My role is not to impress the mind, but to impact
the heart. My role is to hold your hand through
whatever it is that you're going through. And
my role is to sometimes even bring forth attention
to a need that you may not even know you had.
We live in a time where we have seen everything.
everything. And yet we live in a time where we
no longer feel anything. Be in an Uber in the
backseat with the window down and have a smile
on your face because this song just tracks so
well. That is what I hope my music will do, is
invite the listener to simply just... Welcome
to the very first episode of Season 6 of The
Piano Pod, my friends. It's finally here. How
was your summer? I had a great one. Not much
traveling, but a really productive summer. I
share more about that in the Season 6 intro episode,
which came out last week, so be sure to catch
up if you haven't yet. The link is in the show
notes. This season is all about creativity and
connection. And I can't tell you how thrilled
I am to begin the season new chapter with you.
One of the biggest announcements is something
I have been dreaming of for a long time. Our
very first live event on October 4th, the Piano
Pot Live in Concert at Stiefel Hall, presented
in partnership with Manus Prep at the New School,
a pre -college music program offering comprehensive
and nurturing training for young musicians. All
the details are in the introductory episode as
well. And if you're in the New York City area
on October 4th, I'd love for you to join us.
Let's celebrate creativity, connection, and live
music together. And now let's talk about today's
guest. To start this season of creativity and
connection, I can't think of a more fitting guest
than Steinway artist, composer, and wellness
advocate, Chad Lawson. Chad is not only a composer
and pianist whose music has reached millions
around the world, he is also the creator and
host of the renowned podcast, Calm It Down, where
he helps people slow down, breathe, and find
a moment of peace in the middle of life's chaos.
And in 2024, he became the very first musician
to be appointed a United Nations Ambassador for
the World Federation of Mental Health, composing
The Light Within. as the official theme song
for World Mental Health Day. But what moves me
most about Chad is the way he approaches his
artistry with deep kindness and empathy. A little
spoiler here. He told me in our conversation
that there are artists who create for themselves
and there are other artists who create for their
audience. And he said, I create because I want
to help people with whatever they are going through
emotionally. That's my role as an artist. When
you listen to his music, you can feel the intention
that he is right there with you, offering presence,
compassion through sound. So, as we open this
new season, I invite you to lean in. This is
not just a conversation about music. It's about
presence, empathy, and what it means to create
with others in mind. And before we begin, I want
to thank you for being here. Every time you hit
the thumbs up, leave a rating, subscribe on your
favorite podcast platform, or share an episode
with your friend, it really helps this work continue.
It means the world to me. Here is Season 6, Episode
1 of The Piano Pod with Billboard chart -topping
artist and UN Ambassador Chad Lawson. Please
enjoy the show. You are listening to The Piano
Pod, where we talk to the brightest minds in
the industry about how they are bringing the
piano into the future and thriving in a complex,
ever -evolving world. Chad, welcome to The Piano
Pod, and thank you so much for being here today.
What an honor. Oh my gosh, Yukimi. I mean, honestly,
the honor is mine. Congrats on the new episode
series. This is fantastic. I'm going to turn
the conversation just a little bit and ask you
in the five seasons, right? This is season six,
right? My word, so much work. In the five seasons,
what has surprised you the most about the conversations
you've had? Like right now, I have never thought
I would be asked that question. That's a surprise.
You said, what surprised me? Yeah, if you could,
like, what has, like, yeah, like, what if up
to this point? That, wow, classical musicians,
you know, because this is a classical piano podcast.
We are so creative people. Yeah, you know, because
the training was so hard and as much as we love
it, but. It was a strict rigor training. But
then when I talked to the people, wow, we are
such creatives. And I've been, I'm learning so
much. I've been so encouraged. Because the beginning
of, the reason why, one of the reasons why I
wanted to start it was that I was quite angry,
you know? It's like, the classical music is dead.
it's dying. I've been hearing this over and over
and it's like, it is, you know, I'm teaching
young children. And then when I see them, they
listen to pop music, which is great. But so,
you know, that's how I started. But when I dig
deeper into this conversation and meet more people,
and then lately I've been invited to so many
events by guests. And then I realized, wow, we're
a bunch of crazy creative people. Yeah. Well,
I think you really hit on something. Um, which
is like, I think that there is an audience that
we actually don't even see, right? Like, like,
like even with my music, and I think this is
the case with classical and neoclassical and
instrumental music is like, there's a large listening
audience for it. I mean, there are, you know,
you know, playlists on streaming music where
that's some of their largest playlisting. And
it's this type of music. And so I think the interesting
thing is, is like, sorry to dive in here really
quick, but I think to your point of like, you
know, I was thinking the same thing too, which
is like, you know, classical music is dead. It
has no longer any relevance. Like people are
giving away pianos. I think the interesting thing
about what the pandemic did is it went back and
it showed the importance of one creativity to
your point. And it also highlighted just like
the need for us to create and to like really
put our hands to things. Then also to like have
that activity of like creating something beautiful
that's also like calming music. And so it's one
of those things where if you look at the genre
of the music that we're doing, like if we look
at my data, I'm a data nerd. Sunday night through
Thursday, like my numbers or streaming numbers
are super high, which I'm grateful. Come Thursday
night, they drop like a rock because nobody wants
to listen to this on the weekends. And then,
but Sunday afternoon or Sunday evening, they
come up again. Right. And so like you have like.
This large group of people that just want something
on the background to either read or to study
or to relax or just not be distracted when they're
doing something. And I think it's really interesting
what the landscape has changed so much with streaming
music because it's removed that barrier of this
is classical, this is not, or this is one genre
and this is not. And so like even now, I mean,
you know, my my oldest son, he turns 15 in two
weeks and I'll go through and he'll be listening
to like, you know, solo violin or he'll be listening
to Queen or he'll be listening to, you know,
some random bands I've never heard of. But then
you go back again and then he's listening to
Bach, you know, and it's like I think the incredible
thing is it's removed that barrier. that it has
to be one of these things. And now that I don't
even know if the word curiosity comes into play
anymore. Cause I mean, I think it used to like
people used to have to be like really curious
to find good music. And it's like, no, it's out
there. You just have to look for it. And I almost
think we're at a point now where it's just like,
how much like, do you really have to go out of
your way to find it? You know? And so I think
it's beautiful. I think it's fantastic. Sorry.
But I also I think that's why, you know, you're
starting off with season six, because like you
have so much conversation and so many people
that are not only wanting to share, but also
wanting to hear. I think it's really fantastic.
Oh, same. I feel the same thing way about you
and how you're reaching to your audience. And
then, in fact, a couple of weeks ago, I have
a lot of adult students now where they have never
taken lessons. They live in I live in Brooklyn.
and williamsburg so the generation is younger
you know young uh millennials or gen z i'm seeing
gen z's as well and then they i'm surprised at
how much they are eager to learn you know and
they didn't receive proper music education per
se you know and so music to them is just pressing
their device and listening instead of creating
So, and they love listening to, yeah, minimalistic
music. And then I introduce your music because
I got to know your music through this conversation
before even then. And they love it. They fell
in love. And then they're like, when does this
episode come out? Oh, thank you. That's so kind.
Yeah, so there's a magic that you do to be able
to connect, not just in terms of this traditional
concert, live concert setting, but also podcast
has your music and also meditative because you're
a certified meditation teacher, right? So certified
in breathwork. I have a couple of certifications
in breathwork education, and then I go around
to universities and just help young adults just
decompress. I help them learn what anxiety is
or learn how to just kind of downshift, which
is, it's, I mean, it's, it's open doors that
I never have ever imagined as far as like the
mindfulness space. But I mean, that's, You know,
it's funny because we have two types of artists.
We have the artists that they have to produce
art because that is what they have to do. So
like the David Bowies, right, or the Todd Rundgrens
or the Thelonious Monks. They didn't care. They
just had to create. And it didn't matter to them
what kind of response they received. So we need
those types of artists. And then the other artist
is artists that create for their audience, that
they know what their audience is and they want
to be able to say, I'm creating with you in mind.
We need those artists too. And I feel like I
fall in that category, which is like I create
because I want to help people. with whatever
it is they're going through emotionally. And
it took me a long time to actually be okay with
that. Not okay with like helping people, but
okay with the mindset of like, that is my role
in creating. And the reason why I say that is
because to your point, and you've spoken to many
pianists, like we spend our lives locked away
in a room with one of these things and four hours
on end, right? Six hours a day to where you're
just mastering your craft, you're honing your
craft, you're really wanting to be able to play.
like perfectly, right? And so it only makes sense
that as an artist or a composer or what have
you, that they would then want to bring that
music to fruition. But the interesting thing
that I found for me personally, because I came
from a really strong jazz background, and so
like improvisation, and so it was classical,
and then it was jazz. And I still study jazz.
I still take lessons. But it's one of those things
where it's just like when I started doing like
this solo piano, like neoclassical, post -classical,
minimalist kind of thing, you know, my mindset
was like, I'm going to raise the bar. Like I'm
really going to like, let's bring something like
really creative. And the interesting thing was
that music fell flat. It did not land anywhere.
I don't say anywhere, but it was one of those
things where it's just like. it just didn't work.
And so I really had to stop and think about it
because I was really trying to do something incredibly
creative in this minimalist space. And what I
came to figure out is people don't want to be
challenged. And I mean that respectfully. And
so let me explain that a little bit. They don't
want to be challenged in the sense of they might
work a job that they don't enjoy. Or they might
come home to like a leaky faucet or maybe to
like a sick kid or to, you know, fill in the
blank of all the things that we go through every
day. And so like the last thing that they want
to come home and put on a vinyl or put on some
music and then have the, okay, now I'm going
to focus. Like nobody has that bandwidth whatsoever.
And so like, that's kind of what was happening.
It was just like, no, this is really creative.
Check out this sharp 11 and check out these subdominants
and the, you know, tritone substitutions. And
people were just like, yeah, man, I don't have
the headspace for that. I just want something
that's just going to like make me feel better.
Right. And so that took me a long time to figure
out. And then once I figured that out, I was
just like, oh, okay. you know so going back to
those two types of artists the ones that create
the ones that you know create for their audience
i fall in that category because for me personally
um i'm an empath by nature and so like i don't
want to create something and then put it out
there and then just ignore the audience like
like i want to be really intentional because
you know my audience which i'm really grateful
for they're very they reach out and they share
and they share messages and they share emails
and they share, you know, after a live performance,
they'll come up and they'll want to talk. And
they'll say, you know, my father is, you know,
struggling through all these things. And I just
sit and I listen to your music and I, I just,
I cry. And so at that point, it really becomes
less about creating for the sake of just creating
to like, to be. to be sharp 11 tritone subdominance
to where you're just creating music because you
just literally want to help people. And for me
personally, that is kind of what I landed on
two years ago, like specifically. I waited tables
for 15 years. I'm going to go down the rabbit
trail really quick. I waited tables for 15 years.
And New York. Peter Luger's actually was my last
job up in New York City. Oh, I live very near.
Amazing place, amazing people. But I mean, you
know, as an artist, I mean, that's the role.
I mean, you have a stake in one hand and you
have a promo pack in the other. And so you're
constantly trying to like, you know, find a gig
while still working and whatnot. But the interesting
thing about waiting tables that taught me the
greatest thing is how to connect with people.
Because at every given point, you have about
30 different personalities that you're trying
to tend to and navigate and eggshell and connect
with and also just take care of. And that's the
role of someone, I see it, as waiting tables.
And so if someone ran out of their water and
they had to ask, then I missed that opportunity
to take care of them. I totally dropped the ball.
Whereas if I refill their water without them
even noticing that they were low or without them
asking, then I'm taking care of them. I'm accommodating
their needs even without them knowing they have
a need. Now, the way I see art, for me personally,
is the same. My role is to hold your hand through
whatever it is that you're going through. And
my role is to sometimes... even bring forth attention
to a need that you may not even know you had.
And so what that means is creating something
where someone can just sit in stillness, close
your eyes and listen to something. And then they
begin to peel back some of the self -reflection.
They begin to ask, what am I feeling? What emotions
am I going through right now? Right. But they
have to have that bed. for that. And I think
that's where the creative element comes in. So
it's almost as if like, we're not creating to,
I always say this, my role is not to impress
the mind, but impact the heart. And I think that's
really important as far as creatives. It's just
like, we have to get to the point where it's
like, it's not about impressing the mind. It
really is about impacting the heart and just
letting that really resonate. Because songs are
given to us. I have this woo -woo theory that
I might lose some people here. But what if, imagine,
Yukimi, that, like, every song has already been
written. Every song, right? So, like, imagine,
like, Fur Elise to where, like, Fur Elise was
already created. It was just looking for that
person, like, the specific person that was going
to bring that song into fruition. so like who
is in the headspace to be able to say i'll take
it i'm the person that's going to bring that
to you right and the reason why this is the case
and i'm just bear with me here it's just like
how many doors if you're at least knock on before
beethoven was in the headspace of being like
i'm i'm the person for this because songs are
given to us they're not ours We are a catalyst
of art. We are a catalyst of emotion. We are
a catalyst of healing, of comfort, of dancing,
of singing, of all the things that are attached
to art, right? And so like our role as artists,
the way I see it, is we are given something and
then we have to release what that is. And so
like when we release what that creative piece
is, be it poetry, be it music, be it fill in
the blank. Then that piece of art is going to
be able to go further because we're letting it
go rather than us saying, this is mine, I created
it, and you should listen to it and then give
me praise. At that point, the intention of that
art is capped. It has a glass ceiling. So that
can only go so far. Is it beautiful? It might
be. Yeah, very much so. But have you just all
of a sudden... capped where that piece of art
can really go yeah and so if we get into this
creative vibe this creative mindset of like we're
meant to create but we also have to realize that
creation is meant to like go further than we
would ever be able to do it on our own right
so even with me with writing with writing music
i never name my songs so the songs are always
like whatever the key is so you know so on the
album breathe you know g minor c minor d right
and like even that like on the scores and the
charts they're all labeled that so because the
reason is i don't want to dictate what that song
is meant to bring to life um so a lot of times
i have no idea what the song is about and so
for me personally the way i create the way i
write is i'll get a melody in my head and then
another melody in my head, and then another melody
in my head. And then once I have all of these
melodies in my head, then I go to the piano and
I write out the melodies. And then I go and I
start building the chords and the structure around
the melodies. But so I'm not one of those people
that just like... you know, sit for 45 minutes
every day and just write, you know, this is the
time. And there are people that do that and that's
good on them. That's fantastic. For me, I have
found that doesn't really work so well. And so
we record the album and they're all called this
key signatures. And then I'll usually take about
a month away from the recording. So I won't listen
to it for a month. So I want to like kind of
step away from it a little bit. And then I'll
just, after about a month, I'll sit and I'll
have the album playing very lightly in the background
and I'll just read. I'll read poetry. I'm a huge
poetry nerd. And I'll just sit through and then
I'll just, as I'm reading something and I hear
something, then I'll be like, that kind of connects.
What I'm reading right now and that song, they
kind of connect with each other. But the reason
why I do this is because I don't want, if I were
to write a song, and title it sunflowers you
instantly have an image of sunflowers whereas
like you might hate sunflowers and so like you
would probably see that and just be like skip
i don't want to hear that right and so like if
we allow ourselves to be giving of whatever the
song is and so case in point there is a song
on the album breathe um called called g minor
um called filter forever And it's very similar
to that song. Like that song began to tell me
what it was about during the recording session.
So we were at Abbey Road Studio 2. I had cellist
Peter Gregson with me and I had violinist Esther
Yu. And so the three of us were literally in
the same room together. The red light was on.
We're playing this song called G minor. And in
the middle of the song, I started getting these
images just flooding me. of my mom and dad and
their happiest moments. And I had lost my dad
about two years before that. So fairly recent.
And it was just overwhelming. And so like, and
they were like these little moments, like them
watching TV together or having a picnic or like,
you know, driving on the parkway. But like, I
instantly started getting flooded with these
images and just like to the point where like.
I'm like, okay, I really appreciate you telling
me what the song is about, but could you have
waited until after we recorded it? So it was
really overwhelming. And it was one of those
things where like, I allowed that song to kind
of tell me where it was supposed to go. And that
is the one song that every time I play that live,
someone comes up and goes, you know, I have no
idea what that song is about, but it just wrecks
me every time I hear it, right? So the role of
a creator. is to be selfless and to rid ourself
of the idea of like, this is my creation. I own
it. I created it. You should be proud of me.
To where it's like, hey, you know what? I was
given flowers and now I want to turn around and
I want to give these flowers to you. So that's
how I see creativity for me personally. Wow.
Thank you. I know. No, lovely, beautiful. Thank
you so much. So I don't know, it's the way you
write songs, music, or the way you speak. There's
something about you, your artistry set them apart
from others. So what do you think that is besides
what you just mentioned? Well, I have a different
voice. Like every artist has, like, you know,
I hadn't planned on playing the piano, oddly
enough. But if you look at the piano, let's take
an octave, for instance. Yeah, you can see that.
And if you look at this octave, like each note
is entirely different. So like this C will always
be a C. This D will always be a D. They each
have their own tonality to them. I feel like
artists are the same way. So like, you know,
with certain songs, if I'm in the key of C, more
than likely I'm not going to be playing an F
sharp. It just doesn't fit, right? And so if
you think about how certain notes are really
important, they're actually, they're all important,
but they're not always needed in that particular
environment, such as a song in the key of C.
And we know that like when you're listening to
something pleasant, it's because you have these
keys and they sound pleasant. I feel like artists
are the same way. to where every artist has their
own particular key. And for some people, that
note is going to ring out really beautiful on
a song. But some people might hear that same
note or that same song and be like, eh, it's
not for me. And it's no shade on the artist that
it's not for them. Everyone has their own particular
taste. I don't know if you've ever watched that
Philip Glass documentary called Glass. The opening
scene is one of my favorite things in the entire
planet. It's like, it's him on a roller coaster
and he's doing this voiceover and he says it
so perfectly. The only, you know, Philip Glass
is the only person that could say this. And the
voiceover is like, there is so much music out
there. You have Bach, you have the Beatles, you
have the Rolling Stones, you have any list, like,
you know, whatever. And he goes, you don't have
to listen to me. I don't care. Just go listen
to something, something that like makes you feel
alive. And I'm like, that's it right there. Like
we all have like our definitive note and the
notes that I play, they're going to land somewhere
with someone, but they're also not going to land
with some people. Whereas like you, you can be,
you can be, sorry. Your notes are going to land
probably in an audience that. my notes won't.
And so I think that's really important for us
to like, you know, to create, not compete. That's
kind of a mantra to live by. It's like, we're
not here to like compete. We're here to create
and to understand that like everybody has their
unique key. And also a really big thing that
I, I personally choose to do is not listen to
artists in my circle, in my genre. So many of
them are friends. They're incredibly talented,
but I make it a higher priority not to listen
to them because I don't want to be influenced
by them. And that's really important because
I recognize that they have their audience and
that their audience is their audience, whereas
my audience is my audience. And so why would
I try to deceive my audience in trying to sound
like someone else? So that's just me personally.
Coming from the jazz background, it's one of
those things where you hear something and you
steal it and then you begin to play it and you
begin to make it yours. I want to make sure that
I'm respecting those artists, the artists that
are in this circle, and not trying to mimic or
replicate or to steal from what they're doing
as well. And so I think, I don't know if that
has something to do with why... as you mentioned,
which is so kind. My sound might be a little
different than others. I really am trying to
keep it as pure and authentic to my own self
as I can. That's my hope, at least, for sure.
Let's talk about your actual album, the latest
one, Where We Are, Unity Edition. I understand
that you mentioned about your audience. There
is an original version. which is the 2024, right?
Yeah. And then the 2024 version, I believe I
read somewhere that there were a lot of DMs or
emails from your audiences, your fans, and that
inspired to create where we are to the original
2024. But that evolved into so many different.
things and then came together as unity edition
so can you tell us what they are please sure
absolutely i'd be happy to so the funny thing
about where we are um i had already started writing
a whole different album and it was about dreams
it was about the dreams we chase like why do
you go after that dream that you're going after
and what if you never caught that dream like
what if it never happened would you still continue
every day like going after it So it was very
much like appreciating the challenge kind of
thing in a roundabout way. And so the album was
actually quite different than what most of my
albums have been. I wanted to be able to make
it a little bit more classical leaning and a
little bit more ambitious and rigorous and a
little bit more demanding, musically speaking.
And as I'm writing this album, I was applying
some of the dreams that I had in my life. There
was a studio up in Norway. in Oslo, um, that
I had always dreamed of recording. So that was
going to be part of it. Um, coming from the jazz
head, the jazz nerds, um, the record label ECM,
uh, was based out there. So the, the, the studio
rainbow studio, I was like, I've always dreamed
of recording the rainbow. So that was like part
of it. And so like, we had this date, it was
October, um, of 23. Um, and so like I had a deadline.
And so like the album was coming along and I
was really, really happy, but I was like, man,
something's just not right about this. I can't
figure it out. And so I was just kind of torn
because it just wasn't feeling like it was completely
settled. And then I was doing a live performance
at Auburn and this young lady, she came up to
me and she was just absolutely, she couldn't
form a sentence because she was crying so hard.
And she said, my dad is dying of stage four cancer
and all I can do is listen to your music. And
at that point right there in my mind, I heard
people aren't ready to dream because they're
still trying to heal. I have chills right now.
And that really resonated with me. And so I was
just like, why am I trying to create something
that is about me? And so I went home. And I only
had like, I want to say like two weeks before
the recording date. And I was like, I need to
start over and write like a whole new album.
And so in two weeks, I created Where We Are.
And that really was like an invitation to heal
and an invitation to like, to find the idea of
that, that young lady, she spawned everything
in the sense of people are suffering people are
going through difficult times and so i wanted
to be like you know i wanted to create something
that is like with them like where they are like
emotionally and so but instead of like being
like where you are i was like you know we're
all in this together and so it really turned
into like a where we are thing so i wanted to
like sit and be with people like with them in
all of this and so in particular there's a song
called sanctuary on the album And it's like,
what is your personal sanctuary? What is that
healing space for you that you can just go and
just like sit alone? And some people have never
created that for themselves. And it's like, oh,
I didn't really thought about that, you know?
So it was just like, it was an invitation for
people just to pause and just to take a moment.
And so the whole album was like really about
just togetherness. creating something that's
like intentional about everyone understanding
like what you're going through. You're not alone
because I get emails all the time. And a lot
of times it's the same conversations, different
people, you know, different, different people,
but like kind of the same story. And so when
we decided to do unity, I wanted to extend that.
I wanted to open up the idea of like bringing
more people in. I've actually really never done
like major collaborations. I've had, you know,
as I mentioned, Esther and Peter, but for the
most part, like I've never really done any work
where it's like collaborating, but also like,
here's the song. do whatever you want to do.
Like, put your emotion, put your fingerprint.
Like, what are you feeling when you are hearing
this? And it was just absolutely fascinating
to work with, like, Helios and with Holly Kenneth.
I mean, she's just fantastic. And it was just
really wonderful to, like, not, again, going
back to the point to where, like, we're given
something, and then... in order for us to like,
let that be art, we also have to let it go. And
so like my giving them carte blanche, I've been
like, you know, Brian Senti as well, which is
just a really wonderful, wonderful musician.
I've just been like, you have carte blanche,
like just put your, put your voice to it, you
know? And so that's why I wanted it to be a unity
because it just kind of, it did feel really together,
even though like we were like, the creation process
was not together whatsoever. but it was a continuation
and it just felt really, just really natural
and really beautiful to the point where there's
actually something, you know, that's releasing
in October, October 10th. And it's a three song
EP just going even further with that, with these
collaborations and the names are just fantastic.
So, but I can't, can't spoil it because this
is September. And so that's the wait. Okay. But
so this new three, you said it's three pieces,
right? Yeah, yeah. That are coming out of this
unity. So they're coming out of where we are.
So there are reworks of where we are. So three
songs from where we are. I will say one of them
will already have been released September. So
that would be a song with Votus 8 and the cellist
Seth Parker Woods. And then what we did, going
back to my being a poetry nerd, we took the poetry
of Rupi Kaur. I don't know if you're familiar
with Rupi Kaur. So for those that are listening,
her name is spelled R -U -P -I -K -A -U -R. A
wonderful poet, Canadian. And so we took one
of her poems and Jeff Lawson, no relation, the
arranger, he took her poetry and put it into
the vocals, the lyrics for Votus 8. And it's
just stunning. And see, that's so, that's, that's
what I'm getting at like earlier. And I know
I'm kind of like, you know, hitting this now
a little too much on the head, but like when
you have. But when you can embrace something
without suffocating it, there's so much that
is going to surprise you. I mean, look at your
podcast. Look at your podcast, like what you
have done. Like you were like, you know what?
I want to talk to musicians. I want to talk about
creativity, right? And I just want to hear stories.
Now we're in like season six. And so because
you created something really pure and authentic,
I just want to put this out there and the energy
behind that and just the selflessness in what
you're doing. Because my word, I know personally
how much time podcasts take. It's immense. But
you're in season six, which is just unbelievable.
And so it's the same thing, like, with this three
-song EP. Like, I never in my life did I ever
dream that I would get to sit and, like, in an
old church, listening to Vocious 8, like, sing
an arrangement to one of my songs. I mean, like,
and I literally, I was just like, I wish every
artist could, like, experience this once. Because
it was so blissful. I think because I've been
able to like release the idea of like, this is
mine, this is mine, this is mine, this is mine,
this is mine. And so when you, when you turn
that around and say, this is everyone's for them
to experience, then it's just going to open doors.
You just never even anticipated, you know, to
be able to like. work with rupee and to work
with morgan harper nichols who's doing the artwork
for the ep and like it's just i have chills right
now right um so yeah so that's that's kind of
the parts where you know it started with where
we are and then it went over to unity and now
it's this is called together um so where we are
together that's uh that will release october
10th um but yeah it's it's mind -blowing so i'm
excited wow But it sounds like, I mean, I used
to practice yoga intensively. And the pandemic
hit, and then I've been lazy about that. But
what I learned from yoga is not only about breathing,
but also letting go. So it sounds like that's
what you're talking about, right? Letting go.
It's not about you. Yes, it is, but it's not.
And once you let go of yourself, this is mine,
this is mine. And then you can invite people
in and there's more opportunity, opportunity,
not as in the greedy sense, but opportunity of
people coming together. So much. I mean, you
just said it so perfectly. I mean, if you think
about like creativity, I'm a really big fan of
reverse engineering. So like, you know, what
is the end result look like? Right. And so you
have to be kind of careful with that when it
comes to art. Now, when I say reverse engineering,
that's more of like the business side of things.
Whereas like with the creative side of things,
I don't know if you can look at creativity with
the end in mind. You know, I read this really
fascinating article and then I reached out to
a friend of mine that actually works at Amazon
and they were like, yes, it's kind of how it
goes. And the article goes that before Amazon
even begins like designing or building or putting
anything like time intensive into a new product,
they build the press release first. And they're
like, let's be very specific and write. What
does this thing do before we even begin? Right.
And I thought that was really wonderful because
then there's like a clear definitive, like, and
then they work backwards. Like, okay, so it does
this. Well, how did we get it to do that? Well,
because we put these things into place. Well,
how did those things get there? Right. And so
from a business mindset, which I love talking
about business, it's brilliant. Now, from a creative
perspective, I don't think that's really the
way to go as far as. artistically so if you think
about it like if I play this note I'm not playing
it with a I'm going to record that and it's going
to be like epic and it's going to get on a TV
series it's going to get a commercial for Apple
all these things just like no I play this note
because I wanted to hear what it sounded like
right And so like, I think we have to like, when
you say letting go, I mean, you hit it spot on
to where it's just like, we have to let go of
the idea that there is an end result. Like when
we create, if you're creating with a mindset
of like, I want this to be X, then you're already,
again, putting that glass ceiling on whatever
it is. Plus you're taking the fun out of it,
to be honest. But like, if we have the approach
of like, if I'm literally just. The sound of
that note just brings a smile to my face. And
if you just imagine the color and the warmth
and just the tone of it, you're like, well, what
can I do with that note? I want to have fun with
it. So you have to let go of the idea, to your
point, of it. That note. perhaps that I just
played, its only purpose was to bring a smile
on my face just now. Right? And for that, that's
enough. And so like a lot of times I think we're
in this, you know, where we are with the world
and screens and all the things, you know, I have
this theory like a social media. Really, it's
boiled down to two things. There are two things
on social media. Someone's either screaming or
they're selling. And once you learn it's one
of those two things, try it. Next time you go
to Instagram, watch every video. Either someone's
trying to sell you something or they're just
screaming mad about something, right? And so
it's difficult for us to be in the mindset of
just doing something for pure pleasure. I'm not
trying to sell that. Nor am I trying to tell
you how amazing that is. I'm not screaming at
you about it. I'm just inviting you just to be
like... Watch this. I got this in London when
I was there earlier this year. And this thing
is like 100 years old, this bowl. What is that?
So this is a singing bowl. And I have like eight
of them. I have way too many of them. But if
you think about a singing bowl. That moment will
never happen again. Like you and I can get on
another interview and, you know, we could have
the same lighting, you know, we could wear the
same things that have my little Pellegrino, my
dog snoring, like on the other side of the camera.
And if I strike this, it's going to be different
because we're going to be somewhere different
emotionally. We're going to be somewhere different
in the day. Maybe, you know, I spilled coffee
on myself. Maybe, you know, maybe someone gave
me a free donut. Right. So like emotion, like
really. affected by this and so like the interesting
thing about like art and creating is um twofold
but i'll stick with one just for now um is it
really is about like how do i create something
just for pure pleasure but also to like bring
me into the moment you know you were saying earlier
that you you were doing yoga and because it allowed
you to let things go and i love that I actually
started yoga at the pandemic. So I've been doing
it for like five years now, like an hour every
day, as much as best as I can. And the reason
why I do it is because it gets me out of my head.
So like for an hour, I'm listening to someone
like instruct and I'm listening to someone. guide
me through something to where i'm not thinking
about a free donut or if someone spoke coffee
or me or whatever and so like i have that time
to where like i'm just literally out of my head
and art is kind of the same way right to where
it's just like just sitting with the singing
bowl or the piano or in the shower and just singing
that like that is to really just get yourself
out of your head and to just be present in the
moment and to actually just enjoy something.
Yeah. And, and that's, that's, it is sticky because
like as a creative that's doing this for a living,
you do also have like the monetization of this,
which is like at the end of the day, it's still,
let's be blunt. It's a product because like it
is an offering. And it puts food on my family's
table, for which I am grateful, incredibly grateful.
And so it is difficult to sometimes separate
the idea of it being music or it being manipulation.
Let me say that one more time. As creatives,
it can be really difficult to be able to separate
the idea of it being music or manipulation. Because
anytime that you involved a return on something,
then that opens the door for there to be a manipulation
for that set of return, right? And so it's really
difficult to make sure that you're not all of
a sudden turning into a manipulation factory,
right? It was like, oh, I know what works to
make this end result. So I'm going to do that
again. And I think when that happens, I think
when we see that with artists, I think that we
see that like after two or three albums of that,
people are kind of like, yeah, done. It's not
really hitting the same anymore, right? And it's
not because the music isn't great, but I think
it's because like it's lost what the purpose
of that creation was intended for, right? So
like, I mean, if you eat the same exact meal
for, you know, six straight days, like everything's
the same, it's going to lose its flavor no matter
how much that was your favorite meal to begin
with, right? And yes, obviously, you know, we
do get tired of things, but also like everything
around that mill changes constantly, right? Your
emotions, your interactions, you know, all the
things that are just tied into life. And so I
think art has to be the same way where there's
like this ever, ever evolving space of what art
is, of what creativity is, of what. the meaning
behind it all is, which is why it is so important
to like grab a singing bowl and to hit it or
to sing in the shower or to like, you know, turn
on the radio dial and listen to something that
you've never listened to just because it's going
to like bring you in there just for a moment,
you know, or listen to a podcast. Just one, one
more thing from the album. I'm curious about
the light within, which became the world of mental
health, the theme song. for official theme song
for world mental health day and uh is also somewhat
connected to you being the united nation ambassador
for the world federation for mental health so
i really would like to know the backstory and
i tell you it's one of those things thank you
for asking actually it's one of those things
where like i still just shake my head like i
have no idea like i'm in an ocean i'd I don't
even feel like I belong in it to be honest. Um,
because like, you know, creating music to help
people heal, to hold their hands and all these
things, um, really it stemmed from my doing the
podcast, to be honest, the whole UN and all those
conversations. So once COVID hits, I was grounded.
I couldn't tour, but I still wanted to like be
relevant to my listening audience. And so instead
of just, connecting with them from the stage,
I thought I would connect with them through the
microphone and created a podcast that centered
around mental and emotional health. And so what
that did, I thought, you know what, this will
be temporary. This will be just for this few
weeks for this whole, you know, COVID thing,
whatever it is, it'll pass away and we'll all
get back to normal. And what the incredible thing
is, is it became a whole life of its own, the
podcast. It's called Calm It Down, as in calm
down the mind. And the interesting thing is that
opened doors into avenues that like, I don't
know if music would have opened necessarily by
itself, but because it was related to music,
it had an opening, which is like, oh, he talks
about breathing and decompressing and anxiety.
Oh, Yasuo plays the piano? Oh, this is great.
Let's talk to him. And so there was an introduction
to, October is World Mental Health Day, October
10th each year. And in 2024, we started having
conversations about, okay, what can we do around
World Mental Health Day? And so we met the World
Federation for Mental Health. And we just, I
had their secretary general on my podcast and
we started talking about what can we be doing
globally for the young adults that are struggling
with mental health issues or emotional health
issues. And really we just built this relationship.
And then one day I got an email from them and
it was one of those things where like, I literally
start crying. um i'm with my older son we're
out and about somewhere and i get the email and
i open it up on my phone and he's looking over
my shoulder and basically the email was like
we would like for you to be a representative
at the un for mental health and he looked at
me with the biggest eyes and like for my entire
life of all the things i've done musically there's
like okay whatever but like with this he was
just like it's a big deal, you know? And so like,
we had this really bonding moment together of
like how cool it was. And I have to, I have to
admit to me, it was just like, even now just
thinking about it, it's just mind blowing. So
what, so sorry, rambling. And so like when we
started talking to the Federation, World Federation
for Mental Health, we're like, you guys need
a theme song. Like let's create something that
like we can center around World Mental Health
Day. And let's talk about the Federation and
let's talk about like, what does this young audience
need? Young adults need right now. And so that's
where the idea of the light within came, where
it's just like, we, we have, we have so many
things that we're like trying to find solace
and, or hope and, or comfort and, and all of
these things. And it's just like, when we can
actually sit still and like, just like, for a
moment, put those things away, we begin to like
search within ourselves. And that's really difficult.
It's actually quite difficult because there are
a lot of layers in there that we don't want to
address yet. But when we begin to like peel that
back and then we begin to heal and we begin to
have conversations with other people about healing.
And sometimes that means with a professional
guidance counselor or a therapist, we begin to
like see that like. Our true selves and the sense
of like, it's really hard for people to love
themselves. It is. Oh, yeah. There are so many
factors, right? Like we're constantly judging
ourselves, right? We're constantly like, we have
this grid of a spectrum of like where we should
be. But the crazy thing about this, though, there
is no spectrum. There is no official, this is
great, this is not great. Where do you fall in
this category? Because there's nothing that says
officially, well, this is great and this is not
great, because it's different for everyone. And
so when we begin to get rid of this idea that
there's this gauge, that there's this measuring
system of, who's good and who's not. And we begin
to like, let go of the idea. Okay. We're talking
to classical pianists right now. Right. So if
we look at all of the classical pianists that
just dominate, you know, I don't want to mention
names right now, but we all know who they are.
I was like, I'll never be like them. I'll never
be that great. Or, you know, or I can play better
than so -and -so. And so there's always this
constant measuring of pianistically of what we
can and can't do. But if we were to close the
lid on that just for a second, and then we ask
ourselves, why do I play piano? Like, really?
When was the last time any of us actually stopped
and said, why do I do this? What? It makes me
happy. Right. And then you begin to like, tell
that back. Okay. So if it makes me happy, then
why am I so worried about how they're playing
10, 10 BPM is faster than I am. Right. And so
it's like, maybe that song is connecting with
you at the tempo that you're playing it and letting
that be enough. Whereas perhaps, you know, they're
playing it at a different tempo. for whatever
reason that they have. But what their reason
is, it's not my concern. Like I should not be
like wrapped up why so -and -so is playing at
this tempo, at this veracity that they are, because
that's them. What I'm concerned about is like,
why am I doing what I'm doing? And then when
we get to... like, ask that of ourselves, like,
in an honest way, then we begin to understand,
I like playing piano because it just makes me
feel good, right? Now, I'll take that to, like,
ourselves too emotionally. When we begin to,
like, find that answer, like, there is this light
that's within us, and we're not trying to look
at the light that someone else has that's really
bright, that's, you know, or maybe it's not,
right? So I think for me personally, the whole
partnership with World Federation for Mental
Health and The Light Within was just trying to
illustrate that. It's just like, who are you?
And it's really hard to answer a lot of times.
It's really hard for us to answer because sometimes
we don't want to go there because then we're
just like, well, I'm nobody. Let's open that
up a little bit. I'm no one as a pianist. Why
is that? Well, I'm just not like them. Okay.
Right. And then you begin to go even further
with us. Well, do you want to be like them? No.
So then why are you comparing yourself to them?
I don't know. You know, but then like everyone
has the reason why they do something truly authentically.
And then I think to some degree, we all have
like this also idea of what we should be. And
I think it's okay to aspire to play that 10 BPM
faster, or I think it's okay to aspire to play
certain pieces that maybe are just like steps
ahead of us right now. But also like we have
to remember why, why we create, why we're actually
at this thing for like six hours a day. And it's
not to play fast and it's not to impress. And
it's not to like sit center stage and say, look
at me, right? Because if we pursue it that way,
we're going to burn out. We're going to have
that moment towards just like, this isn't fun
anymore, right? And so I really encourage anyone
listening right now that's kind of like wondering,
you know, when will I get there? Maybe pause
for a second and just be like, let me enjoy where
I am right now here and just enjoy this and just
play a note and just let that like reside in
you for a moment. So that's how the conversation
with the World Federation for Mental Health.
And, you know, it ties into, you know, even I
know the UN right now has like mixed, not mixed
feelings, but like people look at the UN kind
of mixed right now. Some good, some bad. And
I think it's one of those things where it's like
the experiences I've had there at the UN has
always been about like, how do we take care of
people? And I think that's. something i just
i'm incredibly grateful to be a part of like
what are we doing to truly just make people's
lives better even just five percent ten percent
fifteen percent right and a lot of times that
that's through art a lot of times as to what
we create um as long as it's like created from
a pure intentional motive. Sorry. What you just
said, no, please don't be sorry. But what you
just said, just really coming through your creativity,
like artistry, and you mentioned about, you know,
healing and so on. So I'm curious about this
one moment of your life. You had some challenge.
I mean, we all have challenges in lives. in our
lives but this one particular moment of health
care is is that okay yeah absolutely yeah so
did that anything to do with your maybe mission
and artistry right now yeah the interesting thing
so i had ulcerative colitis for many years and
for those listening that don't know what that
is it's kind of like crones and around the body
it's like the the spouse, the sibling of Crohn's.
So it was quite debilitating. It was very...
My dog is no longer snoring. Now he wants to
be in the interview. Sorry, buddy. It's okay.
So I had all sorts of clients. So basically,
I lost like 40 pounds in a month and a half.
I mean, I was bedridden. I just went. to have
three major surgeries. But even before the very
first one, I had to be in the hospital for two
weeks just to let my body heal. The amazing thing
is all of that was going on right before I recorded
my very first solo piano album called Set on
a Hill, which was the very first solo piano album.
And so I recorded that album in a day and a half.
I think we had two days for it. We were living
in Brooklyn, and so we drove up to, like, Vermont,
I think is where the studio is. And during the
recording process, I mean, it was rough. It was
really, really rough. So, like, we would record
a track, and then I literally would lay underneath
the piano while my wife and the producer would
listen back. And they were like, okay, it's a
good take, or can we do one more kind of thing?
And so it was really, really, really challenging
time. Um, but I will say like that, you know,
the next day when we got back to Brooklyn, that's
when I went into the hospital for two weeks.
So there was like this emotional element behind
that album of like as a healing process. And
it was, it was kind of a battle for me a little
bit because that's where I began understanding
where coming from the jazz background that I
did and then releasing this album that was very
meditative. like the opening notes of that album
were very calming very like draw you in kind
of thing and i had so many people push back on
that like dude you can't start an album this
way you gotta like have energy and make it like
really interesting like no no i think it's meant
to be this way and that album is when i started
getting feedback from listeners getting emails
from people saying You know, I'm going through
a divorce right now and I just go home and I
lay on the floor and I listen to this or I just
lost a loved one and I just I just put this on.
And so that album really began showing me like
the importance of healing. And for myself, it
was a healing process as well. But the power
of music and healing, the power of music and
being able to just like embrace someone. And
so that really was like a eureka moment for me.
because I will say it's been really difficult
because like, I joke that I chose the wrong career.
I don't like the spotlight. I don't like the
attention. Like seeing my name on a marquee is
not why I wake up every day. It's actually like,
I, if I could be on the other side of this camera,
I would be, that's just me personally. And so,
you know, it's something I really have struggled
with because like that's, I'm just not. I'm a
quiet introvert, right? And so this is something
I was really dealing with for quite some time.
And this one lady, she emailed me on a Saturday
morning. It was 7 a .m. on Saturday morning.
I'll never forget this. A couple years ago. And
she goes, I'm sitting here listening to one of
your songs. And the tempo of the song matches
the pacing of my husband's breath as he takes
his last one. I get those a lot. Wow. And at
that point, that's where my mind said, you're
being on camera or on a magazine or in a playlist
or on a marquee. It's not for your own benefit.
It's to bring people some hope, some healing,
some comfort, some peace, some calm. That's why
you're doing this. And that really, I needed
that. I needed to hear that because then that
became my purpose of like having the experience
physically where like, I literally thought I
was going to die and just the struggle that that
came with and how like, even just like my laying
on the floor underneath the piano during that
recording session, was almost like, you know,
this bomb, if you will. We're like understanding
that, well, why would my music not be the same
to someone else going through something difficult
as well? And so that's something I've always
have really tried to keep in mind, going back
to even where we are, the album and creating
the process. I was like, I needed that kind of
shake, slap in the face, wake up. I'm like, no,
no, no. Don't forget why you do this. Chad Lawson
is not meant to like, wow. Right. I'm meant to
just be like, I needed that. Yeah. So for me
personally, yeah. Going back to your point of
like having that physical period that I did really
allowed me to understand that, like the importance
of it. the significance behind it. And I think
that's also where like, where I, it's, how do
I say this? I think certain people create music
just for knowing that going back to that point,
knowing that there's going to be a return, a
financial gain behind it. This playlist, the
style is doing really well. So I'm going to do
something with that. And I have a hard time with
that. because actually i i personally know artists
that do that and it's really i have a hard time
with that because you're messing with people's
emotions at that point right like you're you're
creating something those artists that are doing
that they are creating for the sense of seeing
that there is something that they can sell and
that just doesn't sit well with me and so um
I think all of that stems from the idea of I
know what I've been through and I hear all the
time what others are going through. And so, man,
shame on me if I ever just decide to try to make
a money machine out of it, you know. So because
like when you go through something so difficult
as what I did or as what other people are going
through. as well. Our role is just meant to just
be there for them. I hear all the time from PTSD
and people that are suffering with PTSD. And
it's just the fact that I am able to create something
that's allowing them to just find some rest.
And it's important to me because like I've been
through seasons physically where, you know, it
was tough. And so now I understand, I get it.
Right. So does that affect my writing? It does.
Absolutely. Because at the end of the day, I
want to create something just to help. Is that
where this wellness bring? music and wellness
together came. The idea of, not idea, but I guess
inspiration. Yeah, it's funny. Years ago, somebody
asked me, you know, if you weren't doing music,
what would you be doing besides music? And I
was like, oh, I probably would be a psychologist,
you know, because I love talking about this stuff.
And they're like, well, you kind of already are
with your music. I'm like, huh it's interesting
to think about right but when you when you when
you see the connection of music and wellness
and music and mindfulness there are i mean scientifically
there's a couple things that are going on but
then also like in the wellness space emotionally
there's a couple things going on so scientifically
if you look at music there was a wonderful study
by harvard and oxford press That said, listening
to calming music three to five minutes, just
three to five minutes raises this thing called
BDNFs, which is a fancy like protein in your
body, basically around the beltway. But it's
what makes you feel good if you work out or if
you have coffee with a friend or if you take
a walk in nature or if you, you know, one of
those things where like you just feel better
when you're doing it. Those are your BDNFs that
are being elevated. Well, music does the same.
But the interesting thing about this study is
that music was the only passive thing. Everything
else had to be like an active participatory,
you know, walking, talking, you know, all the
things. Whereas music, you could just lay on
the floor and hit play. And then all of a sudden
you started feeling better. So like there's science
to this, like neurologically speaking. And so
like. You're feeling better scientifically. But
then if we look at this from a wellness perspective
or from an emotional perspective, what music
does is it brings us into the present moment
if we allow ourselves to be there. But think
of months ago, I was in LA in an Uber, had the
window down. and like a song came on and i literally
just started like smiling ear to ear because
it was like it was perfect day it was like temperature
was amazing the sun and the song came on i don't
want to mention who it was but like it was so
it was a pop song and i'm just smiling and i'm
just like man like how often do we just forget
to like just enjoy music just for a second and
just like all the things that's related to it
right like i have still all that imagery in my
head But even going back to this, I mean, music,
the reason why I love it so much attached to
the wellness idiom is that it does bring you
into that moment. But the way I like to describe
music is it can be a distraction for your distractions.
And so what I mean by that is we constantly are
being bombarded by like 10 ,000 things, right?
And so we have all of these distractions. And
this is why when I teach meditation or when I
share this with young adults, I talk about even
just trying to be still and to breathe or trying
to be still and just to sit silently just for
a little bit. Because what you're beginning to
do is you're beginning to build this internal
mechanism. where you can, I don't say turn off
those distractions, but you can acknowledge them,
you notice them, but they're no longer pulling
you, they're no longer distracting you. And so
music can be the same thing. So what we're trying
to do, for instance, here, I'll do this with
you, if you don't mind. And if you're watching,
for those that are watching, if you would just
close your eyes. And with your eyes closed, I
want you to wait until I hit the singing bowl.
And when you do hear it, just keep your eyes
closed. But right now what we're doing is we're
simply waiting to hear it. No peeking. Keep your
eyes closed. You can open your eyes if you want.
So during that 30 seconds or so that we just
did, we had our mind focusing on one thing, waiting
for the sound of the bowl. We weren't thinking,
is my car on the wrong side of the street? Am
I going to get a parking ticket? We're not thinking,
you know, all the things. We're literally focusing
on when is he going to strike the bowl? And so
what just happened is we began meditating. We
created a distraction for our distractions. And
so what we're trying to do is we're trying to
get our mind to focus on one thing. So we have
this thing called the ANS, basically, just like
your nervous system, that we're trying to get
it just to focus on one thing. Music can be that
distraction. So be it practicing piano. be it
focusing on scales, be it focusing on Bach and
the fingering, that is meditation. So a lot of
times people are like, I don't know how to meditate.
What's something that you really enjoy doing,
right? So for us as pianists, it's practicing,
like slowly, intentionally. And if our mind begins
to wonder, I'm hungry. What's going on in the
news? I should check my phone. But if we pause
and if we bring back to one, four, two, three,
we are returning to meditation. We're creating
that distraction of our distractions. Or when
we listen to music, if we turn everything off
and we close our eyes and we put on Horowitz,
right? Or we put on, you know, Murray Pariah
or Yuzhu Wang and we just... Listen. That's meditation.
Right. So that's, that's why I love, like, I
mean, I feel like it's just wellness and music.
They're just, they're one. If we look at it in
the right way. And that's at least how I see
it. Oh, thank you. Well, I really needed the
30 seconds. It's so good. Right. Yeah. look how
good you felt doing it. Like even myself, it's
like, it's good. It's a brainwash. That's what
I call. No, you just close your eyes. You just
imagine like, you just like scrubbing your brain.
You're like, Oh, this feels so good. Why don't
I do this more often? So I want to talk about
your podcast. So bringing everything together,
basically your wellness and music. And also you're
literally speaking to people. And every episode
comes in like bite -sized, you know, 10, 15 minutes.
And you also do meditation, like two -minute
episodes, right? Yeah, I do morning affirmation,
yeah. Oh, they are so great. And then every episode
has a specific message, whether that is anxiety
or whether that is, I don't know. different topics
i think so yeah so again going back and you know
i'm not licensed i'm not a therapist i just i'm
really curious and i love to read um and you
know with the podcast it took me a little while
to figure out took me a little while to find
my own voice as all of us with our pianistic
approaches um and what i found like was two things
um bite size Cause I tried different like lengths
of the podcast. Like I think 30 minutes was the
longest I ever did. But when I started getting
around that 15 minute mark, that's when people
really started being able to comment and just
kind of, Hey, I really liked that. It was really
wonderful. Cause also this is a very, it can
be a heavy subject because we're dealing with
heavy things. And I wanted to make sure with
the podcast, it's called calm it down. I wanted
to make sure that it was. lighthearted, encouraging,
and that there was always one or two little takeaways,
like something that the listener could take with
them until the next week that they could work
on and try through. Because I had found for me
personally, a number of podcasts in this space
were kind of heavy, you know, because it is such
like a heavy topic that I almost felt worse after
listening to the episodes. So I was like, you
know, I want to create something like kind of
lighthearted and just encouraging. And so with
Calm It Down, it really is meant to be just,
you know, 10 to 15 minutes of something really
encouraging. Now, the subject matter is really
interesting, though. Like, where do I find the
subject matter? And I have to be honest, I get
it from TikTok. So because you have this young
audience who they are unapologetic in how they
feel. And they are just without, they are just
brazen and they just put it out there. This is
what I'm feeling, right? Whereas like, I feel
like maybe my generation and my parents' generation,
it was complete opposite. And it was very suppressed.
And we don't talk about things and we just keep
them inside. And I feel like this younger generation,
they're just like, no, like this is what I'm
feeling. I want to share. And then you have other
people that are like, oh my gosh, that's exactly
what I'm going through. And now you've got this
shared opportunity. I mean, there are a lot of
shade that we can throw to social media, such
as, you know, TikTok and whatnot. But also I
think there's a lot of things that are like good
about it, right? So it's getting people to talk.
It's bringing up conversations. It's bringing
up points that like people feel like they're
just alone in. So most of my stuff, as far as
topics are concerned, it comes from TikTok. Again,
going back to being the data nerd that I am.
My listening audience is 73 % female, aged 14
to 28. It does go up to like 32, kind of in that
area. And it's over 7 million downloads right
now. That is a lot. And it's one of those things
where, like, I literally thought this was going
to be temporary. And even to the point where
like when the last, I think even two years ago,
I'm like, you know what? I should really want
to get back to my piano, you know, because it's
like two or three days I didn't have in the week
to begin with. But each time like that's come
to mind, there's always been like an email about,
you know, all the things, right? I mean, I get
emails that literally say, you know, I woke up
this morning and I was going to take my life.
And I heard your episode and decided. One more
day. So like, how do you say no to that? How
do you say, I wish you well? You don't. Right.
And so like, this is the part of like art that
I was saying earlier to where it's just like,
you create it because like there is an audience
that really, really is affected by it. Right.
And so I'm fortunate enough. I'm grateful enough.
And there are many other podcasts in this lane.
Some are great. And, like, I am fortunate enough
to be one of those people to where it's just,
like, I feel like what I've been given to say
is resonating. And so I'll continue doing this
until it no longer resonates. And it's a lot.
But, you know, if you think about it, like, the
whole idea, you know, my average. listening audience
for the episodes is roughly around like 20 ,000
or so per episode. And, you know, I think of
that number and I'm like, okay. And I shared
this with a friend recently and they were like,
you realize that's a stadium. That's literally
a stadium listening to you every week. And that
really got me because I was like, Oh, to look
at it in that perspective. Right. But I don't
look at it in the perspective of like, here's
a stadium listening to me, but here's the stadium
of 20 ,000 people every week that are wanting
to like find help, find hope, like find what
it is that can like make them look forward to
the sun coming up the next day. You know, I'm
not saying that like, you know, my listeners
are like all like manic depressive. That's not
it at all. But you do have like, you do have
to look at it and say, these people, they need
encouragement. Right. That's what we all do.
Right. We all do. And so like, that's really
just hard to let the podcast is kind of. slip
away and just you know go back to my selfish
practice time it doesn't that's not because then
i think if i were to do that i'd be at the piano
and that probably would even affect like what
i'm producing musically speaking because now
it's about me again and uh i i want no part of
that so i appreciate you bringing up the podcast
very much oh yeah of course and so it's called
calm it down and available everywhere On podcast
platforms. And also you can check out Chaz's
website for his works. Oh, I was wondering, so
all the music you produce, do you have scores,
sheet music? I do, yes. Oh, great. Oh, wonderful.
So they are available on your website at chadlawson
.com? Yes, absolutely. Wonderful. So, I mean.
we're coming to toward the end of our conversation,
but I have one more question that would be, I
know you're not the me, me, me person. And then,
you know, what you do is like you said, it's
to serve like service, right. To people. But
I like to ask this, what do you hope your artistic
legacy will be? I know you're still very young,
but. Oh, thanks. I appreciate that. Very kind.
As a man of 50. My legacy, I hope. There was
an amazing book years ago called Good to Great.
And in this book, Good to Great, I'm obviously
a big reader. And this book, Good to Great, this
guy followed all of these businesses throughout
decades. And he was curious why some businesses
were able to, like, sustain whatever the scenario
was. And some would start and they would fizzle
out. And he was like, what was it about these
ones that last, you know, for even today? And
he coined a phrase called just cause. The ones
that were successful, they each had a just cause.
And that just cause was basically what did this
company stand for? What was their purpose? What
was their meaning behind it? And it wasn't like
an elevator pitch, but like if you could put
like into like one or two words, what you do,
what you are, that is your just cause. And I
had to sit with that for a little while. Because,
I mean, you know, I'm 50. I started playing when
I was five. So I've been playing piano for a
really long time. And it actually made me stop
and ask, why do I play? Why do I do this? What's
my point? And that really brought to the attention.
And I chewed through this for, like, months.
And I came to help people. Those three words.
Like literally to help people. And if you look
at it, it could be through the podcast. It could
be through music. It could be through breathing.
It could be through conversations. It could just
be just sitting down with someone. And I think
for musically speaking, my hope is not for someone
to hear my music longer after I'm gone and to
be like, that was incredible. My hope is for
them to say, I really felt something. Like that's
so emotional. Like my wife can't even listen
to my music. She's like, it's just too emotional.
So it's like, yeah. So I guess my legacy, I would
use that word is to invite people just to feel.
Okay. That's and I'll end on this because I think
that's something that we've kind of lost. Yeah,
I open every show with this. I say, we live in
a time where we have seen everything. And we
live in a time where we have heard everything.
And yet we live in a time where we no longer
feel anything. We've seen it. We've heard it.
But we don't feel it. And I think that's the
importance of music is for us to like understand,
to strip away everything and to be able to have
the wherewithal to just sit and to listen to
a singing bowl or to listen to someone play Chopin
or, you know, or Billie Holiday or whatever it
may be. to be in an Uber in the backseat with
the window down and to have a smile on your face
because this song just tracks so well, right?
That is what I hope my music will do is invite
the listener to simply just feel. That's my hope.
Well, thank you. So Now, what's next for you?
I know you mentioned there are three songs coming
up in October, but is there anything else? Some
ideas, cooking? I start hitting the road soon.
End of September, I go to Tokyo. Oh, that's where
I am originally from. Oh, fantastic. uh speaking
at a un world health organization engagement
there there's a conference going over there um
as well as doing a performance my very first
time in tokyo and then i have some dates in europe
in october i'm in dublin amsterdam hamburg and
then in london um so london is some private things
there are no no live performances but if you
are in the dublin amsterdam or hamburg area Do
look up on my website. I would love to see you.
Come and say hello. So, yeah, I've got a couple
of busy months ahead of me. So a lot of practicing.
Oh, that's wonderful. That's wonderful. Great.
And in the meantime, we can listen to your podcast,
right? Indeed. Every Tuesday. Every Tuesday.
Every Tuesday. Got it. Wonderful. So it's been
a wonderful conversation. But before I let you
go, we have one more thing. It's the rapid fire
questions. So it's the each question is silly
and fun. And I would like for you to answer them
with shortest response possible. No explanation
is needed. Okay. So level one. Can I like plead
the fifth? There's like a fifth. Sure. Sure.
All right. First one. What is your comfort food?
Sushi. Great. Amen to that. How do you like your
coffee in the morning? Black, 100%. Sunrise or
sunset? Sunrise. Summer or winter? Winter. Okay.
Level two. What skill have you always wanted
to learn but haven't had a chance to? Handstand.
Oh, handstand. Okay. What is your word or words
to live by? Be kind. Oh, wonderful. Do you have
any favorite venue you've performed in or a dream
venue? Oh, gracious. I mean, Concert Cabal and
El Philharmonic. I've done both of their recital
rooms. Hopefully one day I'll be doing their...
their main rooms. So that's those two. That's
what I'm looking forward to. Oh, wow. Yes. And
I know your dream will come true. All right.
What is the most important quality you look for
in other people? Kindness. Name a composer you
wish more people knew about. Oh, fantastic. I
really, I can't even pronounce her name to be
honest, but can you give me two seconds? Yeah.
Yeah. I'm sure many in your audience know her.
Mel Bonas. Are you familiar with her at all?
So she came, there we go. She came out of like
the Debussy, Ravel kind of era. Look her up.
I don't know. I didn't know. She is, I have three
of her books I'm trying to like go through and
like, not only analyze, but just play her stuff.
This piece. Sorry, I know this is supposed to
be rapid fire. It's okay. No, no, no. So look
for this on streaming. Come on. There we go.
Ophelia. And again, Melbonis, M -E -L -B -O -N
-I -S. You may see her name listed as this. Right
there at the very top. Okay. Beautiful. Gorgeous.
Like I'm all things like female composers. I
wish more people talked about them. When I am
asked to create playlists for Apple, if they
are like, hey, will you create a playlist or
Spotify or anybody? I have a very strict rule
and my team knows this because someone tried
to tamper with it once and I got vocal. I have
a very strict role of 60 -40. 60 % female, 40
% male. Because I think a lot of times in this
space, you have the same people over and over
and over again that are always in the playlist,
and it's very male -dominant. And I'm like, that's
bunk. So I think, for me personally, there is
a very strong 60 -40 rule when it comes to anything
related to art. in my opinion, because there's
a lot of creative women out there. I have an
internal team, not related to the label that
are seven people and all of them, but one are
female. And there's a reason for that because
I think women are smarter to be honest, because
you all see things that like a lot of times,
like I'm speaking just from my own personal experience.
We don't. And so like, there's some, Insanely
creative women out there. And I'm like, why are
these women not being put into the spotlight
more so? Caroline Shaw, buckets. Like, why are
people not listening to Caroline Shaw, like,
as much as anybody else, right? Sorry, it's a
little tangent of mine. So check out, I know
I'm pronouncing her name incorrectly, but Mel
Bonas or Mel Bonet, or I don't know how it's
pronounced, but definitely worth looking into.
Yeah, well, check her out. Thank you so much
for sharing. And I'm sorry to go back. There's
one more going back to the rapid fire thing.
When you said, what do you look for in people?
Or do you wish people could be curious as well?
Curious is one of my favorite words. So sorry.
Yeah. No, it's okay. Thank you. So speaking of
playlist, name one piece in your current playlist.
Anything by the yeah, yeah, yes. I'm a huge yeah,
yeah, yes fan. So maps, I guess. You know what?
Also, let me see. Now I'm really curious myself.
I've been listening to a lot of traditional Indian
music lately. Like a lot. Again, I like listening
to things that are outside of my circle just
because it makes me learn something. I'm not
really exposed to. Great. Wonderful. Last question.
Fill in the blank. Music is blank. Everything.
Ah, great. Chad, thank you so much for joining
us today. Oh my goodness. Yukimi, you have been
so kind and so inquisitive and so like patient
with my rambling. So thank you so much. It's
been like over 90 minutes and thank you so much
for staying with me and then sharing your artistry
journey and an innovative spirit with such openness
and creativity and connection. So to our audience,
if you'd like to explore more of Chad's work,
please visit his website at chadlawson .com.
Follow his YouTube channel at Chad Lawson Piano
and Instagram. at Chad Lawson. And of course,
you can please listen to his enlightening podcast,
Calm It Down, wherever you listen to podcasts.
All the links will be in the show notes. And
of course, a huge thank you. You're so kind.
Congratulations on season six. Fantastic. Thank
you so much. Thank you. Thank you. So for those
who are listening, please stay tuned for more
episodes on the Pianopod on YouTube and wherever
you get your podcast and follow us on all the
social media platforms. I will see you in the
next episode of the Pianopod. Thank you, Chad,
so much. Thank you. Thank you so much. My dog
is saying goodbye. So cute.