WEBVTT 00:00:00.000 --> 00:00:02.819 Welcome, welcome, welcome to The Deep Dive, the 00:00:02.819 --> 00:00:04.559 show where we cut through the noise and get right 00:00:04.559 --> 00:00:06.820 to the good stuff. You know that feeling, right? 00:00:07.240 --> 00:00:10.080 You're scrolling or driving or maybe watching 00:00:10.080 --> 00:00:12.679 a show and a song comes on that just absolutely 00:00:12.679 --> 00:00:15.300 gets you. It's poignant. It's powerful. Hits 00:00:15.300 --> 00:00:17.940 you in that deep resonant place. But maybe you 00:00:17.940 --> 00:00:20.000 don't really know the full story behind the band 00:00:20.000 --> 00:00:23.460 or the artist. Well, today we're diving headfirst 00:00:23.460 --> 00:00:26.100 into one of those stories. And trust me, it's 00:00:26.100 --> 00:00:28.339 a journey you're going to want to take. I'm talking 00:00:28.339 --> 00:00:31.960 about a band whose music has, well, quite likely, 00:00:32.560 --> 00:00:34.420 soundtracked significant emotional moments in 00:00:34.420 --> 00:00:36.899 your life without you even consciously realizing 00:00:36.899 --> 00:00:39.799 it. Picture this. A crucial turning point in 00:00:39.799 --> 00:00:42.299 a gripping TV series, maybe a breathtaking scene 00:00:42.299 --> 00:00:44.579 in a dramatic film, or perhaps even a commercial 00:00:44.579 --> 00:00:46.880 that sticks with you long after it's over. I 00:00:46.880 --> 00:00:49.280 am willing to bet with absolute certainty that 00:00:49.280 --> 00:00:51.429 you have heard the funeral. by band of horses. 00:00:51.530 --> 00:00:53.210 Oh, absolutely. It's one of those, isn't it? 00:00:53.350 --> 00:00:55.770 It is absolutely everywhere, right? An almost 00:00:55.770 --> 00:00:58.109 ubiquitous track that has become a true cultural 00:00:58.109 --> 00:01:01.030 touchstone. Yeah. It often serves as the quintessential 00:01:01.030 --> 00:01:03.090 gateway to understanding their distinctive sound, 00:01:03.509 --> 00:01:06.689 that incredible kind of intoxicating blend of 00:01:06.689 --> 00:01:09.430 soaring indie rock, grounded southern rock, and 00:01:09.430 --> 00:01:12.370 heartfelt folk rock. Yeah. That mix is what really 00:01:12.370 --> 00:01:15.090 gives them their unique appeal and, well, their 00:01:15.090 --> 00:01:18.069 enduring quality, I think. So today's mission. 00:01:18.359 --> 00:01:20.239 should you choose to immerse yourself in it, 00:01:20.599 --> 00:01:23.359 is a comprehensive deep dive into band of horses. 00:01:24.099 --> 00:01:25.859 They're the American rock band that first formed 00:01:25.859 --> 00:01:29.180 way back in 2004. But more specifically, we're 00:01:29.180 --> 00:01:31.840 really focusing on the undeniable singular driving 00:01:31.840 --> 00:01:34.519 force behind it all, singer -songwriter Ben Bridwell. 00:01:34.980 --> 00:01:36.859 We're gonna meticulously trace their journey 00:01:36.859 --> 00:01:39.799 from those raw early Seattle beginnings. We'll 00:01:39.799 --> 00:01:41.579 navigate through the often turbulent labyrinth 00:01:41.579 --> 00:01:43.599 of numerous lineup changes. And there were many. 00:01:43.700 --> 00:01:46.189 Oh yeah. We'll celebrate their remarkable musical 00:01:46.189 --> 00:01:49.409 milestones, yes, including a coveted Grammy nomination, 00:01:49.989 --> 00:01:52.829 and truly understand how they've not just survived, 00:01:53.010 --> 00:01:55.450 but thrived. How they've maintained their enduring 00:01:55.450 --> 00:01:58.189 presence in the ever -evolving music scene right 00:01:58.189 --> 00:02:02.209 up to, well, pretty much today. And that's precisely 00:02:02.209 --> 00:02:05.269 our goal for you today. Consider this your definitive 00:02:05.269 --> 00:02:08.379 shortcut to being genuinely thoroughly well -informed 00:02:08.379 --> 00:02:11.280 about band of horses. We've meticulously sifted 00:02:11.280 --> 00:02:13.639 through stacks of articles, deep research papers, 00:02:13.740 --> 00:02:16.180 and our own extensive notes to extract only the 00:02:16.180 --> 00:02:18.180 most important nuggets of knowledge and insight. 00:02:18.840 --> 00:02:20.819 Our aim is to give you a truly comprehensive 00:02:20.819 --> 00:02:23.300 understanding of their unique journey, their 00:02:23.300 --> 00:02:26.159 creative challenges, their resounding triumphs, 00:02:26.159 --> 00:02:29.199 and their lasting impact on the landscape of 00:02:29.199 --> 00:02:31.500 modern rock. We want to connect those sometimes 00:02:31.500 --> 00:02:33.719 disparate dots, offering you those incredibly 00:02:33.719 --> 00:02:36.490 satisfying aha. movements, you know? Yeah, putting 00:02:36.490 --> 00:02:38.430 the pieces together. Exactly. And ensure that 00:02:38.430 --> 00:02:40.370 you walk away from this deep dive feeling thoroughly 00:02:40.370 --> 00:02:43.150 informed with all the crucial context, but never 00:02:43.150 --> 00:02:45.969 ever overwhelmed by just like tons of information. 00:02:46.069 --> 00:02:48.210 Right. So with that in mind, let's unpack this 00:02:48.210 --> 00:02:53.509 fascinating story. I. The origins. From Seattle 00:02:53.509 --> 00:02:57.250 to a southern sound. 2004, 2006. OK, let's unpack 00:02:57.250 --> 00:02:59.629 this indeed. We're starting at the very beginning 00:02:59.629 --> 00:03:02.009 with the architect of it all. the man himself, 00:03:02.189 --> 00:03:04.870 Ben Bridwell. Born Benjamin Bridwell on April 00:03:04.870 --> 00:03:09.449 25, 1978, in Irmo, South Carolina. But what's 00:03:09.449 --> 00:03:12.050 truly striking, looking at his early life, is 00:03:12.050 --> 00:03:15.830 this immediate sense of movement and, well, independence. 00:03:16.550 --> 00:03:19.469 By the age of 16, he already left home, making 00:03:19.469 --> 00:03:21.650 this significant move all the way to Tucson, 00:03:21.669 --> 00:03:25.460 Arizona, to live with his mother. Wow, 16. That's 00:03:25.460 --> 00:03:27.439 young to make such a big move. It really is. 00:03:27.659 --> 00:03:29.360 What do you think that early independence and 00:03:29.360 --> 00:03:31.740 relocation tells us about Ben Bridwell's inherent 00:03:31.740 --> 00:03:34.000 drive? It suggests a restless spirit, doesn't 00:03:34.000 --> 00:03:36.419 it? Oh, absolutely. A kind of inner compass that 00:03:36.419 --> 00:03:39.300 always sought new horizons, perhaps. That early 00:03:39.300 --> 00:03:41.560 nomadic experience moving from South Carolina 00:03:41.560 --> 00:03:44.500 to Arizona at such a formative age, it absolutely 00:03:44.500 --> 00:03:46.840 sets a precedent for his resilience and adaptability. 00:03:47.159 --> 00:03:49.400 These are traits that become incredibly significant 00:03:49.400 --> 00:03:52.340 later on. Right. When we look at the band. Exactly. 00:03:52.759 --> 00:03:55.039 When we observe the constant flux within band 00:03:55.039 --> 00:03:58.219 of horses, it speaks to a comfort with change 00:03:58.219 --> 00:04:01.740 or maybe just a necessity to navigate it, which 00:04:01.740 --> 00:04:03.780 would become a defining characteristic of his 00:04:03.780 --> 00:04:06.580 entire career. This wasn't a kid afraid of striking 00:04:06.580 --> 00:04:09.120 out on his own, you know, and that fearlessness 00:04:09.120 --> 00:04:12.439 would permeate his artistic and entrepreneurial 00:04:12.439 --> 00:04:14.759 endeavors later. And his early connections were 00:04:14.759 --> 00:04:17.259 so foundational too. Yeah. While he was in Tucson, 00:04:17.420 --> 00:04:20.000 And later when he moved to Seattle, he was working 00:04:20.000 --> 00:04:22.620 alongside people who had become key figures in 00:04:22.620 --> 00:04:24.899 his musical journey. People like Matt Brooke 00:04:24.899 --> 00:04:27.459 and Jen Champion. They were even selling pizza 00:04:27.459 --> 00:04:29.639 together at one point. Can you imagine the future 00:04:29.639 --> 00:04:33.069 Grammy nominated artist slinging pies? It's a 00:04:33.069 --> 00:04:34.769 great image, isn't it? It really is, and then 00:04:34.769 --> 00:04:36.730 later working in a bar together. It's interesting 00:04:36.730 --> 00:04:39.149 how those seemingly casual, everyday interactions 00:04:39.149 --> 00:04:42.430 often become the fertile ground for major artistic 00:04:42.430 --> 00:04:44.509 partnerships. What's your take on that? How do 00:04:44.509 --> 00:04:47.430 those shared life experiences influence the trust 00:04:47.430 --> 00:04:49.800 and chemistry needed for a band? Well, it's an 00:04:49.800 --> 00:04:52.180 insightful observation. What's fascinating here 00:04:52.180 --> 00:04:55.480 is how those seemingly small everyday interactions 00:04:55.480 --> 00:04:58.560 form the bedrock for significant artistic partnerships. 00:04:59.259 --> 00:05:01.420 These aren't just casual acquaintances. They're 00:05:01.420 --> 00:05:03.439 the people he's sharing life experiences with, 00:05:03.740 --> 00:05:05.819 whether it's the grind of selling pizzas or the 00:05:05.819 --> 00:05:08.620 late nights of bar work. That shared history, 00:05:08.819 --> 00:05:11.920 those common struggles, and the trust built in 00:05:11.920 --> 00:05:15.290 those non -musical environments. They're absolutely 00:05:15.290 --> 00:05:17.730 invaluable when you're embarking on a creative 00:05:17.730 --> 00:05:20.350 venture. Yeah, something that demands deep collaboration 00:05:20.350 --> 00:05:22.949 and vulnerability. Precisely. It creates a bond 00:05:22.949 --> 00:05:25.529 that goes beyond just shared musical taste. It's 00:05:25.529 --> 00:05:27.819 a deeper connection. But Brandable wasn't just 00:05:27.819 --> 00:05:30.519 working odd jobs. He also dipped his toes into 00:05:30.519 --> 00:05:32.839 the music industry pretty early on with an entrepreneurial 00:05:32.839 --> 00:05:35.360 venture. He founded Brown Records in Seattle. 00:05:35.600 --> 00:05:38.279 Right, his own label. Yeah. And his initial intention 00:05:38.279 --> 00:05:41.360 for it was incredibly humble, almost refreshingly 00:05:41.360 --> 00:05:44.079 so. He saw it as just a stepping stone, his words, 00:05:44.480 --> 00:05:47.560 a way to press like a thousand CDs, get them 00:05:47.560 --> 00:05:49.899 into local stores and maybe onto local radio 00:05:49.899 --> 00:05:52.560 and give bands material for shows, all with the 00:05:52.560 --> 00:05:54.379 hope that maybe a real label would pick it up. 00:05:54.519 --> 00:05:56.639 So not aiming for world domination from the start. 00:05:56.740 --> 00:05:59.519 Not at all. So Brown Records was a kind of crucible 00:05:59.519 --> 00:06:02.360 for him, wasn't it? An early taste of the immense 00:06:02.360 --> 00:06:04.939 pressure that comes with not just artistic ambition, 00:06:05.139 --> 00:06:08.160 but also entrepreneurial responsibility. Absolutely. 00:06:08.319 --> 00:06:10.980 And this is a key insight into Bridewell's character 00:06:10.980 --> 00:06:13.980 that we see resurface later. He himself later 00:06:13.980 --> 00:06:16.319 reflected that Brown Records got a lot busier 00:06:16.319 --> 00:06:18.980 than I ever imagined and basically went out of 00:06:18.980 --> 00:06:21.939 control. He said he ended up cracking under the 00:06:21.939 --> 00:06:24.480 pressure and temporarily abandoning the label. 00:06:25.040 --> 00:06:27.600 Wow. Yeah. So this early experience provides 00:06:27.600 --> 00:06:30.360 such rich insight into his aspirations, initially 00:06:30.360 --> 00:06:32.980 quite altruistic, you know, wanting to help unheard 00:06:32.980 --> 00:06:36.000 artists, but also the unforeseen overwhelming 00:06:36.000 --> 00:06:38.379 challenges of running a business, especially 00:06:38.379 --> 00:06:41.040 where, as he put it, people's livelihoods were 00:06:41.040 --> 00:06:43.480 resting in my hands. That's heavy. It is. It 00:06:43.480 --> 00:06:45.720 shows an early, maybe even naive, ambition that 00:06:45.720 --> 00:06:48.139 was quickly tempered by the harsh realities of 00:06:48.139 --> 00:06:51.019 the industry. This struggle to balance creative 00:06:51.019 --> 00:06:53.420 support with business demands, it definitely 00:06:53.420 --> 00:06:55.360 shaped his understanding of artistic control 00:06:55.360 --> 00:06:57.839 and responsibility for years to come. Speaking 00:06:57.839 --> 00:07:00.319 of connections and musical apprenticeship, his 00:07:00.319 --> 00:07:02.620 journey really took a significant step forward 00:07:02.620 --> 00:07:06.620 when he joined Carissa's Weird. Ah, yes. A legendary 00:07:06.620 --> 00:07:09.740 Seattle band in its own right. Totally. He initially 00:07:09.740 --> 00:07:12.040 replaced their drummer Robin Perringer, who had 00:07:12.040 --> 00:07:14.220 left for Modest Mouse. Another big name connection 00:07:14.220 --> 00:07:16.879 there. Right. And then Bridwell later transitioned 00:07:16.879 --> 00:07:19.959 to bass guitar. So this wasn't just a brief stint. 00:07:20.220 --> 00:07:22.740 It shows his adaptability and a genuine willingness 00:07:22.740 --> 00:07:25.240 to learn different instruments and roles within 00:07:25.240 --> 00:07:28.019 a band structure. His time with Carissa's Weird 00:07:28.019 --> 00:07:31.040 is truly a foundational chapter. It illustrates 00:07:31.040 --> 00:07:34.019 his deep commitment to music itself, rather than 00:07:34.019 --> 00:07:36.879 being fixated on just one specific instrument 00:07:36.879 --> 00:07:39.540 or role. He wasn't just a drummer, then just 00:07:39.540 --> 00:07:42.399 a bassist. He was absorbing the dynamics of band 00:07:42.399 --> 00:07:44.360 life, the craft of songwriting from different 00:07:44.360 --> 00:07:48.079 perspectives, and the art of collaboration. Learning 00:07:48.079 --> 00:07:51.660 the ropes. Exactly. This learning curve and adaptability 00:07:51.660 --> 00:07:54.279 are crucial for understanding how he later navigated 00:07:54.279 --> 00:07:56.579 the constant lineup changes in Band of Horses. 00:07:56.839 --> 00:07:59.160 And it's a fascinating full circle moment, isn't 00:07:59.160 --> 00:08:01.540 it? that Robin Perringer, the drummer he replaced, 00:08:01.839 --> 00:08:03.959 would actually rejoin Breadwell's band years 00:08:03.959 --> 00:08:07.420 later. Yeah, we'll get to that. So, Carissa's 00:08:07.420 --> 00:08:10.740 Weird eventually split in 2003, which became 00:08:10.740 --> 00:08:13.439 a pivotal moment for Breadwell. And it was Matt 00:08:13.439 --> 00:08:15.819 Book. his old friend and collaborator. From the 00:08:15.819 --> 00:08:18.639 pizza and bar days? Exactly. He stepped in and 00:08:18.639 --> 00:08:20.839 helped Bridwell learn guitar and actually begin 00:08:20.839 --> 00:08:23.000 songwriting. So this is the shift. This feels 00:08:23.000 --> 00:08:25.399 like the crucial moment, doesn't it? Where Ben 00:08:25.399 --> 00:08:28.199 Bridwell truly steps into his own as a front 00:08:28.199 --> 00:08:30.939 man, finding his distinct voice and starting 00:08:30.939 --> 00:08:33.279 to write his own material. Absolutely. It's the 00:08:33.279 --> 00:08:35.919 crucible moment. But what's remarkable is that 00:08:35.919 --> 00:08:38.200 Brooke, his longtime collaborator, apparently 00:08:38.200 --> 00:08:41.320 recognized it immediately. He saw Bridwell's 00:08:41.320 --> 00:08:43.919 raw talent wasn't just blossoming, it was demanding 00:08:43.919 --> 00:08:47.279 to lead. Brook himself later expressed immense 00:08:47.279 --> 00:08:50.600 pride, saying he felt maybe Carissa's weird was 00:08:50.600 --> 00:08:53.279 holding him back all this time. Wow, that's quite 00:08:53.279 --> 00:08:55.960 a statement. It is. And he said Bridwell took 00:08:55.960 --> 00:08:58.899 the ball and ran with it. It speaks volumes about 00:08:58.899 --> 00:09:00.860 their shared history and mutual respect that 00:09:00.860 --> 00:09:03.580 this transition was so seamless, yet so profound. 00:09:04.179 --> 00:09:06.960 This is truly the origin story of Band of Horses, 00:09:07.019 --> 00:09:09.100 with Bridwell stepping forward into the spotlight. 00:09:09.440 --> 00:09:11.500 And then came the band's initial formation in 00:09:11.500 --> 00:09:14.679 2004. At first they were just called horses. 00:09:15.539 --> 00:09:18.179 The lineup was Chris Early on bass and Tim Meining 00:09:18.179 --> 00:09:21.200 on drums. Simple enough name. You'd think. Yeah. 00:09:21.480 --> 00:09:23.580 But as often happens in the Wild West of band 00:09:23.580 --> 00:09:26.840 names, they quickly ran into a snag. They have 00:09:26.840 --> 00:09:29.399 to change it to band of horses. after discovering 00:09:29.399 --> 00:09:32.340 a long -defunct band featuring none other than, 00:09:32.340 --> 00:09:36.320 wait for it, actor Don Johnson. Get out! That 00:09:36.320 --> 00:09:40.080 Don Johnson, Miami Vice? The very same. Apparently 00:09:40.080 --> 00:09:43.139 his old band was re -releasing material, so yeah, 00:09:43.379 --> 00:09:45.779 band of horses it became. That's hilarious. But 00:09:45.779 --> 00:09:48.159 also, yeah, a very practical necessity in carving 00:09:48.159 --> 00:09:50.279 out their unique identity in a crowded musical 00:09:50.279 --> 00:09:52.000 landscape. Right, you don't want that confusion. 00:09:52.100 --> 00:09:53.960 It's a great example of the unexpected practical 00:09:53.960 --> 00:09:56.440 hurdles that can shape artistic endeavors, even 00:09:56.440 --> 00:09:58.379 something as seemingly simple as a band name. 00:09:58.460 --> 00:10:01.460 Imagine trying to explain to fans that this horses 00:10:01.460 --> 00:10:04.480 is not that horses. The extra two words made 00:10:04.480 --> 00:10:06.200 all the difference in defining who they were. 00:10:06.779 --> 00:10:09.159 So with the name settled, we get to their debut 00:10:09.159 --> 00:10:11.679 album, Everything All The Time, which came out 00:10:11.679 --> 00:10:14.740 in 2006. How did they first catch the attention 00:10:14.740 --> 00:10:16.860 of the industry? Because they got picked up by 00:10:16.860 --> 00:10:18.759 Sub Pop pretty quickly, didn't they? They did. 00:10:18.960 --> 00:10:21.379 They gained early crucial attention by opening 00:10:21.379 --> 00:10:24.220 for Iron and Wine in Seattle. This proved to 00:10:24.220 --> 00:10:26.779 be a pivotal opportunity as it led directly to 00:10:26.779 --> 00:10:28.879 interest from Sub Pop Records. And Sub Pop for 00:10:28.879 --> 00:10:31.159 anyone who doesn't know is legendary. Absolutely. 00:10:31.480 --> 00:10:33.980 A kingmaker in the Pacific Northwest indie scene 00:10:33.980 --> 00:10:38.059 known for its keen ear for talent. Nirvana, Soundgarden, 00:10:38.320 --> 00:10:41.440 The Shins. The list goes on. Their endorsement 00:10:41.440 --> 00:10:43.840 was a massive signal of quality. And actually, 00:10:43.899 --> 00:10:46.399 as a precursor to the album, they released a 00:10:46.399 --> 00:10:49.850 Tori P in 2005. They sold it at shows and on 00:10:49.850 --> 00:10:52.470 Sub Pop's website. That's smart. Yeah, it acted 00:10:52.470 --> 00:10:54.850 as a perfect testing ground for their sound and 00:10:54.850 --> 00:10:57.230 helped build that early crucial buzz before the 00:10:57.230 --> 00:10:59.070 full album dropped. They recorded everything 00:10:59.070 --> 00:11:01.769 all the time in 2005 with producer Phil Eek. 00:11:01.899 --> 00:11:04.840 another Seattle indie stall work. Known for his 00:11:04.840 --> 00:11:07.820 work with built -to -spill Fleet Foxes. A great 00:11:07.820 --> 00:11:10.259 choice for them. Yeah. And Bridwell had quite 00:11:10.259 --> 00:11:12.039 an ambitious vision for it initially, didn't 00:11:12.039 --> 00:11:15.019 he? I read he wanted an ELO -sounding record, 00:11:15.399 --> 00:11:17.799 like Electric Light Orchestra, with strings and 00:11:17.799 --> 00:11:20.980 keyboards and synths. Wow, that's not quite what 00:11:20.980 --> 00:11:24.009 we got on the final album, is it? Not really. 00:11:24.210 --> 00:11:26.289 It sounds quite different. It does, and this 00:11:26.289 --> 00:11:29.450 reveals an early artistic tension and compromise 00:11:29.450 --> 00:11:31.669 that would kind of recur throughout their career. 00:11:32.230 --> 00:11:35.590 Bridwell had this grand, almost orchestral vision, 00:11:35.929 --> 00:11:38.889 but ultimately they opted for a more raw approach, 00:11:39.090 --> 00:11:41.169 as he put it. Which probably worked out better 00:11:41.169 --> 00:11:44.279 for a debut maybe. Quite possibly. That decision 00:11:44.279 --> 00:11:47.080 likely shaped the band's early identity significantly, 00:11:47.379 --> 00:11:50.139 leaning into a more organic, immediate, and intimate 00:11:50.139 --> 00:11:52.500 sound that resonated powerfully with audiences. 00:11:53.279 --> 00:11:55.019 It's a fascinating insight into the push and 00:11:55.019 --> 00:11:57.779 pull of a visionary's grand ideas versus the 00:11:57.779 --> 00:12:00.980 practical, often more raw, execution that sometimes 00:12:00.980 --> 00:12:03.820 defines a band's initial success. The album featured 00:12:03.820 --> 00:12:06.840 that original four -piece lineup. Bridwell, Mynig, 00:12:07.000 --> 00:12:09.960 early and broke. But interestingly, Sarah Cahoon 00:12:09.960 --> 00:12:12.659 also received drumming credits. Yeah, suggesting 00:12:12.659 --> 00:12:14.879 some collaboration beyond the core, maybe some 00:12:14.879 --> 00:12:17.639 shared studio time or different takes. The album 00:12:17.639 --> 00:12:21.240 was released on March 21st, 2006. It actually 00:12:21.240 --> 00:12:24.980 saw some minor chart success early on in Scandinavia, 00:12:25.519 --> 00:12:27.960 particularly in Sweden and Norway. Interesting, 00:12:28.139 --> 00:12:30.700 hinting at that early international appeal. Exactly. 00:12:30.960 --> 00:12:33.539 But the real game changer, the first single that 00:12:33.539 --> 00:12:36.600 truly catapulted them was, of course, The funeral. 00:12:36.919 --> 00:12:39.399 Indeed. The significance of the funeral just 00:12:39.399 --> 00:12:42.200 cannot be overstated. It became their breakthrough 00:12:42.200 --> 00:12:45.700 track. It was widely adopted in, well, everything. 00:12:46.059 --> 00:12:48.659 Numerous television series, films, video games 00:12:48.659 --> 00:12:51.100 and advertisements. It really was everywhere. 00:12:51.240 --> 00:12:54.059 Still is sometimes. It essentially became a poignant 00:12:54.059 --> 00:12:56.740 cultural touchstone. Its melancholic beauty, 00:12:57.159 --> 00:12:59.340 Bridwell's really distinctive vocal delivery 00:12:59.340 --> 00:13:02.360 and that swelling, almost anthemic quality. It 00:13:02.360 --> 00:13:04.440 made it incredibly versatile for emotional moments 00:13:04.440 --> 00:13:07.100 across various media and performing it on the 00:13:07.100 --> 00:13:09.279 Late Show with David Letterman further cemented 00:13:09.279 --> 00:13:11.379 its status and introduced the band to a much 00:13:11.379 --> 00:13:14.139 broader American audience. Even though, ironically, 00:13:14.639 --> 00:13:16.120 Matt Brooke had already left the band by the 00:13:16.120 --> 00:13:18.139 time they played Letterman. Right. Which brings 00:13:18.139 --> 00:13:21.820 us to the early lineup volatility. Exactly. Tim 00:13:21.820 --> 00:13:24.700 Meinig and Chris Early, two of the original members 00:13:24.700 --> 00:13:27.679 on that first album, departed soon after the 00:13:27.679 --> 00:13:29.980 album's recording. Brighwell explained it pretty 00:13:29.980 --> 00:13:32.620 bluntly as a personality clash. He said, all 00:13:32.620 --> 00:13:34.980 of a sudden I was with two guys I didn't really 00:13:34.980 --> 00:13:38.159 even know. They were nice guys, there just wasn't 00:13:38.159 --> 00:13:40.480 a personality match. What's fascinating here 00:13:40.480 --> 00:13:43.860 is how early this pattern of lineup changes begins. 00:13:44.259 --> 00:13:46.779 It starts almost immediately. It establishes 00:13:46.779 --> 00:13:49.419 Ben Bridwell as the undisputed core of the band 00:13:49.419 --> 00:13:51.659 from the get -go, and it highlights his specific 00:13:51.659 --> 00:13:54.519 need for a certain kind of chemistry within the 00:13:54.519 --> 00:13:56.279 group. It wasn't just about playing the notes 00:13:56.279 --> 00:13:58.759 right. Exactly. This isn't just about musical 00:13:58.759 --> 00:14:01.159 skill, but about the interpersonal dynamics that 00:14:01.159 --> 00:14:03.580 make a band function, especially under the intense 00:14:03.580 --> 00:14:05.960 pressure of growing success and constant touring. 00:14:06.240 --> 00:14:08.840 For Bridwell, the match had to extend beyond 00:14:08.840 --> 00:14:11.279 just talent. And then Matt Brooke, who was such 00:14:11.279 --> 00:14:13.860 a key figure, you know, from the Chris's Weird 00:14:13.860 --> 00:14:16.500 Days and instrumental in Band of Horses formation, 00:14:16.940 --> 00:14:19.059 he also left before that Letterman performance. 00:14:21.000 --> 00:14:23.919 What was his perspective? Why step away from 00:14:23.919 --> 00:14:26.200 what was clearly becoming a breakout success, 00:14:26.600 --> 00:14:29.720 especially given their deep history? Brooke's 00:14:29.720 --> 00:14:32.259 explanation offers valuable insight into that 00:14:32.259 --> 00:14:35.139 dynamic of creative control and personal ambition 00:14:35.139 --> 00:14:37.879 we talked about. He stated that he'd never really 00:14:37.879 --> 00:14:40.340 given the commitment to be a formal member, viewing 00:14:40.340 --> 00:14:42.539 it more as a spur of the moment arrangement. 00:14:42.799 --> 00:14:46.840 He genuinely felt it was 100 % Ben's project. 00:14:46.960 --> 00:14:49.960 Wow. Yeah. And he desired to see what else I 00:14:49.960 --> 00:14:51.720 could do, which led him to form his own band, 00:14:51.960 --> 00:14:54.639 Grand Archives, who also signed to Sub Pop, interestingly 00:14:54.639 --> 00:14:57.519 enough. So no bad blood necessarily. It's different 00:14:57.519 --> 00:15:00.009 paths. Seems like it. This clearly illustrates 00:15:00.009 --> 00:15:02.789 that even close collaborators recognized Bridewell's 00:15:02.789 --> 00:15:04.690 singular vision and leadership from the outset. 00:15:05.309 --> 00:15:07.330 Brooke respected that vision, but wanted to forge 00:15:07.330 --> 00:15:09.409 his own path rather than simply contributing 00:15:09.409 --> 00:15:12.870 to someone else's. So, with Meinig, Early, and 00:15:12.870 --> 00:15:15.269 Brooke out, new touring members were quickly 00:15:15.269 --> 00:15:18.019 brought in to fill the gaps for the shows. Joe 00:15:18.019 --> 00:15:21.200 Arnone came in on guitar and keyboards, Rob Hampton 00:15:21.200 --> 00:15:23.759 on bass and guitar, and Creighton Barrett took 00:15:23.759 --> 00:15:26.259 over on drums. A quick regrouping to keep the 00:15:26.259 --> 00:15:28.360 momentum going after the album's release and 00:15:28.360 --> 00:15:31.940 the funeral taking off. Exactly. And then a pivotal 00:15:31.940 --> 00:15:34.620 personal decision for Bridwell, which really 00:15:34.620 --> 00:15:37.980 impacted the band's identity. He decided to relocate 00:15:37.980 --> 00:15:40.340 the entire operation from Seattle. Where did 00:15:40.340 --> 00:15:44.120 he go? Back home. Yes. Bridewell made the significant 00:15:44.120 --> 00:15:46.120 decision to move the band from Seattle, where 00:15:46.120 --> 00:15:48.840 it all started, back to his native South Carolina 00:15:48.840 --> 00:15:51.100 before they even recorded their second album. 00:15:51.240 --> 00:15:53.740 Why the move? His reasoning was deeply personal 00:15:53.740 --> 00:15:56.019 and very compelling. He said, we were touring 00:15:56.019 --> 00:15:58.519 so much that nowhere was really home. So I figured 00:15:58.519 --> 00:16:01.059 if I'm going to come home after these long stretches 00:16:01.059 --> 00:16:02.899 of traveling, it would be nice to be around my 00:16:02.899 --> 00:16:04.659 family. That makes a lot of sense, actually. 00:16:04.879 --> 00:16:07.399 It does. This move wasn't just geographical. 00:16:07.559 --> 00:16:09.820 It was about personal grounding, reconnecting 00:16:09.820 --> 00:16:12.720 with his roots, and finding a stable anchor amidst 00:16:12.720 --> 00:16:15.159 the chaos of touring life. And this undoubtedly 00:16:15.159 --> 00:16:17.759 influenced the band's evolving identity and sound, 00:16:18.200 --> 00:16:20.919 subtly infusing that Southern rock and folk rock 00:16:20.919 --> 00:16:22.860 sensibility more deeply into their aesthetic. 00:16:23.320 --> 00:16:26.299 It really solidified that band of horses could 00:16:26.299 --> 00:16:29.980 be wherever Ben Bridwell called home. Two, finding 00:16:29.980 --> 00:16:32.379 their footing. Critical Acclaim and Evolving 00:16:32.379 --> 00:16:35.899 Lineups, 2007 -2009. That personal connection, 00:16:36.100 --> 00:16:38.200 that grounding, certainly makes sense when you 00:16:38.200 --> 00:16:40.820 listen to the band's aesthetic evolve. Moving 00:16:40.820 --> 00:16:43.120 into 2007, before the release of their second 00:16:43.120 --> 00:16:45.460 album, the band kept up an incredibly active 00:16:45.460 --> 00:16:47.419 touring schedule. They were all over Europe and 00:16:47.419 --> 00:16:49.580 North America. Keeping the buzz alive. Yeah. 00:16:49.799 --> 00:16:51.740 And with that touring came, surprise, surprise, 00:16:51.799 --> 00:16:53.840 more line -up adjustments. Joe Arnone was out. 00:16:54.120 --> 00:16:56.080 And they actually expanded to a six -piece for 00:16:56.080 --> 00:16:58.960 the tour. Matt Gentling from Archers of Loaf 00:16:58.960 --> 00:17:01.159 came in on bass. Another great indie connection 00:17:01.159 --> 00:17:03.159 there. Definitely. And Robin Perringer, yes. 00:17:03.419 --> 00:17:06.180 Robin Perringer from Modest Mouse and Chris's 00:17:06.180 --> 00:17:08.019 Weird return on guitar. The full circle moment. 00:17:08.220 --> 00:17:11.599 Right. And Ryan Monroe joined on keyboards. What's 00:17:11.599 --> 00:17:14.380 truly striking here is that continuous search 00:17:14.380 --> 00:17:16.940 for the right musical synergy, even as they were 00:17:16.940 --> 00:17:19.619 gaining traction and building a solid fan base. 00:17:20.140 --> 00:17:22.700 The return of Robin Perringer is a fantastic 00:17:22.700 --> 00:17:25.160 detail, highlighting the tight knit community 00:17:25.160 --> 00:17:28.039 of musicians Bridwell operated within and his 00:17:28.039 --> 00:17:30.359 willingness to bring back trusted collaborators. 00:17:30.839 --> 00:17:32.960 And the inclusion of Ryan Monroe on keyboards 00:17:32.960 --> 00:17:35.880 also proves to be incredibly significant. He 00:17:35.880 --> 00:17:38.630 becomes a long term fixture in the band, contributing 00:17:38.630 --> 00:17:41.569 to a more expansive, textured sound that would 00:17:41.569 --> 00:17:44.049 really define their next phase. So this period 00:17:44.049 --> 00:17:46.970 shows Bridwell still experimenting, right? Constantly 00:17:46.970 --> 00:17:49.650 refining the live and studio configuration to 00:17:49.650 --> 00:17:51.569 achieve the sound he was hearing in his head. 00:17:51.730 --> 00:17:53.829 Exactly. Always searching for that perfect synergy. 00:17:54.170 --> 00:17:56.950 Their second album, Cease to Begin, was released 00:17:56.950 --> 00:17:59.730 in October 2007. It was recorded in Asheville, 00:17:59.849 --> 00:18:01.829 North Carolina, fitting with the move south and 00:18:01.829 --> 00:18:04.589 once again produced by Phil Eek. Ah, so some 00:18:04.589 --> 00:18:06.690 important continuity there with Eek behind the 00:18:06.690 --> 00:18:09.609 board again. Yeah. The core recording trio for 00:18:09.609 --> 00:18:12.250 this album featured Ben Bridwell, Creighton Barrett 00:18:12.250 --> 00:18:15.329 on drums, and Rob Hampton on bass guitar, with 00:18:15.329 --> 00:18:18.029 Ryan Monroe specifically credited with playing 00:18:18.029 --> 00:18:20.609 keyboards. This suggests maybe a tightening of 00:18:20.609 --> 00:18:22.930 the creative unit for the studio work, perhaps 00:18:22.930 --> 00:18:25.269 a core group where ideas were most effectively 00:18:25.269 --> 00:18:27.630 translated into a cohesive sound on the record? 00:18:28.049 --> 00:18:31.549 Could be. And Cease to Begin proved to be a major 00:18:31.549 --> 00:18:33.869 breakthrough in the U .S. It wasn't just building 00:18:33.869 --> 00:18:36.509 on the buzz of the funeral, it solidified their 00:18:36.509 --> 00:18:39.710 artistry. It reached number 35 on the Billboard 00:18:39.710 --> 00:18:42.549 200, which was a significant achievement for 00:18:42.549 --> 00:18:45.410 an indie rock act back then. Huge jump. It also 00:18:45.410 --> 00:18:47.609 continued their international success, charting 00:18:47.609 --> 00:18:49.710 well again in Norway, Denmark, France, and Sweden. 00:18:50.470 --> 00:18:52.390 So their global appeal was definitely growing 00:18:52.390 --> 00:18:54.569 beyond just that one big single. And the critics 00:18:54.569 --> 00:18:57.589 liked it too, right? They did. The critical acclaim 00:18:57.589 --> 00:19:00.349 followed suit. Pace Magazine voted it the ninth 00:19:00.349 --> 00:19:03.309 best album of 2007, and Rolling Stone placed 00:19:03.309 --> 00:19:06.450 it at 47th. Respectable rankings. Yeah, this 00:19:06.450 --> 00:19:09.130 wasn't just a sophomore slump. It firmly established 00:19:09.130 --> 00:19:11.089 them as a critically respected and commercially 00:19:11.089 --> 00:19:14.069 viable force. The album itself, while still having 00:19:14.069 --> 00:19:17.470 that raw edge, introduced maybe a greater warmth 00:19:17.470 --> 00:19:20.289 and expansiveness. You can really hear Monroe's 00:19:20.289 --> 00:19:22.509 keys filling things out. Definitely felt like 00:19:22.509 --> 00:19:25.470 a step forward, maybe more mature. And the song, 00:19:25.769 --> 00:19:28.500 No One's Gonna Love You, became their first European 00:19:28.500 --> 00:19:32.000 hit single, reaching number 22 in Denmark. That 00:19:32.000 --> 00:19:34.059 helped expand their reach beyond the massive 00:19:34.059 --> 00:19:36.819 shadow of the funeral. Give them another calling 00:19:36.819 --> 00:19:39.519 card internationally. Exactly. And with this 00:19:39.519 --> 00:19:42.339 success, the lineup started to solidify even 00:19:42.339 --> 00:19:44.759 more, didn't it? Which, given their history up 00:19:44.759 --> 00:19:47.380 to that point. is quite a feat. It absolutely 00:19:47.380 --> 00:19:50.420 did. Following the album's release and its burgeoning 00:19:50.420 --> 00:19:53.240 success, Ryan Monroe officially became a permanent 00:19:53.240 --> 00:19:55.720 member. They also recruited the talented Tyler 00:19:55.720 --> 00:19:58.319 Ramsey on guitar and vocals, and Bill Reynolds 00:19:58.319 --> 00:20:00.900 came in on bass. This brought Band of Horses 00:20:00.900 --> 00:20:03.440 back to a robust six -piece lineup. Okay, so 00:20:03.440 --> 00:20:05.660 who was in this seemingly stable lineup then? 00:20:05.789 --> 00:20:08.230 Alright, so you had Bridwell, Creighton Barrett 00:20:08.230 --> 00:20:12.730 on drums, Ryan Monroe on keys, Tyler Ramsey on 00:20:12.730 --> 00:20:16.089 guitar vocals, Bill Reynolds on bass, and Rob 00:20:16.089 --> 00:20:18.089 Hampton was still involved on guitar bass around 00:20:18.089 --> 00:20:20.630 this time too, though he'd depart later. This 00:20:20.630 --> 00:20:23.130 particular configuration would prove to be the 00:20:23.130 --> 00:20:26.109 most stable for a significant period, marking 00:20:26.109 --> 00:20:29.089 a really crucial step in their evolution. A bit 00:20:29.089 --> 00:20:31.769 of breathing room, maybe? Perhaps. And notably, 00:20:32.210 --> 00:20:34.750 Tyler Ramsey often performed solo as the opening 00:20:34.750 --> 00:20:37.170 act before the band played live. Oh, interesting. 00:20:37.309 --> 00:20:39.410 Yeah, showcasing the individual talent within 00:20:39.410 --> 00:20:42.349 the group and offering audiences an extra layer 00:20:42.349 --> 00:20:44.970 to the experience. It was an early glimpse into 00:20:44.970 --> 00:20:47.269 the wider creative energy simmering within the 00:20:47.269 --> 00:20:50.150 band. This newfound stability clearly paid off 00:20:50.150 --> 00:20:53.349 on the live circuit. In 2008, Band of Horses 00:20:53.349 --> 00:20:55.150 made appearances at some of the most prestigious 00:20:55.150 --> 00:20:57.529 festivals globally. We're talking Glastonbury 00:20:57.529 --> 00:21:00.049 in the UK. Ah, sick. Teasing the park in Scotland, 00:21:00.609 --> 00:21:03.069 the legendary Bridge School benefit concert organized 00:21:03.069 --> 00:21:05.589 by Neil Young in California, and the Roskilde 00:21:05.589 --> 00:21:07.930 Festival in Denmark. That's a huge step up, isn't 00:21:07.930 --> 00:21:10.029 it? These aren't just club gigs. These are major 00:21:10.029 --> 00:21:13.089 international stages. Totally. It showcased their 00:21:13.089 --> 00:21:15.690 growing renown and their ability to command much 00:21:15.690 --> 00:21:19.150 larger audiences. Indeed. These high profile 00:21:19.150 --> 00:21:21.789 festival appearances are a clear indicator of 00:21:21.789 --> 00:21:24.509 their accelerating ascent. It demonstrated that 00:21:24.509 --> 00:21:27.200 their music resonated on a grand scale. allowing 00:21:27.200 --> 00:21:29.839 them to connect with massive diverse crowds. 00:21:30.559 --> 00:21:33.480 Playing these iconic stages not only bolstered 00:21:33.480 --> 00:21:36.099 their reputation, but also exposed their unique 00:21:36.099 --> 00:21:39.259 blend of indie and southern rock to an even broader 00:21:39.259 --> 00:21:41.779 international audience. Right, solidifying their 00:21:41.779 --> 00:21:44.720 status as a major touring act capable of captivating 00:21:44.720 --> 00:21:47.319 thousands. Exactly. It's a testament to the power 00:21:47.319 --> 00:21:49.980 of that stable lineup finally finding its stride 00:21:49.980 --> 00:21:52.980 and delivering consistently impactful live performances. 00:21:53.559 --> 00:21:56.789 Three, the Grammy nomination era. Infinite Arms 00:21:56.789 --> 00:21:59.950 and Expanding Horizons, 2010 -2011. Okay, now 00:21:59.950 --> 00:22:01.950 we move into what many consider their commercial 00:22:01.950 --> 00:22:04.150 and critical zenith, leading up to the album 00:22:04.150 --> 00:22:07.230 Infinite Arms in 2010. Producer Phil Eek announced 00:22:07.230 --> 00:22:09.490 back in May 2009 that he was recording their 00:22:09.490 --> 00:22:11.930 third album again in North Carolina. Back with 00:22:11.930 --> 00:22:13.930 Eek again, seems like a winning formula for them. 00:22:14.369 --> 00:22:16.750 It did seem to be. Interestingly, Ben Bridwell 00:22:16.750 --> 00:22:19.690 actually mentioned an initial title, Night Rainbows, 00:22:20.170 --> 00:22:23.130 during their 2009 summer tour. Night Rimbals, 00:22:23.210 --> 00:22:25.210 okay. Before the eventual reveal of the title 00:22:25.210 --> 00:22:29.170 Infinite Arms in March 2010, it gives us a little 00:22:29.170 --> 00:22:30.890 glimpse into the creative process, doesn't it? 00:22:30.970 --> 00:22:33.930 how album titles and perhaps even the whole direction 00:22:33.930 --> 00:22:37.109 can evolve. It truly does. Those initial title 00:22:37.109 --> 00:22:39.670 mentions and then the eventual change, they hint 00:22:39.670 --> 00:22:42.029 at the creative fluidity and potential shifts 00:22:42.029 --> 00:22:44.470 in direction that happen behind the scenes. It's 00:22:44.470 --> 00:22:46.630 a reminder that even established artists are 00:22:46.630 --> 00:22:49.130 constantly refining their vision, allowing ideas 00:22:49.130 --> 00:22:51.829 to gestate and transform. This period, however, 00:22:52.049 --> 00:22:54.710 also saw continued lineup challenges, reinforcing 00:22:54.710 --> 00:22:57.269 that ongoing theme of Bridwell as the constant. 00:22:57.490 --> 00:23:00.150 Who left this time? Rob Hampton departed prior 00:23:00.150 --> 00:23:02.809 to recording. And there was a Swedish guitarist, 00:23:02.990 --> 00:23:05.230 Ludvig Boss, who joined briefly but then left 00:23:05.230 --> 00:23:07.329 by March 2010, so he ultimately didn't appear 00:23:07.329 --> 00:23:09.289 on the album. Wow, still churning even as they 00:23:09.289 --> 00:23:11.650 were hitting their stride. It underscores how 00:23:11.650 --> 00:23:14.230 persistent the challenge of maintaining a perfectly 00:23:14.230 --> 00:23:16.809 consistent lineup remained for Band of Horses, 00:23:16.890 --> 00:23:19.690 even as their star was truly beginning to rise. 00:23:19.849 --> 00:23:23.109 Despite those shifts and the ongoing churn, Infinite 00:23:23.109 --> 00:23:25.410 Arms was recorded by what seemed like a more 00:23:25.410 --> 00:23:28.630 stable five -piece lineup. Bridwell, Ramsay, 00:23:29.250 --> 00:23:32.289 Reynolds, Bear it. and Monroe. Right. That core 00:23:32.289 --> 00:23:34.690 group really seemed to gel for this record. This 00:23:34.690 --> 00:23:36.849 sounds like a period of more settled collaboration, 00:23:36.849 --> 00:23:39.210 at least in the studio, which often translates 00:23:39.210 --> 00:23:41.150 into a more cohesive album, wouldn't you say? 00:23:41.150 --> 00:23:44.109 It certainly seemed that way. That stable five 00:23:44.109 --> 00:23:46.970 -piece configuration allowed for a greater degree 00:23:46.970 --> 00:23:49.950 of artistic cohesion, a shared vision that really 00:23:49.950 --> 00:23:52.890 shines through on the album. Infinite Arms saw 00:23:52.890 --> 00:23:55.430 a massive worldwide release between May 14 and 00:23:55.430 --> 00:23:58.569 19, 2010. And it wasn't just through major labels 00:23:58.569 --> 00:24:01.480 like Columbia and Fat Pop. Hang on. Didn't Bridwell's 00:24:01.480 --> 00:24:04.519 own label get involved here, too? Yes. Significantly, 00:24:04.680 --> 00:24:07.859 it was also released through Bridwell's own Brown 00:24:07.859 --> 00:24:10.220 Records. Through Return of Brown Records. Exactly. 00:24:10.519 --> 00:24:12.880 This marked the successful relaunch of his label 00:24:12.880 --> 00:24:15.619 on a much larger scale. It indicated a renewed 00:24:15.619 --> 00:24:18.000 commitment to that entrepreneurial spirit and 00:24:18.000 --> 00:24:21.099 maybe a desire for greater artistic and business 00:24:21.099 --> 00:24:23.539 control, applying the lessons learned from his 00:24:23.539 --> 00:24:25.460 earlier experiences. That's really interesting. 00:24:25.519 --> 00:24:27.900 Where did they record it? The recording locations 00:24:27.900 --> 00:24:29.859 were Echo Mountain Studios in North Carolina 00:24:29.859 --> 00:24:32.420 and Perfect Sound Studios in Los Angeles, so 00:24:32.420 --> 00:24:35.180 a blend of regional intimacy and maybe some LA 00:24:35.180 --> 00:24:38.700 industry polish. And crucially, the album was 00:24:38.700 --> 00:24:41.420 self -produced by the band, with additional production 00:24:41.420 --> 00:24:44.480 from Philiac. Ah, so taking more control in the 00:24:44.480 --> 00:24:47.099 studio, too. Definitely. It indicated a mature 00:24:47.099 --> 00:24:49.220 confidence in their own sound and direction. 00:24:49.400 --> 00:24:51.740 The band really went all out on promotion for 00:24:51.740 --> 00:24:54.180 this record. Yeah. In April 2010, they performed 00:24:54.180 --> 00:24:57.339 a full set for the WDR TV show Rock Palace in 00:24:57.339 --> 00:24:59.599 Germany. A big deal in Europe. Yeah. And they 00:24:59.599 --> 00:25:02.019 made a high -profile appearance on the BBC television 00:25:02.019 --> 00:25:05.519 series later, with Jules Holland in the UK. They 00:25:05.519 --> 00:25:08.839 promoted infinite arms with new songs like Compliments, 00:25:09.059 --> 00:25:12.440 Factory, and N .W. Abt. What was the immediate 00:25:12.440 --> 00:25:14.599 impact of those kinds of high visibility appearances? 00:25:15.119 --> 00:25:17.519 The Jules Haaland appearance in particular had 00:25:17.519 --> 00:25:21.119 an immediate and palpable effect. It really demonstrated 00:25:21.119 --> 00:25:23.940 the power of traditional media even then. Get 00:25:23.940 --> 00:25:27.119 this. Their two earlier albums, Everything All 00:25:27.119 --> 00:25:29.900 the Time and Cease to Begin, actually entered 00:25:29.900 --> 00:25:32.319 the UK albums chart for the first time after 00:25:32.319 --> 00:25:34.180 that performance. Wow. Years after they were 00:25:34.180 --> 00:25:36.720 released. Exactly. Incredible for back catalog 00:25:36.720 --> 00:25:40.180 albums. More importantly, Infinite Arms itself 00:25:40.180 --> 00:25:43.039 debuted at number 21 in the UK, which was their 00:25:43.039 --> 00:25:46.859 first top 100 hit there. And it absolutely surpassed 00:25:46.859 --> 00:25:50.079 Cease to Begin in the US by debuting at an impressive 00:25:50.079 --> 00:25:52.880 number seven on the Billboard 200. Number seven. 00:25:52.920 --> 00:25:55.279 That's huge. This was undoubtedly their commercial 00:25:55.279 --> 00:25:58.039 zenith, a moment where critical acclaim and mainstream 00:25:58.039 --> 00:26:00.960 success really converged. And to top it off, 00:26:01.140 --> 00:26:02.980 an outtake from the album, a song called Life 00:26:02.980 --> 00:26:05.079 on Earth, was even used on the soundtrack of 00:26:05.079 --> 00:26:07.359 the Twilight Saga film eclipse. Oh yeah, the 00:26:07.359 --> 00:26:09.799 Twilight soundtracks were massive. Huge. Released 00:26:09.799 --> 00:26:12.519 in June 2010, it further broadened their audience 00:26:12.519 --> 00:26:15.180 to a massive global demographic that might not 00:26:15.180 --> 00:26:17.519 typically seek out indie rock. That's incredible, 00:26:17.579 --> 00:26:19.660 hitting a commercial peak and getting that kind 00:26:19.660 --> 00:26:22.039 of widespread recognition across all these different 00:26:22.039 --> 00:26:24.779 platforms. And they didn't just stop there. They 00:26:24.779 --> 00:26:27.940 truly expanded their horizons that year with 00:26:27.940 --> 00:26:30.380 extensive global touring to support the album. 00:26:30.779 --> 00:26:33.759 Their 2010 tour was absolutely massive. It spanned 00:26:33.759 --> 00:26:36.299 Europe, North America, Australia, New Zealand 00:26:36.299 --> 00:26:39.150 and Japan. They weren't just headlining smaller 00:26:39.150 --> 00:26:41.430 venues anymore, they were also opening for major 00:26:41.430 --> 00:26:44.049 acts like Pearl Jam on their Midwest and East 00:26:44.049 --> 00:26:46.589 Coast tours. Wow, opening for Pearl Jam. Right. 00:26:46.869 --> 00:26:49.849 And for Snow Patrol in Bangor and Glasgow, this 00:26:49.849 --> 00:26:52.009 exposed their music to even larger audiences, 00:26:52.109 --> 00:26:54.470 plus they played at numerous high profile festivals. 00:26:55.289 --> 00:26:58.190 SXSW, Sasquatch, Splendor in the Grass in Australia, 00:26:58.609 --> 00:27:01.210 Summer Sonic in Japan, Puckle Pop in Belgium, 00:27:01.769 --> 00:27:05.049 Reading and Leeds in the UK, ACL Fest, Farm Aid. 00:27:05.089 --> 00:27:07.269 Just hitting all the big ones. Yeah, pretty much. 00:27:07.500 --> 00:27:10.200 This incredible global reach and presence at 00:27:10.200 --> 00:27:13.619 such diverse iconic festivals really cemented 00:27:13.619 --> 00:27:16.400 their status as a significant international act. 00:27:16.720 --> 00:27:19.019 It showed they could appeal to a wide array of 00:27:19.019 --> 00:27:21.640 music lovers from different backgrounds and preferences. 00:27:22.380 --> 00:27:25.740 The album itself, Infinite Arms, was widely seen 00:27:25.740 --> 00:27:28.259 as their most ambitious and polished work to 00:27:28.259 --> 00:27:30.640 date. How would you describe its sound compared 00:27:30.640 --> 00:27:33.759 to the earlier stuff? Maybe blending their signature 00:27:33.759 --> 00:27:37.160 sound with a newfound sense of grandeur? often 00:27:37.160 --> 00:27:39.460 cited for its lush arrangements and powerful, 00:27:39.759 --> 00:27:42.799 anthemic qualities. Still them, but bigger maybe. 00:27:42.980 --> 00:27:44.960 And amongst all that intense touring and promotion, 00:27:45.380 --> 00:27:47.099 they even managed to release a unique cover. 00:27:47.660 --> 00:27:51.180 On October 7, 2010, Band of Horses released their 00:27:51.180 --> 00:27:54.180 version of CeeLo Green's Georgia. Ah, yeah, I 00:27:54.180 --> 00:27:55.819 remember this. It was CeeLo's version of their 00:27:55.819 --> 00:27:57.880 own song, No One's Gonna Love You, wasn't it? 00:27:58.140 --> 00:28:00.779 Bit meta. Exactly. And Brynwell had a deeply 00:28:00.779 --> 00:28:03.279 personal and nostalgic explanation for covering 00:28:03.279 --> 00:28:06.019 CeeLo's take on his song. He connected it to 00:28:06.019 --> 00:28:08.339 his family's roots in Georgia, the Georgia Bulldogs 00:28:08.339 --> 00:28:10.480 football team, and how the state had always been 00:28:10.480 --> 00:28:12.940 a second home of sorts, with many family members 00:28:12.940 --> 00:28:15.400 there. Oh, that makes sense. He even mentioned 00:28:15.400 --> 00:28:17.579 their annual New Year's Eve shows in Atlanta. 00:28:18.039 --> 00:28:20.720 It was released as a seven inch vinyl split single. 00:28:20.900 --> 00:28:24.279 Which is a cool old school format. This anecdote 00:28:24.279 --> 00:28:27.160 beautifully illustrates how deeply personal experiences 00:28:27.160 --> 00:28:29.980 can directly inspire artistic output, even in 00:28:29.980 --> 00:28:32.400 a roundabout way like this. It's a fantastic 00:28:32.400 --> 00:28:34.819 example of an artist connecting their art to 00:28:34.819 --> 00:28:38.019 their own life, family history, and even specific 00:28:38.019 --> 00:28:41.029 cultural touchstones like football. Yeah, it 00:28:41.029 --> 00:28:43.509 adds a crucial humanizing layer to the band's 00:28:43.509 --> 00:28:45.369 work. And shows Bridwell's willingness to share 00:28:45.369 --> 00:28:47.509 that personal side, deepening the listener's 00:28:47.509 --> 00:28:49.789 connection to his creative motivations. They 00:28:49.789 --> 00:28:52.069 also pushed creative boundaries with their music 00:28:52.069 --> 00:28:55.309 videos around this time. On November 16, 2010, 00:28:55.450 --> 00:28:58.049 they premiered the video for Dilly. Now, while 00:28:58.049 --> 00:29:00.089 previous videos were often collections of still 00:29:00.089 --> 00:29:02.730 photographs, Dilly was different. It was a full 00:29:02.730 --> 00:29:05.109 -on narrative video. Right, a proper music video. 00:29:05.250 --> 00:29:08.210 Shot in the Mojave Desert by Phil Endelman. And 00:29:08.210 --> 00:29:11.519 here's the kicker. It was exclusively premiered 00:29:11.519 --> 00:29:16.019 on IMDB. IMDB, the movie database. Yep. Apparently 00:29:16.019 --> 00:29:18.059 it marked the first time the website had ever 00:29:18.059 --> 00:29:20.319 premiered a music video. Wow, that's unexpected. 00:29:20.720 --> 00:29:22.980 A smart promotional move, though. Totally. And 00:29:22.980 --> 00:29:25.279 the content itself was pretty surreal and memorable. 00:29:25.500 --> 00:29:28.259 It featured a troublemaking motorcycle gang with 00:29:28.259 --> 00:29:31.440 sequences of them dancing in formation and even 00:29:31.440 --> 00:29:33.779 killing people by shooting them with nothing 00:29:33.779 --> 00:29:35.799 more than a pointed finger. Okay, definitely 00:29:35.799 --> 00:29:38.970 memorable. What's fascinating here is the band's 00:29:38.970 --> 00:29:40.950 innovative approach not just to music but to 00:29:40.950 --> 00:29:43.730 visual storytelling and promotion. Partnering 00:29:43.730 --> 00:29:46.289 with IMDb for an exclusive premiere was a clever 00:29:46.289 --> 00:29:48.990 forward -thinking move. It showed their awareness 00:29:48.990 --> 00:29:51.170 of evolving media platforms and how to reach 00:29:51.170 --> 00:29:54.849 audiences in new, unexpected ways. The surreal 00:29:54.849 --> 00:29:57.390 and memorable imagery of the video itself also 00:29:57.390 --> 00:29:59.930 highlights a willingness to embrace the unconventional, 00:30:00.410 --> 00:30:03.210 creating a distinct visual identity that resonated 00:30:03.210 --> 00:30:05.890 with the song's energetic, slightly unhinged 00:30:05.890 --> 00:30:08.430 quality. Yeah, it showed a band comfortable with 00:30:08.430 --> 00:30:10.950 artifice and humor, maybe contrasting with the 00:30:10.950 --> 00:30:13.299 earnestness of some of their other work. And 00:30:13.299 --> 00:30:15.559 the accolades for Infinite Arms just continued 00:30:15.559 --> 00:30:18.380 to pour in, solidifying its place in their discography 00:30:18.380 --> 00:30:21.660 and in the music scene that year. The album received 00:30:21.660 --> 00:30:24.759 a Grammy Award nomination in 2011 for Best Alternative 00:30:24.759 --> 00:30:28.900 Album. A truly significant career milestone that 00:30:28.900 --> 00:30:31.700 placed them firmly on the mainstream radar beyond 00:30:31.700 --> 00:30:34.609 just the indie world. That Grammy nod is huge 00:30:34.609 --> 00:30:36.950 validation, isn't it? Placing them firmly within 00:30:36.950 --> 00:30:39.849 the alternative music landscape's elite. A real 00:30:39.849 --> 00:30:41.730 signal they were a force to be reckoned with. 00:30:42.069 --> 00:30:44.430 Absolutely. It also found its way onto several 00:30:44.430 --> 00:30:47.970 prestigious best albums of 2010 lists. Cue magazine 00:30:47.970 --> 00:30:50.930 had it at hashtag 21, NPR listeners voted at 00:30:50.930 --> 00:30:53.769 hashtag 15, Filter magazine put it at hashtag 00:30:53.769 --> 00:30:57.190 10, and Pace magazine ranked it hashtag 42. Consistent 00:30:57.190 --> 00:30:59.930 praise across the board. Yeah. Not to mention 00:30:59.930 --> 00:31:02.269 the song Laredo was placed at number 28 in Rolling 00:31:02.269 --> 00:31:05.029 Stone magazine's top 50 songs of 2010. Laredo 00:31:05.029 --> 00:31:07.970 is a great track. It is. Even Dilly itself as 00:31:07.970 --> 00:31:10.289 a single was a minor hit on the Belgian singles 00:31:10.289 --> 00:31:13.009 chart in Flanders. This period truly represents 00:31:13.009 --> 00:31:15.970 their peak in terms of industry recognition and 00:31:15.970 --> 00:31:18.970 critical acclaim. The consistent presence on 00:31:18.970 --> 00:31:22.109 year -end lists across diverse publications further 00:31:22.109 --> 00:31:24.930 emphasizes the album's widespread appeal and 00:31:24.930 --> 00:31:27.910 impact. It shows that Infinite Arms wasn't just 00:31:27.910 --> 00:31:30.650 a commercial success, but also resonated deeply 00:31:30.650 --> 00:31:33.410 with critics and listeners alike. It proved the 00:31:33.410 --> 00:31:36.089 band's artistic merit and established a benchmark 00:31:36.089 --> 00:31:38.490 for their sound and ambition that would inevitably 00:31:38.490 --> 00:31:40.839 shape their subsequent work. and they kept that 00:31:40.839 --> 00:31:43.079 momentum going. They continued their extensive 00:31:43.079 --> 00:31:46.579 touring well into 2011 and 2012, capitalizing 00:31:46.579 --> 00:31:49.200 on the success of Infinite Arms. This included 00:31:49.200 --> 00:31:51.980 a European tour in early 2011 that notably featured 00:31:51.980 --> 00:31:54.660 a major show opening for Foo Fighters at Wembley 00:31:54.660 --> 00:31:56.819 Arena. Wembley Arena with the Foo Fighters, that's 00:31:56.819 --> 00:31:59.500 a massive stage to share. Huge. They had a brief 00:31:59.500 --> 00:32:02.079 U .S. tour after that, then more European festival 00:32:02.079 --> 00:32:04.400 appearances. They were even scheduled to support 00:32:04.400 --> 00:32:06.839 Kings of Leon on their U .S. and Australian tours. 00:32:07.059 --> 00:32:09.339 Another huge tour pairing. Yeah, although the 00:32:09.339 --> 00:32:11.019 U .S. West Leg was unfortunately canceled after 00:32:11.019 --> 00:32:13.839 only three shows. Kings of Leon cited exhaustion. 00:32:14.339 --> 00:32:16.619 Uh, the perils of stadium touring. That happens. 00:32:17.299 --> 00:32:19.660 Yeah. But Band of Horses kept pushing forward. 00:32:20.259 --> 00:32:22.359 They undertook their first ever South American 00:32:22.359 --> 00:32:26.019 tour in 2012, further expanding their global 00:32:26.019 --> 00:32:28.680 footprint. This relentless touring schedule highlights 00:32:28.680 --> 00:32:31.299 the momentum they had built and their unwavering 00:32:31.299 --> 00:32:34.299 commitment to reaching fans worldwide. The Kings 00:32:34.299 --> 00:32:36.660 of Leon cancellation is an interesting anecdote 00:32:36.660 --> 00:32:39.529 though. It illustrates the unpredictable nature 00:32:39.529 --> 00:32:42.009 of touring at that level and the physical demands 00:32:42.009 --> 00:32:45.069 it places on artists. But despite setbacks like 00:32:45.069 --> 00:32:47.690 that, the band's ambitious push into new territories 00:32:47.690 --> 00:32:50.329 like South America shows their enduring ambition 00:32:50.329 --> 00:32:53.029 and desire to continually expand their audience. 00:32:53.650 --> 00:32:55.950 It reinforced their global appeal and proved 00:32:55.950 --> 00:32:58.230 their resilience in the face of logistical challenges. 00:32:58.390 --> 00:33:00.509 Yeah, it showed that Band of Horses was determined 00:33:00.509 --> 00:33:03.049 to take their music wherever it was wanted. Now, 00:33:03.049 --> 00:33:05.730 beyond band of courses itself, Ben Bridwell was 00:33:05.730 --> 00:33:08.049 also quite active with collaborative ventures 00:33:08.049 --> 00:33:10.130 during this period. He wasn't just focused inward. 00:33:10.690 --> 00:33:12.650 He contributed a George Harrison cover, Your 00:33:12.650 --> 00:33:15.170 Love is Forever, to a Starbucks entertainment 00:33:15.170 --> 00:33:17.809 compilation album called Sweetheart in 2010. 00:33:18.170 --> 00:33:20.630 Starbucks compilations, right. Interesting platform. 00:33:20.950 --> 00:33:24.130 He also duetted with Courtney J on a cover of 00:33:24.130 --> 00:33:26.890 the Jesus and Mary Chains, Sometimes Always, 00:33:27.309 --> 00:33:30.809 for her 2010 album. These collaborations really 00:33:30.809 --> 00:33:33.609 showcase Bridwell's versatility as a vocalist 00:33:33.609 --> 00:33:35.950 and his willingness to step outside the band 00:33:35.950 --> 00:33:38.470 of horses framework. It demonstrates that his 00:33:38.470 --> 00:33:41.470 unique voice with its distinctive blend of fragility 00:33:41.470 --> 00:33:44.410 and power was in demand across different projects 00:33:44.410 --> 00:33:47.269 and genres. Yeah, establishing him as a respected 00:33:47.269 --> 00:33:50.289 figure in the broader music community, not just 00:33:50.289 --> 00:33:52.849 within his own band. Exactly. These smaller projects 00:33:52.849 --> 00:33:55.130 allowed him to explore different artistic avenues 00:33:55.130 --> 00:33:57.210 and keep his creative juices flowing, you know. 00:33:57.450 --> 00:33:59.980 And he also made guest vocal appearances on some 00:33:59.980 --> 00:34:02.079 pretty high profile tracks, didn't he? He was 00:34:02.079 --> 00:34:05.400 on starting over from Macklemore and Ryan Lewis's 00:34:05.400 --> 00:34:08.159 huge album, The Heist. The Heist. Wow, that was 00:34:08.159 --> 00:34:10.199 everywhere. Yeah. And he was also on two tracks 00:34:10.199 --> 00:34:12.699 opposite and Accident Without Emergency from 00:34:12.699 --> 00:34:15.519 the Biffy Clyro album Opposites. Biffy Clyro, 00:34:15.780 --> 00:34:18.679 big UK rock band. Very different vibe for Macklemore. 00:34:19.239 --> 00:34:21.579 Absolutely. His contributions to those tracks 00:34:21.579 --> 00:34:24.440 really highlight his diverse appeal and the distinctiveness 00:34:24.440 --> 00:34:26.619 of his vocal timbre. Working with Macklemore 00:34:26.619 --> 00:34:29.119 and Ryan Lewis put him in a very different sonic 00:34:29.119 --> 00:34:31.619 landscape, reaching a more pop -oriented hip 00:34:31.619 --> 00:34:34.400 -hop audience and showcasing his ability to adapt 00:34:34.400 --> 00:34:37.019 his mode of style. Right. Unexpected, but it 00:34:37.019 --> 00:34:39.599 worked. Meanwhile, the Biffy -Clyro collaboration 00:34:39.599 --> 00:34:41.980 cemented his credibility within the alternative 00:34:41.980 --> 00:34:44.380 rock scene, demonstrating his ability to lend 00:34:44.380 --> 00:34:47.000 his unique sound to more aggressive or experimental 00:34:47.000 --> 00:34:50.320 rock contexts. It further solidifies his reputation 00:34:50.320 --> 00:34:52.880 as a versatile and sought after vocal talent 00:34:52.880 --> 00:34:55.400 capable of elevating a wide variety of musical 00:34:55.400 --> 00:34:58.860 contexts with his signature delivery. Four, Navigating 00:34:58.860 --> 00:35:01.860 Change, Mirage Rock and Acoustic Explorations, 00:35:02.239 --> 00:35:05.500 2012 -2013. Okay, moving into 2012, things shift 00:35:05.500 --> 00:35:07.719 again. Ben Bridwell. announced in April that 00:35:07.719 --> 00:35:10.320 their fourth studio album, titled Mirage Rock, 00:35:10.699 --> 00:35:13.440 was scheduled for a late 2012 release. And here's 00:35:13.440 --> 00:35:16.360 a big change. It would be produced by Glyn Johns. 00:35:16.659 --> 00:35:19.000 The Glyn Johns? Wow, that's a legendary name. 00:35:19.179 --> 00:35:21.019 Led Zeppelin, The Rolling Stones, The Eagles, 00:35:21.219 --> 00:35:24.599 The Who. Exactly. This was a notable change in 00:35:24.599 --> 00:35:26.920 producer after working so consistently with Phil 00:35:26.920 --> 00:35:29.760 Ake. What does that signify when a band makes 00:35:29.760 --> 00:35:32.219 such a significant shift, especially to someone 00:35:32.219 --> 00:35:34.809 with John's pedigree? Well, a shifting producer, 00:35:35.010 --> 00:35:37.449 especially to someone like Lin Johns, often signals 00:35:37.449 --> 00:35:40.050 a conscious desire for a new sonic direction, 00:35:40.389 --> 00:35:43.340 or maybe just a fresh perspective. After self 00:35:43.340 --> 00:35:46.260 -producing Infinite Arms, with Eek's help, and 00:35:46.260 --> 00:35:48.659 working extensively with Phil Ick on the previous 00:35:48.659 --> 00:35:50.820 records, bringing in John's suggested they were 00:35:50.820 --> 00:35:53.179 looking to evolve their sound. Maybe aiming for 00:35:53.179 --> 00:35:55.500 something different. Perhaps. Maybe even a more 00:35:55.500 --> 00:35:58.219 classic rock organic feel, given John's background 00:35:58.219 --> 00:36:00.619 with those iconic bands from the 60s and 70s. 00:36:01.039 --> 00:36:03.239 It's usually a deliberate artistic choice to 00:36:03.239 --> 00:36:06.139 explore new territory to prevent stagnation and 00:36:06.139 --> 00:36:08.139 to challenge themselves creatively by stepping 00:36:08.139 --> 00:36:10.489 out of their comfort zone. They gave fans an 00:36:10.489 --> 00:36:14.070 early preview in June 2012 with a video for a 00:36:14.070 --> 00:36:16.769 new song, Dumpster World, which they shared via 00:36:16.769 --> 00:36:19.309 Facebook and YouTube. Then they announced the 00:36:19.309 --> 00:36:22.170 September album release. The album title Mirage 00:36:22.170 --> 00:36:25.030 Rock was confirmed on July 10th, along with a 00:36:25.030 --> 00:36:28.030 track listing and artwork. The debut single Knock 00:36:28.030 --> 00:36:31.550 Knock was released on July 9th, 2012, and the 00:36:31.550 --> 00:36:33.929 album itself followed on September 18th. How 00:36:33.929 --> 00:36:37.050 did it do? Did it match Infinite Arms? Commercially? 00:36:37.309 --> 00:36:39.929 Maybe not quite the same peak, but both Knock 00:36:39.929 --> 00:36:42.429 Knock and the subsequent single Slow Cruel Hands 00:36:42.429 --> 00:36:45.250 of Time were minor hits in Belgium. Ah, Belgium 00:36:45.250 --> 00:36:47.329 again. They have a loyal following there. Seems 00:36:47.329 --> 00:36:50.309 so. This period shows them embracing modern digital 00:36:50.309 --> 00:36:52.949 promotional tactics, using video previews and 00:36:52.949 --> 00:36:55.090 social media to build anticipation. Which was 00:36:55.090 --> 00:36:57.570 becoming pretty standard practice by then. Right. 00:36:57.719 --> 00:36:59.760 And while the singles were maybe minor hits, 00:37:00.159 --> 00:37:02.059 their consistent charting in European markets 00:37:02.059 --> 00:37:04.900 like Belgium demonstrates an enduring and loyal 00:37:04.900 --> 00:37:07.239 international fan base that continue to eagerly 00:37:07.239 --> 00:37:09.539 support their new material. Yeah, showing that 00:37:09.539 --> 00:37:11.840 their appeal definitely stretched beyond just 00:37:11.840 --> 00:37:14.760 the US and UK. Mirage Rock itself, how would 00:37:14.760 --> 00:37:17.360 you describe the sound? Did it reflect that Glyn 00:37:17.360 --> 00:37:20.079 John's influence? I'd say it leaned into a more 00:37:20.079 --> 00:37:23.789 polished... maybe Root's rock sound. A bit cleaner, 00:37:23.849 --> 00:37:26.050 perhaps? A clear departure from the raw indie 00:37:26.050 --> 00:37:28.349 rock of their debut, reflecting Johnson's production 00:37:28.349 --> 00:37:30.869 and the band's evolving musical maturity. The 00:37:30.869 --> 00:37:32.809 music video for Knock Knock, released in late 00:37:32.809 --> 00:37:35.389 August 2012 and directed by Jared Eberhardt, 00:37:35.510 --> 00:37:37.949 had a really creative concept. It simulated old 00:37:37.949 --> 00:37:40.070 -fashioned nature documentaries featuring the 00:37:40.070 --> 00:37:42.329 band members being captured like animals to be 00:37:42.329 --> 00:37:45.309 studied. Huh. That's pretty unique and quite 00:37:45.309 --> 00:37:47.269 a humorous take on the band's presence, isn't 00:37:47.269 --> 00:37:50.630 it? Like, they're this strange species. It's 00:37:50.630 --> 00:37:53.469 a wonderfully inventive visual concept that really 00:37:53.469 --> 00:37:55.809 sets it apart from typical performance -based 00:37:55.809 --> 00:37:59.130 music videos. The idea of the band members being 00:37:59.130 --> 00:38:01.929 captured and studied adds a layer of surreal 00:38:01.929 --> 00:38:05.030 humor and maybe even introspection. Fitting for 00:38:05.030 --> 00:38:07.170 a band often praised for its evocative lyrics 00:38:07.170 --> 00:38:10.070 and sometimes introspective themes, it's a memorable 00:38:10.070 --> 00:38:12.190 visual that shows their willingness to be playful 00:38:12.190 --> 00:38:15.230 and artistic in their video work, injecting personality 00:38:15.230 --> 00:38:17.769 beyond just, you know, looking cool playing their 00:38:17.769 --> 00:38:20.429 instruments. And Bridwell himself offered an 00:38:20.429 --> 00:38:23.429 insightful comment on the filming location. He 00:38:23.429 --> 00:38:26.530 tied it back to their early work saying, It seems 00:38:26.530 --> 00:38:28.429 fitting that we'd finally get to shoot a video 00:38:28.429 --> 00:38:30.690 around Salt Lake City as we've got a song that 00:38:30.690 --> 00:38:32.710 pays tribute to the area called The Great Salt 00:38:32.710 --> 00:38:35.230 Lake from our first album, Better Late Than Never. 00:38:35.610 --> 00:38:38.210 Ah, nice connection. That subtly links back to 00:38:38.210 --> 00:38:40.570 their origins, showing a continuity of themes 00:38:40.570 --> 00:38:42.849 and inspirations across their discography and 00:38:42.849 --> 00:38:44.849 a nice nod to their early fans who'd remember 00:38:44.849 --> 00:38:49.070 that track. Then in 2014, we saw a band of horses 00:38:49.070 --> 00:38:52.070 explore yet another side of their sound with 00:38:52.070 --> 00:38:54.969 Acoustic at the Ryman. Ah, the live acoustic 00:38:54.969 --> 00:38:58.349 album. A classic move. Yep. This 10 -track live 00:38:58.349 --> 00:39:01.449 album was recorded over two nights in April 2013 00:39:01.449 --> 00:39:04.570 at the Historic Ryman Auditorium in Nashville. 00:39:04.800 --> 00:39:07.039 The Mother Church of Country Music. Recording 00:39:07.039 --> 00:39:10.199 there is a statement in itself. Totally. It featured, 00:39:10.199 --> 00:39:12.559 as you'd expect, stripped down versions of some 00:39:12.559 --> 00:39:15.000 of their best known songs. Recording at the Ryman 00:39:15.000 --> 00:39:17.539 aligns perfectly with the more folk and southern 00:39:17.539 --> 00:39:19.960 rock elements of their sound, doesn't it? It's 00:39:19.960 --> 00:39:22.539 like giving a nod to the American musical tradition. 00:39:23.159 --> 00:39:24.780 And offering stripped down versions of their 00:39:24.780 --> 00:39:27.320 songs allowed listeners to experience their catalog 00:39:27.320 --> 00:39:30.260 in a new, much more intimate way. Yeah, it really 00:39:30.260 --> 00:39:32.400 highlighted the raw strength of the songwriting 00:39:32.400 --> 00:39:35.059 and Bridwell's distinctive vocals without all 00:39:35.059 --> 00:39:37.039 the full band arrangements. It demonstrated a 00:39:37.039 --> 00:39:39.420 significant versatility and confidence in their 00:39:39.420 --> 00:39:41.760 material, proving that their songs could stand 00:39:41.760 --> 00:39:43.880 on their own merit in a stripped back setting. 00:39:44.440 --> 00:39:47.019 They also supported it with a 13 -date run of 00:39:47.019 --> 00:39:49.639 acoustic performances across the US, which actually 00:39:49.639 --> 00:39:52.739 concluded back at the Ryman itself. Nice. Bringing 00:39:52.739 --> 00:39:55.159 it home. Yeah, it further solidified their connection 00:39:55.159 --> 00:39:57.840 with audiences in a more intimate storytelling 00:39:57.840 --> 00:40:01.059 context. It was a moment for fans to truly connect 00:40:01.059 --> 00:40:03.960 with the essence of the songs, I think. Ben Bridwell's 00:40:03.960 --> 00:40:05.719 collaborative projects continued during this 00:40:05.719 --> 00:40:08.320 time as well, constantly expanding his artistic 00:40:08.320 --> 00:40:11.300 reach beyond the main band. He teamed up with 00:40:11.300 --> 00:40:13.980 Sam Beam of Iron and Wine. Oh, another great 00:40:13.980 --> 00:40:17.079 pairing. Yeah. To release a covers album called 00:40:17.079 --> 00:40:21.340 Sing Into My Mouth on July 17, 2015. That was 00:40:21.340 --> 00:40:24.139 a highly anticipated and incredibly well -received 00:40:24.139 --> 00:40:26.469 collaboration. It brought together two really 00:40:26.469 --> 00:40:28.869 distinct but somehow complimentary voices in 00:40:28.869 --> 00:40:31.389 the indie folk scene. Both artists are known 00:40:31.389 --> 00:40:33.349 for their introspective, emotive songwriting 00:40:33.349 --> 00:40:36.030 and unique vocal styles, so their combined effort 00:40:36.030 --> 00:40:38.010 on a cover's album allowed them to pay homage 00:40:38.010 --> 00:40:40.110 to their influences while creating something 00:40:40.110 --> 00:40:42.409 entirely new and beautiful. Yeah, it was a lovely 00:40:42.409 --> 00:40:45.099 record. It highlights Bridwell's strong network 00:40:45.099 --> 00:40:47.900 and mutual respect with other artists, showcasing 00:40:47.900 --> 00:40:50.119 his ability to blend his style with others while 00:40:50.119 --> 00:40:52.400 exploring new interpretations of classic songs, 00:40:52.980 --> 00:40:55.860 really shows his artistic curiosity and generosity. 00:40:56.539 --> 00:40:59.139 And he also contributed two tracks, Unlikely 00:40:59.139 --> 00:41:03.000 Force and Tara, to the supergroup project BNQT's 00:41:03.000 --> 00:41:06.059 first album, Volume One, which came out on April 00:41:06.059 --> 00:41:10.139 28th, 2017. BNQT, right, that had members of 00:41:10.139 --> 00:41:13.440 Midlake? Franz Ferdinand, granddaddy, quite the 00:41:13.440 --> 00:41:15.659 lineup. Yeah, he clearly enjoys these diverse 00:41:15.659 --> 00:41:18.699 musical ventures outside of band of horses. Indeed. 00:41:18.969 --> 00:41:21.710 These side projects are crucial, I think. They 00:41:21.710 --> 00:41:23.849 not only demonstrate his wide -ranging musical 00:41:23.849 --> 00:41:26.349 interests and his ability to contribute meaningfully 00:41:26.349 --> 00:41:28.650 to different creative visions, but they also 00:41:28.650 --> 00:41:31.010 reinforce his reputation as a versatile and sought 00:41:31.010 --> 00:41:33.610 -after musician within the broader indie and 00:41:33.610 --> 00:41:35.769 alternative communities. Keeps things fresh for 00:41:35.769 --> 00:41:38.309 him, probably. Exactly. It's a way for him to 00:41:38.309 --> 00:41:40.449 explore different creative avenues and expand 00:41:40.449 --> 00:41:42.929 his artistic footprint beyond the primary vehicle 00:41:42.929 --> 00:41:45.550 of Band of Horses, keeping his own musical palette 00:41:45.550 --> 00:41:49.519 fresh. The recent years, Departure returns, and 00:41:49.519 --> 00:41:51.559 things are great. Do not have 15 present. Okay, 00:41:51.719 --> 00:41:54.079 now we come to their fifth studio album, Why 00:41:54.079 --> 00:41:57.099 Are You Okay?, which was released in 2016. This 00:41:57.099 --> 00:41:59.019 album was produced by Jason Little and the band 00:41:59.019 --> 00:42:01.679 Grandaddy. Another interesting producer choice. 00:42:02.099 --> 00:42:05.039 Little has such a distinctive sound. Yeah, and 00:42:05.039 --> 00:42:06.940 it was released through Rick Rubin's American 00:42:06.940 --> 00:42:09.710 Recordings and Interscope Records. Wow, Rick 00:42:09.710 --> 00:42:11.869 Rubin's label and Interscope, those are some 00:42:11.869 --> 00:42:14.309 highly influential names and major labels to 00:42:14.309 --> 00:42:17.230 be associated with. Signals a significant investment 00:42:17.230 --> 00:42:19.349 in the band's future, doesn't it? Absolutely. 00:42:19.829 --> 00:42:22.269 Working with Jason Lytle, known for his atmospheric 00:42:22.269 --> 00:42:25.630 and often melancholic indie rock sound with Grandaddy, 00:42:25.789 --> 00:42:28.090 and releasing through Rick Rubin's American Recordings, 00:42:28.210 --> 00:42:30.710 a label synonymous with iconic artists across 00:42:30.710 --> 00:42:33.829 genres, signifies their continued appeal to highly 00:42:33.829 --> 00:42:36.630 influential figures in the music industry. It 00:42:36.630 --> 00:42:39.309 suggests a desire to continue evolving perhaps 00:42:39.309 --> 00:42:41.570 drawing on Little's distinctive production style 00:42:41.570 --> 00:42:44.289 to infuse new textures and sonic landscapes. 00:42:44.389 --> 00:42:46.530 Yeah, maybe a bit more atmospheric. Possibly. 00:42:46.880 --> 00:42:49.059 It speaks to the band's sustained relevance and 00:42:49.059 --> 00:42:51.239 their ability to attract top -tier talent and 00:42:51.239 --> 00:42:53.500 distribution, reaffirming their place in the 00:42:53.500 --> 00:42:56.619 contemporary rock scene. The album itself, Why 00:42:56.619 --> 00:42:58.860 Are You Okay?, was often characterized by a more 00:42:58.860 --> 00:43:01.960 expansive, dreamy sound. Richer in layers and 00:43:01.960 --> 00:43:04.440 introspection, perhaps subtly departing from 00:43:04.440 --> 00:43:07.559 the more direct rock of Mirage Rock. But 2017 00:43:07.559 --> 00:43:10.239 brought some significant internal friction bubbling 00:43:10.239 --> 00:43:13.980 up to the surface, and very publicly. Tyler Ramsey 00:43:13.980 --> 00:43:16.280 and Bill Reynolds, who had been key parts of 00:43:16.280 --> 00:43:18.559 that most stable lineup for nearly a decade. 00:43:18.699 --> 00:43:21.039 The Infinite Arms era lineup, basically. Right. 00:43:21.300 --> 00:43:23.639 They announced their departures. Tyler Ramsey 00:43:23.639 --> 00:43:25.619 made his announcement on his personal Instagram 00:43:25.619 --> 00:43:29.219 account on May 1st, 2017, and Bill Reynolds followed 00:43:29.219 --> 00:43:31.519 suit the very next day on his Facebook page. 00:43:32.079 --> 00:43:34.320 These were very public announcements from long 00:43:34.320 --> 00:43:36.710 -standing members. These public announcements 00:43:36.710 --> 00:43:39.610 were a huge turning point, especially considering 00:43:39.610 --> 00:43:42.090 how stable that lineup had been since the cease 00:43:42.090 --> 00:43:44.550 to begin era. It really felt like the end of 00:43:44.550 --> 00:43:47.710 an era for what many fans considered the definitive 00:43:47.710 --> 00:43:50.429 band of horses sound. Yeah, the fans quite surprised 00:43:50.429 --> 00:43:53.110 I remember. However, what's crucially fascinating 00:43:53.110 --> 00:43:55.690 here and truly sheds light on Bridwell's assertive 00:43:55.690 --> 00:43:58.409 leadership and the internal dynamics is his later 00:43:58.409 --> 00:44:01.969 counter narrative. Years later in 2022, he publicly 00:44:01.969 --> 00:44:04.030 disputed Ramsey's and Reynolds's claims that 00:44:04.030 --> 00:44:07.039 they quit. Oh, what did he say? He stated instead 00:44:07.039 --> 00:44:09.019 that they had instead both been fired from the 00:44:09.019 --> 00:44:13.039 group. Fired? Wow, that's different. It's a starkly 00:44:13.039 --> 00:44:15.480 contrasting perspective on a major moment in 00:44:15.480 --> 00:44:18.639 the band's history, isn't it? It reveals internal 00:44:18.639 --> 00:44:21.239 friction that was far more complex than just 00:44:21.239 --> 00:44:25.170 a simple, amicable departure. It highlights Bridwell's 00:44:25.170 --> 00:44:28.030 decisive control and maybe the intensity of creative 00:44:28.030 --> 00:44:30.969 relationships within the band. It's a powerful 00:44:30.969 --> 00:44:33.710 revelation about the unseen pressures and disagreements 00:44:33.710 --> 00:44:36.190 that can occur even in successful groups. That's 00:44:36.190 --> 00:44:38.710 a powerful revelation and really changes the 00:44:38.710 --> 00:44:41.050 narrative of those departures, doesn't it? It 00:44:41.050 --> 00:44:43.650 frames Bridwell as a leader making tough calls 00:44:43.650 --> 00:44:46.809 maybe for the band's direction. So with Ramsay 00:44:46.809 --> 00:44:48.769 and Reynolds gone, whether they quit or were 00:44:48.769 --> 00:44:51.170 fired, how did the band continue? They must have 00:44:51.170 --> 00:44:54.179 had tour dates liming. They did. When touring 00:44:54.179 --> 00:44:58.019 resumed on May 18th, 2017, just weeks later, 00:44:58.500 --> 00:45:00.480 Band of Horses immediately brought in replacements 00:45:00.480 --> 00:45:03.019 to keep the momentum going. Richard Fitzpatrick 00:45:03.019 --> 00:45:06.440 joined on guitar. And notably, bassist Matt Gentling 00:45:06.440 --> 00:45:08.579 returned to the fold. Matt Gentling? Hang on, 00:45:08.639 --> 00:45:10.340 wasn't he the guy from Archons of Loaf who toured 00:45:10.340 --> 00:45:12.500 with them way back before Seize to Begin? The 00:45:12.500 --> 00:45:15.440 very same. This illustrates a pattern, doesn't 00:45:15.440 --> 00:45:18.769 it? Familiar faces returning to the band. Perhaps 00:45:18.769 --> 00:45:21.050 reflecting Bridwell's trust in a known network 00:45:21.050 --> 00:45:24.190 of musicians or maybe the unique demands of working 00:45:24.190 --> 00:45:26.570 with his vision and within the band's evolving 00:45:26.570 --> 00:45:29.809 sound. Interesting. Did Fitzpatrick's kick around? 00:45:30.429 --> 00:45:33.130 Nope. Fitzpatrick was subsequently replaced by 00:45:33.130 --> 00:45:35.650 guitarist Ian McDougall. So more changes? It 00:45:35.650 --> 00:45:38.730 shows the continued almost cyclical nature of 00:45:38.730 --> 00:45:41.570 lineup changes around Bridwell. It's a testament 00:45:41.570 --> 00:45:44.130 to his singular vision driving the project forward 00:45:44.130 --> 00:45:46.610 through all permutations really. OK, fast forward 00:45:46.610 --> 00:45:49.409 to 2022, and we get their sixth studio album, 00:45:49.530 --> 00:45:51.889 Things Are Great. This was their first album 00:45:51.889 --> 00:45:54.250 with Matt Jemling back on bass and Ian McDougall 00:45:54.250 --> 00:45:56.510 on guitar. And interestingly, it was described 00:45:56.510 --> 00:45:59.110 as a return to their earlier work and the kind 00:45:59.110 --> 00:46:01.630 of raw ethos that lies at the heart of Band of 00:46:01.630 --> 00:46:04.510 Horses. The Back to Basics album description? 00:46:04.670 --> 00:46:06.389 Pretty much. What does that mean in practical 00:46:06.389 --> 00:46:08.030 terms for the sound, do you think? And how did 00:46:08.030 --> 00:46:10.789 it resonate with fans after the more expansive 00:46:10.789 --> 00:46:13.710 Why Are You OK? That description is very telling. 00:46:13.909 --> 00:46:16.289 It suggests a conscious effort to revisit their 00:46:16.289 --> 00:46:18.710 foundational sound, the more direct, earnest, 00:46:18.889 --> 00:46:20.929 and maybe less embellished approach of their 00:46:20.929 --> 00:46:23.570 first couple of albums, like everything all the 00:46:23.570 --> 00:46:27.409 time, and cease to begin. It felt like a deliberate 00:46:27.409 --> 00:46:29.889 move to tap back into that original energy that 00:46:29.889 --> 00:46:32.309 made them so appealing initially, especially 00:46:32.309 --> 00:46:34.969 after the more lush and dreamier production of 00:46:34.969 --> 00:46:37.219 Why Are You Okay? So maybe more guitar -driven 00:46:37.219 --> 00:46:40.659 again. Exactly. For fans, it meant a return to 00:46:40.659 --> 00:46:43.400 powerful guitar -driven anthems and Bridwell's 00:46:43.400 --> 00:46:45.539 signature emotive vocals front and center, maybe 00:46:45.539 --> 00:46:47.920 with less of the sonic ornamentation. The album 00:46:47.920 --> 00:46:52.579 was released on March 4th, 2022. However, you 00:46:52.579 --> 00:46:55.219 guessed it. Another change. Just prior to its 00:46:55.219 --> 00:46:58.480 release, the lineup saw yet another change. Ian 00:46:58.480 --> 00:47:00.360 McDougal, who played guitar on the album, exited 00:47:00.360 --> 00:47:03.269 the band. And in late January 2022, just before 00:47:03.269 --> 00:47:05.849 the Albert dropped, Brett Nash was named as his 00:47:05.849 --> 00:47:08.769 replacement on lead guitar. Wow, that really 00:47:08.769 --> 00:47:11.909 reinforces the band's ongoing evolution in its 00:47:11.909 --> 00:47:14.170 composition, literally up to the very moment 00:47:14.170 --> 00:47:17.190 of releasing new material. It showcases Bridwell's 00:47:17.190 --> 00:47:20.050 unwavering commitment to the band's sound, or 00:47:20.050 --> 00:47:22.329 at least his vision for it, even if it meant 00:47:22.329 --> 00:47:24.710 constant personnel shifts right up to the wire. 00:47:25.130 --> 00:47:27.570 And the changes didn't stop there, bringing us 00:47:27.570 --> 00:47:29.849 right up to very recent developments, basically 00:47:29.849 --> 00:47:32.889 current day. Keyboardist and guitarist Ryan Monroe. 00:47:33.329 --> 00:47:36.230 A really longtime member, integral to their sound 00:47:36.230 --> 00:47:39.489 since the early days. Exactly. He's been notably 00:47:39.489 --> 00:47:41.849 absent from the band's shows, starting with a 00:47:41.849 --> 00:47:45.409 short U .S. tour in March 2025 and continuing 00:47:45.409 --> 00:47:47.829 into their ongoing summer U .S. tour right now. 00:47:48.030 --> 00:47:51.429 That is a significant recent development. Monroe's 00:47:51.429 --> 00:47:53.809 keyboards and guitar work were so integral to 00:47:53.809 --> 00:47:56.170 many of their hits, especially from Cease to 00:47:56.170 --> 00:47:58.929 Begin through Infinite Arms and beyond. He was 00:47:58.929 --> 00:48:01.670 a huge part of that stable lineup. Yeah. And 00:48:01.670 --> 00:48:03.949 his absence from recent group promotional photos 00:48:03.949 --> 00:48:06.409 has also raised questions among fans about his 00:48:06.409 --> 00:48:08.489 future with the band. Though no official announcement 00:48:08.489 --> 00:48:10.690 has been made as of yet. Not as far as we know. 00:48:10.809 --> 00:48:13.230 It indicates that even the most stable foundational 00:48:13.230 --> 00:48:15.750 elements of Band of Horses can be subject to 00:48:15.750 --> 00:48:18.150 change, underscoring the dynamic nature of this 00:48:18.150 --> 00:48:20.809 project. Yet, despite these ongoing personnel 00:48:20.809 --> 00:48:23.409 shifts, the band keeps going. Incredibly, yes. 00:48:24.030 --> 00:48:26.110 The band continues its creative output. They 00:48:26.110 --> 00:48:29.210 just released a new single on July 30, 2025. 00:48:29.710 --> 00:48:32.550 Wow. That demonstrates a remarkable resilience, 00:48:32.590 --> 00:48:35.090 doesn't it? An unwavering commitment to making 00:48:35.090 --> 00:48:37.789 new music, regardless of who is standing beside 00:48:37.789 --> 00:48:40.429 Ben Birdwell on stage or in the promo photos. 00:48:40.610 --> 00:48:43.429 The band truly is a constant state of becoming, 00:48:43.690 --> 00:48:46.949 it seems, says Ben Birdwell. The constant force. 00:48:47.210 --> 00:48:49.880 And that really brings us full circle. Back to 00:48:49.880 --> 00:48:53.039 the core of this deep dive, doesn't it? The unwavering 00:48:53.039 --> 00:48:54.820 constant through all these changes, all these 00:48:54.820 --> 00:48:56.880 albums, all these tours, all these shifting members. 00:48:57.320 --> 00:48:59.679 Ben Bridwell. He's the eye of the storm. He really 00:48:59.679 --> 00:49:02.199 is. He is the band's founder and the sole continuous 00:49:02.199 --> 00:49:05.239 member since 2004. His presence truly is the 00:49:05.239 --> 00:49:07.920 consistent anchor through all of Band of Horses' 00:49:08.119 --> 00:49:10.519 evolutions and lineup changes. He is, without 00:49:10.519 --> 00:49:12.380 a doubt, the gravitational center. Bridewell 00:49:12.380 --> 00:49:14.559 isn't just the singer, he's a multi -talented 00:49:14.559 --> 00:49:17.179 visionary whose fingerprints are on every single 00:49:17.179 --> 00:49:19.940 aspect of the band's identity. His comprehensive 00:49:19.940 --> 00:49:22.659 roles within the band include lead vocals, guitar, 00:49:23.000 --> 00:49:25.039 pedal steel, keyboards. You play pedal steel 00:49:25.039 --> 00:49:28.170 too. Apparently so. And he's also the primary 00:49:28.170 --> 00:49:31.170 singer -songwriter, a record producer, and a 00:49:31.170 --> 00:49:34.670 multi -instrumentalist. This highlights his central, 00:49:34.789 --> 00:49:37.449 indispensable contribution to the band's distinctive 00:49:37.449 --> 00:49:40.690 sound and identity. He is the sound of band of 00:49:40.690 --> 00:49:43.550 horses. That voice is unmistakable. Exactly. 00:49:43.929 --> 00:49:46.429 That unwavering voice and lyrical core gives 00:49:46.429 --> 00:49:48.989 the band its consistent character, even as the 00:49:48.989 --> 00:49:51.690 instrumental backdrop changes around him. It's 00:49:51.690 --> 00:49:54.010 a testament to his singular vision that the band 00:49:54.010 --> 00:49:56.380 retains its lessons, regardless of personnel. 00:49:56.960 --> 00:49:58.980 And we can't forget the journey of Brown Records, 00:49:59.420 --> 00:50:01.239 his early entrepreneurial venture that we touched 00:50:01.239 --> 00:50:02.719 upon. We talked about his initial struggles, 00:50:03.099 --> 00:50:05.900 how it became busier than I ever imagined, and 00:50:05.900 --> 00:50:08.480 how he felt he cracked under the pressure of 00:50:08.480 --> 00:50:10.000 people's livelihood. Right. The first attempt 00:50:10.000 --> 00:50:12.460 didn't end well. But it made a comeback for Infinite 00:50:12.460 --> 00:50:14.380 Arms, didn't it? And with what seemed like a 00:50:14.380 --> 00:50:17.199 renewed purpose. It did, and this is a truly 00:50:17.199 --> 00:50:19.360 important arc in his personal and professional 00:50:19.360 --> 00:50:22.460 story, I think. The label's relaunch for Infinite 00:50:22.460 --> 00:50:25.019 Arms reveals Bridwell's renewed philosophical 00:50:25.019 --> 00:50:28.199 approach. One perhaps tempered by past struggles, 00:50:28.420 --> 00:50:31.000 but driven by a deeper conviction. He explained 00:50:31.000 --> 00:50:33.340 it by saying, now I've just heard that call again. 00:50:33.849 --> 00:50:35.909 A lot of artists are unheard that I think I can 00:50:35.909 --> 00:50:38.030 try to help with. So still wanting to help other 00:50:38.030 --> 00:50:41.110 artists. Exactly. It demonstrates a consistent, 00:50:41.250 --> 00:50:44.190 maybe even altruistic, motivation for supporting 00:50:44.190 --> 00:50:46.590 other artists even while successfully leading 00:50:46.590 --> 00:50:49.500 his own major band. It wasn't just a business 00:50:49.500 --> 00:50:51.719 venture for him anymore. It felt like a deeper 00:50:51.719 --> 00:50:54.800 calling. It showed a sustained passion for fostering 00:50:54.800 --> 00:50:57.320 talent beyond his own. This second iteration 00:50:57.320 --> 00:50:59.699 of Brown Records seems to represent a more mature, 00:51:00.000 --> 00:51:02.039 grounded approach to his entrepreneurial spirit. 00:51:02.480 --> 00:51:04.719 He understands the weight of responsibility now, 00:51:04.960 --> 00:51:06.960 but he's still driven by the desire to lift up 00:51:06.960 --> 00:51:09.159 other voices. And on a more personal note, which 00:51:09.159 --> 00:51:12.460 often ties directly into creative output, Bridwell's 00:51:12.460 --> 00:51:15.309 also a family man. He married Elizabeth Rae McCann 00:51:15.309 --> 00:51:18.309 on April 4, 2009, and they have four daughters, 00:51:18.650 --> 00:51:22.070 Annabelle, Ivy, Birdie, and Georgia. Four daughters, 00:51:22.289 --> 00:51:25.369 wow. Sharing details of his personal life, particularly 00:51:25.369 --> 00:51:28.130 his family, adds a crucial humanizing dimension 00:51:28.130 --> 00:51:30.349 to the artist and helps us understand his motivations 00:51:30.349 --> 00:51:33.159 better. It connects directly back to his earlier 00:51:33.159 --> 00:51:35.179 decision to relocate the band to South Carolina, 00:51:35.340 --> 00:51:37.800 remember. That desire for personal grounding 00:51:37.800 --> 00:51:40.260 and to be around his family amidst the incessant 00:51:40.260 --> 00:51:42.320 demands of touring. Right, wanting that anchor. 00:51:42.619 --> 00:51:45.820 Precisely. This balance between leading a successful, 00:51:46.079 --> 00:51:48.260 often volatile band and maintaining a stable 00:51:48.260 --> 00:51:50.679 family life undoubtedly impacts his artistic 00:51:50.679 --> 00:51:53.539 output. perhaps infusing his lyrics with themes 00:51:53.539 --> 00:51:56.380 of home, love, and the passage of time. It provides 00:51:56.380 --> 00:51:58.559 a strong foundation for his enduring vision and 00:51:58.559 --> 00:52:00.900 resilience, showing that the core of Ben Bridwell 00:52:00.900 --> 00:52:03.440 is as unwavering in his personal life as it seems 00:52:03.440 --> 00:52:05.940 to be in his musical career. His journey truly 00:52:05.940 --> 00:52:08.300 embodies the band's spirit of adaptation and 00:52:08.300 --> 00:52:10.119 perseverance in the face of constant change, 00:52:10.300 --> 00:52:12.780 doesn't it? With his family often serving as 00:52:12.780 --> 00:52:16.219 his anchor through it all. Outro. And that brings 00:52:16.219 --> 00:52:18.539 us toward the close of this incredible deep dive 00:52:18.539 --> 00:52:21.719 into a band of horses and the remarkable, often 00:52:21.719 --> 00:52:25.039 turbulent journey of Ben Bridwell. From those 00:52:25.039 --> 00:52:28.000 raw Seattle beginnings, you know, fueled by pizza 00:52:28.000 --> 00:52:30.920 and shared dreams. Ha, the pizza days. And the 00:52:30.920 --> 00:52:33.199 breakout success of everything all the time. 00:52:33.619 --> 00:52:36.420 And that iconic, truly ubiquitous track, the 00:52:36.420 --> 00:52:38.940 funeral. through the critical acclaim and that 00:52:38.940 --> 00:52:41.480 huge Grammy nomination for Infinite Arms and 00:52:41.480 --> 00:52:44.019 their continuous evolution with albums like Mirage 00:52:44.019 --> 00:52:46.619 Rock, Why Are You Okay, and most recently, Things 00:52:46.619 --> 00:52:49.679 Are Great. What stands out through it all, unmistakably, 00:52:50.079 --> 00:52:53.000 is Ben Bridwell as the unwavering constant. He's 00:52:53.000 --> 00:52:55.260 the singular creative force navigating constant 00:52:55.260 --> 00:52:57.860 lineup changes, artistic shifts, and personal 00:52:57.860 --> 00:53:00.000 growth to keep the band's distinctive sound alive 00:53:00.000 --> 00:53:02.550 and evolving. It's a true testament to his singular 00:53:02.550 --> 00:53:05.110 vision, his undeniable talent, his entrepreneurial 00:53:05.110 --> 00:53:07.349 spirit, and just his sheer perseverance that 00:53:07.349 --> 00:53:09.550 Band of Horses has not only endured but remained 00:53:09.550 --> 00:53:11.969 incredibly relevant for over two decades now. 00:53:12.170 --> 00:53:14.409 It's really quite something. Consistently delivering 00:53:14.409 --> 00:53:17.070 music that resonates deeply with audiences worldwide? 00:53:17.559 --> 00:53:19.960 His ability to adapt, to lead, and to continuously 00:53:19.960 --> 00:53:22.380 find the right collaborators, even if they change 00:53:22.380 --> 00:53:24.920 frequently to bring his vision to life, is truly 00:53:24.920 --> 00:53:27.619 remarkable. So as you reflect on Band of Horses' 00:53:27.659 --> 00:53:30.219 two decades, marked by this constant core and 00:53:30.219 --> 00:53:32.639 these ever -shifting collaborators, maybe consider 00:53:32.639 --> 00:53:36.420 this. How much does a foundational, unwavering 00:53:36.420 --> 00:53:39.760 artistic vision like Ben Bridwell's really drive 00:53:39.760 --> 00:53:42.730 a band's identity and longevity? And how much 00:53:42.730 --> 00:53:45.469 is that identity shaped, perhaps subtly or maybe 00:53:45.469 --> 00:53:48.150 significantly, by the unique contributions of 00:53:48.150 --> 00:53:50.030 all those musicians who join and depart along 00:53:50.030 --> 00:53:52.170 the way? It's a great question. What does this 00:53:52.170 --> 00:53:54.610 tell us about the very nature of creative projects, 00:53:54.909 --> 00:53:56.969 especially collaborative ones, and the necessity 00:53:56.969 --> 00:53:59.309 of adaptation in the face of constant change? 00:53:59.389 --> 00:54:00.289 Something to think about.