Ep 14: A Conversation with Patrick Tetreault

You don’t build a 30+ year career in music by accident.

In this episode, John sits down with Patrick Tetreault, a songwriter, producer, and multi-instrumentalist who has lived the full spectrum of a working musician’s life. From record deals to the independent grind, from local stages to international tours, Patrick has carved out a path that reflects both endurance and evolution.

Patrick is well known in the Pacific Northwest for his participation in many bands over the years, including Portland favorites, The Pearls, a vocals-driven Americana/Alt-Country/Western Swing band based out of Portland. 

Now based in Muscle Shoals, and leading his band Pride of the North Bank, his sound draws from deep roots in country, bluegrass, and Americana. At the same time, he continues to stretch creatively, releasing solo material in the power pop vein, proving that longevity in music isn’t about staying the same.

This is a conversation with someone who has stayed in it long enough to see what lasts. If you’re trying to build something real in music, there’s a weight to this one you’ll feel right away.

Transcript

SPEAKER_03 0:00

You are listening to the Gig to Live Podcast. Welcome everyone. I'm John Bowles. I am a full-time working musician. This podcast is where I share the strategies, the mindset, and the lessons that help performers build something that works and something that lasts. We'll talk about smart moves, self-inflicted wounds, happy clients, drunk patrons, more gigs, better gigs, what to keep, what to toss out. If you gig or you want to gig, this podcast is for you. Well, hey everyone, welcome to the podcast. Today, our guest comes to us from another dimension. I'm convinced he was genetically altered in a lab somewhere. They tested to see just how much talent one individual could hold within their body before they exploded. And uh for sure Patrick Tatro is an outlier. I think if Malcolm Gladwell was right about his 10,000 hours of practice thing, then uh Patrick would be a good case study. I've enjoyed his iterations over the years from acoustic folk rock alternative indie to uh you know Northwest hookie power pop to Americana alt-country Western swing gypsy jazz, vocal-centric, story-laden music. And I've seen him on stages and packed houses and arenas and smokey bars and coffee shops where the gig started at, you know, 11 in the morning. And then then I've seen one that was in a smoky bar at 11 at night where I had to, you know, keep watch over my shoulder to make sure I was safe the entire time. Patrick has uh toured extensively as a sign musician. He's got records produced by 11-time Grammy-winning record producer and engineer Joe Ciccarelli, who you may know that name from The White Stripes or Morrissey or The Strokes or Young the Giant or Beck or Alanis Morissette or The Shins or U2. Uh and Patrick has probably influenced my life more than any single musician that I've been in relationship with over the years. Uh, he taught me valuable lessons like uh it's only stuff, sell and pay your bills. And he introduced me to the term GigButt, which is a different story. Uh he taught me about the value of giving people editing power over your songs that you've written and inviting people you trust to give you solid feedback. And I've seen him wear a lot of hats through the years, like musician and recording artist, songwriter, touring musician, studio owner, producer, and he's so good at all of them. I really don't know what he thinks his one superpower is. Uh, but Patrick, thank you for being here.

SPEAKER_00 2:56

Man, I'm happy to be here. Big fan. A big fan of the show? Or uh yeah, yeah, both. I've known you a long time, man. Big fan.

SPEAKER_03 3:08

Oh my gosh. Yeah, well, you are in Muscle Shoals, Alabama.

SPEAKER_00 3:12

I am to speak.

SPEAKER_03 3:14

Yeah, what it what's it like over there right now?

SPEAKER_00 3:17

Dude, I love it so much. Right now it's sunny and about 75 degrees, and uh the trees are blooming, and it's a beautiful place to be.

SPEAKER_03 3:31

And the music scene over there. I mean, you know, it's it's been a music scene before. Is it still a music scene? Is it becoming a music scene? What's like what's the state of music in Muscle Shoals?

SPEAKER_00 3:47

I mean, obviously, everybody here, uh young and old, is so proud of the past and the history of Muscle Shoals and its contribution to music across almost every genre. Um people came from all over the world to get that Muscle Shoals sound, and it was a hit recording capital of the world. And uh it's just a little tiny town. It's tiny, it's a small town place, and so it's amazing how much was done here. I mean The Rolling Stones and Paul Simon and Cher and I mean everybody came here. Uh Aretha Franklin, Edda James. I I could list for days, I'm not gonna, but I'm just saying, like, this it wasn't like all this music came from the locals here, although there was a lot of local stuff as well. But people came from all over the world to have what was going on here be a part of their music. And uh it's pretty cool. There's a great documentary you can watch called Muscle Shoals, and it's around on all kinds of platforms, so go check it out.

SPEAKER_03 4:59

Yeah, I've seen that twice. Pretty cool, right? I love it, I love it so much. Yeah, I love it so much. I uh I toured uh is it Muscle Shoals Sound? Oh yeah, the name of that one studio. I I toured that. Well, and fame, but uh there was a piano in the middle of the room there, uh Big Grand, and and uh I'm a big Leon Russell fan, and I I asked the guy who was giving the tour, I said, Hey, I'm just curious. I know Leon Russell recorded here, and I know that things change all the time in a studio, they sell things, they move things in and out, but by chance is this the piano that Leon Russell played, and he said it is, and I said, My goodness. I said, Is it okay if I get a picture like touching it so I can feel the magic? Because I know you're not supposed to do that in you know when you go on tour somewhere and like touch everything, but I would love to touch it. And he said, Well, can you play it? And I said, Uh uh yeah. And he said, Well then play it. And I sat there and I started crying like a little baby.

SPEAKER_00 6:12

I mean, it's a working studio still, so they I mean, I'm sure they wanted you to sit down and play it. Yeah. Maybe want to come back and make a record there at some point.

SPEAKER_03 6:22

It was super fun.

SPEAKER_00 6:23

How cool.

SPEAKER_03 6:24

Well, I I'm gonna ask you a bunch of music questions. Is that cool?

SPEAKER_00 6:27

Yeah, that's about the only thing I know.

SPEAKER_03 6:31

Uh I mentioned that you had a lot of, you know, hats that you've worn in your career. When you look back over your career, do you think that there's been something that's been consistent in every single one of those seasons?

SPEAKER_00 6:46

Oh man. That's that's a really good question. Uh you mean w w with all the hats I've worn, what are the consistent things that have been the thread that goes through? Is that kind of the question? Yeah, yeah, yeah. Okay. Um man, uh as a producer and a recording engineer, you know, I the most important thing to me, hands down, is just d not cutting corners where you don't have to. And I've worked really, really hard on every project uh that I've been a part of to make sure that I go the extra mile to m to get what the artist needs and what the artist wants. And a lot of times that chews into my own personal time because I want to make sure that it's right. And then, you know, as you know, John, when you're traveling and playing as a musician, you want to know your songs. You put your time in and you practice and you rehearse. And so I think the thing that's been consistent for me is that I've just wanted it to be the best I can possibly do every time. And as I look back across my discography of things that I've worked on for other people and things for myself, I'm really proud of that. So if someone Googles me and they pull up something that I've worked on, I'm proud of it. It might not be their cup of tea musically, you know, but I'm proud of it because I know that I worked really hard to make it the best I could with the artist and with myself. Um and that's going on 32 years. So yeah, that's my that's the that's the thing that's been consistent, the consistent threat, I think.

SPEAKER_03 8:28

That's insane to think that it's been 32 years. I mean, because I I feel like I met you as your career was just starting. Yeah, I've known you a long time. We're old, we are so old. Old and sexy though. It's it's a cross we must bear.

SPEAKER_00 8:53

Like fine wine, bro. We just keep getting better.

SPEAKER_03 8:58

Oh, do you have a favorite season in in those 32 years? Is there a season where you go, you know, I like them all, but this one the the timing for this question is great because um if you don't mind, I'm gonna tell a little story.

SPEAKER_00 9:15

I I was the other the other day I was thinking about an artist that I had worked with a while back at my old studio Ripcord. And um it was a project where I remember like I had to play a lot of the parts on it because we didn't have much of a budget. And I had I sang a lot of the background, almost all the background vocals, and I played, you know, banjo and mandolin and acoustic guitar and harmonica and like all these things. And I I contacted the artist after all these years, and I was like, hey, I I can't find this music anywhere. Could you send it to me? So he sent me a link to where I could listen to it. And I had so much fun because I could remember every moment of the choices that we made and all that, and and it sounded great. It sounded so cool. And as you get as you get older and better at your job, you have better people available to you that you can hire, right? So, like if I wanted mandolin back then, I would have to play it myself. If I want mandolin now, I can go get one of the best players in Nashville to come and sit in, you know, or or you know, my buddy Scott, who plays in my band, is a phenomenal player. And I have all these musicians at my fingertips where I didn't have to write the hooks or the parts. I can put the right butts in the chair for the session. And as good and great as that is, there was something special about going back to when it was me and it was do or die, you know. Um the parts, the parts I had to come up with with my brain, and you know, and I I really enjoyed hearing that that guy, me, the the Patrick from 20 years before, where I was just doing whatever it took to make something great. And that was really fun, and I I miss that guy because I don't I don't I'm not that same person really anymore. And so I've been fighting to get back to the early me, you know? And uh and I think that may be in hindsight one of my favorite seasons when I was just cutting my teeth and trying to you know, that whole good old day, you know, the the good old days thing. And uh there there really are. You know, the struggling times the the where you're just getting off the ground, those are the good old days. And you're gonna look back on those at some point and be like, Man, I was struggling, but man, I really delivered you know and so I think if you know, right now I I would say that you know, my earlier days, uh especially after uh I got Ripcord Studio, I think in 2007, somewhere in there, was just a beautiful a beautiful time.

SPEAKER_03 12:20

You said you're trying to get back in touch with that part of you, or how do you do that? Where where is young Patrick?

SPEAKER_00 12:30

I don't I don't know. He's gonna he's far, far away. Because I'm I'm an old, old man now. But I mean and it and it comes with a lot of it's weird because when you're when you're young, your fears are like, oh, you know, how am I gonna get to this other level, right? And then you get to this other level and your fears are, have I lost the spark and the cool thing that I had early on? So I I don't know, maybe we just as creatives live in a constant state of fear.

SPEAKER_03 13:06

That's interesting. Do you do you feel like you're still chasing music? Uh you know, the thing, like the you know, the prize, uh the gold at the end of the rainbow. Are you still chasing after that thing or have you found it?

SPEAKER_00 13:28

I think I'm still chasing something, but it's it's different now. I mean, I've been an independent artist, I've been a signed artist, I've traveled all over the world playing music, and I've played in almost every state here in the US, um, all but maybe two. I really need to get to Hawaii and get that one checked off the list. Um I'll just stand on the beach and strum a guitar and call it a gig. But um, no, I I'm still I'm chasing more of me at this point. I've spent a lifetime helping other people try and reach their goals and their dreams, and I just want to write some really cool songs now in this season of my life. I've got a lot to say. Um because life, man, you know, it gives us a lot of things to talk about the longer that we are here on this planet. So yeah, I'm still chasing some great songs and I want to do that. But honestly, like if for some reason I didn't wake up tomorrow, I'd be happy. I feel like I've done the things I wanted to do, and I feel a sense of contentment. So it's not um it's not the same kind of drive, it's a different it's not as desperate as maybe it was before, and now it's just more just wanting to create special art of my own. Does that make sense?

SPEAKER_03 15:02

Oh, it makes total sense. I love that.

SPEAKER_00 15:04

Yeah.

SPEAKER_03 15:05

I think I think contentment is a is a huge thing. We can still have a little bit of you know fire in us and and angst and you know, chasing after whatever it is, but to be content that's a different thing. Right. So that's that's cool to hear you talk about that.

SPEAKER_00 15:24

Yeah, yeah.

SPEAKER_03 20:11

Yeah. Um for for, you know, guys like me, uh, you know, guys and and ladies that I see on Friday and Saturday night all around my town playing music. What would you say to any of us about, you know, taking a band to Europe? I mean, should we even try what what did Europe do for you? What's what's in it for the musician? What do you learn, uh, good or bad? Forget about it. What's that all about?

SPEAKER_00 20:42

I think if you can get to Europe, it's definitely worth doing. Um It was a great experience for us. Uh as far as how I I was able to make that happen, I kid you not, this person just reached out to me on Facebook and said, Hey, do you want to do a European tour with your band? And I'm thinking, What? Who that can't be real? And so I did some research on the company that wanted to take us out there and reached out to bands that had done it before, and they got back to me and they said, No, it's actually a legitimate thing. Um, you're not gonna make any money, but you're gonna have a lot of fun. Right. But we know that story. Um but we wanted to go, and you know, we knew we'd make a little bit of of money and uh all that, but it was like a very intense thing. This particular company booked us like 40 shows in 30 days, and they provided a driver and a van and a band house that we'd go back to every night. And it was they they really had a turnkey operation on their end, but they kept like 75% of everything we made, so we really didn't make much. Per show, but we were able to sell merch and things. But what I did was I kept a real detailed um list of where we played, who owned the venues, um, how much we got paid, where they were, location. So eventually I was able to just reach out to those people directly and say, hey, you know. Um, so I booked a full tour. So we did that like three times, and I built my sort of database off of that. And then um I booked a full tour for us to go on our own, where we would have come home with a significant amount of money because you know it was easy, just send them an email with a picture of when we played their place. And do you want us to come back for the same amount? And you know, they were like, Yeah, be great. Um, so it's really easy to book that um after that situation. Uh, but then COVID hit, and so that tour fell through. So we've never actually had to tour not working with that company. So, you know, I'm sure there's more uh more companies than that particular one to work with uh that do booking, but really it's just it's really no different than just cold calling here. And if you're an American band, especially if you do classic American music, like country rockabilly, you know, that kind of stuff, they love that there. Uh rockabilly was a big thing, but they've sort of burned out a little bit and they're moving more into country music and country folk. Um anything that sort of is classic American, they they tend to really dig. So if you're going over there, they're like, oh wow, they're they must be doing something big because they're from another country. They're you know, it puts you at the front of the list, I think.

SPEAKER_03 23:57

Yeah.

SPEAKER_00 23:57

I don't know. That answer your question?

SPEAKER_03 23:59

Yeah, no, I think that's it's all good, man. There's no right or wrong answer. This is this is your story.

SPEAKER_00 24:07

This is mine.

SPEAKER_03 24:08

You do a lot of local and regional tours. Uh uh what makes that successful? How do you how do you I mean you just said you went to Europe, you didn't make money, it was fun. Right, you made contacts. Uh so but so how do you define a successful tour?

SPEAKER_00 24:31

Man, just getting in front of people and and and building your fan base and making friends, having places you can go back to, uh winning the room one room at a time. And you as you know, John, you get to go back to places if you've got a good rapport with the people that brought you there, and you guys all had a good time, then they're gonna want you back. It's not and from my experience, having been in bands, it's not the best bands that keep getting the gig. It's the ones that people enjoy being around. Are you a cool hang? So if we can just night after night go and have people enjoy the music, win over the room, win over the venue owner or the booking person, the talent buyer, and we can come back again, you're eventually gonna build to where you're making money. You know, you're just you you just will. The more people that you can bring in and put in those seats that are gonna buy dinner or a beer or a cocktail or whatever, um you're gonna be asked back and you're gonna get paid more. So I think just as long as you're building forward and getting in front of the people that you know you're gonna, I don't know, win over. If if your goal is to, I just gotta pay the bills, if that's the only thing you're thinking about when you're doing music, it's gonna be a really rough road because it has to be more than that for you. It has to be about relationships, it has to be about the music and creating something. Because there are way better ways to make money. Pretty much anything is a better way to make money than being in the music business. But if it was easy, everyone would do it, right? Because it's super cool and it's super fun. So just you have to stick with it. If you have to have a side hustle or work part-time, carve out space to go on tour where you know you're not gonna lose money, but maybe break even and you can and be gone, you know, or if you just have to weekend warrior for a while, whatever it takes. But if the whole point is to come home and it and with you know, with a bunch of money, it's gonna be tough at first. I'm not saying it's impossible, but that's something that you grow into over time.

SPEAKER_03 27:05

Speaking of money and side hustles, one of the things that I've always appreciated about you is your ability to find and purchase and collect the coolest equipment and instruments. And also, as you do that, you have this superhuman ability to part with it very easily. It's um, I mean, I remember times where I've shown up, you know, at your studio, or I've been at your house and I see something really cool, like a silver-toned guitar with an amp in the case, and I'm like, oh my gosh, that's amazing. You're like, I know it's fantastic. I just found this thing, can't believe it. And then the next day I'm like, where did that thing go? And you're like, oh yeah, I sold it. Um how do you foster the ability to hold things so loosely? Because I we get so enamored with the things, they're so cool when we find these things and we want to make them part of our lives.

SPEAKER_00 28:19

And how do you do that? Well, I mean, there's some things that I haven't be able been able to let go of, um, and there's things that I wish I hadn't let go of, but it's just stuff. You know, there's so much cool stuff, it's everywhere. And it's gonna come, it's gonna go. And you know, sometimes, you know, I mentioned that side hustle thing. One of my side hustles is being able to flip cool stuff to cool people, and uh so I'll find things and then I'll move it along, or or there's just certain things that I need for a particular project. Or like, man, if we just had this, and I'll, you know, for some reason I'll be able to find it, and then after the project is over, I'll move it along. But there's just an endless source of creativity. If you don't hold things so tightly and you always go back to your go-to stuff, all your all your recordings are gonna sound the same. All your songs are like there's different songs and different instruments, and if you keep just rolling through it, you're gonna rely on your own creativity and not feel like your creativity is dependent on these things that you've had, you know? Like you you don't want to put like Wurlitzer on everything, and you don't want to put vibrophone on everything, but sometimes it's cool, and if you move things along, now I'd love to have those things full time in my studio. Um, and hopefully someday, if I work hard and dream real big, I'll I'll have I'll have those things permanently.

SPEAKER_03 30:03

But yeah, stuff but you have had those things before. Both of those things.

SPEAKER_00 30:09

Yep. Yeah, I have. I've had so much stuff, but it just it stuff doesn't make music, people make music. So I mean if we took all this stuff away, we'd start banging sticks together and figuring out how to make music out of something.

SPEAKER_03 30:35

So yeah, that's inspiring. I want to make a stick album.

SPEAKER_00 30:40

You should. Come on out to the shoals. We got lots of sticks.

SPEAKER_03 30:46

Um okay, let's let's change gears for just just a minute. What you've played with so many musicians, you've had so many musicians in and out of your studios. Um what are the mistakes that you see musicians like myself make over and over, you know, that waste time and money and momentum?

SPEAKER_00 31:12

I think one of the one of the things that stands out that I think holds musicians back is feeling like they've got to do everything on their own in order to be cool. And I lived in a region of the world where the DIY, do it yourself mentality was very prevalent. And it's like if you didn't write all the songs, play all the instruments, record it yourself, master it yourself, draw up your own artwork and package it in some creative way, you're just not cool enough. And I don't know where that came from. Because, you know, our our whole all of our lives are kind of based in community, and why should this be any different? Some people are singers, some people are guitar players, some people some people can do it all, and that's I think I think that's the thing is that someone will release release a brilliant album, and then everybody wants to be them. But just tell your own story. Stop trying to be someone else's story, tell your own story, and don't be afraid to find people to bring in, you know. I tell you what, I do see a lot of is I'll I'll work with a band, we'll make a record, and then the next go-around, they feel like they've got the process under their belt. They'll go buy some a pro tool system, a microphone, some headphones, and they'll start making the record themselves, the next one. And then three years later, the band's broken up because nothing, there's been no forward momentum. Again, I'm not saying that someone can't make a successful record or a follow-up record. Make it yourself. I love art in every form, but don't let it hold you back. Don't be afraid to include people, you know, even for part of the record. Come in and cut basics somewhere and then overdub at home. But don't just don't just isolate yourself. Because I feel like we are better when there's other people around. So yeah, I think I think that's the big the biggest mistake is feeling like you have to do it all by yourself. Yeah. I think I think there's a difference between doing it all by yourself because you have no other option. You need to make the music, or doing it by yourself because you feel like you're not gonna be cool otherwise.

SPEAKER_03 33:37

Does that make sense? Oh yeah. No, it totally does. Uh I I felt that before. I have felt that like I ha I need to prove myself. Um and you know, then I I realize, well, I'm not that good. I'm good. I'm good at a few things, and I need to lean into those things. And then I need to find the people that are good at the things that I'm not good at and bring them in, create together and collaborate. And they make me better at the things that I already thought I was okay at. Yeah, you know. Um that that's a lot of great wisdom coming from a person like you who I have felt like my entire life, everything you touch is gold. Like you could pick up any instrument and I'm like, damn. Like, he's so good at that one. Um I appreciate this.

SPEAKER_00 34:41

I don't feel the same way about my skill level. I know you don't, but I appreciate that. I appreciate that.

SPEAKER_03 34:47

I know you don't feel that way, and that's what's that's what's super cool about what you said coming from you, because you know, I think you know, the comparison game is is like it robs your joy. Oh, absolutely. And so to to lean into the things that you go, no, I feel I feel decent about this thing, and this is me, and I'm okay with this. And now, where are all my friends? That's amazing. Thanks, thanks for that. Yeah, man, sure. So like the core of this podcast is uh to help musicians who are gigging musicians who who want to make it sustainable, you know. Uh what is a sys what is a sustainable uh music life actually look like for you now?

SPEAKER_00 35:51

Now. Well, I uh I learned a lesson way too late, and that is live somewhere you can afford to live. You know, like trying to trying to be a musician and pay the bills living in the Pacific Northwest, it was so expensive. I realized I'm never gonna own a home, I'm never gonna have a decent car, but I'm gonna make music, right? But at a certain point, like go somewhere where it's cheaper to live, where the places are close together. That's what brought me out to Muscle Shoals. I'm two hours from Nashville, I'm two hours from Memphis, and I've got countless major cities that are all 45 minutes to an hour from each other. So I'm not having to drive 10 hours to Sacramento from Portland to play a show. There's just another big city right, you know, close by. So that's why a lot of people tour out here on the East Coast because everything's closer. But man, I just I you gotta be willing to sacrifice so much in order to do this. You can have a you can have a career in music, but what are you willing to give up for it? You know, and that's that's the question I think everyone needs to ask themselves. Like, how bad do you want this? And what are you willing to let go of? And how do you lower your you know, lower your nut?

SPEAKER_02 37:21

Yeah.

SPEAKER_00 37:22

Each month, so you don't have to like spend all this money. And uh so moving out here, you know, it's a third of the cost of living that I was in the Pacific Northwest. So, you know, I was able to buy a house. How crazy is that? I've got a decent car. I'm making music, you know, it's that's to me, it's like that that that feels like success. I think I'd like to be more successful so that I have a little bit more in my bank account at the end of each month and start thinking about retirement and all those things that us old folks are thinking about. But John, I mean, I even look at you and the sacrifices you've made to be a full-time musician. You know, I'm not gonna go into it because I don't know what people know about you, but dude, you've worked so hard and you've made the sacrifices, and you figured out how you can live a life that you enjoy with the money that comes in and not the other way around, you know? So be like John.

SPEAKER_03 38:24

Thanks for that's what that's what I'm saying. Well, we yeah, I don't I don't know. You've given a lot of good advice. I don't know if that's the best advice right there. I think it's fantastic. Being like me. Yeah. That's all I'm trying to be. Yeah, right. Oh. Well, you may have answered this, but maybe there's uh another nuance to this. Or I'll ask what is something that you think uh gigging musicians don't want to hear, but they but they need to hear it.

SPEAKER_00 38:56

Oh it was yeah, it was what I said a minute ago. Sacrifice. Sacrifice. They just they want they want everything, you know. And it seems it seems to me like the guys, you know uh uh you know that someone's paying their bills with music when they're playing absolutely garbage gear on stage. It's the guys with all the really nice stuff that you're like, you've got a day job, clearly. Yeah. Because I remember one tour, we uh our our drummer like ended up selling his the hi-hats from his drum kit when we got back because he had to pay some bills, and we just he had no hi-hats. And I'm not joking, he there was some that were on the side of the road that he found and picked up, and we toured with those hi-hats. They were the worst things I've ever heard, but he had hi-hats, it was just garbage on the side of the road, and we toured on that, and uh you know, you just it's sacrifice and it's not always pretty, and it uh takes a toll on the people around you, too. I don't even know if we want to get into that, but this music thing is 90% psychological and 20% actual talent and opportunity.

SPEAKER_03 40:29

Did you s just say 90-20? Because I love how those numbers didn't add up. Right. And that's yeah. That's perfect.

SPEAKER_00 40:40

Because none of this adds up, dude.

SPEAKER_03 40:46

It's so great. Man, it's so good to hear your voice. Um if if somebody wanted to get in touch with you, you know, they wanted to make an album or uh, you know, whatever. What's the best way to reach out to Patrick Taetro or to learn about you, follow you? What like how should we how should we follow Patrick Taetro?

SPEAKER_00 41:10

I I mean I'm on Facebook and Instagram, but I use Facebook more. I think I think it's because I'm older and it's just easy. So yeah, just you can find me on uh on Facebook.

unknown 41:27

Yeah.

SPEAKER_03 41:28

Very cool. What what about your your current uh band, you know, configuration? Uh are you are you playing shows as a band right now?

SPEAKER_00 41:41

Yeah, so uh my bandmates moved from Vancouver, Washington out to Muscle Shoals to join me out here, and so we're playing again. We got the band back together, and we're uh we're just out there doing what you guys are all doing, just trying to book shows and make a little money and uh have a good time. So yeah, uh Pride of the North Bank is the name of the band. And it's sort of a three-piece, I don't know, old-timey dance hall with band with bluegrass tendencies, um, that you can you can find us on Facebook as well. Um, and then I'm starting to release a lot more of my own stuff, which is cool. I released something last August. Well, that's coming up on a year. Anyways, uh the song called Bad Feeling, and it's very dirt, yeah, early 2000s sort of sound, alternative rock.

SPEAKER_03 42:46

Yeah, and uh and a a little bit of that power poppy kind of sound that we love so much, yes.

SPEAKER_00 42:53

Yeah, that sort of founds of Wayne meets Weezer kind of thing. And uh and then I've got another one that I'm in the middle of mixing right now that hopefully we'll release in the next few months. And that's all under Patrick Tatro. Um yeah. Awesome, man. Come find me.

SPEAKER_01 43:14

Northbound South Carolina, blowing smoke from the back of our custom elder eye, cigarettes on the dashboard, people in the front yard, walking round in circles, thinking everything's okay. My baby's got a bad feelin'. We enjoy, we had fun, we had miscommunication, unhealthy expectations, reciting lines we'd memorize. My baby's got a bad feeling. Yeah, it's breaking my heart. My baby's got a bad feeling. And it's bringing me down. My baby's got a bad feeling. It's breaking me down.

unknown 45:32

Baby's got a bad.

SPEAKER_03 45:50

Hey, thanks for being on the show today.

SPEAKER_00 45:53

Yeah, dude, anytime. This was a lot of fun. Hopefully something I said was useful.

SPEAKER_03 46:00

So many things. Thanks, brother. Hey, thanks for listening. Please do me a favor. Subscribe to the podcast. Follow the podcast if you haven't already. Uh, and rate it. That would be great. That would help me out wherever you listen to podcasts. If you can do that, it'd be a super de-duper help for me. And remember, stay creative, stay after it, and stay hired.

SPEAKER_01 46:39

Let me live, let me live, let me live, let me live, let me live, let me live, let me live, let me live.