
virginia, but Marylandtechnically it's in Bethesda,
maryland, which like right nextto DC.
And uh, yeah, I lived in thisapartment and it really just
inspired me when I was living onmy own for the first time and I
was like out of relationship.
(29:51):
I was no longer on a labelbecause, like I didn't I didn't
work for them anymore and Ididn't have a label.
At the time I was like justtrying to figure out how to
survive and I was living in thisapartment and I wrote I would
just like I was delivering UberEats during COVID and like I
just like would go out, deliverfood and then like come back,
(30:12):
write songs, go back out, likeI'll be like delivering, like I
was like delivering like achipotle order and like I like
was right and like I mean I havethe demo right here.
Hold on, let's find the demo.
I got the.
I got the uber eats demo.
It's never been uber eats democanyon.
Uber eats demo, canyon.
(30:33):
Uber Eats demo.
Let's see here.
Yeah, one second here.
Uber Eats Canyon, uber Eatsdemo.
It's kind of hard to seebecause we're on Zoom, but it
says Uber Eats demo 2021.
Yeah, canyon, I miss thosenights.
(30:54):
I miss those nights.
And yet, where the water usedto Over the hills, you can hear
my turn signal.
As I'm turning slightly, I'mjust randomly singing on my
phone.
Well, that's a cool one and I'meating probably food too at the
(31:20):
same time not the person's food,but probably snack.
When I wrote that, that wasreally cool and I then I rushed
home and then I got my guitarand then started the first demo,
that and then that's when Ithat started the whole canyon,
started everything right beforebattery.
Speaker 1 (31:35):
Yeah yeah, yeah, I wanted to ask about battery lane
too, just as a song like it'sso beautiful, zach, like what a
great song, where that's like Imean obviously you were living
there and it was your street andstuff, but do you remember how
that song came to be?
Speaker 2 (31:50):
it's, it's, it's starting kind of bubbling up of
that song uh, I mean thatstarted as another demo in my
apartment that I wrote and thenI mean, I wrote the majority of
that song.
I eventually took it to mycousin which I he was the bass
player in the nox boys mitchellmcdermott and he plays keyboards
(32:12):
in my band now.
Um, he's a very talented, likecollege educated Berkeley grad.
He's like a weird at anyinstrument but he, he helped me
finish the song lyrically but Iwrote the majority of it and he
helped me with some of the lines.
We wrote it together and, uh, Iwrote it and then he helped me
(32:33):
finish it and uh, yeah, and thatkind of, uh, I don't know, I
had this whole idea.
After that song I was like I'mgonna write this record battery
lane.
I just found it so fascinating.
Uh, I don't know, I mean I likethe beatles a lot, like penny
lane and like different, likeyeah and like having an.
I remember I saw this albumcover.
I was probably with my friendadia in Baltimore and she was
(32:57):
the one who designed the artworkfor Canyon, like the orange
cover, right.
I think I was visiting her inBaltimore at the time and we
went to maybe it was like soundexchange in Baltimore or some
record store.
But we went to a store andthere's this old, like seventies
record.
It was not like a Phil Oaksrecord or something something,
but it's like some like old,like you know 70s record where,
(33:19):
like the dude's on a street andthere's like a sign and I was
like wow, that'd be so cool if Icall it like battery lane, like
make this record and like that.
That's kind of what that waslike the concept.
And then I got really into justdifferent musicians.
I was just into different musicat the time and I mean a lot of
(33:40):
different music.
But I think as far as theconcept goes, like Canyon and
finding random Phil Oakes orwhatever, that folk like an old
folk, that I found kind ofinspired.
Speaker 1 (33:54):
Yeah, yeah, I mean again it comes back to the
variety of this record.
Like it's just.
But I think how you place thesongs are so good.
Like I feel like that WoodleyPark you know 48-second
instrumental there on track four.
(34:14):
Like it almost feels a part ofbattery lane song.
Like it just.
I know that you separated themtoo, but it just kind of is this
beautiful introduction tobattery lane which comes in and
just like mind blowinglybeautiful song.
Speaker 2 (34:30):
Thanks, I wrote that instrumental.
Like the concept of it at theapartment, but Woodley park is
like it's a.
It's a neighborhood inWashington DC, like the concept
of it at the apartment, butWoodley park is like it's a.
It's a neighborhood inWashington DC, like further down
where I lived.
Interesting, interesting.
Speaker 1 (34:42):
I would hang out there.
There's definitely speckles ofof of DC all over this record.
Speaker 2 (34:48):
Um yeah.
Speaker 1 (34:49):
So Zach, kind of like as we bring things to a close
here, um, the record's been outnow for 20 days.
We'll say yeah 20 days.
I need to get all these ordersoff.
How have you felt the reactionhas been Like?
I know that.
Speaker 2 (35:05):
It's good.
It's just like it's got toomuch work to do and it's like
I'm always like, oh, and thenlike I don't know, maybe I
should have a manager, but Idon't really want a manager
right now.
I'm trying to do everythingmyself.
Speaker 1 (35:19):
But, uh, don't bring yourself out.
But at the same time it's goodto have that kind of getting to
know all the parts and pieceswhich you've been doing most of
your career.
Now, how do you, how do you?
How do you see the record nowwith a little bit of distance
between it, I mean when you'rein it?
It's really because you'relistening to every single little
(35:40):
note in second and um, with alittle bit of distance from the
release of battery lane?
How, how do you look back andsee it all here on record now,
on vinyl, like what?
What's your reaction to thisaccomplishment 20 days after
that you've released it?
Speaker 2 (36:03):
I don't know it's, it's just like it's kind of a
crazy thing.
It's like you know, whateverlife you know you can take
different directions in life and, like you know, I kind of took
the direction of, like I wantedto make this album and then, you
know, here it is.
You know, it's like you know,like it had done other things in
(36:25):
my life but I, I I'm reallyproud and, uh, happy and it's a
record that I'm really proud ofand, like I think it's probably
my favorite record so far in myjourney as a musician cool so
you're up in your game everyrelease, which is I mean ideal
right we haven't.
The best is yet to come rightlet's sell some records right
(36:52):
now, but yeah, yeah yeah, sowhat's coming down the pipe for
2025?
Speaker 1 (36:57):
so the record came out.
I know you're touring and stuff.
What are some other things thatyou could, you can mention to,
uh, the listeners?
Speaker 2 (37:05):
You can buy the record.
I mean, if you're listening tothis podcast, just go to your
local record store and be like,hey, I want to buy Zach Kamm's
record and maybe mention thatyou can buy it from Get Hip.
They're a distributor, theydistribute all around the world
and your local record storecould order the record and you
can buy it from an independentrecord store.
(37:26):
Or you can buy it on my bandcamp or you can get on get hip
or supersportrecordscom.
Um it's out on lp, cd and tapeand um I'm going on tour on this
friday, do you mean tomorrow,correct, great.
(37:46):
And then I'm also like I'm alsothe guy who has like a plan.
Like you know, it's complicatedwhen you have like four other
guys in your band you're likewhere are we gonna stay and what
we're gonna like?
you know, I get all these likestupid questions.
They'll text you like oh man,what should we do about this
problem?
Lots of putting out fires, butuh should I bring my capo?
Speaker 1 (38:07):
do you got enough picks and yeah, totally that's
I'm like a road manager too.
How long is this stretch oftour like, do you have a bit of
like, is it pretty straight?
Speaker 2 (38:20):
it's gonna be from friday to next saturday, okay,
okay, but there's gonna be likea break in between Monday and
Tuesday.
I'll come back home, but it'slike basically like DC out to
New York, penn State StateCollege, and then back to
Pittsburgh, and then out toCleveland, chicago, columbus and
Pittsburgh, back to Pittsburghand doing a home show, and then
(38:43):
after that I'm going out toSouth by Southwest to do a
couple shows, shows and I'mplaying a show in Columbus,
again flying back to Columbus,and then after that the
following week I got to fly toIdaho to play a tree Fort music
festival, which is like a bigmusic festival out in Idaho.
That's a great one too.
We're looking at that one.
But yeah that was kind ofsurprising too, because I isn't
(39:06):
the guy who runs the festival.
His name's eric and I.
I submitted the application and, uh, he responded my email for
a couple days and his number wasthere and I just gave him a
call on the phone.
I was like, hey, uh, this iszach kime.
He's like zach who and he'slike, and he's like, uh, oh,
it's that kind like my album'son camp's label, like evan's
label, it's like, oh, you shouldhave said that, man.
It's like I love your album, Iwould love to have you find your
(39:30):
really good spot.
And, like you know, there'slike the festival lineup and
like there's like three tiersand three spots.
My name's on the first tier.
I'm like how did that?
Nice, that was crazy, but soI'm playing.
I'm playing next to the mainstage, uh, when delicate Steve's
playing around the time, uh,time, but around the same stage,
or something, but uh, and thenafter that I might go out to
(39:53):
Portland to do an in-store, andthen I'll Seattle, maybe, and
then going out to Europe againand then Spain, not England.
I have a bass player anddrummer in England who are going
to fly to Spain.
It's for the fly guys in theUnited States.
Speaker 1 (40:11):
Yeah, for sure, amazing coordinations.
Speaker 2 (40:16):
I'm going out to Denver, colorado.
That's all I have booked rightnow.
I'm going to try to do Detroit,madison, toronto as well,
coming up in April in upstateNew York, then Montreal.
It's going to happen eventually.
It like Detroit, madison andthen Toronto as well, coming up
in April, and upstate New Yorkand then Montreal.
It's going to happen eventually.
It'll happen eventually.
It's just like the.
Of course it's going to happen.
Speaker 1 (40:33):
Of course it will happen, that's for sure.
Well, zach, this has been areal treat, as always, it's
great to talk with you again.
We'll do it again.
Are you still penning tunes too, like you're?
Speaker 2 (40:49):
this came out, but you're still getting into your
process now and then uh, yeah,I'm writing a little bit, but I
think that right now it's justkind of heavily focused on this
album and just out there um anduh, trying to play as much as
possible.
And uh, yeah, I think thatanother eye-opening thing is
recently doing the band showsand then doing acoustic shows.
(41:10):
So I mean, I might be playingthese cities banned, but then
also I might go back to thesecities and play them acoustic
eventually, like maybe anacoustic tour cool, cool that.
That would be amazing to see Ithink, an acoustic tour, and
then also I want to do a liverecord, like a live record where
, like a like like Zach Klein atlike a cabaret, like sort of
(41:31):
like cocktail bar vibe, I do alive album.
Speaker 1 (41:35):
Like a little Rufus-y style, wainwright-y show tune-y
.
Oh, that would be so amazing.
I think that would.
Speaker 2 (41:43):
That would complement your, your style really nicely
as well such a good idea, zach,like a live, like battery lane
and like the whole album live,yeah, like acoustic or something
or a band, I don't know, Igotta figure it out, but I think
that'd be in los angeles fun.
Speaker 1 (42:02):
Wow, I'm excited for you and, um, I'm happy that you
got this record out and I'm gladthat you're doing all this
stuff for us.
I do encourage all of mylisteners out there.
Please go and check Zach out.
He's on tour.
He'll be playing probablysomewhere close to you and pick
his record up at the show.
(42:22):
And also get a t-shirt and goand say hi to zach, and he is
such a lovely person and it'sjust so fun to talk with you,
zach, and share um.
I feel like I'm I'm I'm thatlittle bird on your shoulder as
you're walking around.
I get to see all of yourexperiences and live through you
.
So thank you and I wish you allthe best with your tour and the
(42:47):
record.
Um, zach, what song are wegoing to play it here at the end
of the um podcast for people tolisten to?
Speaker 2 (42:56):
I don't know what's your favorite.
That I mean, obviously, theones we haven't played before.
We're not canyon or the betterdays.
What's one that speaks to you?
Speaker 1 (43:02):
battery lane.
Okay, cool, why don I'm goingto also put.
You'll hear at the start ofthis podcast I'm going to put
Woodley Park on Because I thinkit's a great little intro.
Yeah, definitely.
Speaker 2 (43:14):
Woodley Park to Battery.
Speaker 1 (43:14):
Lane, absolutely so.
We'll bookend this podcast withtwo amazing tunes, so stay
tuned, people Don't turn thething off.
Zach, thank you.
I wish you all the best.
It's really good to see you andtalk with you, reconnect and
we'll talk soon definitely, man.
Speaker 2 (43:32):
Thank you so much, chris.
Cheers man travel the long road, saw the shape of a rainbow.
(43:58):
I loved the weight of myunfinished dreams Tripping over
my destiny.
God loves, let it go.
Naive but eager eyes make astain on a Friday night.
(44:35):
I need my strings to come undone.
I'm more absurd than a funeraldrum.
What a pretty life this couldbe.
And I'm going to Battery LaneSomething deep inside, quiet
(44:59):
strange.
I'm going by Battery Lane Tolet myself Live Again.
I'm going back Battery lane,naked walls and our eyes.
I'm going back, start all overagain again.
(45:22):
Feet and face.
I used to know sepia prints onthe window.
(45:48):
I hear a song from the otherroom.
A place that reminds me of you.
I got a letter to let you goand I'm going to Battery Lane.
(46:12):
Through the storm I paid ashame Going back to Battery Lane
To leave myself here again.
I'm going back to Battery Lane.
(46:34):
I love you and I'm going toBarry Lane.
Speaker 1 (47:04):
That's where I'll Intend to stay.
I'm going back to the barrenlane.
Let myself dream again.
Speaker 2 (47:17):
I'm going back to the barren lane.
I'll never want to be the same.
I'm going to run and start overagain.
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