September 16, 2025 • 33 mins
Kevin Patrick Sullivan, the creative force behind Field Medic, invites us into the intimate world of his songwriting process in this revealing conversation about musical authenticity, vulnerability, and the realities of life as a touring musician. From his early days performing solo with just a boombox playing cassette drum beats to his current evolution as an artist, Sullivan offers a refreshingly honest look at his creative journey.
"Touring is a 24-hour job where you only work for one hour," Sullivan reflects, capturing the strange dichotomy of performing life – moments of intense connection with audiences followed by the disorienting reality of being "somewhere random" immediately after. This vulnerability extends throughout his music, where he's discovered that the lyrics making him most uncomfortable often resonate most deeply with listeners.
What makes Sullivan's approach particularly fascinating is his disciplined creative routine combined with moments of pure inspiration. He practices what he calls "full-time freestyle," sometimes capturing songs in single, inspired moments, while other times meticulously crafting them over time. "I work on music or songwriting for at least an hour every day, even when I don't want to," he shares, explaining his prolific output with a new album nearly every year.
His latest record, "Surrender Instead," continues his tradition of heart-on-sleeve songwriting while navigating the tension between artistic authenticity and desire for recognition. As Sullivan prepares for his upcoming tour and already begins writing his next project, his philosophy remains steadfast: focus on the feeling rather than technical perfection, stay true to yourself, and don't get too caught up in the small stuff. For anyone who values authentic creative expression or simply enjoys thoughtful, vulnerable songwriting, Field Medic's music offers a welcome reminder that sometimes the most powerful art comes from sharing our most uncomfortable truths.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Field Medic (00:24):
I was a kid with a knack for tricks and illusions.
With sleight of hand, I fooledthem all.
I would practice.
colleyc (00:38):
My Welcome to another episode of If it Be your Will
podcast.
We're trudging along here inseason six.
We've only had two episodes outso far.
I wasn't expected to startuntil the end of September, but
I've had so many amazing artiststhat are heading out on the
road and I want to get thembefore they head out, and this
(00:59):
is no exception.
I'm reaching over to the westcoast of the United States with
Field Medic.
I have Kevin Patrick Sullivan,who is Field Medic, coming and
joining me.
Field Medic very much of a DIYindie folk, maybe a little freak
folky when it started, justgreat music.
And we're going to talk allabout Kevin's life, career and
(01:22):
future.
And we'll do that in the shortamount of time at 25 minutes.
So, kevin, thank you so muchfor hopping on here and joining
us today for a chat aboutFieldMedic.
Field Medic (01:32):
Of course.
Thank you for having me, thanksfor making the time before I
depart out or before I getdeployed.
That's what me and my friendssay when we go on tour.
colleyc (01:40):
And Kevin, is this a full band you're going out on
tour with?
Field Medic (01:43):
so this tour is actually interesting because I I
used to do a lot of tours, orall my touring before I did the
grow your hair long album wasjust me in a boom box, and so
the boom box was like I hadcassettes with drum beats on
them, so those were essentiallylike my tracks, yep.
And then I did a bunch ofseveral tours with a drummer and
a bassist, and so this tour weonly were like they booked me
(02:07):
for solo because of thefootprint on the stage, but the
rooms are so big that I was like, can I bring one extra guy?
So it's me and a drummer andfor the first time we're running
tracks, so like secret basstracks or like secret tracks, so
cool.
So it's.
It's hopefully gonna have thefull band sound, because there's
a lot of songs from the newrecord that have a lot of keys
(02:29):
and stuff.
Right, it's definitely newterritory for me, which I was
originally intimidated by, butthe more we practice I feel
actually like really excited tosee what we can do as a two-.
colleyc (02:42):
Yeah, absolutely.
And how long is this tour going?
Are you going well, intoNovember, december?
Field Medic (02:47):
Yeah, it's six weeks, so it's October 5th until
I think November 21st orsomething, is very long.
colleyc (02:54):
Wow, and is that a show like every other day, or like?
Field Medic (02:58):
I think it's like I think the most amount of shows
in a row is maybe three.
So's actually not.
There's not too many crazydrives and I, I, you know I
don't remember the exact routing, but it is actually pretty
chill.
And there's like a fair amountof off days, which is a good and
bad at the same time, becauseon the off days we're not making
(03:19):
money, so we're essentiallylosing money with the lodging
and stuff.
But I am sensitive, so I do I.
Sometimes, if we do four orfive shows in a row, I'm like,
bruh, I need to not do a showtoday.
So I, I like it when tours havea lot of off days.
colleyc (03:35):
Yeah, that's cool, that's cool.
I mean, your songs are soprolific in the way that you.
You bury your heart on yoursleeve oftentimes and one of the
touring songs that I justabsolutely love.
One of my favorite of yourscame out with the fade into the
dawn used to be romantic, yeah,I mean, the first line off of
(03:56):
that is just like priceless.
I just love that wholedescriptor of being on the road.
It's just this drudgery, almostat times of the machine just
not stopping and you know youcan have emotions that they're
put on the sideline because youmust get up there and do the
same.
You know, not the same thing,but you got to get up and
(04:17):
perform, which I, I, I admireyou for it, cause it's it sounds
like like fun, but a lot ofwork as well.
Field Medic (04:24):
It's not an easy process yeah, I say it's a
24-hour job where you only workfor one hour.
So it is.
It's obviously I'm so gratefulfor the opportunity to have
music as a career, but touringcan be so weird because you play
a set and you say it's a, youknow, the is amazing,
everybody's smiling and stuff,and then you just walk backstage
(04:48):
and then you're just somewhererandom and I don't know.
I've been doing it for so longthat it feels odd, which is like
I feel like Tricks andIllusions is almost like a
sequel to Fade Into a.
It used to be a romanticbecause, like speaking, speaking
the feeling of being back inthe van, yeah, but yeah, I don't
know it's.
It's like a love-haterelationship.
(05:09):
I think it's a wonderful thingto do but, as I said, I'm kind
of sensitive and yeah, I love.
I just love chilling at homeand recording.
colleyc (05:17):
Yeah yeah, I've heard.
I've heard that about you,kevin, as I've been diving a bit
deeper into your, your careeras a musician and you know
Tricks and Illusions, the songitself, I mean.
I usually ask at the beginningof these podcasts tell me a
little bit about the beginningphases, shit, listen to Tricks
and Illusions.
(05:38):
It's like your journey, so far,it seems in a song you know
five and a half minute song.
Is that accurate to say that alot of your songs are, you know,
journalistic in their way andthe way you approach?
Field Medic (05:54):
them.
Yeah, I think that that songspecifically is like almost a
prologue of just everything thathappened leading up to the rest
of the album, and I'd say that.
So my old band used to becalled Rin Tin Tiger and I used
to be really obsessed with BobDylan, and I still love Bob
Dylan, but at that time in mylife all of my lyrics were
(06:17):
extremely cryptic.
I would try to encrypt everysingle feeling I was having to
be this sort of incomprehensibleword salad and I think that
just over the years I've justbecome more and more blunt, and
I think part of that is becausewhen I first started touring
solo, I would be opening forthese bands and I had some songs
(06:40):
that were a little bit bluntwhile also being vulgar.
I have this song called otlwhere I talk about like railing
pills.
Or I have a song called glitterwhere I talk about like doing
cocaine with strippers, whichwas kind of like like a joke ish
feeling for me.
But when I would play thosesongs as the solo opener,
(07:04):
everybody would react the crowdthat they didn't know me and
obviously they weren't reactingto the deep, intricate, poetic,
whatever stories I was telling.
So I feel like, based on what Iexperienced as a performer, I
started injecting a little bitmore of that reality into the
lyrics.
colleyc (07:23):
Yeah.
Field Medic (07:24):
And then, yeah, and I think I also I used to be
really inspired by this and Istill am.
But Nick Drake has this lyricwhere he says if songs were
lines in a conversation, thesituation would be fine.
And I used to have a reallyhard time actually talking about
what I was dealing with orstruggling with with people in
(07:44):
my life, and I think that asI've gotten older, it's much
easier for me to communicate howI really feel.
And then somehow that is in thesongs as well, where I just
start saying exactly what'sgoing on.
colleyc (07:56):
Right, which I mean?
I've talked to many artists,and I mean the bravery of
musicians.
I've talked to many artists andI mean the bravery of musicians
because you are revealing a tonof stuff about yourself.
Maybe you know, explicitly orinadvertently.
How do you get to that, Kevin?
How do you like when you werefirst starting to write these
(08:17):
songs, Like I think, like Powerof Love was maybe something that
you were alluding to, or is alittle funner, a little more
beatboxy, like in your beginningphases of starting how do you
slowly get to opening your heartup so much and revealing so
much of yourself in these songsthat you create?
Field Medic (08:36):
I think that so early on in the Field Medic
experience.
So the first EP, crush Pennies,is very much the same kind of
writing that I was talking aboutwith my old band, because those
songs were actually songs Iwrote for the band.
That just didn't make it.
And then I started doing whatis called full-time freestyle,
(08:57):
where I would just record, Iwould make up songs on the spot.
I put out this ep called Fuckyou, Grim Reaper, which is just
like live to a weird little liketabletop cassette recorder and
exploring more subconscioussongwriting.
And around that same time iswhen Sun Kil Moon put out that
record Benji, he was just likeliterally saying the most
(09:22):
literal stuff ever, and me andall my friends were like dude,
this is crazy, I didn't know.
Just talk about the most niche,random stuff and somehow it
still hits.
And I think that I think theshort answer is just that the
more I started to reveal in mysongs, I would have people come
up to me or send me a messageonline and be like dude.
(09:44):
It really hit when you saidinsert lyric.
That is probably the lyric thatI'm the most vulnerable about,
the thing that I maybe don'twant to share, and I think that
when I go to that place thatfeels a little bit uncomfortable
.
It tends to have the bestreturn for the listener,
assuming that the listener feelsthat way.
(10:04):
But there has also been peoplethat are like bro, like why are
you saying that?
But you know that's.
I think that in my art I liketo be creatively brave.
I'm not very like, I'm not likea snowboard or like action.
I'm not like a, like a extremeperson in my real life, but
think that my creativity I liketo sort of push the limits and
(10:26):
do something that feels a littlerisky in the way that I write
totally.
colleyc (10:31):
I mean, I think your creativity is off the hook.
I mean you're putting stuff outevery year, kevin, like full
records of amazing songs everyyear consistently now for a
while it's your process, Likehow do you know when you're onto
something with a song, and canyou also fill in a little of the
gaps, of what it is that thatit starts as now I've?
(10:55):
I've listened to you a coupleof times and you say that you
usually have your your phonerecorder on and you're walking
and you'll, and you've actuallyshared some of those really cool
like the the big hit, let meget it right.
Simply obsessed, like the bighit, let me get it right.
Simply Obsessed.
Right, you were talking thesong, the story of the song,
right Videos.
Check all those out people.
Kevin does a couple of thoseand they're amazing.
Can you kind of like give us alittle insight into how your
(11:18):
songs come to be and when youknow that you're onto something
or maybe not?
Field Medic (11:24):
Yeah, that's a good question.
I think, generally speaking, Iam thinking about writing all
the time, so I'm not literallywriting all the time, but I'm
always considering songs andconsidering poems and stuff
obsession of mine earlier on inthe field medic chronology and
(11:50):
so songs there's.
There's two modes.
Sometimes I just am moved bysomething, I'm inspired in a
moment and I happen to be with aguitar and I'm just singing and
it's all coming out.
So, for example, like tricksand illusions, I was thinking
about doing a story of the songfor that, but I I don't even
really remember when I wrote it.
I think I was strumming thesechords and just honestly I was
(12:14):
really in that feeling and Ijust sort of it just came off
the top of my head and I justwas just full time freestyling
it, like that technique.
And then there's other songs,like simply obsessed, where I
was thinking like I want towrite this song.
That's really positive and Iwant to express this feeling.
(12:37):
And so I'm walking around andI'm trying out different
melodies and sort of doinglyrics in my head and then you
know, making that first littlevoice note and with that that
song, then I'm kind of sittingthere and very much sort of
crafting it.
(12:58):
I work on music or songwritingfor at least an hour every day,
even when I don't want to.
So I really just try to keepthe tool sharp because I like
doing it, it and it makes mefeel good to do so.
There's some level of freestyle, and then there's a like a lot
of sort of crafting and andintentional work.
(13:18):
And then also, I think the mostimportant thing for me is that
I just I'm not precious about it, which is why why I released I
released almost everything Iwrite and record, because I I
think I appreciate them all forwhat they are, and so I just I
think it's I just do it.
I just do it every day when Idon't feel like it.
colleyc (13:40):
I mean, it's like all things that we become good at,
right Is practice and repetitionand like that's what makes the
home run hitter, a home runhitter, right or whatever.
Is that practice?
And I loved what you said too,on on the intro to this record,
where you said any song that'strue is a good song in your mind
(14:03):
, right, like, and I guess myquestion is what is true to you,
what is?
Could you isolate that word andand flush it out a bit for us,
like what does that mean, kevin,when a song is true to you?
So I'd say true is.
Field Medic (14:20):
It kind of goes back to what I was saying when
there's maybe that one lyricthat I feel vulnerable about
sharing, like there's a lot ofthat song.
So the first song, tricks andillusions, and the last song, I
think let me use journey to thecenter of nothing as a good
example, because that song sortof goes into the headspace of
(14:41):
potentially the most jadedsomebody could be in in doing
music for a long time and I gotto the point where I say like
you, you, you want to quit butyou can't because you're like
desperate for some a and r tolike hit you up.
And so it's kind of like ironicwhere what I'm saying is like
(15:02):
this is all for nothing.
It feels like in the most jadedheadspace, but I can't deny that
for some reason my ego likewants some guy to some random
guy to send me an email who inthe previous verse I called some
like corporate fuck, who'snever written a song like
there's just a lot of ironygoing on there and I just want
(15:23):
to like I almost took out boththe corporate fuck lyric and the
A&R lyric but I was like butthis is, these are both true at
the same time and I feelhonestly like slightly
embarrassed to share that, and Ithink that that is like the
truth right there, because Ithink it's possible to feel like
in my right state of mind, likeI'm an independent artist, in
(15:49):
my right state of mind, like I'man independent artist, I don't
care what Spotify executivesthink about my music and I don't
care if Columbia Records islistening, but somewhere deep
inside I want someone to send mean email and be like bro, like
you're sick.
So that would be the truth issort of exposing the vulnerable
and or embarrassing side of thestory as well as the secure and
like mature side of the storyinteresting, interesting, and I
(16:13):
mean often your songs they have.
colleyc (16:15):
They can deal with this idea of being successful versus
authenticity, where who doesn'twant you know to be validated
in their art and what they'redoing and I mean we live in a in
a capitalist society, so it'susually money that speaks right,
tells us the validation or not.
What's your struggle with thatof you know you get reviews, you
(16:39):
know your record goes throughits cycle.
Do those, does outsideinfluence influence how you're
going to craft the next one, thenext record, or do you maintain
the authentic, the authenticitythat, if it happens, great, but
I'm not going to change mystyle and start, like you know,
doing these things.
That's outside of who I am,just so that I can have more of
(17:03):
a sense of success, whateverthat might be be.
How does that struggle gobetween?
How do you manage that strugglefrom wanting success to also
keeping your authenticity as anartist itself?
Field Medic (17:16):
I think that I always I wouldn't let the
reviews change the way that Iwrite.
I definitely I'm sort of justaddicted to or I have this
compulsion to keep it, to keepit 100, as they might say.
And so the one place we'repressed, though I think with
(17:37):
this record, because it's new,is something is interesting, and
what I appreciate about musiccriticism is if you see a
through line through the reviews, whether they're like middling
or they're praising it orwhatever.
I think something with thisalbum.
I didn't really.
People kept saying it's meta andI didn't understand that
because, as you know, if yousaid you've been deep diving,
(17:58):
I've been.
I always just talk about what'sgoing on, and it just so
happened that what I wasthinking about a lot in the
process of making this album wasbeing a musician and being in
the music industry, and so itwasn't until I saw some of those
reviews as well, as I startedpromoting the songs where I'm
like making a TikTok video,playing a song that's like
(18:21):
actually about like making aTikTok somewhere deep inside
inside, and so layers the layers.
So I think it's not going tochange the way that I approach
the next record, but it isinteresting to analyze it from a
more objective point of viewand and see how people could
(18:42):
think that it is meta.
But yeah, that doesn't reallychange how I write.
It's just I, I appreciatereading it like regardless of.
Obviously, I want every reviewto be like this is the best
thing I've ever heard, but I, Ilike I appreciate when people
dedicate, you know, thousands ofwords to their analysis of it
and it helps me just sort of seethe album more objectively and
(19:03):
and I appreciate that.
So, right, right, I feel likeit'll never change how I write.
colleyc (19:09):
Right, cool, that's awesome.
I love that answer and asyou've had this record out now
for a little bit, I mean it justgot released, I think over the
summer, right, kevin?
Field Medic (19:20):
Yeah, it was August 8th, so it's about a month and
a week old, right.
colleyc (19:26):
And what's your feeling of the reception of it?
Are people getting?
I guess let me rewind thatquestion Are people getting the
record the way you intended themto get it, or are you surprised
about how people are receivingthis latest record?
Field Medic (20:02):
Like you know, these songs are really
resonating.
For this reason, specificallythe first and last song, which
are the most like I'm trapped inthe game style songs.
But then you know, there's otherpeople that are not musicians,
that are just enjoying it as awhole and I think that people
are receiving it the way it is.
I definitely have a little bitof post-release confusion right
now because it's weird when weput so much energy and time into
this one thing and, you know,for the first couple weeks it's
(20:24):
like whoa new album and, likeyou know, press is coming out
and I feel like now it's nolonger new and I just have to
wait and I and I'm happy to waitand I think that a lot of times
music can take months or yearsto sort of get into the ears of
people.
Like, even some of my favoriteartists put out an album and I
(20:46):
might not find the time tolisten to it for several months.
And so I think that the firstwave has been very successful
and people have been enjoying itand I feel good about that.
And now I'm just kind ofhunkering down and and in the
meantime I'm to distract myselffrom the post-release confusion
I'm just writing more songs andthinking about the next one
(21:08):
right, right, and is that reallythe cycle like it?
colleyc (21:12):
you know it, the out the record cycle wears out after
a while, like there's such abuild-up to it, right, all the
time and energy and effort youput into it, and then it's like,
okay, thanks, thanks, fieldmedic, all right on to.
You know, like it kind of feelsat times like all of that
energy and will and dissipate soquickly is is going on the road
(21:34):
.
Help solidify a little bit.
Like you must be lookingforward to actually going and
seeing people sing along tothese songs when you're playing
them live, like I miss.
Field Medic (21:43):
That must be validating that people are
listening to it and and areremembering what you're saying
in your lyrics when you're outon the road touring yeah, the
the tour piece of it really doesvalidate the experience, and
you get to, yeah, see the peoplesing and also just talk to
people face to face that areexcited about the new music and
listening to it, and becauseit's like I always try to I mean
(22:06):
, I say this to my friends, butI say it to myself too.
Where you know my favorite music, I'm not posting it and tagging
the artist on Instagram everysingle day, I'm just listening
to it, and so I was like youknow, I think, in like the
attention economy that we livein with social media, it's easy
to feel like, oh my God, like noone's commenting on my post,
(22:27):
like no one's listening, butpeople just listen.
They just listen Like they'rejust enjoying the music for what
it is.
So it's nice to see the peopleand, yeah, hear them sing and
just get to play the songs, andso, yeah, my answer is yes,
that's great, I love youranswers, kevin, and like what is
(22:48):
next?
colleyc (22:49):
Like what you know, you're saying you're writing
songs again.
Like are you going to have likea lot of songs that start to
come out as you're touring aswell, because, like you said,
it's 24 hours and you work forone?
Yeah, are you like is on theroad a good time for you to
actually start penning new songsand like coming up with new
ideas?
Field Medic (23:08):
yeah, the road is good for coming up with new
songs, because in my day-to-daylife I'm very much a house elf.
I just chill and I just like itthat way.
And on the road it's nicebecause I'm seeing different
stuff.
It really informs the writing.
I start to have new images tofit into my poems or whatever.
(23:30):
And where I'm going next isthat so my early music.
I record all of it live, all theway up until Grow your Hair
Long if you want to seesomething you can change.
And then from that point on, forthat record and Light has Gone
To and Dope Girl Chronicles, itwas all multi-tracked and I was
(23:50):
doing that because I wasinterested in trying something
new.
I felt like I had taken thelive and the lo-fi as far as I
could, and with this album I didI think three of the songs live
and I liked how that felt.
So what I'm aiming to do withthe next record is focus on
(24:12):
songs that I can record live andthat also stand alone, just
with guitar and voice, becausethat was sort of my philosophy
in the beginning and as I gotinterested in multi-tracking I
started just not thinking aboutthat as much and just more.
So exploring production and soacoustic, you know, guitar and
(24:34):
voice live tracked and thenusing the multi tracking skills
I have to very tastefullyembellish those songs a little
bit, but the focus is kind ofmore just fully acoustic folk,
sort of OG, but but reloaded.
colleyc (24:55):
I love it, I love it, I love it.
And do you hope, once the tour,once you're off the tour, once
you've done your, your duediligence with the record and
the people have heard it, do youhop right back into?
Okay, here we go, let's startthe machine up again.
Let's start working towardsthat next lp that I mean.
You've had lps come out prettymuch every year.
(25:16):
I mean, can we anticipatesomething in 2026 as well?
Field Medic (25:20):
Oh, for sure I have this fantasy of releasing
something this winter.
I don't think I will, but thatis just something I like to take
shelter in when I am sufferingfrom post-release confusion.
I'm just like, well, maybe I'lljust release some weird like
super lo-fi, scary EP, releaseit for my own thrill.
(25:41):
But I think that the mostlikely thing would be some sort
of deluxe record with like threeor four new songs on Surrender,
instead 2.0, and then anotheralbum next fall, Because I'm
already a few tracks intowhatever this new one is and as
soon as I have everythingwritten I'm going to record it.
(26:03):
And because of how I'mintending to approach it with
the live recording, it didn'ttake very long.
colleyc (26:09):
so yeah, because you have a three take method, right
exactly.
You like to record fast yeah, Iget it down.
Field Medic (26:17):
I think that it's all about just the feeling of
the take, more so than theperfection of it.
And so, yeah, I just do threeand I'm like one of these has
got to be good.
And you know, sometimes none ofthem are.
But in that point I will wait,I'll stop for the day and'll be
like let me go back in like in aweek when I'm sort of back in a
(26:38):
clear mindset, and then I'lljust do three more and see
Amazing.
colleyc (26:42):
Amazing.
Now I have one last questionfor you.
Sure, again, thank you for yourtime, kevin.
This has been such a treathearing about your journey so
far and what's coming down, andyou've been doing this for a
while, right?
I think you started recordingwith your brother right in 20,
2009.
That's as far back as I couldfind, yeah, and what advice
(27:05):
would you give yourself back in2009, with all of this
experience that you've had?
In retrospect?
What are, what are those thingsthat you have learned or tips
and tricks you could offer toartists that are you know, kevin
, from 2009?
What would you tell them?
Field Medic (27:25):
wow, that's that's.
That's a crazy question.
I think I want to say, well,let me just do the joke answer
first.
I would be like yo, you need tolike get on twitter and like
youtube aggressively, like rightnow.
That's what I would say, justknowing what I know about the
future of technology.
Yes, but I think you know Ifeel like when I first, when so
(27:51):
field medic began in like 2013,and I think that in the first
few years I actually was exactlywhere I was supposed to be,
because it was this kind ofrebellion against my old band,
we were really trying to, youknow, and not even like in a
(28:11):
real way, but I think in ourminds we were trying to get
signed and be like a real bandand do tours and stuff, and
field medic was like no labels,like no tour.
It was very like punk rock,ethos.
Yeah, I, I run sunroom recordsand salon, I make the cassettes,
I record these weird songs thatI just made box like yeah, your
accompaniment was justoutstanding.
(28:32):
Yeah, so I think that I was.
I would.
I would actually go back intime, I think, and I would say
just stay, exactly.
Just stay right there and andkeep and, and don't abuse
alcohol and drugs and don't gettoo caught up on stuff I don't
(28:56):
know.
Know, it's hard, it's reallyhard to say.
I think it's easy for me tolike think about what I would
tell someone else, but it's hardto tell, see, what I would tell
myself.
Because I'm, I feel, despiteall the hardships and struggles
that I've been through, I stillfeel very lucky to be in the
position that I'm in, you know,13 or whatever years into Field
(29:19):
Medic.
So I feel like I kind of wasfollowing the right path to some
degree and I'm grateful forwhoever has been guiding me, the
thrift god who guided me alongthat way me the thrift god who
guided me along that way.
colleyc (29:39):
amazing, beautiful answer.
Kevin, I love that all of yourexperiences have brought you to
this point, that you're at now,because I feel you're just like,
like the smoke is starting tofade and the flame is starting
to show.
Now I really feel like you'reon fire.
Now, you know, in the mostwonderful way.
So people listeners go out andcheck Kevin.
He's going to be on the road.
Buy a zine also.
(30:01):
He's a great zine writer.
His record will be there.
Buy a shirt this is how theymake their money and absolutely
go and say hi to Kevin.
He's a charming man who haslots of cool things to say.
Kevin, thank you.
This has been really, reallyfun.
I wish you all the best on yourtour.
Take it slow, write a lot ofgreat tunes and when your next
(30:23):
record comes out, I definitelywould love for you to come back
on and we can continue theconversation.
Field Medic (30:29):
I would love to Thank you for having me.
colleyc (30:31):
Well, thanks a lot.
Field Medic (30:32):
Take care of yourself With your mischievous
smile, your secondhand style.
(30:57):
You're my heart's great revival.
You deserve happiness.
It's such a pleasure to watchyou dancing circles around the
bedroom Getting dressed to go tothe venue brilliant, no matter
what outfit you choose.
Thank you To see you in thelight that I do.
(31:40):
I'm simply obsessed With yourmysterious smile, your
secondhand style.
You're my heart's great revival.
You deserve happiness.
Of course you know I reallylove you, babe, but it goes so
(32:10):
far beyond what words can saywhen it's impossible to imagine
another day.
You smile at me and I see myfuture change.
You're a star I can speak to.
I want you to see you In thelight that I do.
(32:35):
I'm simply obsessed With yourmischievous smile, your
secondhand style.
You're my heart's great revival.
You deserve happiness.
You're a star out of space.
I want you to see In the lightthat I do.
(32:57):
Or it's time to speak to you.
I want your love song.
I can't look at you like that.
I'm simply upset.
You miss your smile.
You're a second-hand style,your heart's pretty revival.
You deserve happiness.
My heart it sk gifts to yourheart's tune.
(33:18):
Your love song finally cometrue.
Kiss your lips in the light ofthe low moon, swimming in the
scent of your perfume.
I was a kid with a knack for tricks and illusions.
With sleight of hand, I fooledthem all.
I would practice.
colleyc (00:38):
My Welcome to another episode of If it Be your Will
podcast.
We're trudging along here inseason six.
We've only had two episodes outso far.
I wasn't expected to startuntil the end of September, but
I've had so many amazing artiststhat are heading out on the
road and I want to get thembefore they head out, and this
(00:59):
is no exception.
I'm reaching over to the westcoast of the United States with
Field Medic.
I have Kevin Patrick Sullivan,who is Field Medic, coming and
joining me.
Field Medic very much of a DIYindie folk, maybe a little freak
folky when it started, justgreat music.
And we're going to talk allabout Kevin's life, career and
(01:22):
future.
And we'll do that in the shortamount of time at 25 minutes.
So, kevin, thank you so muchfor hopping on here and joining
us today for a chat aboutFieldMedic.
Field Medic (01:32):
Of course.
Thank you for having me, thanksfor making the time before I
depart out or before I getdeployed.
That's what me and my friendssay when we go on tour.
colleyc (01:40):
And Kevin, is this a full band you're going out on
tour with?
Field Medic (01:43):
so this tour is actually interesting because I I
used to do a lot of tours, orall my touring before I did the
grow your hair long album wasjust me in a boom box, and so
the boom box was like I hadcassettes with drum beats on
them, so those were essentiallylike my tracks, yep.
And then I did a bunch ofseveral tours with a drummer and
a bassist, and so this tour weonly were like they booked me
(02:07):
for solo because of thefootprint on the stage, but the
rooms are so big that I was like, can I bring one extra guy?
So it's me and a drummer andfor the first time we're running
tracks, so like secret basstracks or like secret tracks, so
cool.
So it's.
It's hopefully gonna have thefull band sound, because there's
a lot of songs from the newrecord that have a lot of keys
(02:29):
and stuff.
Right, it's definitely newterritory for me, which I was
originally intimidated by, butthe more we practice I feel
actually like really excited tosee what we can do as a two-.
colleyc (02:42):
Yeah, absolutely.
And how long is this tour going?
Are you going well, intoNovember, december?
Field Medic (02:47):
Yeah, it's six weeks, so it's October 5th until
I think November 21st orsomething, is very long.
colleyc (02:54):
Wow, and is that a show like every other day, or like?
Field Medic (02:58):
I think it's like I think the most amount of shows
in a row is maybe three.
So's actually not.
There's not too many crazydrives and I, I, you know I
don't remember the exact routing, but it is actually pretty
chill.
And there's like a fair amountof off days, which is a good and
bad at the same time, becauseon the off days we're not making
(03:19):
money, so we're essentiallylosing money with the lodging
and stuff.
But I am sensitive, so I do I.
Sometimes, if we do four orfive shows in a row, I'm like,
bruh, I need to not do a showtoday.
So I, I like it when tours havea lot of off days.
colleyc (03:35):
Yeah, that's cool, that's cool.
I mean, your songs are soprolific in the way that you.
You bury your heart on yoursleeve oftentimes and one of the
touring songs that I justabsolutely love.
One of my favorite of yourscame out with the fade into the
dawn used to be romantic, yeah,I mean, the first line off of
(03:56):
that is just like priceless.
I just love that wholedescriptor of being on the road.
It's just this drudgery, almostat times of the machine just
not stopping and you know youcan have emotions that they're
put on the sideline because youmust get up there and do the
same.
You know, not the same thing,but you got to get up and
(04:17):
perform, which I, I, I admireyou for it, cause it's it sounds
like like fun, but a lot ofwork as well.
Field Medic (04:24):
It's not an easy process yeah, I say it's a
24-hour job where you only workfor one hour.
So it is.
It's obviously I'm so gratefulfor the opportunity to have
music as a career, but touringcan be so weird because you play
a set and you say it's a, youknow, the is amazing,
everybody's smiling and stuff,and then you just walk backstage
(04:48):
and then you're just somewhererandom and I don't know.
I've been doing it for so longthat it feels odd, which is like
I feel like Tricks andIllusions is almost like a
sequel to Fade Into a.
It used to be a romanticbecause, like speaking, speaking
the feeling of being back inthe van, yeah, but yeah, I don't
know it's.
It's like a love-haterelationship.
(05:09):
I think it's a wonderful thingto do but, as I said, I'm kind
of sensitive and yeah, I love.
I just love chilling at homeand recording.
colleyc (05:17):
Yeah yeah, I've heard.
I've heard that about you,kevin, as I've been diving a bit
deeper into your, your careeras a musician and you know
Tricks and Illusions, the songitself, I mean.
I usually ask at the beginningof these podcasts tell me a
little bit about the beginningphases, shit, listen to Tricks
and Illusions.
(05:38):
It's like your journey, so far,it seems in a song you know
five and a half minute song.
Is that accurate to say that alot of your songs are, you know,
journalistic in their way andthe way you approach?
Field Medic (05:54):
them.
Yeah, I think that that songspecifically is like almost a
prologue of just everything thathappened leading up to the rest
of the album, and I'd say that.
So my old band used to becalled Rin Tin Tiger and I used
to be really obsessed with BobDylan, and I still love Bob
Dylan, but at that time in mylife all of my lyrics were
(06:17):
extremely cryptic.
I would try to encrypt everysingle feeling I was having to
be this sort of incomprehensibleword salad and I think that
just over the years I've justbecome more and more blunt, and
I think part of that is becausewhen I first started touring
solo, I would be opening forthese bands and I had some songs
(06:40):
that were a little bit bluntwhile also being vulgar.
I have this song called otlwhere I talk about like railing
pills.
Or I have a song called glitterwhere I talk about like doing
cocaine with strippers, whichwas kind of like like a joke ish
feeling for me.
But when I would play thosesongs as the solo opener,
(07:04):
everybody would react the crowdthat they didn't know me and
obviously they weren't reactingto the deep, intricate, poetic,
whatever stories I was telling.
So I feel like, based on what Iexperienced as a performer, I
started injecting a little bitmore of that reality into the
lyrics.
colleyc (07:23):
Yeah.
Field Medic (07:24):
And then, yeah, and I think I also I used to be
really inspired by this and Istill am.
But Nick Drake has this lyricwhere he says if songs were
lines in a conversation, thesituation would be fine.
And I used to have a reallyhard time actually talking about
what I was dealing with orstruggling with with people in
(07:44):
my life, and I think that asI've gotten older, it's much
easier for me to communicate howI really feel.
And then somehow that is in thesongs as well, where I just
start saying exactly what'sgoing on.
colleyc (07:56):
Right, which I mean?
I've talked to many artists,and I mean the bravery of
musicians.
I've talked to many artists andI mean the bravery of musicians
because you are revealing a tonof stuff about yourself.
Maybe you know, explicitly orinadvertently.
How do you get to that, Kevin?
How do you like when you werefirst starting to write these
(08:17):
songs, Like I think, like Powerof Love was maybe something that
you were alluding to, or is alittle funner, a little more
beatboxy, like in your beginningphases of starting how do you
slowly get to opening your heartup so much and revealing so
much of yourself in these songsthat you create?
Field Medic (08:36):
I think that so early on in the Field Medic
experience.
So the first EP, crush Pennies,is very much the same kind of
writing that I was talking aboutwith my old band, because those
songs were actually songs Iwrote for the band.
That just didn't make it.
And then I started doing whatis called full-time freestyle,
(08:57):
where I would just record, Iwould make up songs on the spot.
I put out this ep called Fuckyou, Grim Reaper, which is just
like live to a weird little liketabletop cassette recorder and
exploring more subconscioussongwriting.
And around that same time iswhen Sun Kil Moon put out that
record Benji, he was just likeliterally saying the most
(09:22):
literal stuff ever, and me andall my friends were like dude,
this is crazy, I didn't know.
Just talk about the most niche,random stuff and somehow it
still hits.
And I think that I think theshort answer is just that the
more I started to reveal in mysongs, I would have people come
up to me or send me a messageonline and be like dude.
(09:44):
It really hit when you saidinsert lyric.
That is probably the lyric thatI'm the most vulnerable about,
the thing that I maybe don'twant to share, and I think that
when I go to that place thatfeels a little bit uncomfortable
.
It tends to have the bestreturn for the listener,
assuming that the listener feelsthat way.
(10:04):
But there has also been peoplethat are like bro, like why are
you saying that?
But you know that's.
I think that in my art I liketo be creatively brave.
I'm not very like, I'm not likea snowboard or like action.
I'm not like a, like a extremeperson in my real life, but
think that my creativity I liketo sort of push the limits and
(10:26):
do something that feels a littlerisky in the way that I write
totally.
colleyc (10:31):
I mean, I think your creativity is off the hook.
I mean you're putting stuff outevery year, kevin, like full
records of amazing songs everyyear consistently now for a
while it's your process, Likehow do you know when you're onto
something with a song, and canyou also fill in a little of the
gaps, of what it is that thatit starts as now I've?
(10:55):
I've listened to you a coupleof times and you say that you
usually have your your phonerecorder on and you're walking
and you'll, and you've actuallyshared some of those really cool
like the the big hit, let meget it right.
Simply obsessed, like the bighit, let me get it right.
Simply Obsessed.
Right, you were talking thesong, the story of the song,
right Videos.
Check all those out people.
Kevin does a couple of thoseand they're amazing.
Can you kind of like give us alittle insight into how your
(11:18):
songs come to be and when youknow that you're onto something
or maybe not?
Field Medic (11:24):
Yeah, that's a good question.
I think, generally speaking, Iam thinking about writing all
the time, so I'm not literallywriting all the time, but I'm
always considering songs andconsidering poems and stuff
obsession of mine earlier on inthe field medic chronology and
(11:50):
so songs there's.
There's two modes.
Sometimes I just am moved bysomething, I'm inspired in a
moment and I happen to be with aguitar and I'm just singing and
it's all coming out.
So, for example, like tricksand illusions, I was thinking
about doing a story of the songfor that, but I I don't even
really remember when I wrote it.
I think I was strumming thesechords and just honestly I was
(12:14):
really in that feeling and Ijust sort of it just came off
the top of my head and I justwas just full time freestyling
it, like that technique.
And then there's other songs,like simply obsessed, where I
was thinking like I want towrite this song.
That's really positive and Iwant to express this feeling.
(12:37):
And so I'm walking around andI'm trying out different
melodies and sort of doinglyrics in my head and then you
know, making that first littlevoice note and with that that
song, then I'm kind of sittingthere and very much sort of
crafting it.
(12:58):
I work on music or songwritingfor at least an hour every day,
even when I don't want to.
So I really just try to keepthe tool sharp because I like
doing it, it and it makes mefeel good to do so.
There's some level of freestyle, and then there's a like a lot
of sort of crafting and andintentional work.
(13:18):
And then also, I think the mostimportant thing for me is that
I just I'm not precious about it, which is why why I released I
released almost everything Iwrite and record, because I I
think I appreciate them all forwhat they are, and so I just I
think it's I just do it.
I just do it every day when Idon't feel like it.
colleyc (13:40):
I mean, it's like all things that we become good at,
right Is practice and repetitionand like that's what makes the
home run hitter, a home runhitter, right or whatever.
Is that practice?
And I loved what you said too,on on the intro to this record,
where you said any song that'strue is a good song in your mind
(14:03):
, right, like, and I guess myquestion is what is true to you,
what is?
Could you isolate that word andand flush it out a bit for us,
like what does that mean, kevin,when a song is true to you?
So I'd say true is.
Field Medic (14:20):
It kind of goes back to what I was saying when
there's maybe that one lyricthat I feel vulnerable about
sharing, like there's a lot ofthat song.
So the first song, tricks andillusions, and the last song, I
think let me use journey to thecenter of nothing as a good
example, because that song sortof goes into the headspace of
(14:41):
potentially the most jadedsomebody could be in in doing
music for a long time and I gotto the point where I say like
you, you, you want to quit butyou can't because you're like
desperate for some a and r tolike hit you up.
And so it's kind of like ironicwhere what I'm saying is like
(15:02):
this is all for nothing.
It feels like in the most jadedheadspace, but I can't deny that
for some reason my ego likewants some guy to some random
guy to send me an email who inthe previous verse I called some
like corporate fuck, who'snever written a song like
there's just a lot of ironygoing on there and I just want
(15:23):
to like I almost took out boththe corporate fuck lyric and the
A&R lyric but I was like butthis is, these are both true at
the same time and I feelhonestly like slightly
embarrassed to share that, and Ithink that that is like the
truth right there, because Ithink it's possible to feel like
in my right state of mind, likeI'm an independent artist, in
(15:49):
my right state of mind, like I'man independent artist, I don't
care what Spotify executivesthink about my music and I don't
care if Columbia Records islistening, but somewhere deep
inside I want someone to send mean email and be like bro, like
you're sick.
So that would be the truth issort of exposing the vulnerable
and or embarrassing side of thestory as well as the secure and
like mature side of the storyinteresting, interesting, and I
(16:13):
mean often your songs they have.
colleyc (16:15):
They can deal with this idea of being successful versus
authenticity, where who doesn'twant you know to be validated
in their art and what they'redoing and I mean we live in a in
a capitalist society, so it'susually money that speaks right,
tells us the validation or not.
What's your struggle with thatof you know you get reviews, you
(16:39):
know your record goes throughits cycle.
Do those, does outsideinfluence influence how you're
going to craft the next one, thenext record, or do you maintain
the authentic, the authenticitythat, if it happens, great, but
I'm not going to change mystyle and start, like you know,
doing these things.
That's outside of who I am,just so that I can have more of
(17:03):
a sense of success, whateverthat might be be.
How does that struggle gobetween?
How do you manage that strugglefrom wanting success to also
keeping your authenticity as anartist itself?
Field Medic (17:16):
I think that I always I wouldn't let the
reviews change the way that Iwrite.
I definitely I'm sort of justaddicted to or I have this
compulsion to keep it, to keepit 100, as they might say.
And so the one place we'repressed, though I think with
(17:37):
this record, because it's new,is something is interesting, and
what I appreciate about musiccriticism is if you see a
through line through the reviews, whether they're like middling
or they're praising it orwhatever.
I think something with thisalbum.
I didn't really.
People kept saying it's meta andI didn't understand that
because, as you know, if yousaid you've been deep diving,
(17:58):
I've been.
I always just talk about what'sgoing on, and it just so
happened that what I wasthinking about a lot in the
process of making this album wasbeing a musician and being in
the music industry, and so itwasn't until I saw some of those
reviews as well, as I startedpromoting the songs where I'm
like making a TikTok video,playing a song that's like
(18:21):
actually about like making aTikTok somewhere deep inside
inside, and so layers the layers.
So I think it's not going tochange the way that I approach
the next record, but it isinteresting to analyze it from a
more objective point of viewand and see how people could
(18:42):
think that it is meta.
But yeah, that doesn't reallychange how I write.
It's just I, I appreciatereading it like regardless of.
Obviously, I want every reviewto be like this is the best
thing I've ever heard, but I, Ilike I appreciate when people
dedicate, you know, thousands ofwords to their analysis of it
and it helps me just sort of seethe album more objectively and
(19:03):
and I appreciate that.
So, right, right, I feel likeit'll never change how I write.
colleyc (19:09):
Right, cool, that's awesome.
I love that answer and asyou've had this record out now
for a little bit, I mean it justgot released, I think over the
summer, right, kevin?
Field Medic (19:20):
Yeah, it was August 8th, so it's about a month and
a week old, right.
colleyc (19:26):
And what's your feeling of the reception of it?
Are people getting?
I guess let me rewind thatquestion Are people getting the
record the way you intended themto get it, or are you surprised
about how people are receivingthis latest record?
Field Medic (20:02):
Like you know, these songs are really
resonating.
For this reason, specificallythe first and last song, which
are the most like I'm trapped inthe game style songs.
But then you know, there's otherpeople that are not musicians,
that are just enjoying it as awhole and I think that people
are receiving it the way it is.
I definitely have a little bitof post-release confusion right
now because it's weird when weput so much energy and time into
this one thing and, you know,for the first couple weeks it's
(20:24):
like whoa new album and, likeyou know, press is coming out
and I feel like now it's nolonger new and I just have to
wait and I and I'm happy to waitand I think that a lot of times
music can take months or yearsto sort of get into the ears of
people.
Like, even some of my favoriteartists put out an album and I
(20:46):
might not find the time tolisten to it for several months.
And so I think that the firstwave has been very successful
and people have been enjoying itand I feel good about that.
And now I'm just kind ofhunkering down and and in the
meantime I'm to distract myselffrom the post-release confusion
I'm just writing more songs andthinking about the next one
(21:08):
right, right, and is that reallythe cycle like it?
colleyc (21:12):
you know it, the out the record cycle wears out after
a while, like there's such abuild-up to it, right, all the
time and energy and effort youput into it, and then it's like,
okay, thanks, thanks, fieldmedic, all right on to.
You know, like it kind of feelsat times like all of that
energy and will and dissipate soquickly is is going on the road
(21:34):
.
Help solidify a little bit.
Like you must be lookingforward to actually going and
seeing people sing along tothese songs when you're playing
them live, like I miss.
Field Medic (21:43):
That must be validating that people are
listening to it and and areremembering what you're saying
in your lyrics when you're outon the road touring yeah, the
the tour piece of it really doesvalidate the experience, and
you get to, yeah, see the peoplesing and also just talk to
people face to face that areexcited about the new music and
listening to it, and becauseit's like I always try to I mean
(22:06):
, I say this to my friends, butI say it to myself too.
Where you know my favorite music, I'm not posting it and tagging
the artist on Instagram everysingle day, I'm just listening
to it, and so I was like youknow, I think, in like the
attention economy that we livein with social media, it's easy
to feel like, oh my God, like noone's commenting on my post,
(22:27):
like no one's listening, butpeople just listen.
They just listen Like they'rejust enjoying the music for what
it is.
So it's nice to see the peopleand, yeah, hear them sing and
just get to play the songs, andso, yeah, my answer is yes,
that's great, I love youranswers, kevin, and like what is
(22:48):
next?
colleyc (22:49):
Like what you know, you're saying you're writing
songs again.
Like are you going to have likea lot of songs that start to
come out as you're touring aswell, because, like you said,
it's 24 hours and you work forone?
Yeah, are you like is on theroad a good time for you to
actually start penning new songsand like coming up with new
ideas?
Field Medic (23:08):
yeah, the road is good for coming up with new
songs, because in my day-to-daylife I'm very much a house elf.
I just chill and I just like itthat way.
And on the road it's nicebecause I'm seeing different
stuff.
It really informs the writing.
I start to have new images tofit into my poems or whatever.
(23:30):
And where I'm going next isthat so my early music.
I record all of it live, all theway up until Grow your Hair
Long if you want to seesomething you can change.
And then from that point on, forthat record and Light has Gone
To and Dope Girl Chronicles, itwas all multi-tracked and I was
(23:50):
doing that because I wasinterested in trying something
new.
I felt like I had taken thelive and the lo-fi as far as I
could, and with this album I didI think three of the songs live
and I liked how that felt.
So what I'm aiming to do withthe next record is focus on
(24:12):
songs that I can record live andthat also stand alone, just
with guitar and voice, becausethat was sort of my philosophy
in the beginning and as I gotinterested in multi-tracking I
started just not thinking aboutthat as much and just more.
So exploring production and soacoustic, you know, guitar and
(24:34):
voice live tracked and thenusing the multi tracking skills
I have to very tastefullyembellish those songs a little
bit, but the focus is kind ofmore just fully acoustic folk,
sort of OG, but but reloaded.
colleyc (24:55):
I love it, I love it, I love it.
And do you hope, once the tour,once you're off the tour, once
you've done your, your duediligence with the record and
the people have heard it, do youhop right back into?
Okay, here we go, let's startthe machine up again.
Let's start working towardsthat next lp that I mean.
You've had lps come out prettymuch every year.
(25:16):
I mean, can we anticipatesomething in 2026 as well?
Field Medic (25:20):
Oh, for sure I have this fantasy of releasing
something this winter.
I don't think I will, but thatis just something I like to take
shelter in when I am sufferingfrom post-release confusion.
I'm just like, well, maybe I'lljust release some weird like
super lo-fi, scary EP, releaseit for my own thrill.
(25:41):
But I think that the mostlikely thing would be some sort
of deluxe record with like threeor four new songs on Surrender,
instead 2.0, and then anotheralbum next fall, Because I'm
already a few tracks intowhatever this new one is and as
soon as I have everythingwritten I'm going to record it.
(26:03):
And because of how I'mintending to approach it with
the live recording, it didn'ttake very long.
colleyc (26:09):
so yeah, because you have a three take method, right
exactly.
You like to record fast yeah, Iget it down.
Field Medic (26:17):
I think that it's all about just the feeling of
the take, more so than theperfection of it.
And so, yeah, I just do threeand I'm like one of these has
got to be good.
And you know, sometimes none ofthem are.
But in that point I will wait,I'll stop for the day and'll be
like let me go back in like in aweek when I'm sort of back in a
(26:38):
clear mindset, and then I'lljust do three more and see
Amazing.
colleyc (26:42):
Amazing.
Now I have one last questionfor you.
Sure, again, thank you for yourtime, kevin.
This has been such a treathearing about your journey so
far and what's coming down, andyou've been doing this for a
while, right?
I think you started recordingwith your brother right in 20,
2009.
That's as far back as I couldfind, yeah, and what advice
(27:05):
would you give yourself back in2009, with all of this
experience that you've had?
In retrospect?
What are, what are those thingsthat you have learned or tips
and tricks you could offer toartists that are you know, kevin
, from 2009?
What would you tell them?
Field Medic (27:25):
wow, that's that's.
That's a crazy question.
I think I want to say, well,let me just do the joke answer
first.
I would be like yo, you need tolike get on twitter and like
youtube aggressively, like rightnow.
That's what I would say, justknowing what I know about the
future of technology.
Yes, but I think you know Ifeel like when I first, when so
(27:51):
field medic began in like 2013,and I think that in the first
few years I actually was exactlywhere I was supposed to be,
because it was this kind ofrebellion against my old band,
we were really trying to, youknow, and not even like in a
(28:11):
real way, but I think in ourminds we were trying to get
signed and be like a real bandand do tours and stuff, and
field medic was like no labels,like no tour.
It was very like punk rock,ethos.
Yeah, I, I run sunroom recordsand salon, I make the cassettes,
I record these weird songs thatI just made box like yeah, your
accompaniment was justoutstanding.
(28:32):
Yeah, so I think that I was.
I would.
I would actually go back intime, I think, and I would say
just stay, exactly.
Just stay right there and andkeep and, and don't abuse
alcohol and drugs and don't gettoo caught up on stuff I don't
(28:56):
know.
Know, it's hard, it's reallyhard to say.
I think it's easy for me tolike think about what I would
tell someone else, but it's hardto tell, see, what I would tell
myself.
Because I'm, I feel, despiteall the hardships and struggles
that I've been through, I stillfeel very lucky to be in the
position that I'm in, you know,13 or whatever years into Field
(29:19):
Medic.
So I feel like I kind of wasfollowing the right path to some
degree and I'm grateful forwhoever has been guiding me, the
thrift god who guided me alongthat way me the thrift god who
guided me along that way.
colleyc (29:39):
amazing, beautiful answer.
Kevin, I love that all of yourexperiences have brought you to
this point, that you're at now,because I feel you're just like,
like the smoke is starting tofade and the flame is starting
to show.
Now I really feel like you'reon fire.
Now, you know, in the mostwonderful way.
So people listeners go out andcheck Kevin.
He's going to be on the road.
Buy a zine also.
(30:01):
He's a great zine writer.
His record will be there.
Buy a shirt this is how theymake their money and absolutely
go and say hi to Kevin.
He's a charming man who haslots of cool things to say.
Kevin, thank you.
This has been really, reallyfun.
I wish you all the best on yourtour.
Take it slow, write a lot ofgreat tunes and when your next
(30:23):
record comes out, I definitelywould love for you to come back
on and we can continue theconversation.
Field Medic (30:29):
I would love to Thank you for having me.
colleyc (30:31):
Well, thanks a lot.
Field Medic (30:32):
Take care of yourself With your mischievous
smile, your secondhand style.
(30:57):
You're my heart's great revival.
You deserve happiness.
It's such a pleasure to watchyou dancing circles around the
bedroom Getting dressed to go tothe venue brilliant, no matter
what outfit you choose.
Thank you To see you in thelight that I do.
(31:40):
I'm simply obsessed With yourmysterious smile, your
secondhand style.
You're my heart's great revival.
You deserve happiness.
Of course you know I reallylove you, babe, but it goes so
(32:10):
far beyond what words can saywhen it's impossible to imagine
another day.
You smile at me and I see myfuture change.
You're a star I can speak to.
I want you to see you In thelight that I do.
(32:35):
I'm simply obsessed With yourmischievous smile, your
secondhand style.
You're my heart's great revival.
You deserve happiness.
You're a star out of space.
I want you to see In the lightthat I do.
(32:57):
Or it's time to speak to you.
I want your love song.
I can't look at you like that.
I'm simply upset.
You miss your smile.
You're a second-hand style,your heart's pretty revival.
You deserve happiness.
My heart it sk gifts to yourheart's tune.
(33:18):
Your love song finally cometrue.
Kiss your lips in the light ofthe low moon, swimming in the
scent of your perfume.
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