April 1, 2025 • 41 mins
Cullen and Mason chat with Tom Prendergast from Bury Tomorrow. They chat about how Tom became a part of Bury Tomorrow, their new album, and much more.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:30):
Today. We've got Tom from Berry tomorrow. Super excited to
chat with you. Tom. You are all the way in
the good old UK across the pond, as they say,
how's across the pond today?
Speaker 2 (00:41):
It's all right.
Speaker 3 (00:42):
There's been a little bit of sun, which is which
is rare for the UK and especially like the North
because we're like halfway up in Barns Are, like near
Sheffield and Leeds that kind of area. So it's been
uncharacteristically nice. And I've been stuck in this room all day.
Speaker 2 (00:56):
So well, yeah, it's all doing interviews.
Speaker 3 (00:58):
It's all good now, just just working so just I
do production work, so I've just been doing that today.
Speaker 1 (01:05):
We'll make sure you get outside for a second before
before the sun goes.
Speaker 2 (01:09):
We've lost it, Mom, it's gone, it's gone already.
Speaker 4 (01:13):
Ship. You know something I've always been confused by is
is people from the UK calling the center of their
country the North. And I understand that, you know, you
have you have Scotland up above, yes, a little higher,
but like it always feels weird calling the center of
your country North.
Speaker 3 (01:34):
I mean, I'm not going to argue I might get
exiled from the North for saying that.
Speaker 4 (01:41):
I like it's just a very London It's it feels
like a very London centric perspective. You know, anything north
of London is just the north.
Speaker 2 (01:49):
Yeah yeah, I think if you're in London, like Birmingham
is north. Like we're right up at the wall, so
what a way away.
Speaker 4 (01:57):
I'm glad that you still use the wall as as marker.
Speaker 2 (02:01):
That's good. That's the one.
Speaker 4 (02:05):
Yeah, hell yeah go Romans love it.
Speaker 1 (02:10):
Well, let's get started with your just history with maybe
before even Berry tomorrow, Like talk a little bit about
how you got involved in music, just generally.
Speaker 3 (02:22):
Generally, like the when I was like sixteen seventeen, I
got involved in the local scene around here, which is
actually where I met Dawson, who was the guitarist, and
we were kind of we were both left hand a guitarist,
so we're friends immediately, and then we just kind of
gigged around in bands in the same scene for a while.
I went off and started doing production work and obviously
(02:43):
Dawson went off and did sol listen some other things.
Eventually joined Berry and that is my ended up being
my kind of link to me joining the band. So
I've done kind of little bits of my own solo stuff,
and I've been in some punk bands and nothing really
of any kind of commercial note.
Speaker 2 (03:01):
But probably twenty twenty one, then.
Speaker 3 (03:05):
Dawson got in touch and it was like, do you
fancy covering a few shows for us?
Speaker 2 (03:10):
I was like, yes, I do, and that was that
was the start of it.
Speaker 3 (03:14):
But before before joining Berry, like, I work in like
production music, so I do a lot of library sync
TV type stuff.
Speaker 2 (03:23):
I was doing that. I'm playing wedding gigs, so that
was my that was my that was my job.
Speaker 1 (03:27):
Wow. So it wasn't like you were in like some
big metal band or whatever in the UK like you were.
You're just doing your music thing in an entirely different
kind of industry of music completely.
Speaker 3 (03:38):
I mean, me and Dawson had been kind of whenever
he was back and were available. We've been jamming for
a few years and just writing songs just for the
fun of it. And then this, Yeah, the stars aligned
as it was to give us this opportunity, and I'm
glad I wasn't a fly on the wall when there
was the conversation of I've got a friend who can
sing because I can't much, and that was that.
Speaker 2 (04:01):
So I've just I would have.
Speaker 3 (04:02):
Cringed that it like I'm so glad it happened and
that they put the trust in me and in it.
Speaker 1 (04:08):
There are a number of like kind of music production
people for like you know, commercial production that we've interviewed
that are you know, like kind of their passion is
alternative music or heavy music or whatever it might be.
But they're like full time day gig is yeah, making
music for commercials or whatever it might be. And so
(04:28):
you're definitely not the only one out there that is
doing heavy music and also was doing and I don't
know if you're doing this still or not, but you know,
also doing some sort of music production for commercial kind
of type of music.
Speaker 2 (04:42):
Oh, that's very cool. I'm not sure.
Speaker 3 (04:45):
I'm not sure who that is, but that's that's sick
to know that that's a thing. It's it's a really
cool kind of I find it a really nice insight
into constantly being exposed to loads of different kinds of
music that I wouldn't normally even consider listening to. And
in that you find little production techniques and you'll find
(05:05):
little ideas, and that there's like transferable things between genres
and like son craft seems to be universal.
Speaker 2 (05:11):
So I feel like the more you're doing it, the
better you get it.
Speaker 3 (05:14):
So it's I've been afforded a very cool opportunity to
be continuously exposed to more and more and to be
kind of forced to improve and wherever I can. I'll
pull this over into like what we do when we're
creating as well.
Speaker 4 (05:28):
Do you do you have an example of something that's
kind of maybe a strange thing you picked up in
that in that part of the music world that you're
using in the band.
Speaker 2 (05:36):
Well, a lot of it is just general layering and instruments.
Speaker 3 (05:40):
So the sound selection and trying to find the right
sound for a certain thing is I always thought there
was some magic sauce for it, and there might be
for other people, but for me, it's just kind of
staring at the screen for hours and like flicking through
ideas and changing things and then removing things. So yeah,
(06:01):
just the process of being patient, like trying to find
those things that like fill gaps, so knowing where actually
we should take things out of this section. So like
I suppose, not so much weird, but just yeah, it's
an interesting process to get to that endpoint.
Speaker 4 (06:18):
The part about that part of the job that's always
confused me. Is I feel like I would just be
completely hindered or crippled by the amount of choice you
have now, you know. I mean it's if it's thirty
years ago, it's a kind of a different story. But
today there's so much choice in every single aspect that
(06:40):
I don't even know if I could make a decision,
I would just be constantly questioning myself if I made
the right one.
Speaker 3 (06:47):
Yeah, that is definitely a thing that is one hundred
and they're the kind of moments that.
Speaker 2 (06:51):
It's it's it's great to have.
Speaker 3 (06:53):
It's a really like inclusive environment where we all we
all chip in and we all have ideas and we're
back and forth, and you know, there's there's there's agreements,
and there's there's disagreements, and but it's always in service
of the song. So like we'll get to a point
I might spend like half a day trying to do
an idea or something, and I'll be like, I've got
no idea if this is good or it's terrible, So
(07:14):
I'll put it in the group and then you've kind
of even if it's a little bit right, you've got
like a kickoff point to then take that idea to
the next step.
Speaker 2 (07:21):
So yeah, one hundred percent.
Speaker 3 (07:23):
And it's so easy to just be like, well, I
love this library, so I'm just going to buy this
library and then use it on everything. It's so you
can get that kind of choice paralysis that you've got
too much, you've got too many options.
Speaker 4 (07:35):
Yeah, I can see that.
Speaker 1 (07:36):
I get that. Is there any like music production stuff
that you've done, you know, commercially that maybe we would recognize,
like if you ever, like, has any of your music
been in like some big commercial or movie or whatever
it might be.
Speaker 3 (07:51):
There is definitely one, And I can't remember what the
show's called now, But a lot of the time will
kind of write the ideas, they'll get signed off, and
they'll they'll go off and they'll be delivered to clients
and you never really know where it's going. When I
first started, me and my friend Jamie, who have been
doing it together for years now, our first placements were
(08:11):
on like Sky TV for like a Formula one thing,
and there were one for like advertising some Sky movies
back in like twenty eighteen or something like that. We
knew about those ones, but a lot of it kind
of goes off and lives in the world. But I
found this one, and for the life of me, I
cannot remember what the program's called, but it was on
It was on Hulu and it was the guy Garfield
(08:33):
who played Spider Man. It were a series that he
was in and it was in one of those episodes
and I don't I don't know what scene it was,
but it just came up on this little credit that
it had appeared.
Speaker 2 (08:44):
That's the only thing I know.
Speaker 1 (08:45):
So that's how you found out that it was in
that show? Was that you just like saw it in
the credits.
Speaker 2 (08:50):
Yeah, it was just on this site. I can't remember.
Speaker 3 (08:53):
We sent me a Lincoln It's like, oh, yeah, this
is on here, and I think there's a there's a
track that me and Me and Jamie did as well,
which he was the main the main one on it.
That was the recent one of the theme tunes for
one of the wrestlers for the ww that Let's Go
Down on Netflix. So it's currently being used as one
of them. So they're that that's a couple of things.
(09:13):
I'm sure that they're out there doing doing plenty of stuff,
but we just I don't ever really know where it lives.
So we just kind of write it and then let
it go into the ether.
Speaker 1 (09:21):
And so there must be things where like you're you're
just watching a show or whatever, and then all of
a sudden you're like, wait, I wrote that, Like that's
is that a thing that ever happens?
Speaker 3 (09:30):
Not yet, No, yeah, I don't really watch TV, which
is funny, but but it will happen at some point.
I hope it will happen and I'll put it out
into the universe. I want to do something that ends
up on UFC, Like that's my that's my ultimate kind
of goal for production music. But hopefully i'll kind of
hear it. I'll be watching something with pleasantly surprised one day.
Speaker 4 (09:53):
You're on the wrong podcast. If you want to get
if you want to get some music on the UFC,
I mind, you gotta you gotta go to Joe Rogan.
Speaker 2 (10:04):
I'm good here, I'm good here.
Speaker 4 (10:07):
Well, thank you.
Speaker 1 (10:09):
Well, let's talk about how you got uh yeah, just
like kind of mentioned a little bit about how you
got involved with Barry Tomorrow where it's like, you know,
you sort of one of those things where you know
a guy that you know sort of thing, and but
it's just to me, it's just really interesting, like what
what is it? Or maybe what's the story around? Like
they must have first heard you like sing or something
and they're like we need that guy, like or I'm
(10:31):
just curious, like what's the specific story of like their
reasoning of like let's bring let's bring Tom on.
Speaker 3 (10:37):
Well, Dawson had the idea obviously when they were when
they went down. Part of me sorry, when when Jason
left two to bring I suppose not just like a
replacement or something that was seen as direct replacement, but
as like a vocalist with keyboard and a guitar resseparately
(10:58):
maybe and just know it adds a new dynamic to it,
I suppose. But they were originally just just gonna kind
of fulfill the dates that they had booked in and
then and then call it a day.
Speaker 2 (11:11):
But yeah, Dawson literally.
Speaker 3 (11:12):
Called me and it was like, do you want to
play slam dunk and then do these gigs with us?
Speaker 2 (11:17):
Yeah?
Speaker 3 (11:17):
Absolutely, And then we started writing a few ideas and
all of a sudden it's like, well, actually, this is
this is kind of cool, so that let's let's give
this a go and see what happens.
Speaker 2 (11:30):
And we ended up going down to London and meeting
with a.
Speaker 3 (11:33):
Label, which which is like it's like one of them
film scenes. In my head, it was like, I'm like,
you know, thirty odd, I've given up any any aspiration
of being like a successful commercial musician and I'm just
gonna I'm gonna write my music and I'm gonna play my
weddings and it's cool.
Speaker 2 (11:50):
I'm happy with that.
Speaker 3 (11:51):
I get to do music as a day job. So
I'm I'm lucky, very lucky in that sense. Well yeah,
but then to kind of have this out of the
blue and they say, oh yeah, you're gonna come down
to London, like the Sony headquarters in London, and we're
gonna have a meeting with a label and we're gonna
carry on. It was just like one of those almost
famous film like it were like a proper scene, like Wow,
this is actually happening. And then from that point I
(12:15):
may have I may have skipped over. We had an audition,
which was the most terrifying thing I've ever done in
my life. So I'm the mate who can sing and
it seemed like an Instagram video I think. And then
we went down to blackness in Southampton and me only
no indorse and and knowing none of the rest of
(12:35):
the band, and then you just got a kind of
all right, see what happens, Like there's some some boots
to fill, and it's like a level that I've never
really done before.
Speaker 2 (12:46):
And it didn't.
Speaker 3 (12:47):
Actually start at that well, like it couldn't really hear myself,
and it was like, this is feeling a little bit weird.
And then we just kind of stopped playing and I
was like, right, I'm just gonna sing at you, and
I just did that, and we just kind of hashed
out the way to sing different sections and what to do,
and you know, you don't have to sound like him,
you do your own thing and do a super supportive
(13:08):
and yeah, that's that's kind how it's how it all started.
And then we played slam Dunk, which was terrifying because nobody,
I suppose at that point as well, no one knew
who the replacements were or replacement like they said, there
was nothing that went out about what was happening, so
(13:28):
we kind of went on blind and they're all kinds
of like on Twitter, it's like, oh, it's Charlie Simpson
or it's this person.
Speaker 2 (13:34):
It's like, nah, nothing like that.
Speaker 4 (13:37):
It's the wedding singer.
Speaker 2 (13:38):
You know it's.
Speaker 4 (13:42):
Yeah, and you know, go On was part of that
part of that time, you know, with the audition and
then also a slam dug just kind of like proven
that you could be a good hang too.
Speaker 3 (13:52):
I think, I think definitely it's definitely part of it.
I think that we'd only had probably two we had
a couple of rehearsal sessions prior to to slam Dunk,
and that was still very much like getting to know
each other. And I was filled with like insane anxiety
(14:12):
about it, like I'm gonna get up there, I'm gonna
forget the words and my voice and going all that.
Speaker 2 (14:17):
Every I played out every single scenario in my head.
Speaker 4 (14:21):
Oh, it's the worst. It's such a such an anxious feeling.
I'm just feeling it for you, even though it's four
years past, five years past.
Speaker 2 (14:28):
Yeah, that's crazy.
Speaker 3 (14:29):
But but then after those shows went down really well,
it was super positive. We had a we had like
a little run of shows afterwards, and and that were
like the start of really getting to know each other.
And then we had we had like the festival season
the year after, and then we had the August Burns
Red too, which like five weeks and obviously the right
in the album between that and the singles, so we
(14:50):
had that was all a process of like getting really
kind of comfortable with each other and getting to know
each other and becoming friends. Obviously we Dawson, we've been
friends for you know, twenty years, so vice right.
Speaker 1 (15:05):
So you you now have, well the new album's about
to come out, but your your two albums in now
with the band, and again it sounds like you never
really had, at least with a band, you had never
done like any sort of music production and touring and
all of that. So as somebody who does production, you
(15:25):
know you were doing production as you as your job
is your daytime job. What was it like to then
go into another person's studio and like have them produce
music for you. I don't know. It just feels like
one of those things where it's like, I don't know,
like a one football player coming in or like one
quarterback coming in and it's like we're we're like are
(15:46):
we in competition?
Speaker 2 (15:47):
Here?
Speaker 1 (15:47):
Are we trying to help each other out? I don't
I don't know. What was it one of those things
where it's just it felt like a little bit of
I don't know, like awkward. Did it feel really natural?
What was that like to have somebody else like produce
music that you were creating?
Speaker 2 (16:00):
Very cool question, it was.
Speaker 3 (16:04):
I was kind of like fanboy starstruck because the first
person that we did that with is Dan Weller from
Sixth and Sixth, one of my favorite bands growing up.
So to get to work with him for I mean
the first two singles to begin with, was insanely intimidating.
Speaker 2 (16:22):
We're gone to this like huge studio and Otterhead that's.
Speaker 3 (16:25):
In Rugby, like a couple of hours from it, like
a really cool residential place where like an hourhouse and
like land and it's great.
Speaker 2 (16:31):
It's a great studio.
Speaker 3 (16:34):
And yeah, just because we took not fully formed ideas,
but we had wed like demos that were built in
my studio here and that would pass between and would
make sure that we're kind of happy how it was
roughly structured.
Speaker 2 (16:49):
So we went. So we went with a.
Speaker 3 (16:51):
Bunch of ideas that then with Dan and all of
us we just kind of pulled everything apart and put
it back together and started retracking and front. From that
point it just felt like this amazing collaborative experience. I
think I think my biggest anxiety would have been that
what I was doing wasn't wasn't to a level that
was high enough. Of course, it had been such a
(17:11):
big jump from one thing to the other. Whereas I
found the case was it was just kind of applying
the same sort of processes of writing and stripping stuff
back and sound selection, but then getting to see you know,
like a top tier producer who have respected for loads
of years as a guitarist and a musician, just seeing
how he works it and then like having this back
(17:33):
and forth and just chatting and yeah, it was a
super cool experience to do with the two singles like that,
and then we had an entire month to do the.
Speaker 2 (17:41):
Album in the studio with him as well.
Speaker 4 (17:44):
So yeah, a month is a long time. It's that's
Sony money, then, is what you're saying. That's where Sony gets.
Speaker 3 (17:53):
Yeah, oh yeah, I got that got us. It was Yeah,
that was an amazing experience. Really kind of helped me
and Ed feel way more comfortable having that time to
kind of go back and forth with things and and
spend time.
Speaker 1 (18:09):
Sure, is that one of those things when you're writing,
especially lyrics, you know, knowing that you're singing and then
I'm forgetting Yeah you said ed sorry Daniel. With him
singing as well, is it like one of those things
where he's primarily writing lyrics or does he like want
your input since you're also going to be singing a
(18:31):
lot of those lyrics as well. I'm just curious, like
how the how you all kind of manage the lyric
creation process knowing that you both are singing.
Speaker 3 (18:40):
Yeah, that was actually super collaborative as well, Like right
right from the start, like that, Dan's got a like
a really good sensibility when it comes to melodies and
cadences and kind of rhythms and lyrics, and so I
can sometimes go too much like get off point, but
(19:00):
like Dan's really got a really good focus on like
and I suppose like a quality control and like the
right kind of melodies and you know, ideas about lyrics,
and we'll just back and forth and again it's just
in service to getting whatever that that right idea is
at the end, at the end of the trail. So
right from the off, you know, we were in the
studio and he was helping me on the singing part lyrics,
(19:23):
and we were going through like sections screaming screaming parts
and looking at rhythms and and I kind of help
contribute where I.
Speaker 2 (19:32):
Could in that as well.
Speaker 3 (19:33):
So it's it felt genuinely collaborative, and I think it
was it was a shared goal with all of us
that we just wanted the thing at the end to
be like the best it possibly could be.
Speaker 2 (19:44):
Mm hmm.
Speaker 4 (19:45):
Well, I would say that, you know, since you've joined
the band, and not to not to dog on anyone
else by any means, but the band has really taken
a step forward. I would say, since you've joined, and
I know you're probably not gonna want to take credit
for that because you're a brit that's all right. But
from from my perspective and I think most people's perspective
(20:05):
that that's the case. Bury Tomorrow has only had a
better release every single time that the new albums come out,
and so far from the songs we've heard, this is
the exact same, right, I mean, this, this new album
is going to be amazing.
Speaker 2 (20:21):
Well, well, thank you very much. That's that's very that's
very kind.
Speaker 3 (20:24):
I think it's difficult from the inside to tell if
it's like how much of a step forwards happening, especially
being that mind and edge experience like goes to twenty
twenty one, so we're not really aware of what it
was like before, but it's it's definitely felt like a
progression all the way through, and you know, for everybody
that's you know, stuck with us, with me and head
(20:45):
there and it's still listening, like, thank you so much,
and thank you guys for for saying for saying that,
like it means a lot, and you can you kind
of get lost in like trying to get the next.
Speaker 2 (20:56):
Thing complete, the next thing, and you don't always look
back at how that is.
Speaker 3 (20:58):
But it's nice to see that the perception is that
it's moving forward from an outside point of view as well,
because it's sometimes difficult to have a perspective on those
things when you're so focused on the project.
Speaker 4 (21:10):
M To me, it feels like there's a lot more
focus on dynamics, and there is a lot more focus
on melody and extremely strange rhythms that are especially vocally,
that are very very fun and interesting and keep you
engaged for a longer period of time. It doesn't feel
like it doesn't feel like you know, metal music of
(21:33):
the past. It feels like it's it's trying to go forward,
and not just for you guys, but also for kind
of like the scene as a whole. I would say,
you know, because this is a genre that gets stale
pretty quick, right, But if you add enough of those
nice little flourishes that create that interesting, interesting kind of
taste along the way, it keeps it keeps things fresh
(21:57):
and engaging and enjoyable to listen to a longer period
of time. And so I have to commend you for that,
and I have to thank you. But I am curious
when you are in the studio and you are thinking,
all right, this needs just a little bit extra, This
needs a little bit of something to just give it
that seasoning that's going to make it memorable or more
(22:18):
dynamic or more rhythmically interesting. How does that go down?
Is it is it something where it is just totally
a collaborative thing, or is there like, is there someone
in the band maybe it's you that has that generally
comes up with like a really cool melodic part, or
that has that is kind of like that like last
(22:40):
mile kind of kind of thinker.
Speaker 3 (22:43):
Yeah, again, that's that's a really good question, and it
tends to be like I suppose different depending what I
like on the song or you know, way we are
in the process, Like let's let Go is probably quite
a good example that we did.
Speaker 2 (23:00):
I think so many versions of that chorus.
Speaker 3 (23:04):
So the original chorus was a completely I think it
was a I think it wasn't as halftime. It was
a completely different chord sequence, and it was a different
melody as well.
Speaker 2 (23:15):
But there was something like this, this just is not right,
and I don't know.
Speaker 3 (23:19):
What what we can do to make it right. So
I tried a bunch of different melodies, and you know,
we tried some different rhythms and slightly different chord sequences,
but nothing seemed to really hit it.
Speaker 2 (23:29):
And I think in the end, Dave sent me this
pop song that he really liked. And I don't know
what it was in that pop song.
Speaker 3 (23:38):
If it were like just the starting two chords or
like a rhythm within it, but or like that's cool.
And I remember getting like because all the guitars had
actually been recorded at this point, so I remember just
like grabbing the actual guitars and just moving them like
lego blocks and like changing changing the shape of the
like the the order of the chords, if you like,
(24:01):
and then taking the vocal melody and just chopping little
bits out of it and then actually get into them
last because it was completely different at the start. So
that's one example of it. But that took a few
visits to the studio they kind of get it, and coincidentally,
then because the actual guitar had been recorded, it completely
(24:25):
changed the riffing for the chorus. So it ended up
reordering the riff into this really interesting thing that we
would have probably not thought of in any other case.
Speaker 2 (24:35):
Of course we'd written it in a completely different context.
Speaker 1 (24:40):
It's just now a kreeing to me that when especially now,
maybe it was different back during kind of like analog
type of years, but it's occurring to me now that
when you're recording, whether it's a vocal, a drum track, guitars,
what you're actually recording is you're trying to get a
snapshot of something that then you can like copy and
(25:00):
paste or like you mentioned, like you're kind of reordering
different lego blocks and configurations. That like has never occurred
to me before in terms of like the recording process
and everything. That that's like, that's actually what you're doing.
You're not trying to just like and again like I
knew that, like as a band, like you're not just
recording like straight through, and it usually typically like in
(25:21):
a room together. I mean, there are I guess some
bands that will be in a room together and they'll
record live, but generally like you, in my mind, I
was like, wait, you're just like you're probably just playing
the whole guitar part throughout the entire song, Like you're
playing the whole song just one guitar or whatever, and
you're just like trying to get it until you like
nail that part or you're trying to nail like the
(25:41):
take or whatever of it. Now I'm realizing like, actually,
you know, you're breaking it down even farther than that,
so you're just getting all of these little these like
certain kind of blocks like you mentioned that you can
then just rotate around on a timeline. But yeah, anyway,
I know that's not a question, but I'm just like
it's now dawning on me that no.
Speaker 3 (25:57):
No, it's really it's a really cool part of the
process that when you're doing it on that scale of
an album, it's like the actual undertaking of the feat
especially like with Dan and what with cal Bound on
the latest record, as well. Is it's like we'll do
a line thirty times sometimes and it's like, yeah, I
like it, but that word there, or like, oh, shall
put a little bit of distortion on that bit of
(26:18):
a voice there, or like is the guitar part really crunched?
Speaker 2 (26:21):
Like are we hitting it right on the beat in
that section?
Speaker 3 (26:24):
So it's like like a real attention to detail that
every that every phrase is the best that it.
Speaker 2 (26:31):
Can be at the time of recording it.
Speaker 4 (26:34):
M yeah, do you feel that? Do you feel like
the scene is successful right now? In the UK? Is
is it easy to tour? Is it easy to you know,
and have a lot of people come to your shows
and stuff like that? Or have things have things changed
in recent years?
Speaker 2 (26:54):
I mean, again my experiences is only a few years.
Speaker 3 (26:58):
But I think we've been really kind of lucky to
see a continuous growth in our in our time in
the band so far, obviously doing Roundhouse last year, which
was the biggest UK headliner that we'd ever done, and
this November going too Victoria Warehouse, which is another step
(27:18):
up to like three and a half thousand in a room.
Speaker 2 (27:20):
Which is wow, which is ridiculous.
Speaker 3 (27:22):
I remember we played the Academy in Manchester last time,
and I remember I remember being there the year before
to watch Thrice and like Thrice one of my favorite
bands of all time, and I remember watching it being
like I cannot believe that we're going to play.
Speaker 2 (27:37):
This and then to get to do it. So I
think for that scene, the scene, like Manchester.
Speaker 3 (27:42):
Has always been amazing for us, like it's been the
first one to sell out every time, and the same
with with with every market in the UK.
Speaker 2 (27:50):
I think we've been very lucky.
Speaker 3 (27:52):
It's it's a small place, so there's not that many
places you can that you can you can do before
you branch off out into into your sure, right, Yeah.
Speaker 1 (28:02):
Do you feel like, especially a band like Bring Me
the Horizon, does a band like that, a UK band
like that over the last ten years, does it feel
like one of those sort of like a rising tide
raises all ships kind of thing where like because of
their success and obviously you guys don't sound exactly like
them or anything, but you know, I would say more
or less kind of the same heavy music scene. Is
(28:24):
it one of those things where yeah, that just because
of their success, it raises the awareness that like, wait,
there's a whole other music scene like this in the UK,
and do you feel like you're maybe one of those
bands that then also gets recognized because of the success
of a big band like them, or like, I know,
Loathe's really popping off right now in the UK, and
I don't know, does it feel like one of those
(28:44):
sort of things where you know, the massive success that
brings me their hids and has had, does that also
raise the success you think for bands like You're yours.
Speaker 2 (28:52):
Yeah, I think it can only be a net positive.
Speaker 3 (28:55):
Really is like the bigger they get, like you said that,
the more awareness more people having in the wider music genres,
that that kind of it brings attention to it, and
you know, it's it's it's definitely what's good for them
can definitely be good for us.
Speaker 2 (29:11):
Like the more the more eyes.
Speaker 3 (29:12):
That we have on on us, that the better for
our progression, I suppose. And I feel like the music
scene generally and it is just really open minded to
a lot of different styles at the minute. There's there's
a lot of room for like crossovers and you know,
you've seen a lot of bands like experimenting with different
genres and you know, it's it's it's a very exciting
(29:34):
time to be making music, and it's pushing boundaries in
a really kind of accepting way. And you know, if
if the song is good, it's like, that's the first thing.
If it if it if it paints outside the lines
a little bit, then it's probably quite exciting.
Speaker 2 (29:48):
So it's yeah, it's the quality of the music.
Speaker 3 (29:50):
Is primary, I think, and you know it's I've gone
a little bit off topic with what you said then,
but but my short answer is yes, I believe that
it is good for us.
Speaker 2 (30:00):
All.
Speaker 4 (30:02):
I'm curious where where do you get your pipes from?
Those are some Those are some good vocals. Man, I'm
not gonna lie. I'm a little jealous. I love listening
to it, and I'm curious. You know, it doesn't seem
like it fits kind of the mold of what you
generally hear in the heavy music scene when it comes
to cleans especially, So what would you say? What would
(30:28):
you say you've kind of like modeled yourself after who
I should say.
Speaker 2 (30:33):
Well, I think that.
Speaker 3 (30:36):
Like number one vocal and it's probably not influenced, but
just inspiration is Tim McGrath from Rise Against I remember
having revolutions per minute on my CD Walkman on the
way to college, and I just just running it over
and over again.
Speaker 2 (30:52):
I'm like, how does somebody sound that good?
Speaker 3 (30:55):
It was like outrageous to me, just the it were
the effortless like this and his voice and like flipping
between and his scream was so good.
Speaker 2 (31:04):
And it took me a lot of years.
Speaker 3 (31:05):
I could do no unclean vocals like I tried, but
I just never really found that technique without in myself
for a long time.
Speaker 2 (31:14):
So he was definitely an inspiration.
Speaker 3 (31:16):
And I was a big emo kid, so like I
was massively into like well take him Back Sunday and
the used and dashboard confessional and all sorts of stuff
I was.
Speaker 2 (31:26):
I was in one hundred percent.
Speaker 3 (31:29):
So there's a lot of that world that is is
responsible for my inspirations.
Speaker 1 (31:35):
Well, it sort of makes sense. I definitely can hear
some of those influences, and I think just beyond even
your vocals, like I think just from like a guitar
tone standpoint, and even Dan's screaming for And I've told
Colin this a little bit, but like it reminds me
a lot more of like like mid two thousands metalcore
(31:56):
than some of the newer stuff that you're hearing now,
just from like the production value, the tone, like it
almost seems like it's kind of honoring that past, or
like that era of like almost twenty years ago of metalcore.
I don't know, like, is that like a thought that
you all have when when it comes to writing and
recording and producing your music, or or or is it
sort of just coincidence that it kind of sounds at
(32:18):
least for me, it sounds like that.
Speaker 3 (32:19):
No, that's that's cool. It's I don't think it's necessarily conscious.
I mean I can't I can't speak for everybody. I
don't think it's necessarily conscious thing to try and honor that.
It's very cool that you feel like we do, and
it's it's always been a there's a byproduct of like
maintaining that that Bary Tomorrow sound in its essence while
(32:43):
kind of branching out and trying new ideas and you know,
refining our songs and really trying to push forward in
every way we creatively can. But if for keeping that
essence of it, I mean, everything comes back around. So
that's not bad. That's not a bad thing.
Speaker 4 (32:58):
True. Yeah, yeah, yeah, I think that's I think that's
absolutely right. It's it's gonna it's gonna come back around.
But it has that modern flair, that modern influence that
that that does give it just enough nuance difference, right,
which is a benefit I think all the way through.
Speaker 1 (33:18):
Thank you another thing you're just around with the new
album in particular, you know the so I think the
album comes out in a couple of months, folly when
people are able to like first hear it in its entirety.
What's something that you're excited for them to first hear?
Speaker 3 (33:37):
Oh, I think there's the album Closer is I'm very
excited from say, the album Closer, it's it's it's a
really different track for us. It's way more kind of
it's heavy, but it's got a lot, quite a lot
of theory elements in it, and they're like a real big,
kind of overlapping vocal song sung outro.
Speaker 4 (34:00):
So I'm excited kind of like a big is it
kind of like a big build up kind of.
Speaker 2 (34:04):
Song kind kind of Yeah, it's it is.
Speaker 3 (34:09):
I mean, it is heavy from the start, but it
does it does definitely have that building quality to it,
and then there's a there's a mid one that's like
totally unlike anything I think we've we've tried so far.
Speaker 4 (34:21):
It's polka music, isn't it.
Speaker 2 (34:22):
Oh you know it.
Speaker 3 (34:25):
There's just a jazz interlude for five minutes the.
Speaker 1 (34:29):
SCA.
Speaker 3 (34:32):
I don't think we'll live that down the scar rendition
of choke that's in the middle of the album.
Speaker 1 (34:37):
I will say, I know, I've never been a musician.
I do think that, especially in like the heavy music realm,
every closer needs to be a build up song. That's
my own person I agree. I love if you get
a good album that you know, just has like banger
after banger and then the closer is just a build
(34:58):
up song. You got me hooked every time.
Speaker 4 (35:01):
Yeah, those are like the legendary albums in my opinion.
Speaker 3 (35:04):
You know, I feel like the one that builds and
gives you that kind of big crescendo and pay off
at the end is like it's a motivation to go
back to track one.
Speaker 4 (35:15):
Yeah. Absolutely, again, Yeah, because you have to go back
through that journey again, you know, otherwise that big build
up at the end doesn't really mean anything.
Speaker 2 (35:23):
Yeah, very true. Yeah.
Speaker 1 (35:25):
Honestly, like under Oath has been amazing at that. I
think it's part of the reason why under oath is normal.
Gene has done that really well. Yeah, for sure, I'm
with you. Well you got any more questions Colin about
the new album?
Speaker 4 (35:40):
You know, I'm sure more will come as more songs
come out, but.
Speaker 2 (35:45):
Not long now, not long now.
Speaker 3 (35:47):
I'm it's right to be out there, and I hope
people enjoy what we've what we've made.
Speaker 1 (35:53):
Yeah, we're excited, we're in fact. What's really funny is
I think it was me sometime last week when we
officially got this interviewed scheduled, and a few days later,
one of our friends I want to call in a
nice friends texted our group chat a song that was
a very Tomorrow song. I think it was one of
the new ones. And he had no idea that we had, like,
(36:16):
you know, scheduled this or whatever. And I was like,
it was like, hey, we're interviewing them on Friday, by
the way, that's cool. So he was our I mean,
and I don't think he had ever heard your guys'
band before, and so he was like really stoked about it.
That's why he texted us. He's like, hey, have you
all heard this like band Burry Tomorrow and have you
heard this new song is incredible and it's like, yeah,
we're going to talk to them.
Speaker 3 (36:37):
On I love every everything about that, Like from point
it was well to know that that kind of thing
is he's happening organically, that people are just finding us.
Speaker 2 (36:45):
That's that's sick.
Speaker 4 (36:46):
I will say, I think that the exposure of Barry
Tomorrow in the US is significantly lower than I think
it should be, because you guys are pretty massive. I mean,
like it's you should be on the tongue of just
about everybody's who's into the scene. And I'm sure in
the UK that's definitely the way it is. But I
think that there's a lot to catch on here and
(37:08):
I think this album is gonna do it.
Speaker 2 (37:09):
No, thank you very much. We hop so we're out here.
Speaker 3 (37:12):
We're out there at the end of next week, so
we're hoping to to find a few more people to
like us.
Speaker 4 (37:20):
Hearts and minds.
Speaker 2 (37:21):
That's the one.
Speaker 4 (37:22):
Steal those hearts and minds.
Speaker 1 (37:24):
Yeah. How many How many dates are are you guys doing.
Speaker 2 (37:26):
Our I think it's around twenty a little bit more.
Speaker 3 (37:30):
We're out for a full months, so it's around twenty
two twenty two.
Speaker 2 (37:34):
I think it's just.
Speaker 4 (37:36):
Enough time to get diabetes have fun.
Speaker 1 (37:41):
Wait have you? I'm sure you've toured already now at
least once in the US, right, yeah, we did.
Speaker 2 (37:46):
We did one.
Speaker 3 (37:48):
In like the thing like April of twenty three, and
then we came back for a real short run with
Cane Hill around the.
Speaker 2 (37:58):
Blue Ridge Festival that didn't happen.
Speaker 3 (38:02):
And then we came back not that long ago to
do like a North American run.
Speaker 2 (38:06):
Electric Collboy, which was insane. That was so cool. Oh yeah.
Speaker 1 (38:12):
So so now that you've been I'm sure you've played
now some shows in the American South. I always have
to ask anybody from like Britain or Australia, you know,
somewhere that's not in America, because to me, the American
South feels like the most America of America. Do you
do you do you get that impression?
Speaker 2 (38:32):
The most American of America.
Speaker 1 (38:33):
It's like like it doesn't like when you think of
like like like American caricatures. It's the South. It's so stereotypical.
It's got to be right.
Speaker 4 (38:43):
Yeah, that's because it's the most ridiculous.
Speaker 3 (38:46):
But I do love it down there. To be fair,
every time we pass the book is I'm like, can
we please stop.
Speaker 1 (38:51):
I was about to say, you have to go to
a bus Yeah.
Speaker 3 (38:55):
I think the first time we went there, we came
back with like fifteen bass pro shot parts each we
we went hot on the dream.
Speaker 2 (39:02):
We're gonna buy everything.
Speaker 4 (39:04):
You gotta love it.
Speaker 1 (39:05):
Oh yeah, Well, Colin and I aren't from the South
in America, and so anytime we do go down south,
we we always have to stop at a BUCkies too.
And Colin especially like those pulled pork sandwiches.
Speaker 4 (39:16):
Pulled pork sandwiches and BUCkies. But what else I'm also
a sucker for in the South is boiled peanuts at
a gas station. Oh, section, Oh, you gotta try it.
It's uh, it's so weird. It feels like it shouldn't work,
but it does. I'm boiled peanuts. They'll have them like
this little container just warmed all day long in a
(39:37):
gas station and you can just go scoob yourself some
boiled peanuts. It's I don't know, it's great.
Speaker 2 (39:41):
Man, I'm gonna I'm gonna try it, and I'll let
you know where Where are you? Where are you guys based?
Speaker 1 (39:47):
I live in Minnesota, in Minneapolis.
Speaker 4 (39:49):
Yeah, and I'm in South Dakota in the middle of
absolutely nowhere.
Speaker 3 (39:54):
Well, if you know, if you're not too far from
one of our days and you fancy come and just
let us know and we'll we'll get.
Speaker 1 (39:59):
Well, yeah, are you guy? Let me let me check
really quick. Are you guys playing in Minneapolis at all
or somewhere near?
Speaker 4 (40:06):
I think we saw them.
Speaker 1 (40:07):
You are actually April twelfth, You guys are going to
play at the Skyway Theater Skyway.
Speaker 4 (40:13):
Wow?
Speaker 2 (40:13):
Well sweet?
Speaker 1 (40:14):
So so yeah, I'll be I'll be around, I can,
I can hang out perfect.
Speaker 3 (40:19):
Yeah, let's let's do let's do that. It'd be good
to catch up in person.
Speaker 1 (40:24):
Oh yeah, let's do it. Let's do it. So yeah,
I don't know what what day of the week that is,
but we can make it. I think that's a Saturday.
Speaker 4 (40:31):
It's a Saturday. I might be able to make it
as well. It's a five hour trip for me, but
that's okay. That's a short drive in America.
Speaker 1 (40:38):
Yeah, I think I think that's a Saturday, because I
think the Saturday before is the fifth, so it's got
to be a Saturday.
Speaker 4 (40:42):
Yeah.
Speaker 3 (40:44):
Your short drive, your short drive is literally two thirds
of our country.
Speaker 2 (40:51):
You can go from London to Scotland.
Speaker 1 (40:55):
To multiple to the North.
Speaker 4 (40:57):
I could go to the North, is what you're saying.
Speaker 1 (40:58):
You could well, tom Thank you, thank you so much
for chatting more about Barry tomorrow. We're just super stoked
about the new album. We truly are, and hopefully here
in a few weeks we'll be able to see you
in person and and uh watch you guys play some
of the new songs.
Speaker 4 (41:16):
Howay God
Speaker 2 (41:23):
H
Today. We've got Tom from Berry tomorrow. Super excited to
chat with you. Tom. You are all the way in
the good old UK across the pond, as they say,
how's across the pond today?
Speaker 2 (00:41):
It's all right.
Speaker 3 (00:42):
There's been a little bit of sun, which is which
is rare for the UK and especially like the North
because we're like halfway up in Barns Are, like near
Sheffield and Leeds that kind of area. So it's been
uncharacteristically nice. And I've been stuck in this room all day.
Speaker 2 (00:56):
So well, yeah, it's all doing interviews.
Speaker 3 (00:58):
It's all good now, just just working so just I
do production work, so I've just been doing that today.
Speaker 1 (01:05):
We'll make sure you get outside for a second before
before the sun goes.
Speaker 2 (01:09):
We've lost it, Mom, it's gone, it's gone already.
Speaker 4 (01:13):
Ship. You know something I've always been confused by is
is people from the UK calling the center of their
country the North. And I understand that, you know, you
have you have Scotland up above, yes, a little higher,
but like it always feels weird calling the center of
your country North.
Speaker 3 (01:34):
I mean, I'm not going to argue I might get
exiled from the North for saying that.
Speaker 4 (01:41):
I like it's just a very London It's it feels
like a very London centric perspective. You know, anything north
of London is just the north.
Speaker 2 (01:49):
Yeah yeah, I think if you're in London, like Birmingham
is north. Like we're right up at the wall, so
what a way away.
Speaker 4 (01:57):
I'm glad that you still use the wall as as marker.
Speaker 2 (02:01):
That's good. That's the one.
Speaker 4 (02:05):
Yeah, hell yeah go Romans love it.
Speaker 1 (02:10):
Well, let's get started with your just history with maybe
before even Berry tomorrow, Like talk a little bit about
how you got involved in music, just generally.
Speaker 3 (02:22):
Generally, like the when I was like sixteen seventeen, I
got involved in the local scene around here, which is
actually where I met Dawson, who was the guitarist, and
we were kind of we were both left hand a guitarist,
so we're friends immediately, and then we just kind of
gigged around in bands in the same scene for a while.
I went off and started doing production work and obviously
(02:43):
Dawson went off and did sol listen some other things.
Eventually joined Berry and that is my ended up being
my kind of link to me joining the band. So
I've done kind of little bits of my own solo stuff,
and I've been in some punk bands and nothing really
of any kind of commercial note.
Speaker 2 (03:01):
But probably twenty twenty one, then.
Speaker 3 (03:05):
Dawson got in touch and it was like, do you
fancy covering a few shows for us?
Speaker 2 (03:10):
I was like, yes, I do, and that was that
was the start of it.
Speaker 3 (03:14):
But before before joining Berry, like, I work in like
production music, so I do a lot of library sync
TV type stuff.
Speaker 2 (03:23):
I was doing that. I'm playing wedding gigs, so that
was my that was my that was my job.
Speaker 1 (03:27):
Wow. So it wasn't like you were in like some
big metal band or whatever in the UK like you were.
You're just doing your music thing in an entirely different
kind of industry of music completely.
Speaker 3 (03:38):
I mean, me and Dawson had been kind of whenever
he was back and were available. We've been jamming for
a few years and just writing songs just for the
fun of it. And then this, Yeah, the stars aligned
as it was to give us this opportunity, and I'm
glad I wasn't a fly on the wall when there
was the conversation of I've got a friend who can
sing because I can't much, and that was that.
Speaker 2 (04:01):
So I've just I would have.
Speaker 3 (04:02):
Cringed that it like I'm so glad it happened and
that they put the trust in me and in it.
Speaker 1 (04:08):
There are a number of like kind of music production
people for like you know, commercial production that we've interviewed
that are you know, like kind of their passion is
alternative music or heavy music or whatever it might be.
But they're like full time day gig is yeah, making
music for commercials or whatever it might be. And so
(04:28):
you're definitely not the only one out there that is
doing heavy music and also was doing and I don't
know if you're doing this still or not, but you know,
also doing some sort of music production for commercial kind
of type of music.
Speaker 2 (04:42):
Oh, that's very cool. I'm not sure.
Speaker 3 (04:45):
I'm not sure who that is, but that's that's sick
to know that that's a thing. It's it's a really
cool kind of I find it a really nice insight
into constantly being exposed to loads of different kinds of
music that I wouldn't normally even consider listening to. And
in that you find little production techniques and you'll find
(05:05):
little ideas, and that there's like transferable things between genres
and like son craft seems to be universal.
Speaker 2 (05:11):
So I feel like the more you're doing it, the
better you get it.
Speaker 3 (05:14):
So it's I've been afforded a very cool opportunity to
be continuously exposed to more and more and to be
kind of forced to improve and wherever I can. I'll
pull this over into like what we do when we're
creating as well.
Speaker 4 (05:28):
Do you do you have an example of something that's
kind of maybe a strange thing you picked up in
that in that part of the music world that you're
using in the band.
Speaker 2 (05:36):
Well, a lot of it is just general layering and instruments.
Speaker 3 (05:40):
So the sound selection and trying to find the right
sound for a certain thing is I always thought there
was some magic sauce for it, and there might be
for other people, but for me, it's just kind of
staring at the screen for hours and like flicking through
ideas and changing things and then removing things. So yeah,
(06:01):
just the process of being patient, like trying to find
those things that like fill gaps, so knowing where actually
we should take things out of this section. So like
I suppose, not so much weird, but just yeah, it's
an interesting process to get to that endpoint.
Speaker 4 (06:18):
The part about that part of the job that's always
confused me. Is I feel like I would just be
completely hindered or crippled by the amount of choice you
have now, you know. I mean it's if it's thirty
years ago, it's a kind of a different story. But
today there's so much choice in every single aspect that
(06:40):
I don't even know if I could make a decision,
I would just be constantly questioning myself if I made
the right one.
Speaker 3 (06:47):
Yeah, that is definitely a thing that is one hundred
and they're the kind of moments that.
Speaker 2 (06:51):
It's it's it's great to have.
Speaker 3 (06:53):
It's a really like inclusive environment where we all we
all chip in and we all have ideas and we're
back and forth, and you know, there's there's there's agreements,
and there's there's disagreements, and but it's always in service
of the song. So like we'll get to a point
I might spend like half a day trying to do
an idea or something, and I'll be like, I've got
no idea if this is good or it's terrible, So
(07:14):
I'll put it in the group and then you've kind
of even if it's a little bit right, you've got
like a kickoff point to then take that idea to
the next step.
Speaker 2 (07:21):
So yeah, one hundred percent.
Speaker 3 (07:23):
And it's so easy to just be like, well, I
love this library, so I'm just going to buy this
library and then use it on everything. It's so you
can get that kind of choice paralysis that you've got
too much, you've got too many options.
Speaker 4 (07:35):
Yeah, I can see that.
Speaker 1 (07:36):
I get that. Is there any like music production stuff
that you've done, you know, commercially that maybe we would recognize,
like if you ever, like, has any of your music
been in like some big commercial or movie or whatever
it might be.
Speaker 3 (07:51):
There is definitely one, And I can't remember what the
show's called now, But a lot of the time will
kind of write the ideas, they'll get signed off, and
they'll they'll go off and they'll be delivered to clients
and you never really know where it's going. When I
first started, me and my friend Jamie, who have been
doing it together for years now, our first placements were
(08:11):
on like Sky TV for like a Formula one thing,
and there were one for like advertising some Sky movies
back in like twenty eighteen or something like that. We
knew about those ones, but a lot of it kind
of goes off and lives in the world. But I
found this one, and for the life of me, I
cannot remember what the program's called, but it was on
It was on Hulu and it was the guy Garfield
(08:33):
who played Spider Man. It were a series that he
was in and it was in one of those episodes
and I don't I don't know what scene it was,
but it just came up on this little credit that
it had appeared.
Speaker 2 (08:44):
That's the only thing I know.
Speaker 1 (08:45):
So that's how you found out that it was in
that show? Was that you just like saw it in
the credits.
Speaker 2 (08:50):
Yeah, it was just on this site. I can't remember.
Speaker 3 (08:53):
We sent me a Lincoln It's like, oh, yeah, this
is on here, and I think there's a there's a
track that me and Me and Jamie did as well,
which he was the main the main one on it.
That was the recent one of the theme tunes for
one of the wrestlers for the ww that Let's Go
Down on Netflix. So it's currently being used as one
of them. So they're that that's a couple of things.
(09:13):
I'm sure that they're out there doing doing plenty of stuff,
but we just I don't ever really know where it lives.
So we just kind of write it and then let
it go into the ether.
Speaker 1 (09:21):
And so there must be things where like you're you're
just watching a show or whatever, and then all of
a sudden you're like, wait, I wrote that, Like that's
is that a thing that ever happens?
Speaker 3 (09:30):
Not yet, No, yeah, I don't really watch TV, which
is funny, but but it will happen at some point.
I hope it will happen and I'll put it out
into the universe. I want to do something that ends
up on UFC, Like that's my that's my ultimate kind
of goal for production music. But hopefully i'll kind of
hear it. I'll be watching something with pleasantly surprised one day.
Speaker 4 (09:53):
You're on the wrong podcast. If you want to get
if you want to get some music on the UFC,
I mind, you gotta you gotta go to Joe Rogan.
Speaker 2 (10:04):
I'm good here, I'm good here.
Speaker 4 (10:07):
Well, thank you.
Speaker 1 (10:09):
Well, let's talk about how you got uh yeah, just
like kind of mentioned a little bit about how you
got involved with Barry Tomorrow where it's like, you know,
you sort of one of those things where you know
a guy that you know sort of thing, and but
it's just to me, it's just really interesting, like what
what is it? Or maybe what's the story around? Like
they must have first heard you like sing or something
and they're like we need that guy, like or I'm
(10:31):
just curious, like what's the specific story of like their
reasoning of like let's bring let's bring Tom on.
Speaker 3 (10:37):
Well, Dawson had the idea obviously when they were when
they went down. Part of me sorry, when when Jason
left two to bring I suppose not just like a
replacement or something that was seen as direct replacement, but
as like a vocalist with keyboard and a guitar resseparately
(10:58):
maybe and just know it adds a new dynamic to it,
I suppose. But they were originally just just gonna kind
of fulfill the dates that they had booked in and
then and then call it a day.
Speaker 2 (11:11):
But yeah, Dawson literally.
Speaker 3 (11:12):
Called me and it was like, do you want to
play slam dunk and then do these gigs with us?
Speaker 2 (11:17):
Yeah?
Speaker 3 (11:17):
Absolutely, And then we started writing a few ideas and
all of a sudden it's like, well, actually, this is
this is kind of cool, so that let's let's give
this a go and see what happens.
Speaker 2 (11:30):
And we ended up going down to London and meeting
with a.
Speaker 3 (11:33):
Label, which which is like it's like one of them
film scenes. In my head, it was like, I'm like,
you know, thirty odd, I've given up any any aspiration
of being like a successful commercial musician and I'm just
gonna I'm gonna write my music and I'm gonna play my
weddings and it's cool.
Speaker 2 (11:50):
I'm happy with that.
Speaker 3 (11:51):
I get to do music as a day job. So
I'm I'm lucky, very lucky in that sense. Well yeah,
but then to kind of have this out of the
blue and they say, oh yeah, you're gonna come down
to London, like the Sony headquarters in London, and we're
gonna have a meeting with a label and we're gonna
carry on. It was just like one of those almost
famous film like it were like a proper scene, like Wow,
this is actually happening. And then from that point I
(12:15):
may have I may have skipped over. We had an audition,
which was the most terrifying thing I've ever done in
my life. So I'm the mate who can sing and
it seemed like an Instagram video I think. And then
we went down to blackness in Southampton and me only
no indorse and and knowing none of the rest of
(12:35):
the band, and then you just got a kind of
all right, see what happens, Like there's some some boots
to fill, and it's like a level that I've never
really done before.
Speaker 2 (12:46):
And it didn't.
Speaker 3 (12:47):
Actually start at that well, like it couldn't really hear myself,
and it was like, this is feeling a little bit weird.
And then we just kind of stopped playing and I
was like, right, I'm just gonna sing at you, and
I just did that, and we just kind of hashed
out the way to sing different sections and what to do,
and you know, you don't have to sound like him,
you do your own thing and do a super supportive
(13:08):
and yeah, that's that's kind how it's how it all started.
And then we played slam Dunk, which was terrifying because nobody,
I suppose at that point as well, no one knew
who the replacements were or replacement like they said, there
was nothing that went out about what was happening, so
(13:28):
we kind of went on blind and they're all kinds
of like on Twitter, it's like, oh, it's Charlie Simpson
or it's this person.
Speaker 2 (13:34):
It's like, nah, nothing like that.
Speaker 4 (13:37):
It's the wedding singer.
Speaker 2 (13:38):
You know it's.
Speaker 4 (13:42):
Yeah, and you know, go On was part of that
part of that time, you know, with the audition and
then also a slam dug just kind of like proven
that you could be a good hang too.
Speaker 3 (13:52):
I think, I think definitely it's definitely part of it.
I think that we'd only had probably two we had
a couple of rehearsal sessions prior to to slam Dunk,
and that was still very much like getting to know
each other. And I was filled with like insane anxiety
(14:12):
about it, like I'm gonna get up there, I'm gonna
forget the words and my voice and going all that.
Speaker 2 (14:17):
Every I played out every single scenario in my head.
Speaker 4 (14:21):
Oh, it's the worst. It's such a such an anxious feeling.
I'm just feeling it for you, even though it's four
years past, five years past.
Speaker 2 (14:28):
Yeah, that's crazy.
Speaker 3 (14:29):
But but then after those shows went down really well,
it was super positive. We had a we had like
a little run of shows afterwards, and and that were
like the start of really getting to know each other.
And then we had we had like the festival season
the year after, and then we had the August Burns
Red too, which like five weeks and obviously the right
in the album between that and the singles, so we
(14:50):
had that was all a process of like getting really
kind of comfortable with each other and getting to know
each other and becoming friends. Obviously we Dawson, we've been
friends for you know, twenty years, so vice right.
Speaker 1 (15:05):
So you you now have, well the new album's about
to come out, but your your two albums in now
with the band, and again it sounds like you never
really had, at least with a band, you had never
done like any sort of music production and touring and
all of that. So as somebody who does production, you
(15:25):
know you were doing production as you as your job
is your daytime job. What was it like to then
go into another person's studio and like have them produce
music for you. I don't know. It just feels like
one of those things where it's like, I don't know,
like a one football player coming in or like one
quarterback coming in and it's like we're we're like are
(15:46):
we in competition?
Speaker 2 (15:47):
Here?
Speaker 1 (15:47):
Are we trying to help each other out? I don't
I don't know. What was it one of those things
where it's just it felt like a little bit of
I don't know, like awkward. Did it feel really natural?
What was that like to have somebody else like produce
music that you were creating?
Speaker 2 (16:00):
Very cool question, it was.
Speaker 3 (16:04):
I was kind of like fanboy starstruck because the first
person that we did that with is Dan Weller from
Sixth and Sixth, one of my favorite bands growing up.
So to get to work with him for I mean
the first two singles to begin with, was insanely intimidating.
Speaker 2 (16:22):
We're gone to this like huge studio and Otterhead that's.
Speaker 3 (16:25):
In Rugby, like a couple of hours from it, like
a really cool residential place where like an hourhouse and
like land and it's great.
Speaker 2 (16:31):
It's a great studio.
Speaker 3 (16:34):
And yeah, just because we took not fully formed ideas,
but we had wed like demos that were built in
my studio here and that would pass between and would
make sure that we're kind of happy how it was
roughly structured.
Speaker 2 (16:49):
So we went. So we went with a.
Speaker 3 (16:51):
Bunch of ideas that then with Dan and all of
us we just kind of pulled everything apart and put
it back together and started retracking and front. From that
point it just felt like this amazing collaborative experience. I
think I think my biggest anxiety would have been that
what I was doing wasn't wasn't to a level that
was high enough. Of course, it had been such a
(17:11):
big jump from one thing to the other. Whereas I
found the case was it was just kind of applying
the same sort of processes of writing and stripping stuff
back and sound selection, but then getting to see you know,
like a top tier producer who have respected for loads
of years as a guitarist and a musician, just seeing
how he works it and then like having this back
(17:33):
and forth and just chatting and yeah, it was a
super cool experience to do with the two singles like that,
and then we had an entire month to do the.
Speaker 2 (17:41):
Album in the studio with him as well.
Speaker 4 (17:44):
So yeah, a month is a long time. It's that's
Sony money, then, is what you're saying. That's where Sony gets.
Speaker 3 (17:53):
Yeah, oh yeah, I got that got us. It was Yeah,
that was an amazing experience. Really kind of helped me
and Ed feel way more comfortable having that time to
kind of go back and forth with things and and
spend time.
Speaker 1 (18:09):
Sure, is that one of those things when you're writing,
especially lyrics, you know, knowing that you're singing and then
I'm forgetting Yeah you said ed sorry Daniel. With him
singing as well, is it like one of those things
where he's primarily writing lyrics or does he like want
your input since you're also going to be singing a
(18:31):
lot of those lyrics as well. I'm just curious, like
how the how you all kind of manage the lyric
creation process knowing that you both are singing.
Speaker 3 (18:40):
Yeah, that was actually super collaborative as well, Like right
right from the start, like that, Dan's got a like
a really good sensibility when it comes to melodies and
cadences and kind of rhythms and lyrics, and so I
can sometimes go too much like get off point, but
(19:00):
like Dan's really got a really good focus on like
and I suppose like a quality control and like the
right kind of melodies and you know, ideas about lyrics,
and we'll just back and forth and again it's just
in service to getting whatever that that right idea is
at the end, at the end of the trail. So
right from the off, you know, we were in the
studio and he was helping me on the singing part lyrics,
(19:23):
and we were going through like sections screaming screaming parts
and looking at rhythms and and I kind of help
contribute where I.
Speaker 2 (19:32):
Could in that as well.
Speaker 3 (19:33):
So it's it felt genuinely collaborative, and I think it
was it was a shared goal with all of us
that we just wanted the thing at the end to
be like the best it possibly could be.
Speaker 2 (19:44):
Mm hmm.
Speaker 4 (19:45):
Well, I would say that, you know, since you've joined
the band, and not to not to dog on anyone
else by any means, but the band has really taken
a step forward. I would say, since you've joined, and
I know you're probably not gonna want to take credit
for that because you're a brit that's all right. But
from from my perspective and I think most people's perspective
(20:05):
that that's the case. Bury Tomorrow has only had a
better release every single time that the new albums come out,
and so far from the songs we've heard, this is
the exact same, right, I mean, this, this new album
is going to be amazing.
Speaker 2 (20:21):
Well, well, thank you very much. That's that's very that's
very kind.
Speaker 3 (20:24):
I think it's difficult from the inside to tell if
it's like how much of a step forwards happening, especially
being that mind and edge experience like goes to twenty
twenty one, so we're not really aware of what it
was like before, but it's it's definitely felt like a
progression all the way through, and you know, for everybody
that's you know, stuck with us, with me and head
(20:45):
there and it's still listening, like, thank you so much,
and thank you guys for for saying for saying that,
like it means a lot, and you can you kind
of get lost in like trying to get the next.
Speaker 2 (20:56):
Thing complete, the next thing, and you don't always look
back at how that is.
Speaker 3 (20:58):
But it's nice to see that the perception is that
it's moving forward from an outside point of view as well,
because it's sometimes difficult to have a perspective on those
things when you're so focused on the project.
Speaker 4 (21:10):
M To me, it feels like there's a lot more
focus on dynamics, and there is a lot more focus
on melody and extremely strange rhythms that are especially vocally,
that are very very fun and interesting and keep you
engaged for a longer period of time. It doesn't feel
like it doesn't feel like you know, metal music of
(21:33):
the past. It feels like it's it's trying to go forward,
and not just for you guys, but also for kind
of like the scene as a whole. I would say,
you know, because this is a genre that gets stale
pretty quick, right, But if you add enough of those
nice little flourishes that create that interesting, interesting kind of
taste along the way, it keeps it keeps things fresh
(21:57):
and engaging and enjoyable to listen to a longer period
of time. And so I have to commend you for that,
and I have to thank you. But I am curious
when you are in the studio and you are thinking,
all right, this needs just a little bit extra, This
needs a little bit of something to just give it
that seasoning that's going to make it memorable or more
(22:18):
dynamic or more rhythmically interesting. How does that go down?
Is it is it something where it is just totally
a collaborative thing, or is there like, is there someone
in the band maybe it's you that has that generally
comes up with like a really cool melodic part, or
that has that is kind of like that like last
(22:40):
mile kind of kind of thinker.
Speaker 3 (22:43):
Yeah, again, that's that's a really good question, and it
tends to be like I suppose different depending what I
like on the song or you know, way we are
in the process, Like let's let Go is probably quite
a good example that we did.
Speaker 2 (23:00):
I think so many versions of that chorus.
Speaker 3 (23:04):
So the original chorus was a completely I think it
was a I think it wasn't as halftime. It was
a completely different chord sequence, and it was a different
melody as well.
Speaker 2 (23:15):
But there was something like this, this just is not right,
and I don't know.
Speaker 3 (23:19):
What what we can do to make it right. So
I tried a bunch of different melodies, and you know,
we tried some different rhythms and slightly different chord sequences,
but nothing seemed to really hit it.
Speaker 2 (23:29):
And I think in the end, Dave sent me this
pop song that he really liked. And I don't know
what it was in that pop song.
Speaker 3 (23:38):
If it were like just the starting two chords or
like a rhythm within it, but or like that's cool.
And I remember getting like because all the guitars had
actually been recorded at this point, so I remember just
like grabbing the actual guitars and just moving them like
lego blocks and like changing changing the shape of the
like the the order of the chords, if you like,
(24:01):
and then taking the vocal melody and just chopping little
bits out of it and then actually get into them
last because it was completely different at the start. So
that's one example of it. But that took a few
visits to the studio they kind of get it, and coincidentally,
then because the actual guitar had been recorded, it completely
(24:25):
changed the riffing for the chorus. So it ended up
reordering the riff into this really interesting thing that we
would have probably not thought of in any other case.
Speaker 2 (24:35):
Of course we'd written it in a completely different context.
Speaker 1 (24:40):
It's just now a kreeing to me that when especially now,
maybe it was different back during kind of like analog
type of years, but it's occurring to me now that
when you're recording, whether it's a vocal, a drum track, guitars,
what you're actually recording is you're trying to get a
snapshot of something that then you can like copy and
(25:00):
paste or like you mentioned, like you're kind of reordering
different lego blocks and configurations. That like has never occurred
to me before in terms of like the recording process
and everything. That that's like, that's actually what you're doing.
You're not trying to just like and again like I
knew that, like as a band, like you're not just
recording like straight through, and it usually typically like in
(25:21):
a room together. I mean, there are I guess some
bands that will be in a room together and they'll
record live, but generally like you, in my mind, I
was like, wait, you're just like you're probably just playing
the whole guitar part throughout the entire song, Like you're
playing the whole song just one guitar or whatever, and
you're just like trying to get it until you like
nail that part or you're trying to nail like the
(25:41):
take or whatever of it. Now I'm realizing like, actually,
you know, you're breaking it down even farther than that,
so you're just getting all of these little these like
certain kind of blocks like you mentioned that you can
then just rotate around on a timeline. But yeah, anyway,
I know that's not a question, but I'm just like
it's now dawning on me that no.
Speaker 3 (25:57):
No, it's really it's a really cool part of the
process that when you're doing it on that scale of
an album, it's like the actual undertaking of the feat
especially like with Dan and what with cal Bound on
the latest record, as well. Is it's like we'll do
a line thirty times sometimes and it's like, yeah, I
like it, but that word there, or like, oh, shall
put a little bit of distortion on that bit of
(26:18):
a voice there, or like is the guitar part really crunched?
Speaker 2 (26:21):
Like are we hitting it right on the beat in
that section?
Speaker 3 (26:24):
So it's like like a real attention to detail that
every that every phrase is the best that it.
Speaker 2 (26:31):
Can be at the time of recording it.
Speaker 4 (26:34):
M yeah, do you feel that? Do you feel like
the scene is successful right now? In the UK? Is
is it easy to tour? Is it easy to you know,
and have a lot of people come to your shows
and stuff like that? Or have things have things changed
in recent years?
Speaker 2 (26:54):
I mean, again my experiences is only a few years.
Speaker 3 (26:58):
But I think we've been really kind of lucky to
see a continuous growth in our in our time in
the band so far, obviously doing Roundhouse last year, which
was the biggest UK headliner that we'd ever done, and
this November going too Victoria Warehouse, which is another step
(27:18):
up to like three and a half thousand in a room.
Speaker 2 (27:20):
Which is wow, which is ridiculous.
Speaker 3 (27:22):
I remember we played the Academy in Manchester last time,
and I remember I remember being there the year before
to watch Thrice and like Thrice one of my favorite
bands of all time, and I remember watching it being
like I cannot believe that we're going to play.
Speaker 2 (27:37):
This and then to get to do it. So I
think for that scene, the scene, like Manchester.
Speaker 3 (27:42):
Has always been amazing for us, like it's been the
first one to sell out every time, and the same
with with with every market in the UK.
Speaker 2 (27:50):
I think we've been very lucky.
Speaker 3 (27:52):
It's it's a small place, so there's not that many
places you can that you can you can do before
you branch off out into into your sure, right, Yeah.
Speaker 1 (28:02):
Do you feel like, especially a band like Bring Me
the Horizon, does a band like that, a UK band
like that over the last ten years, does it feel
like one of those sort of like a rising tide
raises all ships kind of thing where like because of
their success and obviously you guys don't sound exactly like
them or anything, but you know, I would say more
or less kind of the same heavy music scene. Is
(28:24):
it one of those things where yeah, that just because
of their success, it raises the awareness that like, wait,
there's a whole other music scene like this in the UK,
and do you feel like you're maybe one of those
bands that then also gets recognized because of the success
of a big band like them, or like, I know,
Loathe's really popping off right now in the UK, and
I don't know, does it feel like one of those
(28:44):
sort of things where you know, the massive success that
brings me their hids and has had, does that also
raise the success you think for bands like You're yours.
Speaker 2 (28:52):
Yeah, I think it can only be a net positive.
Speaker 3 (28:55):
Really is like the bigger they get, like you said that,
the more awareness more people having in the wider music genres,
that that kind of it brings attention to it, and
you know, it's it's it's definitely what's good for them
can definitely be good for us.
Speaker 2 (29:11):
Like the more the more eyes.
Speaker 3 (29:12):
That we have on on us, that the better for
our progression, I suppose. And I feel like the music
scene generally and it is just really open minded to
a lot of different styles at the minute. There's there's
a lot of room for like crossovers and you know,
you've seen a lot of bands like experimenting with different
genres and you know, it's it's it's a very exciting
(29:34):
time to be making music, and it's pushing boundaries in
a really kind of accepting way. And you know, if
if the song is good, it's like, that's the first thing.
If it if it if it paints outside the lines
a little bit, then it's probably quite exciting.
Speaker 2 (29:48):
So it's yeah, it's the quality of the music.
Speaker 3 (29:50):
Is primary, I think, and you know it's I've gone
a little bit off topic with what you said then,
but but my short answer is yes, I believe that
it is good for us.
Speaker 2 (30:00):
All.
Speaker 4 (30:02):
I'm curious where where do you get your pipes from?
Those are some Those are some good vocals. Man, I'm
not gonna lie. I'm a little jealous. I love listening
to it, and I'm curious. You know, it doesn't seem
like it fits kind of the mold of what you
generally hear in the heavy music scene when it comes
to cleans especially, So what would you say? What would
(30:28):
you say you've kind of like modeled yourself after who
I should say.
Speaker 2 (30:33):
Well, I think that.
Speaker 3 (30:36):
Like number one vocal and it's probably not influenced, but
just inspiration is Tim McGrath from Rise Against I remember
having revolutions per minute on my CD Walkman on the
way to college, and I just just running it over
and over again.
Speaker 2 (30:52):
I'm like, how does somebody sound that good?
Speaker 3 (30:55):
It was like outrageous to me, just the it were
the effortless like this and his voice and like flipping
between and his scream was so good.
Speaker 2 (31:04):
And it took me a lot of years.
Speaker 3 (31:05):
I could do no unclean vocals like I tried, but
I just never really found that technique without in myself
for a long time.
Speaker 2 (31:14):
So he was definitely an inspiration.
Speaker 3 (31:16):
And I was a big emo kid, so like I
was massively into like well take him Back Sunday and
the used and dashboard confessional and all sorts of stuff
I was.
Speaker 2 (31:26):
I was in one hundred percent.
Speaker 3 (31:29):
So there's a lot of that world that is is
responsible for my inspirations.
Speaker 1 (31:35):
Well, it sort of makes sense. I definitely can hear
some of those influences, and I think just beyond even
your vocals, like I think just from like a guitar
tone standpoint, and even Dan's screaming for And I've told
Colin this a little bit, but like it reminds me
a lot more of like like mid two thousands metalcore
(31:56):
than some of the newer stuff that you're hearing now,
just from like the production value, the tone, like it
almost seems like it's kind of honoring that past, or
like that era of like almost twenty years ago of metalcore.
I don't know, like, is that like a thought that
you all have when when it comes to writing and
recording and producing your music, or or or is it
sort of just coincidence that it kind of sounds at
(32:18):
least for me, it sounds like that.
Speaker 3 (32:19):
No, that's that's cool. It's I don't think it's necessarily conscious.
I mean I can't I can't speak for everybody. I
don't think it's necessarily conscious thing to try and honor that.
It's very cool that you feel like we do, and
it's it's always been a there's a byproduct of like
maintaining that that Bary Tomorrow sound in its essence while
(32:43):
kind of branching out and trying new ideas and you know,
refining our songs and really trying to push forward in
every way we creatively can. But if for keeping that
essence of it, I mean, everything comes back around. So
that's not bad. That's not a bad thing.
Speaker 4 (32:58):
True. Yeah, yeah, yeah, I think that's I think that's
absolutely right. It's it's gonna it's gonna come back around.
But it has that modern flair, that modern influence that
that that does give it just enough nuance difference, right,
which is a benefit I think all the way through.
Speaker 1 (33:18):
Thank you another thing you're just around with the new
album in particular, you know the so I think the
album comes out in a couple of months, folly when
people are able to like first hear it in its entirety.
What's something that you're excited for them to first hear?
Speaker 3 (33:37):
Oh, I think there's the album Closer is I'm very
excited from say, the album Closer, it's it's it's a
really different track for us. It's way more kind of
it's heavy, but it's got a lot, quite a lot
of theory elements in it, and they're like a real big,
kind of overlapping vocal song sung outro.
Speaker 4 (34:00):
So I'm excited kind of like a big is it
kind of like a big build up kind of.
Speaker 2 (34:04):
Song kind kind of Yeah, it's it is.
Speaker 3 (34:09):
I mean, it is heavy from the start, but it
does it does definitely have that building quality to it,
and then there's a there's a mid one that's like
totally unlike anything I think we've we've tried so far.
Speaker 4 (34:21):
It's polka music, isn't it.
Speaker 2 (34:22):
Oh you know it.
Speaker 3 (34:25):
There's just a jazz interlude for five minutes the.
Speaker 1 (34:29):
SCA.
Speaker 3 (34:32):
I don't think we'll live that down the scar rendition
of choke that's in the middle of the album.
Speaker 1 (34:37):
I will say, I know, I've never been a musician.
I do think that, especially in like the heavy music realm,
every closer needs to be a build up song. That's
my own person I agree. I love if you get
a good album that you know, just has like banger
after banger and then the closer is just a build
(34:58):
up song. You got me hooked every time.
Speaker 4 (35:01):
Yeah, those are like the legendary albums in my opinion.
Speaker 3 (35:04):
You know, I feel like the one that builds and
gives you that kind of big crescendo and pay off
at the end is like it's a motivation to go
back to track one.
Speaker 4 (35:15):
Yeah. Absolutely, again, Yeah, because you have to go back
through that journey again, you know, otherwise that big build
up at the end doesn't really mean anything.
Speaker 2 (35:23):
Yeah, very true. Yeah.
Speaker 1 (35:25):
Honestly, like under Oath has been amazing at that. I
think it's part of the reason why under oath is normal.
Gene has done that really well. Yeah, for sure, I'm
with you. Well you got any more questions Colin about
the new album?
Speaker 4 (35:40):
You know, I'm sure more will come as more songs
come out, but.
Speaker 2 (35:45):
Not long now, not long now.
Speaker 3 (35:47):
I'm it's right to be out there, and I hope
people enjoy what we've what we've made.
Speaker 1 (35:53):
Yeah, we're excited, we're in fact. What's really funny is
I think it was me sometime last week when we
officially got this interviewed scheduled, and a few days later,
one of our friends I want to call in a
nice friends texted our group chat a song that was
a very Tomorrow song. I think it was one of
the new ones. And he had no idea that we had, like,
(36:16):
you know, scheduled this or whatever. And I was like,
it was like, hey, we're interviewing them on Friday, by
the way, that's cool. So he was our I mean,
and I don't think he had ever heard your guys'
band before, and so he was like really stoked about it.
That's why he texted us. He's like, hey, have you
all heard this like band Burry Tomorrow and have you
heard this new song is incredible and it's like, yeah,
we're going to talk to them.
Speaker 3 (36:37):
On I love every everything about that, Like from point
it was well to know that that kind of thing
is he's happening organically, that people are just finding us.
Speaker 2 (36:45):
That's that's sick.
Speaker 4 (36:46):
I will say, I think that the exposure of Barry
Tomorrow in the US is significantly lower than I think
it should be, because you guys are pretty massive. I mean,
like it's you should be on the tongue of just
about everybody's who's into the scene. And I'm sure in
the UK that's definitely the way it is. But I
think that there's a lot to catch on here and
(37:08):
I think this album is gonna do it.
Speaker 2 (37:09):
No, thank you very much. We hop so we're out here.
Speaker 3 (37:12):
We're out there at the end of next week, so
we're hoping to to find a few more people to
like us.
Speaker 4 (37:20):
Hearts and minds.
Speaker 2 (37:21):
That's the one.
Speaker 4 (37:22):
Steal those hearts and minds.
Speaker 1 (37:24):
Yeah. How many How many dates are are you guys doing.
Speaker 2 (37:26):
Our I think it's around twenty a little bit more.
Speaker 3 (37:30):
We're out for a full months, so it's around twenty
two twenty two.
Speaker 2 (37:34):
I think it's just.
Speaker 4 (37:36):
Enough time to get diabetes have fun.
Speaker 1 (37:41):
Wait have you? I'm sure you've toured already now at
least once in the US, right, yeah, we did.
Speaker 2 (37:46):
We did one.
Speaker 3 (37:48):
In like the thing like April of twenty three, and
then we came back for a real short run with
Cane Hill around the.
Speaker 2 (37:58):
Blue Ridge Festival that didn't happen.
Speaker 3 (38:02):
And then we came back not that long ago to
do like a North American run.
Speaker 2 (38:06):
Electric Collboy, which was insane. That was so cool. Oh yeah.
Speaker 1 (38:12):
So so now that you've been I'm sure you've played
now some shows in the American South. I always have
to ask anybody from like Britain or Australia, you know,
somewhere that's not in America, because to me, the American
South feels like the most America of America. Do you
do you do you get that impression?
Speaker 2 (38:32):
The most American of America.
Speaker 1 (38:33):
It's like like it doesn't like when you think of
like like like American caricatures. It's the South. It's so stereotypical.
It's got to be right.
Speaker 4 (38:43):
Yeah, that's because it's the most ridiculous.
Speaker 3 (38:46):
But I do love it down there. To be fair,
every time we pass the book is I'm like, can
we please stop.
Speaker 1 (38:51):
I was about to say, you have to go to
a bus Yeah.
Speaker 3 (38:55):
I think the first time we went there, we came
back with like fifteen bass pro shot parts each we
we went hot on the dream.
Speaker 2 (39:02):
We're gonna buy everything.
Speaker 4 (39:04):
You gotta love it.
Speaker 1 (39:05):
Oh yeah, Well, Colin and I aren't from the South
in America, and so anytime we do go down south,
we we always have to stop at a BUCkies too.
And Colin especially like those pulled pork sandwiches.
Speaker 4 (39:16):
Pulled pork sandwiches and BUCkies. But what else I'm also
a sucker for in the South is boiled peanuts at
a gas station. Oh, section, Oh, you gotta try it.
It's uh, it's so weird. It feels like it shouldn't work,
but it does. I'm boiled peanuts. They'll have them like
this little container just warmed all day long in a
(39:37):
gas station and you can just go scoob yourself some
boiled peanuts. It's I don't know, it's great.
Speaker 2 (39:41):
Man, I'm gonna I'm gonna try it, and I'll let
you know where Where are you? Where are you guys based?
Speaker 1 (39:47):
I live in Minnesota, in Minneapolis.
Speaker 4 (39:49):
Yeah, and I'm in South Dakota in the middle of
absolutely nowhere.
Speaker 3 (39:54):
Well, if you know, if you're not too far from
one of our days and you fancy come and just
let us know and we'll we'll get.
Speaker 1 (39:59):
Well, yeah, are you guy? Let me let me check
really quick. Are you guys playing in Minneapolis at all
or somewhere near?
Speaker 4 (40:06):
I think we saw them.
Speaker 1 (40:07):
You are actually April twelfth, You guys are going to
play at the Skyway Theater Skyway.
Speaker 4 (40:13):
Wow?
Speaker 2 (40:13):
Well sweet?
Speaker 1 (40:14):
So so yeah, I'll be I'll be around, I can,
I can hang out perfect.
Speaker 3 (40:19):
Yeah, let's let's do let's do that. It'd be good
to catch up in person.
Speaker 1 (40:24):
Oh yeah, let's do it. Let's do it. So yeah,
I don't know what what day of the week that is,
but we can make it. I think that's a Saturday.
Speaker 4 (40:31):
It's a Saturday. I might be able to make it
as well. It's a five hour trip for me, but
that's okay. That's a short drive in America.
Speaker 1 (40:38):
Yeah, I think I think that's a Saturday, because I
think the Saturday before is the fifth, so it's got
to be a Saturday.
Speaker 4 (40:42):
Yeah.
Speaker 3 (40:44):
Your short drive, your short drive is literally two thirds
of our country.
Speaker 2 (40:51):
You can go from London to Scotland.
Speaker 1 (40:55):
To multiple to the North.
Speaker 4 (40:57):
I could go to the North, is what you're saying.
Speaker 1 (40:58):
You could well, tom Thank you, thank you so much
for chatting more about Barry tomorrow. We're just super stoked
about the new album. We truly are, and hopefully here
in a few weeks we'll be able to see you
in person and and uh watch you guys play some
of the new songs.
Speaker 4 (41:16):
Howay God
Speaker 2 (41:23):
H
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