Well, what's up everyone?
Welcome back to the All Things Croatia podcast.
Steve Pavlovich, known as Pav, is a Croatian-Australian music entrepreneur, from booking some of the
biggest bands in the 90s to starting his own record label, putting on festivals in Croatia.
He's done it all.
And I'm going to read these opening sentences of an article that I found online because
I think it's cool.
For a fair bit of the 1990s, Steve Pavlovich was the coolest guy in Australia.
Pav had the home phone numbers of everyone on the cutting edge, from Kurt Cobain and
Dave Grohl to the Beastie Boys and Thurston Moore of Sonic Youth.
I just thought that'd be a super cool introduction, but Pav, thanks for coming on the podcast.
Well, thank you for having me, Stunt.
I would have said that.
That's so flowery.
It might as well have been written in Croatian.
Oh, I wish I could speak Croatian as well as I actually my English wasn't that great reading
that intro either.
But yeah, definitely a cool intro.
I'm really excited to learn a little bit more about you.
But first, you're on Veece.
We spoke a little off camera and I've been messaging you.
I know you're on Veece.
Can you, keeping that in mind, talk a little about your Croatian heritage?
Sure.
So my father immigrated to Australia after the Second World War, maybe sort of early
50s or something.
And he met my mother, an Australian woman, and they fell in love.
And he bred strongly, had six children, and had to work like three jobs to sort of take
care and pay for everything.
So we spent a lot of time growing up with our mothers.
We never really got to speak.
So I didn't really feel any connection to my Croatian heritage.
Much later, when I was dating a Croatian girl, she was from Zagreb and she was living in
Australia.
And I'm like, oh, I'm Croatian and she's like, bullshit.
You can't even speak.
So I'm like, okay, I feel a bit weird about this.
So I'm like, well, I want to know more about where my father was from and my background.
So I'd sold a business at the time and things were going pretty good.
So I took my father and my mother and the girlfriend at the time, Tanya, to Zagreb.
Along the way, my brother heard I was going.
He's like, well, I really want to go.
I said, okay, I'll bring you and your wife.
And then my sister found out, oh, you're taking those guys as well.
So in the end, I ended up taking a whole bunch of us.
And we went and saw where my father was from, traveled around, saw where he grew up, school
and stuff, met some of our relations.
And then after that, Tanya and I took a holiday along the island.
So we went to Kočla, Brac, Kva and Vis.
And then when I was there, I was like, man, we're pretty serious about things.
If we're going to have a family, I would like our children to be more connected to their
heritage than I was.
And we'd been drinking too much wine.
And I saw a house for sale.
I'm like, let's buy that house.
So I ended up buying this impulse sort of house thing.
And the following day, I kind of woke up with a hangover.
I'm like, oh my God, what have I done?
I just bought a house 24 hours away from my house.
It's the worst thing I've ever done.
But it turned out to be quite possibly the best thing I ever did.
And then my daughter was born a year and a half later.
And so she's been coming every year since she was born.
So she understands, well, she speaks well, she's not so confident.
But yeah, so I feel like she's got a good handle on her heritage.
It's given me the opportunity to spend a lot of time here.
Wow.
That's crazy, crazy how life sort of gives you twists and turns.
And then you sort of end back up where it all started, at least for your father.
Had your father been back at all before you took the whole family over?
Or was that his first time back?
Yeah.
No, he'd been back once before, maybe twice.
I think once really.
And at that time, I was just a sort of young rebellious child that just loved my music and
stuff when I wasn't really interested in too much about culture.
I was pretty obsessive about music growing up.
So I just didn't pay a lot of mind.
It wasn't like I said until too many years later, I met this woman, Tanya, and there
we are.
And here I am, and deeply loving being here.
Yeah, that's awesome.
That's awesome.
Well, you mentioned music.
And of course, I want to ask you about that.
Where did you sort of get your start, musically speaking?
Well, it wouldn't have been for my family.
They listened to terrible music growing up around it.
But I remember when I was about 11 years old, I had a couple of friends, Matt and Chris
Eddy.
And they had older brothers and sisters that had a lot of vinyl albums.
And I would go to their house.
And their house was so Australian.
It's like beer, like precious beer, and tobacco, and the smells, meat pies, and all this stuff
was really Aussie house.
And they had all like David Bowie, and Lou Reed, and all these kind of guys at Iggy Pop.
So I started from the Beatles, particularly the Beatles, when I first started listening
and going, wow, what is this?
So I discovered all that kind of music at their house.
And my house is more like as much as the rest of my family is pretty wide.
My father, Vinc Reiche, we had Chavapi, Wally Popovich, Tony Smolcich, all those guys around
their house, drinking homemade rakia and stuff.
So for me, it was usually the dynamic between my family and sort of their family.
And the thing I really took from their family was that music side.
So we discovered a lot of stuff through them.
And then just got really passionate about it.
I started just collecting records and buying albums.
So I would do some work with my father after school and on weekends.
And then every bit of money I made, I would just go buy vinyl albums.
And so that was pretty obsessed from about 12 years old.
And so I'll give you a long-winded version of this.
After that, I just was around as much as I can.
I got to see as many live bands as I could.
And then one day I finished school, it must have been like 18, 19 or something.
And a friend of mine was in band and I'm moving to Sydney.
And I was doing a pretty boring, straight down job.
And I was like, what am I doing with my life?
I've been seeing this girl Rosalind Dixon for two years.
I'm going to be married to and breeding with her in the suburbs in no time.
And I had this sort of epiphany that I had to change my life.
So I just hitched a ride with these guys to Sydney.
And by the time we got to Sydney, they said, you used to organise things and manage things
at the YMCA.
Why don't you manage our band?
So by the time we got to Sydney, which is a four-hour drive, I was their manager.
And then I started just, I didn't know what I was doing.
So I just called people up and then eventually I started getting more and more shows and
I met more and more people in the industry.
And then a good friend of mine was in this local record store I shop at all the time.
And he was like, this man might want to come to Australia.
You should do it.
I'm like, yeah, I do it.
So he just gave me their number and I would speak to them.
And we organised a pretty sort of rudimental sort of bare bones tour.
And I was pretty naive.
I asked anyone I could for help, what I should do.
And they came out and we had a really great time and they were like, you should tour our
friends in Nirvana.
I'm like, I love Nirvana.
At this point, the bleach out had only been released.
And I'm like, I love Nirvana.
So he said, well, here's Kurt and Chris' number.
So I just called them up.
Hey, this is Pav from Down Under.
I want to bring you to Australia.
And they'd be like, oh, we're making an album.
Yeah, give us a few more months.
This went on for about a year and a half.
And so eventually they said, oh, we've got a manager, this guy now, John Silver.
And I'd known John, I'd met him previously.
And he was like, yeah, dude, we'll stick with you.
We'll show you.
Records coming out in two months.
And so then Nevermind came out and was like, we just recorded everyone.
And six months later, I had them in Australia.
So it's not a bad start.
Yeah, not at all.
That's awesome.
That's crazy.
So you're calling up, I mean, with Mudhoney, I guess, was your sort of first big break.
You're calling up venues and saying, hey, I've got Mudhoney.
I'm trying to book them on a tour.
Like, well, you take them.
How does that process work?
How do you even book a whole tour for a band?
Yeah.
So like, first thing is you've got to work out a budget.
So I got like four guys coming down here.
Here's the air flights.
Here's the accommodation.
Here's the sound production, marketing we're going to spend.
I would book a venue and I promoted the shows myself.
So I would rent a venue.
Maybe it was on some Greek theater or something in Melbourne.
It has a host of thousand people.
And I feel like there's enough buzz around that maybe we could fill that.
And so then you book the venue, you bring your sound lights in and put the show on and
you hope that it all sort of pans out and you sell enough tickets so it works.
I was very fortunate.
The things just kind of worked.
All the first few things I did.
And I was lucky that I knew other people over the journey who would help me with stuff.
So one of the first tours, this woman, Kate Stewart, she worked for another promoter.
So I was like, Kate, how do I do a budget?
How do I get a visa for a band?
I can't even get in the country.
She would help me do it.
Unless you didn't even have a computer at the time.
So she would just like, you know, type all these budgets out and letters for me and I'd
send them back then we're faxing each other, you know.
So it was all pretty raw.
Now I'll tell you another funny part of the story with Nirvana.
I'd met this woman.
I'd been to New York three years earlier, her name was Alexa.
And I met her in a bar watching bands at something, a new music seminar at the time.
And then she's like, oh, I've always wanted to go to Australia.
I'm like, oh, yeah, well, you know, I've got a spare room in my house.
And you know, is that kind of falls out of your mouth?
You don't really expect that someone show up two weeks later and then stay for six months.
So she literally showed up and just stayed for six months.
We became really good mates.
And then she went back to America, was working for AT&T operators.
And she's like, oh, I can give you this bogus calling card.
It's just a number.
So and in those days, international phone calls were quite expensive for me anyway.
And we didn't really have mobiles.
So I booked all Nirvana's tour from a pay phone on the post office box outside my house
with his dodgy calling card.
So I call him up and everything.
Yeah, I just threw it all there on the pay phone while I'm sipping a juice.
I just come off the beach, have a swim.
I spent two hours in the phone booth doing my business.
It's like complete opposite of, you know, today's day you're in an office, you got the
AC, you're in a suit.
Maybe, I don't know.
That's just how I imagine.
But that's classic, classic story at the pay phone with Nirvana.
I want to ask a little bit about the guys.
You know, everyone always wants to know about Kurt.
But you know, one thing probably a lot of the listeners know is that Chris, you know,
the bassist was also Croatian.
And I believe maybe even a few years during high school, he moved back to Croatia somewhere
near Zadar.
Actually, I read that in one of my Croatian language textbooks that I discovered that.
So I was wondering, did you guys ever talk about that?
Yeah, no.
One thing we connected on, like he would swear at me in Croatian.
I think that's a good, that was maybe one of the first connectivity points I had with
Chris was because of our background, you know, and he'd obviously grown and spent a lot more
time in Croatia, and I hadn't.
But I kind of knew a little bit of what's going on.
So we were kind of bonded about that.
We had a like, he's a wonderful man.
I really, really like Chris a lot.
Very smart, very caring, and, you know, generous with his time.
And so, you know, it was, I'd spent a lot of time hanging out with him and his wife
at the time, you know, because when they go on tour, you know, and spend a couple of weeks
with people, you drive around the country, you're in a van together.
But I took them camping in between shows, you know, and they're like, wow, on a beach,
so they want to see some kangaroos.
So I took them to this little coastal town on Ewan.
There's a grass headland down there and you can camp and there's some cabins and stuff
and they all spent the night down there and we cooked sandwiches by the fire and shit.
And then, you know, yeah, and they saw the kangaroos and Chris was like flicking them
with towels and stuff.
It's pretty funny.
Everyone was like scared.
He's like, he'd march straight over the Balkan walls with a towel.
Boom, get out of here, kangaroos.
I've never been to Australia.
That's still so crazy to me that, like, first of all, that kangaroos exist, but that you
guys are just so like whatever around them, you know, like, oh, yeah, it's a kangaroo.
Go flick it with the towel.
That's nuts to me.
It's strange because like when you see something, they're not for you grow up with it.
It seems like a big deal, but literally pretty much all bands ever worked with like one and
see kangaroos so bad and then they're like, wow, really?
Yeah, that's awesome.
That's awesome.
Chris, I'd like to get him on the podcast as well.
I hear he's a little bit off the grid these days, I guess, up in Washington, just kind
of, you know, chilling there.
Are you still in contact with, you know, Dave Grohl?
Yeah, I mean, you know, I just had an exhibition.
I haven't really been in the music biz for the last several years, right?
So after I did all those tours with those bands, I did, you know, like Beastie Boys
and Pearl Jam and Offspring and all kinds of stuff like that.
And then with the record label, that was really fun for me to do for another 10 years.
And I got tired of that.
And so I recently did an exhibition at a museum in Sydney.
The exhibition was called Unpopular.
And as part of that process, I interviewed most, not most of the people, a lot of the
people I've worked with.
So we had some sort of oral history stuff that was throughout the exhibition.
So I interviewed Dave like about a year ago, which turned out really great and had a great
chat with the Beasties and Figuazi and guys from Sonic Youth.
And it's been really fun to do.
And then there's a book that accompanies this exhibition as well.
So that's almost completed.
So there's a lot of images then from all the tours we've did.
We filmed a lot of things back then as well.
So there's like really cool images and stuff that people wouldn't have seen before.
And even just the communication, I've got all these postcards from everybody.
And no one had mobile phones.
You would just write postcards to everyone.
Hey, I'll see you in Tokyo.
Here I am with Sonic Youth.
Yada yada yada.
And some of those letters and postcards are pretty cool to read.
So the book's sort of a compile of all that stuff.
But I'll share these interviews with you if you're interested in listening to them.
Just let me know.
We'll figure it out afterwards.
Yeah, that'd be great.
Where's this exhibition located?
It was in Sydney, an exhibition museum called Powerhouse.
You know, so yeah, it's just finished now.
It was up for the last eight months.
And it closed down and I came on holidays to Vise.
That's awesome.
And you said you said you're working on a book as well.
Yeah, I'm just going to finish the last bit of the book.
And I've got to say, I sort of hope to have finished it by now.
But every day I seem to get distracted around here with a bunch of friends.
And you know, Vise is a beautiful island and there's a lot of great beaches and connovers
and places to eat and drink.
And all my friends have vineyards and bars here and restaurants.
It's kind of hard to get a lot done.
Yeah, yeah, I'm sure.
Yeah, I mean, the weather's been so nice too lately when you see weather like that and
you see the sea.
I mean, you can't help but go outside and go swimming a little, go sit at the coffee
each, drink a little coffee or beer.
Yeah, and that's awesome.
Exactly, you know.
And you're like, oh, that's what I'm supposed to be sitting inside writing and finishing
up this last part of the book.
I'm like, oh, okay, I'll get back to that.
Yeah, yeah.
It's almost finished.
So once I deliver my last part of it, the design, the images have been selected, cleared
all these things.
I've written about 30,000 books.
I'm just tweaking them a bit, you know.
So yeah, hopefully people will enjoy it.
But there's some good stuff in there.
That's awesome.
Do you have maybe like a website or a link, a social media or something that you can share
now that people who are waiting for that book to come out can sort of follow it or hear
it?
Yeah, there's an Instagram account called this underscore is underscore unpopular.
And there's a bunch of images there from the book and stuff.
You get a taste of what was happening in the exhibition.
And there's some Polaroids have taken like Kurt and Chris and everyone when we're hanging
out and pretty much all the different bands.
There's bits and bobs of you know, so it gives a bit of a taste.
Okay, that's awesome.
I'll include that link down below in the episode description.
So if people listening can click on that and follow.
You mentioned earlier, you know, you started a record label.
Can you talk just a little bit about that?
How did that start?
What are some of those bands that you signed on that label?
I mean, it's like when I was doing the tours in Australia, you know, we often have to put
on an opener.
So I would choose the Australian openers had to play with the international artists.
And I noticed a lot of people I chose would then go on to become quite successful.
So I thought I had a bit of an ear for it.
And then a friend of mine randomly from America said, Listen, I got this guy is English.
He's coming to Australia.
He's gonna be running a my records.
He doesn't know anyone would you have a coffee with him?
I'm like, yeah, of course.
I feel you know, so we sat down and he got there and we talked about stuff and he's like,
what are you doing with your true and explain that to him.
And he was like, well, man, you should do a label.
Yeah, I thought about doing a label.
My god, man, I love to do a label.
And so we just hatched this plan.
I started this record company called modular.
The first band I signed was a band from Melbourne sent me a demo tape called the avalanches.
And then, you know, he sent me a demo tape because they wanted to support one of the
bands that I was touring at the time.
So I signed them, I thought they were really great.
And then I started another band, The Living Hand, and they started to keep Ben Lee.
And so the first record was by the band The Living Hand came out, we told four or five
times platinum in Australia.
So I did like really well.
And then the second record was Ben Lee's record that went platinum.
And there's been the avalanches, we went platinum with that one as well in Australia, but also
a translator and was a top 10 in the UK, sort of album debut, you know, so I did real well.
And then suddenly, I'm like, wow, this record stuff's real easy.
I should do more of it.
And then, you know, I signed some other local bands, one was the presets, one was cut copy
and then I licensed some international stuff.
And then a friend of mine called me up and said, hey, listen, there's this guy, Jack
Johnson, we know he's looking for a label.
Do you know any labels?
I'm like, oh, I just started a label a while ago, since the last time I saw you.
And she's like, oh, can I give him your deals?
I'm like, yeah.
So then I'm talking to Jack Johnson, so we signed Jack Johnson.
And that did really, really well for us.
And then I signed a band called Wolf Mother and Tame Impala.
And again, those things did very well for us globally.
And I would license different, you know, American artists and English artists, and we did some
as Klaxons and the Yeah Yeah Yeahs and all this kind of stuff.
So I had a good dream running that for 10, 15 years.
It was a lot of fun, you know.
And at the time, I found promoting, you know, it just became really a bit dull to me in
a way.
I felt like really, when I started out, it was like, literally like, hey, here's Chris's
number, here's Chris's number, call him up.
So I felt it was really sort of personable.
And I would work with people and, you know, with them and their small time management,
small agents, but as that became really successful, I got big management companies, big agents.
And after a while, I felt like I was working in a public service, you know, they were just
like, here, play this, and you use this artwork, do this, do that, and if it all sells out,
then you'll make a little bit at the end.
I'm like, man, I felt like a stamping light in the public service.
I found it so boring.
And I'm like, and then opportunity to do the record label stuff to find a band from really
early stages, be involved in all the creative stuff in terms of like the album cover design,
even making music videos, taking photos, I found it way more sort of interesting and
compelling for me creatively.
So I enjoyed that a lot for like, so 10, 15 years.
And then I kind of got to the end of that too.
I feel like maybe I've only got a 10 year concentration span, then I need to do something
new, you know?
And yeah, that's kind of what I'm today, looking for that next thing.
Yeah.
Well, I mean, you have a great track record, of course, with the label.
You also put on a lot of festivals.
And I want to ask you all first about that, putting on festivals, but you also put one
on in Croatia.
Yeah, that was an adventure in time, man.
I decided I was coming to Vista every year, and it's a long way from Australia, it's like
24 hours almost, flying time.
And then, you know, I get here, and I'd spend four to six weeks and then feel this like
push to go back to the office and everything in Australia.
And I'm like, what if I created some business opportunity in Croatia, so that it's justifiable
I spend three months here?
So I'm like, I'll do a music festival.
So I reached out to some of my Croatian friends I've met over the years, and you know, some
of them are involved in sort of creative industries, they sort of helped push me and introduce
me to different people.
So we ended up doing something on spa, where we had a day party.
There's a little island just off the coast called Jerolem.
And a friend of ours, Marare, with her family, out of this island for a long time, there's
like a nudist beach on it.
So we just do like DJs on the beach there from 2 to 8pm.
And then everyone would come back into town on the small boats.
And then I'd say, well, now, then you can have some dinner and then you can like maybe
go to a bar, shower, whatever, really, super chill.
And so then we, at 11pm, we would start the live bands in a little venue in town called
Vedaranda.
And so we'd have that from 11pm to 1am.
And then we have the little, I think they're called baka olis, these little boats and the
drivers, they would take us back out to another island, Carpe Diem in Stupanska.
And then I would go to like 6am.
So those three different sort of venues we used across the island, a few days.
And you know, we had live bands like, you know, Tame Impala, Nina Cherry, James Blake.
I had DJs like too many DJs, James Murphy, Mark Ronson, we had the Plaxons play.
I mean, a whole bunch more stuff I can't recall from the top of my head.
But you know, I did that and it was super great.
And everyone had a really good, intimate experience because you spend a few days on an island,
you know, you're on a boat with the same group of people, you see them walking up and down
the street, staying in the same sort of hotels, people had really good connections, you know.
And it was really friendly, it was quite small.
They did like that thousand people the first year.
So then the second year I did it again, and it grew again to about 1500.
And then the third year when I was going to do it, I was involved in a legal matter in
Australia.
And then the judge set the court date for right when the festival was going to be.
So I'm like, oh, stuff, we'll just move it back to what it was in June.
I'm like, we'll move it to September.
So we set a new date in September, we started marketing and telling everyone.
And then I lost in the court, in the Supreme Court, first time around.
And I felt really kind of hard done by.
So I said, I'm going to take this to the Court of Appeal.
So we went to the Court of Appeal and they set the new date for when I move the vessels.
So I was like, you know what, I'm just going to do my shit here for a while.
Let's forget about doing the festival in Croatia.
It was kind of a luxury.
It was super fun.
I'm really glad I did it.
And I met a lot of really wonderful people here too, you know.
Yeah, that sounds awesome.
Did you ever think about putting another one on?
I mean, when I've done things, I find like I've done it.
It's kind of enough.
You know, I know I can do something good.
Well, I'm like, oh, yeah, now what else can I do?
So it's not really in my mindset.
But you know, it's a difficult place.
I think when you're trying to do something in a country where you live on the other side
of the world, it's not so easy.
You know, I mean, I like the energy of a lot.
It was really great, you know, and people had a really wonderful time.
But I guess my head's just, you know, I'm working on this documentary project at the
moment, which is about music and stuff very similar to the exhibition in the book.
Maybe it's an accompanying piece to that.
So hopefully that gets the green light when we get into that.
Something I haven't done before, so I've got boundless energy for it.
That's really interesting, you know, the idea of putting on a show or doing concerts is
not maybe not so interesting to me.
Yeah, yeah, that makes sense, I guess.
Well, yeah, I wanted to ask you what sort of the future look like.
I know you're looking for a new project.
It sounds like that documentary, you know, as well as finishing the book, are sort of
the next big things for you.
Yeah.
So, you know, I'm trying to make a pivot into that sort of world.
I've found that kind of interesting and got a few ideas I've been talking to people about.
And it's sort of like two parts.
It's a documentary.
I'm pretty sure to get picked up.
It's pretty compelling.
And then after that, there'll be a second part to that as well.
So and then there's a fictional idea.
So that's what I would like to do in a dream world.
I'll have to see how it goes.
But I found out that, you know, I didn't know anything about putting on a concert when I
started doing it.
I didn't know anything about putting out records when I started doing it.
I just had a strong interest, a lot of enthusiasm for it, and a little knack for landing in
the right places.
And I kind of believe it will be the same with this.
I'll tell myself that anyway.
Well, yes, that's the attitude you have to have going into things.
You know, you got to believe in it and maybe a little bit of luck sometimes helps.
But definitely you got to have that confidence and go into things, you know, thinking that
you're believing that you're able to accomplish them.
So I definitely wish you luck on that and looking forward to seeing the results of those.
A couple sort of ending questions for you.
First one is something that I've been asking all the guests that come on.
What to you makes Croatia special?
I love I think there's a sense of honesty in people here and there's a real like charm,
you know, and much as there's a lot of pirates and Robbie blind tourists, but they do a smile
and a charm and a sort of warmness is so good, you know.
So there's this warmth about the people I really, really like.
And then just the island life has been the water here is so clean and blue and the food.
You know, I'm a big fan.
You know, I can see myself living here.
I just have to work on my speech, not a picture out of asking.
Even even on the islands, I know the dialect is a lot different than sort of what I've
been learning it up in Zagreb.
So yeah, definitely.
You got to sort of stay there for a long period of time and get used to hearing it and, you
know, speaking to yourself and, you know, it comes slowly, at least for me.
Respect to you, man, because I when you approached me, I didn't know much about your podcast
really, so I had to look around and I saw you interviewed on that one where you talked
about your journey and to come to the Zagreb and study it.
I'm like, that's a lot of respect, man.
It's hard to go to another country and learn a language from the ground up, even if it's
in your DNA.
You know, I've been around people speaking my most of my life going out, my father's
friends were all crow out.
But still, my head doesn't work like that.
So hard to process.
So, you know, when someone can do it, I'm like, respect, you know, so kudos to you.
I appreciate that.
It's definitely not easy.
I still struggle a lot and it's not something that's natural to me yet.
I still have to really think when I'm speaking and think, you know, when I'm listening to
try and understand.
But definitely I've come a long way and it's definitely been worth it to come over here
and do this program.
And now, you know, sort of decided to stay.
So yeah, I'm really enjoying it.
You know, sort of related to life on the island, I guess.
What's your favorite thing to eat while you're here?
And I have one restaurant here called Stonjitsa and the guy there on the grill, his grilled
lamb and baby goat or sardines and anything on the grill there.
And that place is top shot.
It's so freaking good.
And they make their I mean, everything pretty much growing in the backyard comes from the
backyard straight on to the plate.
So there's wild sort of garlic mashed potatoes.
It's pretty basic, but it's all super good, you know?
Yeah.
Then another restaurant here is Puyota.
They do really great sort of fish on the grill and stuff.
My neighbor, Marron, he's a grill master here in the Bronx.
So I always go there and sell it to him.
It's like 100 degrees in this little box in the back of the restaurant where he's grilling
all the fish and the lobsters and everything.
That's beautiful, you know?
And then there's another bar right below me as well.
It's called Lambok and they do pizza.
My friend Tom, he owns that, Tommy Slav.
And then, you know, that's really hard to get past there at night.
I got to go past that place to go anywhere.
So there's everyone sitting at the bar having a drink.
So I'm going to go past like, hey, sit down, have a drink with us.
So I find the night's quite distracting, but pizza there, storm titcher for the best grill
and then the seafood with Puyota.
Yeah, with all these restaurants around you, it's a wonder you can get anything done over
there.
I'm not getting anything done, brother.
That's my problem.
I believe it, man.
I believe it.
Not the worst problem to have, though, definitely.
Yeah.
I got to publish it back in Australia.
It's like kind of busted my chops a bit.
So when are we going to get the best book?
We need to put it out.
Oh, yeah, it's coming.
It's coming.
That's classic.
Last question here.
And this is only just because recently I've been interviewing a lot of fighters, you know,
UFC and ex UFC fighters.
And you know, you were in the music business, you were in the music business in the 90s
with the grunge scene.
A lot of that music is sort of, you know, angry music or at least, you know, some of
that is.
And so I was wondering if you had to have a walkout song for like a fight, what would
it be?
Oh, geez.
I mean, I've always found these questions tough because I was going to say touch me,
I'm sick.
My mud honey.
Yeah, that's classic.
They flipped the lyric, they want to fuck me, I'm rich.
But yeah, man, I find it very difficult.
A lot of people ask, you know, if you could only do a few songs or what's your favorite
song, what's your design?
I'm like, I love all kinds of music.
I love so much different stuff at different times for different reasons, different moods.
So it's really hard to ever ever pick one thing out of it, you know, and also being
a little OCD, I change what I like a lot, too, you know, so I might like something today
and in two weeks I can never hear that song again.
Yeah, I'm the same way if I hear a song, if I listen to it too many times, it gets old
and I got to find something new to listen to.
I'll think about it, man.
I'll flip you a couple options of what would be my walkout songs.
Yeah, let me know in case it ever comes that you got to need a walkout song for some reason.
I'm going to throw down with someone.
I'm going to throw down with someone while I've got a song ready.
They're trying to close the grill early or something on you.
Get the walkout song going.
I'll never know if you hear this song, but there's travel coming.
Exactly.
Pat, it's been a pleasure, man, having you on the podcast.
Really, really cool speaking with you and hearing about your career and, you know, definitely
looking forward to big things to come from you.
Sweet, man.
I appreciate you.
Thank you.