September 3, 2025 • 35 mins
With their new album, Dream Ride, the Aussie singer-songwriter and multi-instrumentalist G Flip is driving straight into an 80s-inspired world they’ve built from scratch—complete with a hot pink Barracuda, a persona called Butch Springsteen, and songs that pull no punches .
But that’s just the start. G Flip opens up about:
🎸 Writing over 100 songs before narrowing down the new record
🔥 Turning their first queer experiences into euphoric, defiant anthems like “Bed On Fire”
🌈 Why queer joy and representation are at the core of their music
🥁 The thrill of drum cages, sax solos, and bringing full 80s drama to the stage
G Flip’s new album Dream Ride is out September 5th!
But that’s just the start. G Flip opens up about:
🎸 Writing over 100 songs before narrowing down the new record
🔥 Turning their first queer experiences into euphoric, defiant anthems like “Bed On Fire”
🌈 Why queer joy and representation are at the core of their music
🥁 The thrill of drum cages, sax solos, and bringing full 80s drama to the stage
G Flip’s new album Dream Ride is out September 5th!
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
Straw Hut Media, the term Butch Springsteen kept coming up.
I'd be like, this song feels a little bit too
fam we need to make it more like Butch Springsteen.
Another word that came in was masculine Madonna. It needs
to be more mask Madonna. And I really went into
it building an actual world and Butch Springsteen who lives
(00:21):
in Scissortown and I drive my whole pink Barrett Cooter,
and I'm excited to implement that into the live show
to make people feel like they've been brought into Scissoritown.
Speaker 2 (00:43):
How has your week been? Just to start off.
Speaker 1 (00:47):
Really great, I've had a fantastic week. What day is
it today?
Speaker 3 (00:51):
Thursday?
Speaker 2 (00:52):
Thursday.
Speaker 3 (00:53):
That's a good day. I like Thursdays.
Speaker 1 (00:55):
But I've had a great week. Yeah, it's been great, good.
Speaker 2 (00:59):
Good. I have to say congrats on your fourth wedding
that I saw very much.
Speaker 1 (01:06):
It was a medieval themed wedding.
Speaker 3 (01:08):
I had a sword, which was fun.
Speaker 2 (01:10):
That is fun. Yeah, I've always wanted to go to
those medieval times stinners.
Speaker 1 (01:16):
Yeah, or the Renaissance Fair. I've never heard about it
in Australia, but it seems to be a thing here.
Speaker 2 (01:22):
True true. Yeah, so they don't have any any medieval
celebrations over there.
Speaker 1 (01:29):
Look, I might have to like research. I bet there
is a niche market for it, but like from what
I know, like everyone over here knows about a Renaissance
fair and medieval time, so we don't have that equivalent
that people just know of in Australia. So yeah, me
and Chrishille are big medieval you know people. But it
(01:50):
kind of became a joke that became a reality and
now I think our yearly weddings are going to start
having intense themes.
Speaker 2 (01:58):
I love that. I mean, if you're gonna don celebrate,
why not go big? You know.
Speaker 3 (02:03):
Yeah, we love a theme.
Speaker 1 (02:04):
You know, we love a little party, so you know,
we obviously love celebrating our love every single year like
a birthday. But we've never wanted a stressful wedding, so
we organize the like the wedding the week of, so
it's the most least stressful. Guests only have a couple
of days to figure out what they're gonna wear or
(02:25):
if they're in town. And we like it that way
because it keeps it like so low pressure, so low stress,
and it's also fun asking someone to be a celebrant
or your best man or your mate of honor every year,
so or you're gay of honor every year. So it's
really really fun. And yeah, I reckon it's a cute,
(02:45):
a cute thing to do.
Speaker 3 (02:46):
And new vows.
Speaker 1 (02:47):
I love writing new vows every year.
Speaker 2 (02:49):
M Yeah, but it's so sweat. I'm so happy for
you and not at all jealous as I I'm gonna
start throwing myself a single wedding every year.
Speaker 4 (03:00):
Just celebrate you should you know, everyone should celebrate their
love or themselves or their friendships, like get involved.
Speaker 2 (03:11):
True. Sure, I was like, I guess mine is my birthday,
but I do have some friend aniversaries that I can definitely.
Speaker 1 (03:17):
Yeah, I don't like, I'm not a birthday person, Like
I don't like I like booking myself work. I'm on
tour when it's my birthday this year, Like I don't
like for some reason, I'm like, I don't like celebrating
my birthday, but I love celebrating a birth like a wedding,
birthday or yearly ceremony every year.
Speaker 2 (03:39):
Yeah, when it has other people, it's like awkward for yourself,
you know, you're like planning your own like come celebrate me.
Maybe that's just I need to be more full of myself.
Speaker 1 (03:50):
But yeah, and I think that's my I don't. I'm like,
I already like my job is so self centered around me.
Speaker 3 (03:58):
I don't need another day.
Speaker 1 (03:59):
Where it's like I don't know, I just I'm not
a birthday person. But Chrishalle loves birthdays and loves celebrating
my birthday and will go all out for me. So
it's very adorable and very cute.
Speaker 2 (04:11):
Well, we are going to spend the next you know,
thirty ish minutes talking all about you.
Speaker 4 (04:15):
So we got to do it. It's part of the job.
Speaker 2 (04:19):
Yeah. So yeah, so you have a new album, a
new tour coming in the works. Yes. So the title
of the album dream ride, right, yeah, so what what
would you say is your ideal dream ride?
Speaker 1 (04:36):
I love planes, so that I love. Actually, I love
that you asked this question. I love modes of transport.
I'm into trains, but not underground trains, on land trains.
I'm into planes.
Speaker 3 (04:54):
I love cars. I love trucks.
Speaker 1 (04:57):
I just ever since a kid, I was that kid
I didn't have I had just cars and trucks. I
love modes of transport, So I love with my records.
You know, some of the themes of the things that
I love in life come into play in the art
direction and in the themes of the songs. Like my last
(05:18):
records called Drummer it's for my love of drums. Like
if I'm not writing and singing, I'm literally like looking
up drum gear and I'm a nerd with all drum
related stuff. And then this record, I wanted to make
an eighties esque album, and then I kept like singing
having lyrics that are like about cars and about writing
and about driving, and like, let's take this show on
(05:39):
the road and let's be together for miles on end,
And there was all these car related themes, and I
was like, huh, my love for cars is really coming
through strong on this record.
Speaker 3 (05:50):
Maybe there should be a.
Speaker 1 (05:52):
Car in all the music videos and on the album
work and on the album artworks. So then you know
this dream ride, and that's where the name came from
as well. You know this eighties it's like an eighties
dream world. I made up and I cut my hair
and dyed my hair because this is what I feel
like i'd look like in the eighties. And I was like,
what car would I drive? I'd drink it. I'd drive
a hot pink Barracouta. So that's where all the artworkers
(06:16):
come from, me like dreaming up this eighties world.
Speaker 3 (06:20):
And then you know, it's a ride.
Speaker 1 (06:22):
We're jumping in the car and where you know where
we're gonna listen to the record. And it feels good
to listen to in the car on a drive as well.
So that's it.
Speaker 2 (06:32):
So there's gonna be another album that's about planes, because
then you said you liked planes.
Speaker 1 (06:38):
I know, and you know, I think I'm going to
take a note from Pixar. They did the movie cars, right, yes,
then they did a movie planes.
Speaker 3 (06:49):
It didn't really work out.
Speaker 1 (06:51):
So I think I'm gonna listen to Pixar and not
go down that route. But hey, I'd like to make
a jingle for a plan company.
Speaker 3 (07:00):
That'd be cute.
Speaker 1 (07:02):
My dream is actually that I sit on a plane
and then I look in the music and my album's
on the plane. Mm.
Speaker 3 (07:11):
That's it.
Speaker 2 (07:13):
We're manifesting that.
Speaker 1 (07:14):
Yeah, we're manifesting that. That is a hot little dream.
Speaker 2 (07:19):
Yeah, on my next on my next Jet to holiday
your album.
Speaker 1 (07:24):
Yes, absolutely, on my next Jet two holiday as well.
Speaker 2 (07:28):
And you talked about kind of this new like you
created this whole vision with the album, and you're also
bringing this new persona in that you've created, So can
you walk me through the creation of that.
Speaker 1 (07:40):
Yeah, it's kind of a persona, it's kind of not.
What happened was when I was making the record and
I make all my songs in my studio here in
La It's basically I turned a house into just like
a big studio. There's instruments as since there's drums everywhere.
And during the writing process, me and my production and
(08:01):
co writer Aiden, Me and Aiden, this awesome dude from
Brisbane in Australia. We met a couple of years ago
and just hit it off. So we make all our
songs together. And during the process of us just writing
our faces off, like we would just write three to
four songs a day for a couple months, the term
(08:22):
Butch Springsteen kept coming up. I'd be like, this song
feels a little bit too fam we need to make
it more like Butch Springsteen. So you know, I was
all Another word that came in was masculine Madonna. It
needs to be more mask Madonna because obviously we were listening.
Speaker 3 (08:40):
To so much eighties music.
Speaker 1 (08:42):
Listening to Bruce Springsteen, listening to Madonna, listening to The Cure,
listening to Guns n' Roses, you know, all the big
bands in the eighties we were listening to. But when
it sonically came to what the song sounded like, I'd
be like, yeah, we need like twenty percent more Butch
Springsteen in it, so like let's figure that out. So
this term butch Springsteen kept coming up, and when people,
(09:05):
you know, my management or my friends would ask me
what does the record sound like, I'd be like, imagine,
like if there was like a lesbian butch spring Bruce Springsteen,
like a butch Springsteen, or like a masculine Madonna like
a eighties album, but like real queer butch vibes. So
(09:27):
that term kind of came into the language of talking
about the album, and then it was like, well, I
guess I'm kind of Butch Springsteen.
Speaker 3 (09:37):
I guess that. You know, when it comes to writing music,
you're world building.
Speaker 1 (09:42):
You know, they talk a lot about behind the scenes,
like Okay, we've got an album, let's build the world.
Speaker 3 (09:47):
What's the color scheme?
Speaker 1 (09:48):
Like, you know, and I really went into it building
an actual world. I called my town Scissortown and I'm
Butch Springsteen who lives in Scissortown, and I drive my
hot pink Barrett Couda. I work at les Goo Auto,
which is where the big Old Hammer music video was set.
You know, like I would I have this haircut, I
bleach my hair blonde, I wear.
Speaker 3 (10:10):
More fitted pants.
Speaker 1 (10:12):
You know, I really thought about like the world of it,
which I found really fun and I'm excited to implement
that into the live show to make people feel like
they've been brought into scissor to town.
Speaker 2 (10:23):
You know, absolutely, I love I love that, And I
was my next question was going to be like is
the tour going to be and you're going to adapt
all of these visions to the stage, Like are we
going to get to see it all?
Speaker 3 (10:37):
Absolutely?
Speaker 1 (10:38):
You know, I already started talking to my team because
we're in the process of like building the show and
the stage design and the set design, and you know,
I've got various different size shows all around the world,
so obviously the bigger shows in Australia we have more
stage room to do stuff. I was literally like, guys,
how much is it going to cost to get a
car on the stage and look that costs a lot
(11:01):
of money, and I would have just like not made
any any money at all and gone into debt trying
to bring a car around, so that isn't really possible,
but I'm going to try my best to bring the
car theme to life and definitely bring the eighties thing
like I've dreamt up this like drum cage idea at
four in the morning that I was sketching in my
(11:22):
notebook next to my bed. In the eighties, they loved
a drum cage, like putting like industrial cage elements around
drums and having really big drum kits, which obviously I'm
a drummer, so that really entices me. And they used
a lot of key tars, so I'm bringing some keytars.
I would really love to get a double necked guitar,
(11:42):
like one of the ones that like you see like
a led Zeppelin using back in the day. But a
lot a lot of like eighties musicality. I'm trying to
learn saxophone because in the eighties sacks saxophonists were hot.
Speaker 3 (11:57):
They'd be higher guns for hire they were on the road.
Speaker 1 (12:00):
So I've been trying to learn sac So I'm trying
to bring all the musicality elements of the eighties in
the color schemes and the lights to the show for sure.
Speaker 2 (12:09):
And it sounds like you play a lot of instruments.
You have a lot that you're bringing into this album
and pushing into it. I mean you're producing it. You're
writing over one hundred.
Speaker 1 (12:19):
Songs, right, Yeah, I think we got over one hundred
and maybe ten or eleven we hit over the one
hundred mark for sure.
Speaker 2 (12:29):
So how is it condensing all of that down when
you have so much to work with?
Speaker 1 (12:36):
Yeah, So me and Aiden we had a big whiteboard
with like all the songs. Actually we listened to the
one hundred and then we wrote down the ones that
were like a definite yes that needs some work, or
there's something in it that needs that could be good,
like a chorus in it we could take out and
then rework it. So we had a big whiteboard in itally,
(12:58):
and it there's a lot of listening, like every day
listening to everything, and then it's just workshopping and chipping away.
And you know, obviously there was some fully formed songs
that were just no brainers. It was like that's gonna
be on the album. That just needs some new verses
or we just need to work on, you know, the
structure of it. And then there was other songs that
(13:19):
we really had to need and find if it was
gonna make the album or be something. And then there
was songs that were accidents that were us just like
we'd write all day and then it would be like, oh,
I was getting like fatigued of being serious because I'm
quite like perfectionist in my writing and producing and making
(13:40):
the song as best as it can be. So then
I'd be silly and just be like have a few
drinks and then just be dancing around the lound room
and just like kind of not giving a fuck and
just being okay with writing a silly song, because sometimes
you just got to like writing songs. I feel like
it's like every ten you're right, there's going to be
a good one. So this sometimes you just got to
(14:01):
get songs out. So then I'm okay, like let's just
write a silly song about you know, my tits or something,
and like it's just a dumb, silly song. But then
that song would end up being like, oh, this is
actually a good song. Let's change the lyrics, like let's
write it about something else. And then that's a really
good song. And sometimes it would take that letting the
(14:22):
guard down and letting my perfectionism just fuck off for
a little bit to get some real creative ideas. But
you know, the process of songwriting, especially when you're writing
a new album, it's like you just got to throw
everything at the wall and just not give a fuck
and try everything.
Speaker 2 (14:39):
And you also bring so many wonderful elements into your songs.
You really tell, you know, stories of your own coming
out journeys, your identity. How has it been being able
to really push that into this creative process.
Speaker 1 (14:55):
Yeah, I guess like for me, you know, I've got
a story, Like every single person and musician has a story,
and you know, I really lean into those stories in
my creative writing. So I think about, you know, how
did I feel at that time and write from that
perspective or you know, it's always different, every song's different,
(15:19):
but you know, I just lean on the experiences I've
had or I've seen people go through. I think this
album is one of the first albums that I've also
written from the lens of another person's perspective a little bit.
I've used my own inspiration, but also like you know,
I have a song called in Another Life, which is
(15:41):
about loss, and you know, I've had loss in my life,
but I've also had people and friends and even fans
and who have gone through horrible losses that is so devastating.
So in the writing process, like really putting myself in
their shoes and feeling their pain to write from that perspective.
(16:03):
I think this is the first record that I've really
put myself in another person's shoes and really tried to
feel all the emotion and use my empathy and like,
I'm such a crier, so like really honing in on
trying to put myself in their brain. And there's a
few songs on the record like that, which again I
(16:25):
am thinking of my own perspective. But also, you know,
in the eighties, everything was like quite you know, stretched
out and dramatic. You know, like if you're feeling heartache,
you were really fucking feeling heartache. It wasn't like lightly
put Or if you're feeling lost, you were really feeling lost.
You know, they're dramatics of the eighties. When I was
(16:47):
you know, researching the eighties and absorbing myself in the
music videos and the sonics and the synths and the
sounds like there's so much drama. The key changes, like
there's just drama. So I really wanted to like try
get the emotion and then take it to a deeper
level and feel it a little bit more and try
(17:08):
to do that eighties like deep feeling kind of thing
for it.
Speaker 2 (17:13):
Is that really what drew to bring the eighties into
twenty twenty five was was that drama.
Speaker 1 (17:21):
Not necessarily the drama. I think what enticed me about
the eighties was actually how.
Speaker 3 (17:28):
They recorded drums.
Speaker 1 (17:30):
So on my last album, Drama, I almost wanted to
do a track that was, you know, an eighties esque
track because the way they did drums in the eighties,
you know, for some songs, they'd use such deep toms
and they'd take the bottom head off the tom and
they'd record it in such a way and saturate it
(17:50):
with ams reverb or like gate the drums really heavily.
And you know, the way Phil Collins would record his
do like his drum tones and his drum sounds, and
the way that they used drum fills in the eighties
was so enticing to me. But then I realized, oh shit,
you could make a whole record about this, like, this
isn't just one song on my last album, Drama. This
(18:13):
is like you really could dive into key changes and soloing.
Like in the eighties there was key solos, which kind
of disappeared when once grunge in the nineties came about.
Speaker 3 (18:24):
There was sax solos, but that kind.
Speaker 1 (18:26):
Of disappeared once the nineties came around, you know, there
was So I found the musicality enticing, and I felt like,
already my show without being eighties, without exploring the Eighties,
I do drum solos in my shows. I do guitar
solos in my shows. I did Big Freddie Mercury moments
where I hold notes for as long as I can.
(18:47):
Like the drama of my show already inherently had some
of the you know, the flavors of an eighties show.
It already had some of the defining factors of an
eighties show. So me leaning in wasn't hard because I
(19:07):
just felt like, I already do this. I already put
you know, I already put drum solos in my songs
and guitar solos and key like I've been trying to
put a key change in a song actually for six
years and finally on this record we're able to do it.
So I'm very proud of that. But yeah, that's how
the kind of eighties thing and the eighties theme came about.
(19:31):
And as soon as me and Aiden started like playing
around with eighties synths and tones and you know, me
trying to see if I can deliver my vocals in
like a Butch Springsteen way, it really was like, oh, yeah,
we're doing an eighties record.
Speaker 2 (20:04):
And I have to say, I really love bead on Fire.
I feel like you can truly tell that. It's just
such an anthem and really like bring so much emotion
in I'd love if you could just kind of talk
about the meaning behind that song and what it was
like creating it.
Speaker 1 (20:21):
Yeah, but on Fire it's I think it's also one
of my favorite songs.
Speaker 3 (20:26):
Really.
Speaker 1 (20:26):
I'm glad you like that song because I'm really like,
I wonder if people will like this song or not.
I'm kind of like, you know, you go into it
as a musician, You're really like.
Speaker 3 (20:34):
I've got no idea if people are going to dig
this or not.
Speaker 1 (20:38):
But yeah, that song I really thought about, you know, obviously,
as we were talking about the eighties and you know,
the drama, and I was trying to think of the
most intense feelings I've ever had in my life, Like,
what is the most sad I've been, What is the
most euphoric I've felt?
Speaker 3 (20:57):
What is the most angry I've felt?
Speaker 1 (21:00):
And they're definitely in my life, Like like a bookmark
was when I first slept with a woman, growing up
in the Catholic schooling system, Catholic primary school, Catholic high school,
you know, feeling like I'd be ostracized if I ever
said that, Hey, you know, I feel kind of not straight.
(21:21):
You know, I always was terrified of being ostracized or
known as the gay person in my all girls high school.
You know, I didn't want to be known as that
or to be ostracized by that. So bed on Fire
is kind of this euphoric feeling, but a little bit
of this angst of you know, finally sleeping with a
(21:43):
woman and feeling so good and so euphoric.
Speaker 3 (21:47):
But there's also.
Speaker 1 (21:48):
That like feeling of oh, well, I guess I'm going
to hell, but that a little bit of like, but
I don't give a fuck. I'm like, this is the
most ephog this is the best feeling in the world
and I'm so gay basically, so the lyrics in that song,
you know, I like the lyric before it hits the
first chorus, if the wine don't taste good, what am
(22:10):
I drinking it for? You know, like that's very metaphorically
the church and the wine. And you know, in the
lyrics of the chorus, it's like the preacher said, I
couldn't get no higher playing Jesus like a backseat driver.
And if that's what I get for my desire, or
watch me set the bed on fire, you know, like
(22:31):
just kind of saying, like being taught my whole life
like I'll never be higher than this, but mate, I
slept with a woman. I've never felt higher than this
in my whole life. And if I'm going to go down,
I'm gonna set the bed on fire on the way out.
You know. So there's a bit of a deeper meaning
to that, and you know that's just my personal experience.
(22:55):
And you know, but I'm cool with whatever religion you
are or whatever anyone believes in. You know, I just
grew up in a Catholic schooling system that made me
not feel like I could be myself. And you know,
that song comes from a bit of the angst of that,
you know, no love.
Speaker 2 (23:13):
I love this quote that I saw, like, all right,
I'm going to set the place ablaze with my queerness,
like and as you Shauid, you know.
Speaker 1 (23:22):
And it really is kind of like, you know, I
really feel like and I feel like some queer people
have this, you know, this same experiences. Once you come out,
you just want to scream you're a lesbian at the
top of your lungs. You're like, I was so overtly
outwardly queer because it was suppressed for so long and
I had to keep it in for so long. So
(23:43):
once I gave no fucks and came out, I was like, well,
hell's yeah, I'm going to be as gay as I
can be and like be the representation I never had
and make you know, queer music. Like my song gay
for Me so queer, you know, and then there's queer
people all over singing gay for Me, which I'm proud
(24:04):
about because we didn't have queer joy in music when
I was growing up. I never had the representation of
like really overtly queer music. So you know, for me,
my project always is underlined by being the representation I
never had and feeling that space that I wish was
(24:25):
filled when I was younger.
Speaker 2 (24:27):
I was going to ask, like, how do you think
your high school self would react if they came to
your show and they were in Scissor Town surrounded by
just all of these, you know, lesbian motifs.
Speaker 1 (24:39):
My younger self would be obsessed with it, like like
my younger self, because obviously my younger self was posited.
But I just loved drums, and I loved music, and
I loved just musicianship and playing and very much my
show is you know, there's also it's a lot of
my fan base is queer, but there's also a lot
of you know, so straight and just you know, people
(25:03):
that aren't in the LGBTQAA plus community but are very
strong allies that come to my shows and they just
love the musicality about it. So although there is overtly
quiz songs, there are songs that they're just songs there
anyone can relate to them. So, you know, but my show,
(25:24):
as a kid, I would love, I would have loved
to go to one of my shows for the drum solos,
the guitar solos, the musicianship, the crowd interaction. The I
try and make my shows as fun as possible.
Speaker 2 (25:38):
Definitely, what would be a dream show for you to attend?
Speaker 1 (25:44):
Ooh for me to be in the audience at Yes.
My favorite artists of the last few years have been
Dijon and McGhee, like those albums, and then they've just
worked on Swag, the Justin Bieber album, which I love.
But God, would be good to see a show Justin Bieber,
McGhee and Dijon play a show, but not in an
(26:07):
arena like I want, like a.
Speaker 3 (26:11):
Smaller venue like a.
Speaker 1 (26:14):
I'm at top of my brain I think of Australian venues,
so I'm trying to think of what the equivalent would be,
like a two thousand CAP, two thousand and five thousand,
two thousand, five hundred CAP McGee, Dijon, Justin Bieber show
that goes through a bit of all their songs.
Speaker 3 (26:32):
You know.
Speaker 1 (26:33):
Oh, God, that'd be good.
Speaker 2 (26:36):
Good, that would be good. I love that. Who are
we are we bringing people on tour with us this time?
Who are we bringing?
Speaker 3 (26:45):
We got a couple of people.
Speaker 1 (26:47):
There's a few different people on the American leg because
they're split.
Speaker 3 (26:51):
Between bunches of shows.
Speaker 1 (26:53):
So we've got Chinchilla, Mercer Henderson and Beth McCarthy to
they're all amazing artists on their own, they're so great.
And then in Australia we're bringing the Beaches, who are
some of my close buddies, and another one of my
close buddies, Aisha Madden, and then UK. We're still in
(27:16):
conversations and sorting that out, so that hasn't been announced yet,
but it'll be announced soon. But I'm so excited to
have all these rad humans on tour with me, and
I have personal relationships with all of them, so you know,
they're all my mates. So it's always fun to bring
that energy on the road for sure.
Speaker 2 (27:36):
Just to kind of close us out normally on my podcast,
I asked the guests if there is anything they would
like to come out as. Obviously doesn't have to be
anything identity related. It can be whatever you would like.
But is there something you would like to come out
as or.
Speaker 3 (27:54):
What would I like to come out as.
Speaker 1 (28:00):
Well? This is already like I think known, but I'm
extremely neurodivergent, like like I have ADHD and I have
extreme niche interests that I know everything about ever since
I was a kid. So my and fixations, Like I'm
(28:20):
just like get fixated about things. So right now, my
extreme obsession is planes, and I know I just look
up models of planes, and I know every serial number
of every plane I've been on in the last two
three years. I know every seat I've sat on. It's
just my weird tick and that changes every couple of years.
(28:42):
I get a new thing that I need to know
every single thing about and can nerd out on, and
like I have forums that I have secret names and
I chat about my niche litt hobbies.
Speaker 2 (28:53):
What is the best seat on a plane?
Speaker 1 (28:55):
Then, in your opinion, well, it depends what model of
plane you're on and what airline you're on.
Speaker 3 (29:01):
Oay me.
Speaker 1 (29:03):
For me, I catch a lot of quantas A three
eighties when I go to and from Australia, and my
favorite seat is eleven A.
Speaker 3 (29:11):
That's my favorite seat.
Speaker 1 (29:14):
But when you're on different planes, oh, I also like
to have So I'm such a nerd with planes. I
don't buy a business class seat, but I always get
upgraded because I know the way around and how to
get upgraded and how to use points. So I always
like to have a console on the side. So my
(29:34):
seat isn't on the aisle. Does that make sense? Like
you have an arm rest? Yeah, yeah, so I want
my window here. I love a window seat, my window
here and my console here for if I fly business class,
but if I fly economy, window seat always, that is
always my seat, and I like in economy sitting in.
(29:56):
When I'm on a seven three seven Bowing seven three seven,
I like to sit in, uh, five A or six
A or maybe seat or F but five F or
six F no, okay, they're my favorite seats on a
Boeing seven three seven and.
Speaker 3 (30:17):
Then on a A three eighty eleven A.
Speaker 2 (30:23):
I'm gonna keep notes of this. I never know. I'm
usually a back of plane person.
Speaker 1 (30:27):
But then aisle or window.
Speaker 2 (30:30):
Always window for sure.
Speaker 3 (30:32):
Yeah, some people are aisle seats, I know.
Speaker 2 (30:35):
But I'm afraid of the bathrooms on planes. They tear ay,
they're so loud too, so like I would rather not.
So that's why I'm like, I'm not an aisle person.
I don't need to go anywhere. I want to just
be cornered stay there.
Speaker 3 (30:50):
Do you fly much?
Speaker 4 (30:52):
Yeah?
Speaker 2 (30:53):
I fly a lot more now, like i'd say like
six ten times a year, which I think is a
lot I don't know.
Speaker 3 (31:01):
Do you collect your points?
Speaker 2 (31:03):
I do Good Life Points.
Speaker 1 (31:06):
And you've got to use the same airline and you
collect your points.
Speaker 3 (31:09):
Because points are amazing.
Speaker 1 (31:10):
You get free floods, you can upgrade yourself.
Speaker 3 (31:15):
It's the dream.
Speaker 1 (31:16):
I'm like on so many forums about this. I could
talk about it for days. And then you get these
credit cards that give you a bunch of points and
you can use that to like that's great.
Speaker 2 (31:29):
That's when I was like, I'm an adult now. When
I was like collecting my points and building my goals
for that, you know, and like keeping track of it,
I was like, this is when you know that I've
turned an adult, and that's what excites me.
Speaker 1 (31:43):
Yeah, yeah, I love it, and I love I love
teaching my friends and people about it. When anyone has
a trip in my family, friends like Chrishelle's going on
like a girl's trip tonight. They're organizing it, and I'm
like making myself available so I can book their flights
and find what planes they're going on and make sure
(32:04):
their seats right.
Speaker 3 (32:05):
I love booking.
Speaker 2 (32:08):
Okay, I need I'll hit you up honestly, because you know.
Speaker 1 (32:12):
And there's great little tools. There's seat Guru, which tells
you which are the best seats in the worst seats
in the plane. Like, that's a great website. Yeah, I
could talk about it for days. We should probably get
me off this topic because my hyperfixation.
Speaker 2 (32:27):
That's okay. Is there anything else you want to say
about this album, the tour, or how people can find you.
Speaker 1 (32:35):
Please check out my album dream Ride that comes out
September fifth. Please find me on socials, g flip, g
flip music. I'm on all the things, and please come
to a show because I really try to make it
the best show possible for a viewer to see and
(32:56):
I really care about it.
Speaker 3 (32:58):
So I would like your.
Speaker 1 (33:00):
Honest opinion on even if you came to a show
and you have some like tips, if you're like, yeah, gee,
you could tighten up on this and that, Like I'm
open to feedback as well. But I'd love to see
people come to my show because I really try to
bring it. I want you to leave and be like,
holy shit, that was actually pretty good, you know, or
leave and be like, oh shit, I should pick up drums,
(33:23):
like it's never too late to learn an instrument as well.
Speaker 2 (33:27):
As I've had a guitar and I've been trying to
learn to play for the past ten years and I
still haven't.
Speaker 3 (33:33):
No, you've got to do it. You just got to
do it.
Speaker 1 (33:35):
And you've got to commit to like twenty minutes a
morning and just do a week, do seven days, twenty
minutes a morning.
Speaker 3 (33:42):
And then the whole thing with.
Speaker 1 (33:44):
Guitar is actually because I used to be a guitar teacher,
it's your fingers are gonna hurt, and you just got
to know that.
Speaker 3 (33:51):
You've got to build callouses up.
Speaker 1 (33:53):
So but once you get past the fingers hurting, then
it'll open up your eye and everything will be okay.
But your fingers are going to hurt too. You get
these little calluses on your fingers.
Speaker 2 (34:05):
Yeah. I was always convinced my like, I was like,
they're not long enough. I can't reach, and so I
would talk myself out of it. But I'll keep this
because I know that a habit is created in like
five days, is what people say. I think, So I'll
keep the seven days twenty minutes.
Speaker 1 (34:21):
Yeah, and then once your fingers hurt at the end
of that seven days, you just got to be like, oh,
like I just got to go a bit more. Or
what I would do is I'd use my thumbnail to
like press on my calluses when I started learning guitar,
because I really wanted when I wasn't playing guitar, the
(34:41):
calluses like, it's not really callouses that kind of sounds gross.
It's just like your fingertips become like more sturdy. So
I just like do that all day when I was
learning guitar to make my fingertips just i don't know,
more malleable when it came to the guitar to play
it and not be in pain.
Speaker 3 (35:00):
So I would also do that.
Speaker 2 (35:02):
Goscha, Well, thank you for the free the free guitar
and playing lessons so much. Congrats on the album and
the tour. I'm so excited to see how it goes.
And thank you.
Speaker 3 (35:16):
Thanks so much mate.
Speaker 2 (35:17):
Cheers you that have the good rest of your day.
Speaker 1 (35:19):
Bye,
Straw Hut Media, the term Butch Springsteen kept coming up.
I'd be like, this song feels a little bit too
fam we need to make it more like Butch Springsteen.
Another word that came in was masculine Madonna. It needs
to be more mask Madonna. And I really went into
it building an actual world and Butch Springsteen who lives
(00:21):
in Scissortown and I drive my whole pink Barrett Cooter,
and I'm excited to implement that into the live show
to make people feel like they've been brought into Scissoritown.
Speaker 2 (00:43):
How has your week been? Just to start off.
Speaker 1 (00:47):
Really great, I've had a fantastic week. What day is
it today?
Speaker 3 (00:51):
Thursday?
Speaker 2 (00:52):
Thursday.
Speaker 3 (00:53):
That's a good day. I like Thursdays.
Speaker 1 (00:55):
But I've had a great week. Yeah, it's been great, good.
Speaker 2 (00:59):
Good. I have to say congrats on your fourth wedding
that I saw very much.
Speaker 1 (01:06):
It was a medieval themed wedding.
Speaker 3 (01:08):
I had a sword, which was fun.
Speaker 2 (01:10):
That is fun. Yeah, I've always wanted to go to
those medieval times stinners.
Speaker 1 (01:16):
Yeah, or the Renaissance Fair. I've never heard about it
in Australia, but it seems to be a thing here.
Speaker 2 (01:22):
True true. Yeah, so they don't have any any medieval
celebrations over there.
Speaker 1 (01:29):
Look, I might have to like research. I bet there
is a niche market for it, but like from what
I know, like everyone over here knows about a Renaissance
fair and medieval time, so we don't have that equivalent
that people just know of in Australia. So yeah, me
and Chrishille are big medieval you know people. But it
(01:50):
kind of became a joke that became a reality and
now I think our yearly weddings are going to start
having intense themes.
Speaker 2 (01:58):
I love that. I mean, if you're gonna don celebrate,
why not go big? You know.
Speaker 3 (02:03):
Yeah, we love a theme.
Speaker 1 (02:04):
You know, we love a little party, so you know,
we obviously love celebrating our love every single year like
a birthday. But we've never wanted a stressful wedding, so
we organize the like the wedding the week of, so
it's the most least stressful. Guests only have a couple
of days to figure out what they're gonna wear or
(02:25):
if they're in town. And we like it that way
because it keeps it like so low pressure, so low stress,
and it's also fun asking someone to be a celebrant
or your best man or your mate of honor every year,
so or you're gay of honor every year. So it's
really really fun. And yeah, I reckon it's a cute,
(02:45):
a cute thing to do.
Speaker 3 (02:46):
And new vows.
Speaker 1 (02:47):
I love writing new vows every year.
Speaker 2 (02:49):
M Yeah, but it's so sweat. I'm so happy for
you and not at all jealous as I I'm gonna
start throwing myself a single wedding every year.
Speaker 4 (03:00):
Just celebrate you should you know, everyone should celebrate their
love or themselves or their friendships, like get involved.
Speaker 2 (03:11):
True. Sure, I was like, I guess mine is my birthday,
but I do have some friend aniversaries that I can definitely.
Speaker 1 (03:17):
Yeah, I don't like, I'm not a birthday person, Like
I don't like I like booking myself work. I'm on
tour when it's my birthday this year, Like I don't
like for some reason, I'm like, I don't like celebrating
my birthday, but I love celebrating a birth like a wedding,
birthday or yearly ceremony every year.
Speaker 2 (03:39):
Yeah, when it has other people, it's like awkward for yourself,
you know, you're like planning your own like come celebrate me.
Maybe that's just I need to be more full of myself.
Speaker 1 (03:50):
But yeah, and I think that's my I don't. I'm like,
I already like my job is so self centered around me.
Speaker 3 (03:58):
I don't need another day.
Speaker 1 (03:59):
Where it's like I don't know, I just I'm not
a birthday person. But Chrishalle loves birthdays and loves celebrating
my birthday and will go all out for me. So
it's very adorable and very cute.
Speaker 2 (04:11):
Well, we are going to spend the next you know,
thirty ish minutes talking all about you.
Speaker 4 (04:15):
So we got to do it. It's part of the job.
Speaker 2 (04:19):
Yeah. So yeah, so you have a new album, a
new tour coming in the works. Yes. So the title
of the album dream ride, right, yeah, so what what
would you say is your ideal dream ride?
Speaker 1 (04:36):
I love planes, so that I love. Actually, I love
that you asked this question. I love modes of transport.
I'm into trains, but not underground trains, on land trains.
I'm into planes.
Speaker 3 (04:54):
I love cars. I love trucks.
Speaker 1 (04:57):
I just ever since a kid, I was that kid
I didn't have I had just cars and trucks. I
love modes of transport, So I love with my records.
You know, some of the themes of the things that
I love in life come into play in the art
direction and in the themes of the songs. Like my last
(05:18):
records called Drummer it's for my love of drums. Like
if I'm not writing and singing, I'm literally like looking
up drum gear and I'm a nerd with all drum
related stuff. And then this record, I wanted to make
an eighties esque album, and then I kept like singing
having lyrics that are like about cars and about writing
and about driving, and like, let's take this show on
(05:39):
the road and let's be together for miles on end,
And there was all these car related themes, and I
was like, huh, my love for cars is really coming
through strong on this record.
Speaker 3 (05:50):
Maybe there should be a.
Speaker 1 (05:52):
Car in all the music videos and on the album
work and on the album artworks. So then you know
this dream ride, and that's where the name came from
as well. You know this eighties it's like an eighties
dream world. I made up and I cut my hair
and dyed my hair because this is what I feel
like i'd look like in the eighties. And I was like,
what car would I drive? I'd drink it. I'd drive
a hot pink Barracouta. So that's where all the artworkers
(06:16):
come from, me like dreaming up this eighties world.
Speaker 3 (06:20):
And then you know, it's a ride.
Speaker 1 (06:22):
We're jumping in the car and where you know where
we're gonna listen to the record. And it feels good
to listen to in the car on a drive as well.
So that's it.
Speaker 2 (06:32):
So there's gonna be another album that's about planes, because
then you said you liked planes.
Speaker 1 (06:38):
I know, and you know, I think I'm going to
take a note from Pixar. They did the movie cars, right, yes,
then they did a movie planes.
Speaker 3 (06:49):
It didn't really work out.
Speaker 1 (06:51):
So I think I'm gonna listen to Pixar and not
go down that route. But hey, I'd like to make
a jingle for a plan company.
Speaker 3 (07:00):
That'd be cute.
Speaker 1 (07:02):
My dream is actually that I sit on a plane
and then I look in the music and my album's
on the plane. Mm.
Speaker 3 (07:11):
That's it.
Speaker 2 (07:13):
We're manifesting that.
Speaker 1 (07:14):
Yeah, we're manifesting that. That is a hot little dream.
Speaker 2 (07:19):
Yeah, on my next on my next Jet to holiday
your album.
Speaker 1 (07:24):
Yes, absolutely, on my next Jet two holiday as well.
Speaker 2 (07:28):
And you talked about kind of this new like you
created this whole vision with the album, and you're also
bringing this new persona in that you've created, So can
you walk me through the creation of that.
Speaker 1 (07:40):
Yeah, it's kind of a persona, it's kind of not.
What happened was when I was making the record and
I make all my songs in my studio here in
La It's basically I turned a house into just like
a big studio. There's instruments as since there's drums everywhere.
And during the writing process, me and my production and
(08:01):
co writer Aiden, Me and Aiden, this awesome dude from
Brisbane in Australia. We met a couple of years ago
and just hit it off. So we make all our
songs together. And during the process of us just writing
our faces off, like we would just write three to
four songs a day for a couple months, the term
(08:22):
Butch Springsteen kept coming up. I'd be like, this song
feels a little bit too fam we need to make
it more like Butch Springsteen. So you know, I was
all Another word that came in was masculine Madonna. It
needs to be more mask Madonna because obviously we were listening.
Speaker 3 (08:40):
To so much eighties music.
Speaker 1 (08:42):
Listening to Bruce Springsteen, listening to Madonna, listening to The Cure,
listening to Guns n' Roses, you know, all the big
bands in the eighties we were listening to. But when
it sonically came to what the song sounded like, I'd
be like, yeah, we need like twenty percent more Butch
Springsteen in it, so like let's figure that out. So
this term butch Springsteen kept coming up, and when people,
(09:05):
you know, my management or my friends would ask me
what does the record sound like, I'd be like, imagine,
like if there was like a lesbian butch spring Bruce Springsteen,
like a butch Springsteen, or like a masculine Madonna like
a eighties album, but like real queer butch vibes. So
(09:27):
that term kind of came into the language of talking
about the album, and then it was like, well, I
guess I'm kind of Butch Springsteen.
Speaker 3 (09:37):
I guess that. You know, when it comes to writing music,
you're world building.
Speaker 1 (09:42):
You know, they talk a lot about behind the scenes,
like Okay, we've got an album, let's build the world.
Speaker 3 (09:47):
What's the color scheme?
Speaker 1 (09:48):
Like, you know, and I really went into it building
an actual world. I called my town Scissortown and I'm
Butch Springsteen who lives in Scissortown, and I drive my
hot pink Barrett Couda. I work at les Goo Auto,
which is where the big Old Hammer music video was set.
You know, like I would I have this haircut, I
bleach my hair blonde, I wear.
Speaker 3 (10:10):
More fitted pants.
Speaker 1 (10:12):
You know, I really thought about like the world of it,
which I found really fun and I'm excited to implement
that into the live show to make people feel like
they've been brought into scissor to town.
Speaker 2 (10:23):
You know, absolutely, I love I love that, And I
was my next question was going to be like is
the tour going to be and you're going to adapt
all of these visions to the stage, Like are we
going to get to see it all?
Speaker 3 (10:37):
Absolutely?
Speaker 1 (10:38):
You know, I already started talking to my team because
we're in the process of like building the show and
the stage design and the set design, and you know,
I've got various different size shows all around the world,
so obviously the bigger shows in Australia we have more
stage room to do stuff. I was literally like, guys,
how much is it going to cost to get a
car on the stage and look that costs a lot
(11:01):
of money, and I would have just like not made
any any money at all and gone into debt trying
to bring a car around, so that isn't really possible,
but I'm going to try my best to bring the
car theme to life and definitely bring the eighties thing
like I've dreamt up this like drum cage idea at
four in the morning that I was sketching in my
(11:22):
notebook next to my bed. In the eighties, they loved
a drum cage, like putting like industrial cage elements around
drums and having really big drum kits, which obviously I'm
a drummer, so that really entices me. And they used
a lot of key tars, so I'm bringing some keytars.
I would really love to get a double necked guitar,
(11:42):
like one of the ones that like you see like
a led Zeppelin using back in the day. But a
lot a lot of like eighties musicality. I'm trying to
learn saxophone because in the eighties sacks saxophonists were hot.
Speaker 3 (11:57):
They'd be higher guns for hire they were on the road.
Speaker 1 (12:00):
So I've been trying to learn sac So I'm trying
to bring all the musicality elements of the eighties in
the color schemes and the lights to the show for sure.
Speaker 2 (12:09):
And it sounds like you play a lot of instruments.
You have a lot that you're bringing into this album
and pushing into it. I mean you're producing it. You're
writing over one hundred.
Speaker 1 (12:19):
Songs, right, Yeah, I think we got over one hundred
and maybe ten or eleven we hit over the one
hundred mark for sure.
Speaker 2 (12:29):
So how is it condensing all of that down when
you have so much to work with?
Speaker 1 (12:36):
Yeah, So me and Aiden we had a big whiteboard
with like all the songs. Actually we listened to the
one hundred and then we wrote down the ones that
were like a definite yes that needs some work, or
there's something in it that needs that could be good,
like a chorus in it we could take out and
then rework it. So we had a big whiteboard in itally,
(12:58):
and it there's a lot of listening, like every day
listening to everything, and then it's just workshopping and chipping away.
And you know, obviously there was some fully formed songs
that were just no brainers. It was like that's gonna
be on the album. That just needs some new verses
or we just need to work on, you know, the
structure of it. And then there was other songs that
(13:19):
we really had to need and find if it was
gonna make the album or be something. And then there
was songs that were accidents that were us just like
we'd write all day and then it would be like, oh,
I was getting like fatigued of being serious because I'm
quite like perfectionist in my writing and producing and making
(13:40):
the song as best as it can be. So then
I'd be silly and just be like have a few
drinks and then just be dancing around the lound room
and just like kind of not giving a fuck and
just being okay with writing a silly song, because sometimes
you just got to like writing songs. I feel like
it's like every ten you're right, there's going to be
a good one. So this sometimes you just got to
(14:01):
get songs out. So then I'm okay, like let's just
write a silly song about you know, my tits or something,
and like it's just a dumb, silly song. But then
that song would end up being like, oh, this is
actually a good song. Let's change the lyrics, like let's
write it about something else. And then that's a really
good song. And sometimes it would take that letting the
(14:22):
guard down and letting my perfectionism just fuck off for
a little bit to get some real creative ideas. But
you know, the process of songwriting, especially when you're writing
a new album, it's like you just got to throw
everything at the wall and just not give a fuck
and try everything.
Speaker 2 (14:39):
And you also bring so many wonderful elements into your songs.
You really tell, you know, stories of your own coming
out journeys, your identity. How has it been being able
to really push that into this creative process.
Speaker 1 (14:55):
Yeah, I guess like for me, you know, I've got
a story, Like every single person and musician has a story,
and you know, I really lean into those stories in
my creative writing. So I think about, you know, how
did I feel at that time and write from that
perspective or you know, it's always different, every song's different,
(15:19):
but you know, I just lean on the experiences I've
had or I've seen people go through. I think this
album is one of the first albums that I've also
written from the lens of another person's perspective a little bit.
I've used my own inspiration, but also like you know,
I have a song called in Another Life, which is
(15:41):
about loss, and you know, I've had loss in my life,
but I've also had people and friends and even fans
and who have gone through horrible losses that is so devastating.
So in the writing process, like really putting myself in
their shoes and feeling their pain to write from that perspective.
(16:03):
I think this is the first record that I've really
put myself in another person's shoes and really tried to
feel all the emotion and use my empathy and like,
I'm such a crier, so like really honing in on
trying to put myself in their brain. And there's a
few songs on the record like that, which again I
(16:25):
am thinking of my own perspective. But also, you know,
in the eighties, everything was like quite you know, stretched
out and dramatic. You know, like if you're feeling heartache,
you were really fucking feeling heartache. It wasn't like lightly
put Or if you're feeling lost, you were really feeling lost.
You know, they're dramatics of the eighties. When I was
(16:47):
you know, researching the eighties and absorbing myself in the
music videos and the sonics and the synths and the
sounds like there's so much drama. The key changes, like
there's just drama. So I really wanted to like try
get the emotion and then take it to a deeper
level and feel it a little bit more and try
(17:08):
to do that eighties like deep feeling kind of thing
for it.
Speaker 2 (17:13):
Is that really what drew to bring the eighties into
twenty twenty five was was that drama.
Speaker 1 (17:21):
Not necessarily the drama. I think what enticed me about
the eighties was actually how.
Speaker 3 (17:28):
They recorded drums.
Speaker 1 (17:30):
So on my last album, Drama, I almost wanted to
do a track that was, you know, an eighties esque
track because the way they did drums in the eighties,
you know, for some songs, they'd use such deep toms
and they'd take the bottom head off the tom and
they'd record it in such a way and saturate it
(17:50):
with ams reverb or like gate the drums really heavily.
And you know, the way Phil Collins would record his
do like his drum tones and his drum sounds, and
the way that they used drum fills in the eighties
was so enticing to me. But then I realized, oh shit,
you could make a whole record about this, like, this
isn't just one song on my last album, Drama. This
(18:13):
is like you really could dive into key changes and soloing.
Like in the eighties there was key solos, which kind
of disappeared when once grunge in the nineties came about.
Speaker 3 (18:24):
There was sax solos, but that kind.
Speaker 1 (18:26):
Of disappeared once the nineties came around, you know, there
was So I found the musicality enticing, and I felt like,
already my show without being eighties, without exploring the Eighties,
I do drum solos in my shows. I do guitar
solos in my shows. I did Big Freddie Mercury moments
where I hold notes for as long as I can.
(18:47):
Like the drama of my show already inherently had some
of the you know, the flavors of an eighties show.
It already had some of the defining factors of an
eighties show. So me leaning in wasn't hard because I
(19:07):
just felt like, I already do this. I already put
you know, I already put drum solos in my songs
and guitar solos and key like I've been trying to
put a key change in a song actually for six
years and finally on this record we're able to do it.
So I'm very proud of that. But yeah, that's how
the kind of eighties thing and the eighties theme came about.
(19:31):
And as soon as me and Aiden started like playing
around with eighties synths and tones and you know, me
trying to see if I can deliver my vocals in
like a Butch Springsteen way, it really was like, oh, yeah,
we're doing an eighties record.
Speaker 2 (20:04):
And I have to say, I really love bead on Fire.
I feel like you can truly tell that. It's just
such an anthem and really like bring so much emotion
in I'd love if you could just kind of talk
about the meaning behind that song and what it was
like creating it.
Speaker 1 (20:21):
Yeah, but on Fire it's I think it's also one
of my favorite songs.
Speaker 3 (20:26):
Really.
Speaker 1 (20:26):
I'm glad you like that song because I'm really like,
I wonder if people will like this song or not.
I'm kind of like, you know, you go into it
as a musician, You're really like.
Speaker 3 (20:34):
I've got no idea if people are going to dig
this or not.
Speaker 1 (20:38):
But yeah, that song I really thought about, you know, obviously,
as we were talking about the eighties and you know,
the drama, and I was trying to think of the
most intense feelings I've ever had in my life, Like,
what is the most sad I've been, What is the
most euphoric I've felt?
Speaker 3 (20:57):
What is the most angry I've felt?
Speaker 1 (21:00):
And they're definitely in my life, Like like a bookmark
was when I first slept with a woman, growing up
in the Catholic schooling system, Catholic primary school, Catholic high school,
you know, feeling like I'd be ostracized if I ever
said that, Hey, you know, I feel kind of not straight.
(21:21):
You know, I always was terrified of being ostracized or
known as the gay person in my all girls high school.
You know, I didn't want to be known as that
or to be ostracized by that. So bed on Fire
is kind of this euphoric feeling, but a little bit
of this angst of you know, finally sleeping with a
(21:43):
woman and feeling so good and so euphoric.
Speaker 3 (21:47):
But there's also.
Speaker 1 (21:48):
That like feeling of oh, well, I guess I'm going
to hell, but that a little bit of like, but
I don't give a fuck. I'm like, this is the
most ephog this is the best feeling in the world
and I'm so gay basically, so the lyrics in that song,
you know, I like the lyric before it hits the
first chorus, if the wine don't taste good, what am
(22:10):
I drinking it for? You know, like that's very metaphorically
the church and the wine. And you know, in the
lyrics of the chorus, it's like the preacher said, I
couldn't get no higher playing Jesus like a backseat driver.
And if that's what I get for my desire, or
watch me set the bed on fire, you know, like
(22:31):
just kind of saying, like being taught my whole life
like I'll never be higher than this, but mate, I
slept with a woman. I've never felt higher than this
in my whole life. And if I'm going to go down,
I'm gonna set the bed on fire on the way out.
You know. So there's a bit of a deeper meaning
to that, and you know that's just my personal experience.
(22:55):
And you know, but I'm cool with whatever religion you
are or whatever anyone believes in. You know, I just
grew up in a Catholic schooling system that made me
not feel like I could be myself. And you know,
that song comes from a bit of the angst of that,
you know, no love.
Speaker 2 (23:13):
I love this quote that I saw, like, all right,
I'm going to set the place ablaze with my queerness,
like and as you Shauid, you know.
Speaker 1 (23:22):
And it really is kind of like, you know, I
really feel like and I feel like some queer people
have this, you know, this same experiences. Once you come out,
you just want to scream you're a lesbian at the
top of your lungs. You're like, I was so overtly
outwardly queer because it was suppressed for so long and
I had to keep it in for so long. So
(23:43):
once I gave no fucks and came out, I was like, well,
hell's yeah, I'm going to be as gay as I
can be and like be the representation I never had
and make you know, queer music. Like my song gay
for Me so queer, you know, and then there's queer
people all over singing gay for Me, which I'm proud
(24:04):
about because we didn't have queer joy in music when
I was growing up. I never had the representation of
like really overtly queer music. So you know, for me,
my project always is underlined by being the representation I
never had and feeling that space that I wish was
(24:25):
filled when I was younger.
Speaker 2 (24:27):
I was going to ask, like, how do you think
your high school self would react if they came to
your show and they were in Scissor Town surrounded by
just all of these, you know, lesbian motifs.
Speaker 1 (24:39):
My younger self would be obsessed with it, like like
my younger self, because obviously my younger self was posited.
But I just loved drums, and I loved music, and
I loved just musicianship and playing and very much my
show is you know, there's also it's a lot of
my fan base is queer, but there's also a lot
of you know, so straight and just you know, people
(25:03):
that aren't in the LGBTQAA plus community but are very
strong allies that come to my shows and they just
love the musicality about it. So although there is overtly
quiz songs, there are songs that they're just songs there
anyone can relate to them. So, you know, but my show,
(25:24):
as a kid, I would love, I would have loved
to go to one of my shows for the drum solos,
the guitar solos, the musicianship, the crowd interaction. The I
try and make my shows as fun as possible.
Speaker 2 (25:38):
Definitely, what would be a dream show for you to attend?
Speaker 1 (25:44):
Ooh for me to be in the audience at Yes.
My favorite artists of the last few years have been
Dijon and McGhee, like those albums, and then they've just
worked on Swag, the Justin Bieber album, which I love.
But God, would be good to see a show Justin Bieber,
McGhee and Dijon play a show, but not in an
(26:07):
arena like I want, like a.
Speaker 3 (26:11):
Smaller venue like a.
Speaker 1 (26:14):
I'm at top of my brain I think of Australian venues,
so I'm trying to think of what the equivalent would be,
like a two thousand CAP, two thousand and five thousand,
two thousand, five hundred CAP McGee, Dijon, Justin Bieber show
that goes through a bit of all their songs.
Speaker 3 (26:32):
You know.
Speaker 1 (26:33):
Oh, God, that'd be good.
Speaker 2 (26:36):
Good, that would be good. I love that. Who are
we are we bringing people on tour with us this time?
Who are we bringing?
Speaker 3 (26:45):
We got a couple of people.
Speaker 1 (26:47):
There's a few different people on the American leg because
they're split.
Speaker 3 (26:51):
Between bunches of shows.
Speaker 1 (26:53):
So we've got Chinchilla, Mercer Henderson and Beth McCarthy to
they're all amazing artists on their own, they're so great.
And then in Australia we're bringing the Beaches, who are
some of my close buddies, and another one of my
close buddies, Aisha Madden, and then UK. We're still in
(27:16):
conversations and sorting that out, so that hasn't been announced yet,
but it'll be announced soon. But I'm so excited to
have all these rad humans on tour with me, and
I have personal relationships with all of them, so you know,
they're all my mates. So it's always fun to bring
that energy on the road for sure.
Speaker 2 (27:36):
Just to kind of close us out normally on my podcast,
I asked the guests if there is anything they would
like to come out as. Obviously doesn't have to be
anything identity related. It can be whatever you would like.
But is there something you would like to come out
as or.
Speaker 3 (27:54):
What would I like to come out as.
Speaker 1 (28:00):
Well? This is already like I think known, but I'm
extremely neurodivergent, like like I have ADHD and I have
extreme niche interests that I know everything about ever since
I was a kid. So my and fixations, Like I'm
(28:20):
just like get fixated about things. So right now, my
extreme obsession is planes, and I know I just look
up models of planes, and I know every serial number
of every plane I've been on in the last two
three years. I know every seat I've sat on. It's
just my weird tick and that changes every couple of years.
(28:42):
I get a new thing that I need to know
every single thing about and can nerd out on, and
like I have forums that I have secret names and
I chat about my niche litt hobbies.
Speaker 2 (28:53):
What is the best seat on a plane?
Speaker 1 (28:55):
Then, in your opinion, well, it depends what model of
plane you're on and what airline you're on.
Speaker 3 (29:01):
Oay me.
Speaker 1 (29:03):
For me, I catch a lot of quantas A three
eighties when I go to and from Australia, and my
favorite seat is eleven A.
Speaker 3 (29:11):
That's my favorite seat.
Speaker 1 (29:14):
But when you're on different planes, oh, I also like
to have So I'm such a nerd with planes. I
don't buy a business class seat, but I always get
upgraded because I know the way around and how to
get upgraded and how to use points. So I always
like to have a console on the side. So my
(29:34):
seat isn't on the aisle. Does that make sense? Like
you have an arm rest? Yeah, yeah, so I want
my window here. I love a window seat, my window
here and my console here for if I fly business class,
but if I fly economy, window seat always, that is
always my seat, and I like in economy sitting in.
(29:56):
When I'm on a seven three seven Bowing seven three seven,
I like to sit in, uh, five A or six
A or maybe seat or F but five F or
six F no, okay, they're my favorite seats on a
Boeing seven three seven and.
Speaker 3 (30:17):
Then on a A three eighty eleven A.
Speaker 2 (30:23):
I'm gonna keep notes of this. I never know. I'm
usually a back of plane person.
Speaker 1 (30:27):
But then aisle or window.
Speaker 2 (30:30):
Always window for sure.
Speaker 3 (30:32):
Yeah, some people are aisle seats, I know.
Speaker 2 (30:35):
But I'm afraid of the bathrooms on planes. They tear ay,
they're so loud too, so like I would rather not.
So that's why I'm like, I'm not an aisle person.
I don't need to go anywhere. I want to just
be cornered stay there.
Speaker 3 (30:50):
Do you fly much?
Speaker 4 (30:52):
Yeah?
Speaker 2 (30:53):
I fly a lot more now, like i'd say like
six ten times a year, which I think is a
lot I don't know.
Speaker 3 (31:01):
Do you collect your points?
Speaker 2 (31:03):
I do Good Life Points.
Speaker 1 (31:06):
And you've got to use the same airline and you
collect your points.
Speaker 3 (31:09):
Because points are amazing.
Speaker 1 (31:10):
You get free floods, you can upgrade yourself.
Speaker 3 (31:15):
It's the dream.
Speaker 1 (31:16):
I'm like on so many forums about this. I could
talk about it for days. And then you get these
credit cards that give you a bunch of points and
you can use that to like that's great.
Speaker 2 (31:29):
That's when I was like, I'm an adult now. When
I was like collecting my points and building my goals
for that, you know, and like keeping track of it,
I was like, this is when you know that I've
turned an adult, and that's what excites me.
Speaker 1 (31:43):
Yeah, yeah, I love it, and I love I love
teaching my friends and people about it. When anyone has
a trip in my family, friends like Chrishelle's going on
like a girl's trip tonight. They're organizing it, and I'm
like making myself available so I can book their flights
and find what planes they're going on and make sure
(32:04):
their seats right.
Speaker 3 (32:05):
I love booking.
Speaker 2 (32:08):
Okay, I need I'll hit you up honestly, because you know.
Speaker 1 (32:12):
And there's great little tools. There's seat Guru, which tells
you which are the best seats in the worst seats
in the plane. Like, that's a great website. Yeah, I
could talk about it for days. We should probably get
me off this topic because my hyperfixation.
Speaker 2 (32:27):
That's okay. Is there anything else you want to say
about this album, the tour, or how people can find you.
Speaker 1 (32:35):
Please check out my album dream Ride that comes out
September fifth. Please find me on socials, g flip, g
flip music. I'm on all the things, and please come
to a show because I really try to make it
the best show possible for a viewer to see and
(32:56):
I really care about it.
Speaker 3 (32:58):
So I would like your.
Speaker 1 (33:00):
Honest opinion on even if you came to a show
and you have some like tips, if you're like, yeah, gee,
you could tighten up on this and that, Like I'm
open to feedback as well. But I'd love to see
people come to my show because I really try to
bring it. I want you to leave and be like,
holy shit, that was actually pretty good, you know, or
leave and be like, oh shit, I should pick up drums,
(33:23):
like it's never too late to learn an instrument as well.
Speaker 2 (33:27):
As I've had a guitar and I've been trying to
learn to play for the past ten years and I
still haven't.
Speaker 3 (33:33):
No, you've got to do it. You just got to
do it.
Speaker 1 (33:35):
And you've got to commit to like twenty minutes a
morning and just do a week, do seven days, twenty
minutes a morning.
Speaker 3 (33:42):
And then the whole thing with.
Speaker 1 (33:44):
Guitar is actually because I used to be a guitar teacher,
it's your fingers are gonna hurt, and you just got
to know that.
Speaker 3 (33:51):
You've got to build callouses up.
Speaker 1 (33:53):
So but once you get past the fingers hurting, then
it'll open up your eye and everything will be okay.
But your fingers are going to hurt too. You get
these little calluses on your fingers.
Speaker 2 (34:05):
Yeah. I was always convinced my like, I was like,
they're not long enough. I can't reach, and so I
would talk myself out of it. But I'll keep this
because I know that a habit is created in like
five days, is what people say. I think, So I'll
keep the seven days twenty minutes.
Speaker 1 (34:21):
Yeah, and then once your fingers hurt at the end
of that seven days, you just got to be like, oh,
like I just got to go a bit more. Or
what I would do is I'd use my thumbnail to
like press on my calluses when I started learning guitar,
because I really wanted when I wasn't playing guitar, the
(34:41):
calluses like, it's not really callouses that kind of sounds gross.
It's just like your fingertips become like more sturdy. So
I just like do that all day when I was
learning guitar to make my fingertips just i don't know,
more malleable when it came to the guitar to play
it and not be in pain.
Speaker 3 (35:00):
So I would also do that.
Speaker 2 (35:02):
Goscha, Well, thank you for the free the free guitar
and playing lessons so much. Congrats on the album and
the tour. I'm so excited to see how it goes.
And thank you.
Speaker 3 (35:16):
Thanks so much mate.
Speaker 2 (35:17):
Cheers you that have the good rest of your day.
Speaker 1 (35:19):
Bye,
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