WEBVTT 00:00:00.000 --> 00:00:01.860 Okay, let's unpack this. Today we are doing a 00:00:01.860 --> 00:00:05.320 deep dive into the really compelling career arc 00:00:05.320 --> 00:00:08.199 of the American indie rock band Fences. We're 00:00:08.199 --> 00:00:10.380 focusing pretty intensely on the journey of their 00:00:10.380 --> 00:00:13.279 main creative force, Christopher Mansfield. It's 00:00:13.279 --> 00:00:15.380 a story that, you know, it kind of defies the 00:00:15.380 --> 00:00:17.719 typical rock narrative. It charts this fascinating 00:00:17.719 --> 00:00:20.519 course from like... obscurity on myspace way 00:00:20.519 --> 00:00:22.679 back right up to becoming a billboard charting 00:00:22.679 --> 00:00:25.960 act signed to a major label so our mission today 00:00:25.960 --> 00:00:28.480 is to really meticulously explore the sources 00:00:28.480 --> 00:00:30.179 you shared with us we want to look at fence's 00:00:30.179 --> 00:00:32.759 evolution not just musically but almost as a 00:00:32.759 --> 00:00:35.460 master class in well professional endurance we're 00:00:35.460 --> 00:00:37.079 looking at how they consistently blended that 00:00:37.079 --> 00:00:40.020 pop rock feel with alternative rock grit and 00:00:40.020 --> 00:00:43.259 that very confessional indie rock lyric style 00:00:43.259 --> 00:00:45.500 and crucially we're going to dissect how their 00:00:45.500 --> 00:00:48.579 consistent output and these really powerful strategic, 00:00:48.799 --> 00:00:51.399 sometimes unexpected collaborations truly define 00:00:51.399 --> 00:00:52.880 their biggest moments, their most successful 00:00:52.880 --> 00:00:55.640 period. Right. And we've set the why it matters 00:00:55.640 --> 00:00:59.840 context right from the jump here. This deep dive, 00:00:59.899 --> 00:01:02.280 it isn't just about, you know, listing songs 00:01:02.280 --> 00:01:04.299 and release dates. It's really a critical look 00:01:04.299 --> 00:01:06.099 at how artists actually achieve and maintain 00:01:06.099 --> 00:01:08.900 longevity in what is, let's face it, an incredibly 00:01:08.900 --> 00:01:11.879 oversaturated market today. We're synthesizing, 00:01:11.879 --> 00:01:14.180 I think, three core things that shaped Mansfield's 00:01:14.180 --> 00:01:17.120 career. First, the careful, sometimes quite radical 00:01:17.120 --> 00:01:19.560 management of his personal story, his narrative. 00:01:20.040 --> 00:01:22.019 Second, how strategic collaboration acts almost 00:01:22.019 --> 00:01:24.560 like a force multiplier, boosting reach and credibility. 00:01:24.799 --> 00:01:27.700 And finally, that enduring, almost mythical role 00:01:27.700 --> 00:01:30.319 of old school industry discovery, someone finding 00:01:30.319 --> 00:01:32.459 you even in all the digital chaos we have now. 00:01:32.780 --> 00:01:34.819 This gives us one of the clearest examples we've 00:01:34.819 --> 00:01:37.579 seen recently where discipline, consistency, 00:01:37.780 --> 00:01:43.709 and frankly, professional strategy. Okay, so 00:01:43.709 --> 00:01:46.549 let's anchor ourselves where it all kicked off. 00:01:46.709 --> 00:01:49.370 Seattle, Washington. That's home base for Fences. 00:01:49.870 --> 00:01:52.530 The core lineup, it really centers around Christopher 00:01:52.530 --> 00:01:55.900 Mansfield. He's on lead vocals, guitar. He's 00:01:55.900 --> 00:01:57.900 the main songwriter, the driving force behind 00:01:57.900 --> 00:02:00.640 it all. Supporting him, especially in key periods, 00:02:00.840 --> 00:02:03.420 you had Benjamin Greenspan on guitar and keyboard, 00:02:03.659 --> 00:02:05.519 Lindsey Starr on bass and vocals, and she becomes 00:02:05.519 --> 00:02:08.259 pretty important later, and Elliot Gurum Chaffee 00:02:08.259 --> 00:02:10.699 on drums. Yeah, that's kind of the classic setup 00:02:10.699 --> 00:02:13.280 for a dedicated indie rock band, isn't it? And 00:02:13.280 --> 00:02:15.800 they've been consistently active for, well, over 00:02:15.800 --> 00:02:18.580 a decade now, started around 2010. But to really 00:02:18.580 --> 00:02:20.840 get the depth of Mansfield's lyrics, I think 00:02:20.840 --> 00:02:23.020 you need to understand his background. It's quite 00:02:23.020 --> 00:02:25.699 unique. He wasn't just a product of the Seattle 00:02:25.699 --> 00:02:28.020 scene. He was actually born in Brockton, Massachusetts. 00:02:28.539 --> 00:02:30.860 And he has this fascinating detail. He's the 00:02:30.860 --> 00:02:34.800 youngest kid in a family of 10, which often suggests 00:02:34.800 --> 00:02:37.439 maybe unique perspective, maybe less swayed by 00:02:37.439 --> 00:02:40.039 immediate trends. And significantly, before even 00:02:40.039 --> 00:02:42.400 forming the band, he attended Berklee College 00:02:42.400 --> 00:02:45.050 of Music. which is a big deal. Right, Berklee. 00:02:45.189 --> 00:02:47.750 That foundational training in music theory and 00:02:47.750 --> 00:02:50.750 composition, it really elevates his work beyond 00:02:50.750 --> 00:02:53.669 just simple bedroom songwriting. It gives the 00:02:53.669 --> 00:02:56.110 material this kind of sophisticated musical structure 00:02:56.110 --> 00:02:58.310 underneath all that emotional vulnerability. 00:02:58.939 --> 00:03:01.419 That mixed East Coast roots, big family, formal 00:03:01.419 --> 00:03:04.000 training, that's crucial. But what makes the 00:03:04.000 --> 00:03:06.319 story really take off is how Fences broke through 00:03:06.319 --> 00:03:08.719 initially. It wasn't the usual industry machine. 00:03:08.780 --> 00:03:11.319 It was the early Internet. Specifically, that 00:03:11.319 --> 00:03:14.379 Tegan and Sarah connection around 2009, 2010. 00:03:14.800 --> 00:03:17.539 Oh, yeah. That's the classic, like, mid -2000s 00:03:17.539 --> 00:03:19.780 success story, isn't it? Mansfield put out his 00:03:19.780 --> 00:03:22.680 debut EP independently. Ultimate Puke, it was 00:03:22.680 --> 00:03:25.360 called. April 1st, 2008. Now, you've got to remember 00:03:25.360 --> 00:03:27.879 the context. 2008, MySpace was the place for 00:03:27.879 --> 00:03:30.580 discovering new artists online. And almost like 00:03:30.580 --> 00:03:32.879 lightning in a bottle, the sources confirm Ultimate 00:03:32.879 --> 00:03:35.419 Puke is discovered on MySpace by Sarah Quinn. 00:03:35.599 --> 00:03:37.900 From Tegan and Sarah. Exactly. One half of that 00:03:37.900 --> 00:03:40.379 huge, hugely influential Canadian indie rock 00:03:40.379 --> 00:03:43.680 duo. Wow. I mean. For an unknown artist being 00:03:43.680 --> 00:03:45.840 picked out from MySpace obscurity by someone 00:03:45.840 --> 00:03:48.379 like Sarah Quinn, that's just that's instant 00:03:48.379 --> 00:03:50.280 validation, right? It's basically a career making 00:03:50.280 --> 00:03:53.180 moment. It hands Fence's immediate indie cred. 00:03:53.340 --> 00:03:55.400 Totally. And Sarah Quinn's involvement, it went 00:03:55.400 --> 00:03:58.000 way beyond just like a quick shout out or a tweet. 00:03:58.219 --> 00:04:01.039 She really took the project under her wing. She 00:04:01.039 --> 00:04:03.719 actually produced, recorded and even added her 00:04:03.719 --> 00:04:06.800 own distinct vocals to Fence's self -titled debut 00:04:06.800 --> 00:04:09.319 album. The first full album. Yeah. Which came 00:04:09.319 --> 00:04:12.360 out September 28, 2010. This was a very deliberate 00:04:12.360 --> 00:04:15.039 move signaling to the whole indie world, okay, 00:04:15.060 --> 00:04:17.259 this project has real artistic weight. It has 00:04:17.259 --> 00:04:20.139 pedigree. And Quinn's production style, you know, 00:04:20.160 --> 00:04:22.379 it's known for being crisp, but with that definite 00:04:22.379 --> 00:04:25.240 indie feel. It cemented Fences right in that 00:04:25.240 --> 00:04:27.540 space from day one. And that collaboration paid 00:04:27.540 --> 00:04:29.720 off immediately, critically anyway. The Fences 00:04:29.720 --> 00:04:32.060 album made enough noise that Spine Magazine put 00:04:32.060 --> 00:04:34.480 it on their year -end list, the albums you may 00:04:34.480 --> 00:04:37.279 have missed list for 2010. That's a pretty strong 00:04:37.279 --> 00:04:38.879 endorsement. It tells people, hey, pay attention 00:04:38.879 --> 00:04:41.009 here. They got noticed. by the Influential Press 00:04:41.009 --> 00:04:44.050 right away. What's important about that since 00:04:44.050 --> 00:04:46.290 spinless recognition, it's not a chart number, 00:04:46.430 --> 00:04:48.910 right? It's about critical curiosity. It's the 00:04:48.910 --> 00:04:50.930 music press saying, OK, there's depth here. There's 00:04:50.930 --> 00:04:53.790 promise. It sets fences apart from bands just 00:04:53.790 --> 00:04:56.449 riding some fleeting wave. So, OK, they've got 00:04:56.449 --> 00:04:58.449 this critical buzz from the indie world. Now 00:04:58.449 --> 00:05:00.589 they need to build a live presence, prove they 00:05:00.589 --> 00:05:02.790 can do it on stage. And what's really interesting 00:05:02.790 --> 00:05:05.870 about their early touring is just how varied 00:05:05.870 --> 00:05:08.769 it was. It says a lot about how Mansfield songwriting 00:05:08.769 --> 00:05:10.589 could connect with different crowds. Indeed. 00:05:11.180 --> 00:05:14.180 Late 2010, early 2011, they hit the road supporting 00:05:14.180 --> 00:05:17.579 Against Me. Wow, yeah. Pumproot Rock powerhouse. 00:05:17.800 --> 00:05:19.920 Exactly. High energy, politically charged audience. 00:05:20.620 --> 00:05:23.399 Putting Fences in that slot proved they could 00:05:23.399 --> 00:05:26.480 handle a heavier, more intense crowd. It suggested 00:05:26.480 --> 00:05:28.740 that lyrical honesty could resonate even with 00:05:28.740 --> 00:05:31.220 a punk ethos. But then, just a few months later, 00:05:31.319 --> 00:05:34.519 July 2011, they do a complete 180. They're touring 00:05:34.519 --> 00:05:36.759 with Hello Goodbye. Right. The indie pop band. 00:05:36.959 --> 00:05:40.129 Super different vibe. Totally different. So being 00:05:40.129 --> 00:05:43.970 able to open for both. against me and hello goodbye 00:05:43.970 --> 00:05:47.350 that requires a sound that's fundamentally flexible 00:05:47.350 --> 00:05:50.029 across genres something that could pull people 00:05:50.029 --> 00:05:52.889 in from that intense punk crowd but also from 00:05:52.889 --> 00:05:56.470 the more melodic maybe sentimental pop crowd 00:05:56.470 --> 00:05:58.970 that versatility definitely proved they could 00:05:58.970 --> 00:06:03.189 sustain the kind of broad appeal needed for you 00:06:03.189 --> 00:06:05.189 know future commercial growth it set the stage 00:06:05.189 --> 00:06:07.889 and that ability to navigate different scenes 00:06:07.889 --> 00:06:10.350 really foreshadows their biggest commercial move 00:06:10.350 --> 00:06:13.410 which actually came from from some really effective 00:06:13.410 --> 00:06:15.949 local networking. Yeah. Connecting with Seattle's 00:06:15.949 --> 00:06:18.370 own global superstar, Macklemore. Okay, yeah. 00:06:18.430 --> 00:06:20.589 This is where it gets really interesting. Because 00:06:20.589 --> 00:06:22.529 the collaboration didn't start in some corporate 00:06:22.529 --> 00:06:25.050 boardroom, right? The sources say Mansfield first 00:06:25.050 --> 00:06:27.269 caught Macklemore's eye after performing at this 00:06:27.269 --> 00:06:29.850 very specific local event. It was called Songs 00:06:29.850 --> 00:06:32.350 for Eating and Drinking. Right. And this little 00:06:32.350 --> 00:06:34.730 detail, this collective, it explains so much 00:06:34.730 --> 00:06:37.370 about how organic that connection was. It's described 00:06:37.370 --> 00:06:39.610 as this intimate gathering where Seattle musicians 00:06:39.610 --> 00:06:42.509 literally have dinner together and then share 00:06:42.509 --> 00:06:44.689 new music they've written, often specifically 00:06:44.689 --> 00:06:47.449 for that night. Huh. So it's about community. 00:06:47.870 --> 00:06:51.300 Exactly. Community accountability, sharing art 00:06:51.300 --> 00:06:54.379 when it's still raw. It's the complete opposite 00:06:54.379 --> 00:06:56.839 of typical transactional industry networking. 00:06:57.540 --> 00:07:00.420 Macklemore saw fences in an environment that 00:07:00.420 --> 00:07:02.560 valued vulnerability and authentic creation, 00:07:02.740 --> 00:07:04.980 which, you know. clearly clicked with his own 00:07:04.980 --> 00:07:07.379 approach. And that authentic connection led to 00:07:07.379 --> 00:07:10.699 this huge, broad collaboration. It wasn't just 00:07:10.699 --> 00:07:13.600 a one -off feature. August 2011, Mansfield works 00:07:13.600 --> 00:07:15.639 with Macklemore and Ryan Lewis on that powerful 00:07:15.639 --> 00:07:18.920 Other Side remix. That gave Fences exposure to 00:07:18.920 --> 00:07:21.259 Macklemore's rapidly growing hip -hop and mainstream 00:07:21.259 --> 00:07:24.980 audience. Yeah, but the deeper, maybe more impactful 00:07:24.980 --> 00:07:28.040 collaboration came in 2012. Mansfield didn't 00:07:28.040 --> 00:07:30.370 just feature. He co -wrote and provided lead 00:07:30.370 --> 00:07:32.850 vocals along with Fence's bassist, Lindsey Starr. 00:07:32.889 --> 00:07:35.610 Remember her? Right. For the track 10 ,000 Hours 00:07:35.610 --> 00:07:38.329 on Macklemore's massive 2012 album, The Heist. 00:07:38.449 --> 00:07:41.129 Wow. OK, so being a co -writer on a track for 00:07:41.129 --> 00:07:43.490 an album that won Grammys and went global, that's 00:07:43.490 --> 00:07:45.350 a total game changer commercial. Absolutely. 00:07:45.589 --> 00:07:47.829 Yeah. It puts Fence's key players not just near 00:07:47.829 --> 00:07:49.990 success, but directly on a globally successful 00:07:49.990 --> 00:07:52.189 multi -platinum record. It gives them immense 00:07:52.189 --> 00:07:55.079 credibility. And that huge boost in visibility 00:07:55.079 --> 00:07:58.100 in professional cred, that provided the momentum 00:07:58.100 --> 00:08:01.899 for the next big and probably risky step, signing 00:08:01.899 --> 00:08:04.879 with a major label. Fence is signed with Elektra 00:08:04.879 --> 00:08:07.259 Records in 2013. I mean, think about that shift 00:08:07.259 --> 00:08:10.300 from a debut album produced by an indie icon 00:08:10.300 --> 00:08:12.379 like Sarah Quinn to being under the umbrella 00:08:12.379 --> 00:08:15.019 of a major player like Elektra. And this wasn't 00:08:15.019 --> 00:08:18.040 just like. A default move, it was driven by the 00:08:18.040 --> 00:08:20.500 strength of the new songs. We actually have details 00:08:20.500 --> 00:08:23.759 about how enthusiastic the label was. Elektra's 00:08:23.759 --> 00:08:26.160 president at the time, Jeff Kastelas, he was 00:08:26.160 --> 00:08:28.199 quoted talking about Mansfield's demos for the 00:08:28.199 --> 00:08:31.100 second album, Lesser Oceans. Kastelas specifically 00:08:31.100 --> 00:08:34.240 said the songs capture those moments that pass 00:08:34.240 --> 00:08:37.080 most of us by in our hectic lives. That's a really 00:08:37.080 --> 00:08:39.500 telling quote, isn't it? It shows Elektra saw 00:08:39.500 --> 00:08:41.799 more than just the commercial heat from the Macklemore 00:08:41.799 --> 00:08:44.840 connection. They recognized that deep lyrical 00:08:44.840 --> 00:08:46.840 quality, the same thing that drew Sarah Quinn 00:08:46.840 --> 00:08:49.820 in. The label was banking on the idea that Mansfield's 00:08:49.820 --> 00:08:51.779 introspective writing could connect with a mass 00:08:51.779 --> 00:08:53.840 audience. Yeah, the challenge, though, when you 00:08:53.840 --> 00:08:56.179 move to a major is always keeping that indie 00:08:56.179 --> 00:08:58.519 feel while getting that major label polish, right? 00:08:58.639 --> 00:09:01.360 So to handle that transition for Lesser Oceans, 00:09:01.500 --> 00:09:03.519 they brought in a really high -powered production 00:09:03.519 --> 00:09:05.940 team. You've got Chris Wallow from Deathcatch. 00:09:05.960 --> 00:09:09.120 for Cutie involved. Jaquire King, who's known 00:09:09.120 --> 00:09:11.539 for making these huge sounding records for bands 00:09:11.539 --> 00:09:14.779 like Of Monsters and Men. And of course, Ryan 00:09:14.779 --> 00:09:16.940 Lewis, again, continuing that connection. That 00:09:16.940 --> 00:09:19.600 mix seems designed for impact. Totally. It guarantees 00:09:19.600 --> 00:09:23.139 a sound that's solid, pristine, really built 00:09:23.139 --> 00:09:26.019 for maximum radio potential. A massive shift 00:09:26.019 --> 00:09:28.120 from the intimacy of the first album produced 00:09:28.120 --> 00:09:30.919 by Kwan. And that strategic push led to real, 00:09:31.059 --> 00:09:34.360 measurable chart success. The single Arrows, 00:09:34.559 --> 00:09:37.179 which smartly featured Macklemore and Ryan Lewis 00:09:37.179 --> 00:09:40.299 again for Maximum Impact, came out July 29, 2014. 00:09:40.559 --> 00:09:42.580 That was the big announcement for Lesser Oceans. 00:09:42.679 --> 00:09:44.340 And here's the key metric that shows the strategy 00:09:44.340 --> 00:09:48.200 work. Arrows hit number one on Billboard magazine's 00:09:48.200 --> 00:09:50.960 Emerging Artists chart. Number one. Yeah. That 00:09:50.960 --> 00:09:53.000 chart position is strategically important because 00:09:53.000 --> 00:09:55.100 it proves they successfully moved beyond just 00:09:55.100 --> 00:09:57.500 the indie niche. They became a recognized national 00:09:57.500 --> 00:10:00.440 act without being purely reliant on top 40 pop 00:10:00.440 --> 00:10:03.179 radio. It validated that whole approach, combining 00:10:03.179 --> 00:10:05.940 indie substance with smart commercial collaboration. 00:10:06.240 --> 00:10:09.279 It was a winning formula. And Lesser Oceans, 00:10:09.320 --> 00:10:12.240 with that chart topping Single Arrows, was then 00:10:12.240 --> 00:10:15.779 released on March 10, 2015. Solidified their 00:10:15.779 --> 00:10:18.480 status. Okay, so we've mapped out the commercial 00:10:18.480 --> 00:10:21.019 journey, the smart strategy of using local ties, 00:10:21.220 --> 00:10:23.820 critical champions to make that leap to a major 00:10:23.820 --> 00:10:25.899 label. But the deeper, maybe more compelling 00:10:25.899 --> 00:10:27.840 layer in the sources you shared with us really 00:10:27.840 --> 00:10:30.159 revolves around Christopher Mansfield's personal 00:10:30.159 --> 00:10:32.019 life and his philosophy. This is where the Fences 00:10:32.019 --> 00:10:34.500 story goes beyond just career stats and actually 00:10:34.500 --> 00:10:36.840 offers, I think, a really crucial insight into 00:10:36.840 --> 00:10:39.299 the pressures on modern artists. Yeah, this raises 00:10:39.299 --> 00:10:41.500 a really important question, one that cuts right 00:10:41.500 --> 00:10:43.279 to the heart of the music industry, honestly. 00:10:43.700 --> 00:10:46.549 For decades, artists, particularly in rock and 00:10:46.549 --> 00:10:49.149 alternative music, they felt this immense pressure 00:10:49.149 --> 00:10:52.529 to perform the role of the tortured artist. It's 00:10:52.529 --> 00:10:55.169 this dangerous, romanticized idea that links 00:10:55.169 --> 00:10:57.269 creativity directly to personal chaos, drugs, 00:10:57.470 --> 00:11:00.049 drinking, self -sabotage, the whole thing. And 00:11:00.049 --> 00:11:02.629 Mansfield, right at the peak of his commercial 00:11:02.629 --> 00:11:04.970 success, just completely rejected that narrative, 00:11:05.090 --> 00:11:07.730 flat out. He's been incredibly open and proactive 00:11:07.730 --> 00:11:10.350 about talking about his sobriety, mostly using 00:11:10.350 --> 00:11:12.610 his own blog and Twitter to share his journey. 00:11:12.909 --> 00:11:15.690 Our sources point to this really specific anecdote 00:11:15.690 --> 00:11:17.509 from an interview with a Seattle publication 00:11:17.509 --> 00:11:19.610 where he talks about time he spent in rehab. 00:11:19.950 --> 00:11:22.450 This isn't treated like some footnote. It's a 00:11:22.450 --> 00:11:25.909 central theme he chose to discuss openly, which 00:11:25.909 --> 00:11:27.929 is a powerful move against the usual industry 00:11:27.929 --> 00:11:30.029 grain. And what's fascinating here is how he 00:11:30.029 --> 00:11:32.799 frames it publicly. It's not primarily presented 00:11:32.799 --> 00:11:36.200 as like a moral or spiritual awakening, although 00:11:36.200 --> 00:11:38.320 those things might be part of it. His public 00:11:38.320 --> 00:11:41.399 framing is intensely professional. He directly 00:11:41.399 --> 00:11:45.139 connected being sober to his ability to actually 00:11:45.139 --> 00:11:48.730 do his job well. As a musician. Right. His rejection 00:11:48.730 --> 00:11:51.029 of that image people often tried to pin on him, 00:11:51.049 --> 00:11:54.370 the drunk, tortured artist. It was just unequivocal. 00:11:54.970 --> 00:11:57.370 Mansfield stated quite bluntly that the image 00:11:57.370 --> 00:11:59.750 was total bullshit. It wasn't just how he felt. 00:11:59.809 --> 00:12:01.970 It was like this clear -eyed analysis of discipline 00:12:01.970 --> 00:12:04.529 versus output. And that is the crucial point 00:12:04.529 --> 00:12:06.350 for you, the listener, to really grasp here. 00:12:06.529 --> 00:12:09.350 He didn't just deny the stereotype. He broke 00:12:09.350 --> 00:12:12.269 down its professional cost. He explicitly said 00:12:12.269 --> 00:12:14.889 that drinking was actively blowing any chances 00:12:14.889 --> 00:12:17.009 I may have of ever touring or recording a real 00:12:17.009 --> 00:12:19.629 record or meeting any goals short or long. Wow. 00:12:20.110 --> 00:12:22.289 That's a stunning level of professional clarity, 00:12:22.350 --> 00:12:24.149 isn't it? Let's just pause on that for a second. 00:12:24.169 --> 00:12:26.409 That quote, it basically dismantles the myth, 00:12:26.570 --> 00:12:29.789 right? The industry often pushes this idea that 00:12:29.789 --> 00:12:32.990 suffering makes the best art, that chaos is somehow 00:12:32.990 --> 00:12:36.250 necessary for authenticity. Mansfield argues 00:12:36.250 --> 00:12:39.120 the complete opposite. Chaos actually gets in 00:12:39.120 --> 00:12:42.240 the way of sustained professional artistry. It 00:12:42.240 --> 00:12:44.840 stops the artist from meeting basic career goals 00:12:44.840 --> 00:12:48.120 like touring consistently or making quality records. 00:12:48.440 --> 00:12:50.299 And you can kind of trace this thinking back 00:12:50.299 --> 00:12:53.179 through his career choices. He knew Sarah Quinn, 00:12:53.379 --> 00:12:54.960 who's known for being a disciplined professional, 00:12:55.279 --> 00:12:58.299 produced his debut. He knew Macklemore, who's 00:12:58.299 --> 00:13:00.600 famously outspoken about his own recovery and 00:13:00.600 --> 00:13:02.940 professional focus, was his biggest collaborator. 00:13:03.440 --> 00:13:05.519 By framing his own discipline as a necessary 00:13:05.519 --> 00:13:08.320 career strategy, Mansfield is essentially saying, 00:13:08.419 --> 00:13:10.740 look, if you want sustained success, you have 00:13:10.740 --> 00:13:13.379 to reject the destructive path. The whole romance 00:13:13.379 --> 00:13:15.820 of self -destruction is just not compatible with 00:13:15.820 --> 00:13:17.559 the kind of endurance you need to put out four 00:13:17.559 --> 00:13:20.940 albums and multiple EPs over 13 years. Exactly. 00:13:20.940 --> 00:13:23.549 That's the endurance factor. Being able to maintain 00:13:23.549 --> 00:13:26.830 creative control, handle the pressures of a major 00:13:26.830 --> 00:13:29.009 label like Elektra, consistently tour all of 00:13:29.009 --> 00:13:31.330 that requires an underlying stability, stability 00:13:31.330 --> 00:13:34.309 that the tortured artist persona just can't provide 00:13:34.309 --> 00:13:37.070 long term. So his public narrative becomes this 00:13:37.070 --> 00:13:39.610 powerful, strategic act of control. It ensures 00:13:39.610 --> 00:13:42.690 his music gets judged on its merit, not overshadowed 00:13:42.690 --> 00:13:45.350 by offstage drama. He basically replaced the 00:13:45.350 --> 00:13:47.470 tragic genius narrative with the professional 00:13:47.470 --> 00:13:49.710 craftsman narrative. And that context is actually 00:13:49.710 --> 00:13:51.889 vital for understanding the longevity we see. 00:13:51.950 --> 00:13:54.370 in the discography we're about to cover. It means 00:13:54.370 --> 00:13:56.490 that every single album an EP fence has released, 00:13:56.769 --> 00:13:59.809 especially after, say, 2015, is really a testament 00:13:59.809 --> 00:14:01.710 to the fact that structure and boundaries can 00:14:01.710 --> 00:14:04.309 enable high -quality output, not restrict it. 00:14:04.409 --> 00:14:06.549 It's a really inspiring counter -narrative for 00:14:06.549 --> 00:14:08.649 any creative person dealing with intense pressure. 00:14:09.009 --> 00:14:11.649 So if we connect Mansfield's commitment to discipline 00:14:11.649 --> 00:14:14.330 back to the actual music, the sheer consistency 00:14:14.330 --> 00:14:17.309 of their discography over, what, 13 years, four 00:14:17.309 --> 00:14:20.350 studio albums, numerous EPs, it really shows 00:14:20.350 --> 00:14:22.539 the endurance needed. to thrive today. This body 00:14:22.539 --> 00:14:24.899 of work proves his focus on professional goals 00:14:24.899 --> 00:14:27.220 actually worked. Okay, let's break down the evolution 00:14:27.220 --> 00:14:30.279 through the four main studio albums. We should 00:14:30.279 --> 00:14:32.340 pay attention to the producers and collaborators 00:14:32.340 --> 00:14:34.480 because they really highlight Fences' changing 00:14:34.480 --> 00:14:36.440 sound and where they were strategically at each 00:14:36.440 --> 00:14:39.399 point. We start with the foundation, right? The 00:14:39.399 --> 00:14:43.500 self -titled debut, Fences. September 28, 2010. 00:14:44.220 --> 00:14:46.600 Sarah Quinn's production is key here. It locks 00:14:46.600 --> 00:14:50.200 in that earnest, slightly raw indie sound. Notable 00:14:50.200 --> 00:14:51.899 tracks that really establish their signature 00:14:51.899 --> 00:14:54.259 vibe include Girls with Accents that became an 00:14:54.259 --> 00:14:57.340 early favorite. And My Girl the Horse, which 00:14:57.340 --> 00:14:59.919 the source notes runs four minutes and 31 seconds. 00:15:00.360 --> 00:15:02.620 That length, the mood of this early stuff, it 00:15:02.620 --> 00:15:04.740 signaled depth, artistic ambition from the get 00:15:04.740 --> 00:15:06.940 -go. Oh, then we jump forward quite a bit to 00:15:06.940 --> 00:15:09.100 the major label record, Lesser Oceans, released 00:15:09.100 --> 00:15:12.159 March 10th, 2015. This album really represents 00:15:12.159 --> 00:15:14.779 that shift. We mentioned that high -caliber production 00:15:14.779 --> 00:15:17.240 team, Chris Walla, Jaquire King, Ryan Lewis. 00:15:17.639 --> 00:15:19.659 Jaquire King's involvement specifically that 00:15:19.659 --> 00:15:22.580 signals commercial intent. He specializes in 00:15:22.580 --> 00:15:25.379 giving bands this massive, clear sound. It's 00:15:25.379 --> 00:15:27.220 a stark contrast to Sarah Quinn's more intimate 00:15:27.220 --> 00:15:29.960 style. This album has the huge single era. obviously, 00:15:30.159 --> 00:15:33.100 but also tracks like songs about angels and temple 00:15:33.100 --> 00:15:35.539 dreaming. The sound is just broader, slicker, 00:15:35.620 --> 00:15:37.620 built for bigger stages, reflecting that electro 00:15:37.620 --> 00:15:40.100 mandate. Right. Then the journey continues with 00:15:40.100 --> 00:15:42.720 the third album, Failure Sculptures. That arrived 00:15:42.720 --> 00:15:46.139 June 21st, 2019. And the title alone, Failure 00:15:46.139 --> 00:15:48.639 Sculptures, it suggests this really deep philosophical 00:15:48.639 --> 00:15:51.240 kind of reckoning, turning past mistakes into 00:15:51.240 --> 00:15:53.080 something constructive, which fits perfectly 00:15:53.080 --> 00:15:55.360 with Mansfield rejecting that destructive myth 00:15:55.360 --> 00:15:58.370 we talked about. Absolutely. The title implies 00:15:58.370 --> 00:16:01.210 this conscious artistic choice, doesn't it? To 00:16:01.210 --> 00:16:04.409 embrace flaws as part of creativity rather than 00:16:04.409 --> 00:16:06.889 letting them derail you. This album came out 00:16:06.889 --> 00:16:09.309 after the major label pressure was off, and you 00:16:09.309 --> 00:16:11.409 can almost sense this thematic exploration of 00:16:11.409 --> 00:16:14.409 resilience in tracks like A Mission. the title 00:16:14.409 --> 00:16:16.789 track Failure Sculptures, which is quite potent, 00:16:16.929 --> 00:16:19.309 and something like God Music, which suggests 00:16:19.309 --> 00:16:21.370 some self -searching. It feels like a return 00:16:21.370 --> 00:16:24.210 to more creative independence, more heavy introspection 00:16:24.210 --> 00:16:26.789 after the big commercial push of Lesser Oceans. 00:16:27.049 --> 00:16:29.210 And then most recently, we have Bright Soil, 00:16:29.250 --> 00:16:32.289 released September 15th, 2023. This is the product 00:16:32.289 --> 00:16:34.230 of their latest era, showing they're still reaching 00:16:34.230 --> 00:16:36.509 artistically. This album features a collaboration 00:16:36.509 --> 00:16:39.049 with Wesley Schultz. From the Lumineers. Right, 00:16:39.070 --> 00:16:41.830 lead singer and guitarist for the Lumineers on 00:16:41.830 --> 00:16:44.379 the title track Bright Soil. Yeah, and that Schultz 00:16:44.379 --> 00:16:46.200 collaboration is pretty strategic too, I think. 00:16:46.279 --> 00:16:48.720 It aligns Fences with that contemporary folk 00:16:48.720 --> 00:16:51.799 rock sound, again, broadening their appeal. It 00:16:51.799 --> 00:16:53.899 links them with successful artists known for 00:16:53.899 --> 00:16:57.360 powerful, story -driven lyrics. What's interesting 00:16:57.360 --> 00:17:00.240 about Bright Soil is the pacing, maybe. Tracks 00:17:00.240 --> 00:17:04.240 like Hell, which at 4 .52, the source says is 00:17:04.240 --> 00:17:06.599 the longest track on the record, along with No 00:17:06.599 --> 00:17:09.970 One and Blue Floral. They show this mature confidence, 00:17:10.390 --> 00:17:12.869 letting the songs breathe, develop. It reflects 00:17:12.869 --> 00:17:14.549 an artist who seems fully comfortable setting 00:17:14.549 --> 00:17:16.930 his own terms after navigating the whole industry 00:17:16.930 --> 00:17:19.390 machine. And beyond the main albums, those extended 00:17:19.390 --> 00:17:21.309 plays and key singles, they're like essential 00:17:21.309 --> 00:17:23.869 footnotes, right? They map the sound evolution 00:17:23.869 --> 00:17:26.130 between the big releases and show he was always 00:17:26.130 --> 00:17:28.509 creating. Yeah, the EPs kind of chronicle their 00:17:28.509 --> 00:17:30.109 development cycle. You always start with that 00:17:30.109 --> 00:17:32.549 initial MySpace release, Ultimate Puke from 08. 00:17:32.730 --> 00:17:34.970 But after the second album, you see this renewed 00:17:34.970 --> 00:17:37.589 focus on EPs as a way to keep engaging with the 00:17:37.589 --> 00:17:39.670 audience. audience. To the Tall Trembling Trees 00:17:39.670 --> 00:17:42.470 came out in January 2016 relatively quickly after 00:17:42.470 --> 00:17:44.589 the major label cycle finished. Then you have 00:17:44.589 --> 00:17:47.730 White -Eyed Elk Ensemble in April 2021. Keeps 00:17:47.730 --> 00:17:49.609 the momentum going. And the singles reinforced 00:17:49.609 --> 00:17:52.250 that story of strategic versatility. You know, 00:17:52.250 --> 00:17:54.269 2010's Girls With Accents was the strong indie 00:17:54.269 --> 00:17:57.009 start. But they also dropped non -album singles 00:17:57.009 --> 00:18:00.069 to keep things flowing, like Marketplace in 2011. 00:18:00.450 --> 00:18:02.049 And we absolutely have to mention that recent 00:18:02.049 --> 00:18:04.990 collaborative single from 2021, the non -album 00:18:04.990 --> 00:18:07.890 track Globe, which featured the amazing bluegrass 00:18:07.890 --> 00:18:10.430 artist Billy Strings. Oh, wow. Yeah. So if you 00:18:10.430 --> 00:18:12.170 look at the whole spectrum of who they collaborated 00:18:12.170 --> 00:18:15.769 with, Segan and Sarah, indie pop royalty, Macklemore 00:18:15.769 --> 00:18:18.250 hip -hop superstar, Wesley Sh**. Schultz folk 00:18:18.250 --> 00:18:20.990 rock frontman, Billy Strings bluegrass virtuoso. 00:18:21.089 --> 00:18:23.470 It's an incredible testament to Christopher Mansfield's 00:18:23.470 --> 00:18:26.569 ability to just cross genre lines, find common 00:18:26.569 --> 00:18:28.990 ground in authentic lyrics, and use those connections 00:18:28.990 --> 00:18:31.730 to really maximize his artistic reach. Hashtag 00:18:31.730 --> 00:18:34.029 tag outro. So what does this all really mean 00:18:34.029 --> 00:18:37.190 when we try to put all the pieces together? Fence's 00:18:37.190 --> 00:18:39.589 career, anchored by Christopher Mansfield, it 00:18:39.589 --> 00:18:42.130 really feels like a high -level case study. It's 00:18:42.130 --> 00:18:44.450 a masterclass in leveraging key relationships, 00:18:44.569 --> 00:18:46.569 you know, from Sarah Quinn spotting him on MySpace 00:18:46.569 --> 00:18:49.130 and validating that initial vision, to that hugely 00:18:49.130 --> 00:18:51.690 beneficial, very local, very authentic partnership 00:18:51.690 --> 00:18:54.849 with Macklemore and Ryan Lewis. Fence has successfully 00:18:54.849 --> 00:18:57.609 navigated that really tricky, often kind of devastating 00:18:57.609 --> 00:19:00.430 transition from being an indie darling to a major 00:19:00.430 --> 00:19:03.210 label act. All while Mansfield's consistent public 00:19:03.210 --> 00:19:05.130 commitment to personal accountability served 00:19:05.130 --> 00:19:08.960 as this necessary foundation. The final synthesis 00:19:08.960 --> 00:19:11.980 is really this. The ARC offenses shows pretty 00:19:11.980 --> 00:19:14.759 definitively that critical and commercial success, 00:19:15.000 --> 00:19:17.859 it takes more than just raw talent. It demands... 00:19:35.979 --> 00:19:42.140 And that leaves us with a final provocative thought 00:19:42.140 --> 00:19:44.119 for you, the listener, to take away from this. 00:19:44.420 --> 00:19:46.700 We spent a good bit of time showing how Christopher 00:19:46.700 --> 00:19:49.809 Mansfield specifically that romanticized, drunk, 00:19:49.950 --> 00:19:52.890 tortured artist's image, viewing it as basically 00:19:52.890 --> 00:19:55.990 hostile to professional longevity. So consider 00:19:55.990 --> 00:19:57.849 the artists and public figures you admire, the 00:19:57.849 --> 00:19:59.509 ones who've stayed relevant for decades, kind 00:19:59.509 --> 00:20:02.049 of like Fences has managed. To what extent is 00:20:02.049 --> 00:20:04.349 the sustainability of their work, that consistent 00:20:04.349 --> 00:20:08.490 output of albums, EPs, successful tours, a direct 00:20:08.490 --> 00:20:10.789 result of the discipline, the boundaries, the 00:20:10.789 --> 00:20:12.849 clear professional structures they set up offstage? 00:20:13.980 --> 00:20:16.880 Does the need for sustained artistic output ultimately 00:20:16.880 --> 00:20:20.019 demand rejecting the very chaos that sometimes 00:20:20.019 --> 00:20:24.079 the media or even fans seem to crave? The evidence 00:20:24.079 --> 00:20:25.980 from Fence's consistent discography strongly 00:20:25.980 --> 00:20:28.059 suggests that a long -term commitment to artistic 00:20:28.059 --> 00:20:30.039 goals really demands a professional stability 00:20:30.039 --> 00:20:32.180 to just consistently show up and deliver the 00:20:32.180 --> 00:20:32.380 goods.