WEBVTT 00:00:00.000 --> 00:00:02.080 Hey, what's happening? This is Tim Foreman with 00:00:02.080 --> 00:00:04.540 Switchfoot and Bongo Chico, and you're listening 00:00:04.540 --> 00:00:07.240 to My Weekly Mixtape right here with Brian Colburn. 00:00:18.100 --> 00:00:21.100 Welcome to My Weekly Mixtape, a podcast that 00:00:21.100 --> 00:00:24.000 takes the classic mixtape approach to building 00:00:24.000 --> 00:00:26.500 a modern playlist. I'm your host, Brian Colburn. 00:00:26.969 --> 00:00:29.109 Tonight, I'm excited to welcome Tim Foreman of 00:00:29.109 --> 00:00:31.230 Switchfoot to the program. Tim, thank you so 00:00:31.230 --> 00:00:33.770 much for joining me today. Hey, it's good to 00:00:33.770 --> 00:00:36.509 be here, Brian. I always like to start by asking 00:00:36.509 --> 00:00:39.369 my first -time guests this question. What does 00:00:39.369 --> 00:00:43.950 the word mixtape mean to you? Well, I remember 00:00:43.950 --> 00:00:51.049 recording radio onto a boombox, and you'd wait 00:00:51.049 --> 00:00:53.909 for your favorite songs, and then when you hear 00:00:53.909 --> 00:00:56.130 them starting on the radio, you'd record them. 00:00:56.670 --> 00:00:59.350 And you do that with enough songs till you assembled 00:00:59.350 --> 00:01:03.590 a mixtape. And then, you know, if you had like 00:01:03.590 --> 00:01:07.810 a best friend or a girlfriend, you pass the mixtape 00:01:07.810 --> 00:01:11.849 along. And that was the way that I fell in love 00:01:11.849 --> 00:01:15.510 with music. Awesome. Well, today we're here to 00:01:15.510 --> 00:01:18.469 talk about the band's new collaborative single, 00:01:18.650 --> 00:01:21.709 Last Man Standing, which you guys recorded with 00:01:21.709 --> 00:01:27.739 the legendary Buddy Guy. The one and only. Taking 00:01:27.739 --> 00:02:10.990 a beating But there's still a comfy inside This 00:02:10.990 --> 00:02:15.150 is such a unique collaboration that truly pushes 00:02:15.150 --> 00:02:18.129 the boundaries for both artists here, Switchfoot 00:02:18.129 --> 00:02:21.169 and Buddy Guy, even though Switchfoot has never 00:02:21.169 --> 00:02:24.889 been a stranger to trying to push the musical 00:02:24.889 --> 00:02:28.490 boundaries in the band's music. How did this 00:02:28.490 --> 00:02:32.370 collaboration come together? Yeah, so Buddy Guy 00:02:32.370 --> 00:02:35.370 has been one of our musical heroes since we were 00:02:35.370 --> 00:02:39.400 little. The idea of doing a song with Buddy Guy 00:02:39.400 --> 00:02:41.419 didn't even seem like that was within the realm 00:02:41.419 --> 00:02:45.280 of possible realities. But the music industry 00:02:45.280 --> 00:02:48.800 is a beautiful thing. And we're friends with 00:02:48.800 --> 00:02:52.240 his longtime drummer, Tom, who happened to be 00:02:52.240 --> 00:02:56.599 in town one day with Buddy. And Tom had a day 00:02:56.599 --> 00:02:58.979 off. And he was like, hey, let's write a song 00:02:58.979 --> 00:03:01.580 together. And Tom's a great songwriter. And we 00:03:01.580 --> 00:03:03.099 were like, yeah, it sounds like a lot of fun. 00:03:03.139 --> 00:03:06.020 Come to our studio. And so he shows up and we're 00:03:06.020 --> 00:03:08.960 like, hey. Kind of a crazy idea, but what if 00:03:08.960 --> 00:03:13.199 we wrote a song for Buddy? And he's like, oh, 00:03:13.219 --> 00:03:15.080 you know, it's a long shot, but let's give it 00:03:15.080 --> 00:03:19.240 a shot. And John had this concept in mind specifically 00:03:19.240 --> 00:03:22.020 for Buddy called Last Man Standing, you know, 00:03:22.060 --> 00:03:24.939 which is absolutely perfect for Buddy. I mean, 00:03:24.979 --> 00:03:31.000 he is Mr. Blues, and he's in that realm of kind 00:03:31.000 --> 00:03:34.000 of like the guys. He's the last man standing, 00:03:34.080 --> 00:03:37.710 and what a legacy. that he's standing on and 00:03:37.710 --> 00:03:40.490 so that was kind of the premise and we wanted 00:03:40.490 --> 00:03:44.710 to write a mean old dirty rock song about the 00:03:44.710 --> 00:03:47.849 man himself and um buddy heard it and i was like 00:03:47.849 --> 00:03:49.789 yeah let me play on that let me let me sing on 00:03:49.789 --> 00:03:52.229 that and it just turned into something that was 00:03:52.229 --> 00:03:55.430 i mean anything buddy things and plays on it's 00:03:55.430 --> 00:03:58.330 going to elevate it and when we got got it back 00:03:58.330 --> 00:04:02.020 uh we were blown away Now, the Tom you're talking 00:04:02.020 --> 00:04:05.740 about is Tom Hambridge, who's got a ton of experience 00:04:05.740 --> 00:04:08.879 in the blues field, obviously playing drums for 00:04:08.879 --> 00:04:11.740 Buddy Guy, but he's also honed his songwriting 00:04:11.740 --> 00:04:14.560 and producing craft with the likes of B .B. King, 00:04:14.979 --> 00:04:18.279 George Thorogood, and Kristone Kingfish Ingram 00:04:18.279 --> 00:04:20.259 for some of the newer artists he's been working 00:04:20.259 --> 00:04:23.220 with. Meanwhile, over the years, Switchfoot worked 00:04:23.220 --> 00:04:26.790 with producers like John Fields. who along with 00:04:26.790 --> 00:04:29.509 the band has also worked with Jimmy Eat World, 00:04:29.790 --> 00:04:33.430 Semisonic, Soul Asylum, as well as pop artists 00:04:33.430 --> 00:04:37.790 such as Miley Cyrus, Pink, and Demi Lovato. Can 00:04:37.790 --> 00:04:40.470 you talk about the differences that the two producers 00:04:40.470 --> 00:04:44.569 bring to the fold and maybe what was unique about 00:04:44.569 --> 00:04:48.029 the sessions with Tom? Yeah, well, I think, you 00:04:48.029 --> 00:04:51.129 know, the beautiful thing about music is good 00:04:51.129 --> 00:04:53.649 music is good music, right? And you can find 00:04:53.649 --> 00:04:57.180 it in any genre. And I think when you're working 00:04:57.180 --> 00:05:00.180 with someone like Tom, who's so good at what 00:05:00.180 --> 00:05:02.920 he does, I mean, talk about a legend in his own 00:05:02.920 --> 00:05:06.220 right. Those are just fun sessions, because I 00:05:06.220 --> 00:05:08.620 think you really feel like you're driving a Ferrari, 00:05:08.819 --> 00:05:10.579 like anything's possible. You know, you could 00:05:10.579 --> 00:05:12.860 make a pop song, you could make a blues song. 00:05:13.120 --> 00:05:15.319 There's nothing that I think a good musician 00:05:15.319 --> 00:05:18.980 can't do. And we're all inspired by the same 00:05:18.980 --> 00:05:21.920 people, you know, whether... you're working with 00:05:21.920 --> 00:05:25.199 a pop artist or like you can't find someone who 00:05:25.199 --> 00:05:27.600 hasn't been inspired by buddy guy, you know? 00:05:27.839 --> 00:05:29.939 So I think, you know, the marriage of working 00:05:29.939 --> 00:05:33.259 with Tom on a buddy guy track felt like the easiest 00:05:33.259 --> 00:05:35.800 thing in the world. All right. So I want to tackle 00:05:35.800 --> 00:05:37.800 a little bit of that influence that you're talking 00:05:37.800 --> 00:05:40.459 about there because buddy guy is influenced. 00:05:41.040 --> 00:05:44.600 Jimi Hendrix, Eric Clapton. Basically, if you've 00:05:44.600 --> 00:05:48.100 played a blues riff in any way, shape or form 00:05:48.100 --> 00:05:50.899 in your entire life, You're inspired by Buddy 00:05:50.899 --> 00:05:54.480 Guy. What were some of the things the band learned 00:05:54.480 --> 00:05:57.079 from Buddy while working on this track together? 00:05:58.199 --> 00:06:00.839 Yeah, well, and I would just add, you know, when 00:06:00.839 --> 00:06:02.920 I said everyone's been influenced by Buddy Guy, 00:06:03.079 --> 00:06:05.060 I should have added whether they know it or not. 00:06:05.480 --> 00:06:07.220 That's a good point. Because, you know, you make 00:06:07.220 --> 00:06:09.399 the distinction if you play the blues riff, but 00:06:09.399 --> 00:06:11.720 I would argue, you know, if you're playing pop 00:06:11.720 --> 00:06:14.300 music, you're standing on the shoulders of these 00:06:14.300 --> 00:06:18.089 giants like Buddy Guy. Fair. You may not be aware 00:06:18.089 --> 00:06:21.350 of it, you know, but it's all been built on blues 00:06:21.350 --> 00:06:24.990 music. And yeah, well, I think he's certainly 00:06:24.990 --> 00:06:29.410 a less is more kind of guy where, you know, I 00:06:29.410 --> 00:06:32.709 think some of my favorite moments were moments 00:06:32.709 --> 00:06:34.569 where he'll just hold a single note, but it's 00:06:34.569 --> 00:06:37.329 the right note at the right time with the right 00:06:37.329 --> 00:06:41.629 tone. And just a master class in that is doing 00:06:41.629 --> 00:06:46.350 the essentials so well. I think his vocal pocket. 00:06:46.879 --> 00:06:51.360 and delivery i mean if for you really believe 00:06:51.360 --> 00:06:54.139 it when he's singing there's a lot of good singers 00:06:54.139 --> 00:06:57.420 out there i don't always believe them you know 00:06:57.420 --> 00:07:00.379 but when buddy steps up to the microphone i believe 00:07:00.379 --> 00:07:03.800 every single word i saw i had the privilege of 00:07:03.800 --> 00:07:06.319 seeing buddy guy on one of the experienced hendrix 00:07:06.319 --> 00:07:09.319 tours and when he came out and did a set i i 00:07:09.319 --> 00:07:12.279 turned to my wife and said you have to believe 00:07:13.160 --> 00:07:15.699 What this man is saying, every story he's telling, 00:07:15.819 --> 00:07:18.660 whether it's something that he just wrote lyrically 00:07:18.660 --> 00:07:21.360 or if it's something that really comes from the 00:07:21.360 --> 00:07:24.360 heart, you felt it in the performance. There's 00:07:24.360 --> 00:07:26.980 something that's so real and so authentic about 00:07:26.980 --> 00:07:30.759 him. Yeah, authenticity is a great word for Buddy. 00:07:31.579 --> 00:07:35.660 So I have to ask, the song is so fantastic. Is 00:07:35.660 --> 00:07:37.959 this collaboration a one -off or is it maybe 00:07:37.959 --> 00:07:39.879 part of something bigger? Because I'm not going 00:07:39.879 --> 00:07:43.269 to lie. Last Man Standing makes me want to hear 00:07:43.269 --> 00:07:45.970 an entire album collaboration between you both. 00:07:46.389 --> 00:07:50.629 Man, I mean, that would be a true dream. There's 00:07:50.629 --> 00:07:53.350 nothing like that in the works. But I will say 00:07:53.350 --> 00:07:56.490 this song definitely got us, not that we stopped 00:07:56.490 --> 00:07:59.850 being excited by electric guitar, but I think 00:07:59.850 --> 00:08:03.589 it got us re -energized in guitar music again. 00:08:03.709 --> 00:08:06.829 And definitely sent us back into the studio with 00:08:06.829 --> 00:08:11.209 much more pep in our step. We just got out of 00:08:11.209 --> 00:08:13.910 a session, actually, recording our new record. 00:08:14.050 --> 00:08:17.949 And a lot of guitar, angry guitar energy all 00:08:17.949 --> 00:08:21.629 over it. So that's all thanks to Buddy. Now, 00:08:21.670 --> 00:08:25.689 is any of the blues seeping into these new tracks 00:08:25.689 --> 00:08:29.310 you're working on? I mean, not intentionally, 00:08:29.430 --> 00:08:32.710 but always. But always. You know, like we were 00:08:32.710 --> 00:08:37.070 talking about earlier, it's all blues. Well... 00:08:37.259 --> 00:08:40.340 2025 is obviously shaping up to be a big year 00:08:40.340 --> 00:08:42.600 for you and the band because you just said the 00:08:42.600 --> 00:08:45.919 band is in the studio. But this year also marks 00:08:45.919 --> 00:08:49.120 your debut solo project, Bongo Chico, which drops 00:08:49.120 --> 00:08:52.580 on May 30th. Could you talk about the origins 00:08:52.580 --> 00:08:54.580 of this project? Because I feel like this has 00:08:54.580 --> 00:08:58.220 been a long time coming and maybe why 2025 was 00:08:58.220 --> 00:09:01.559 the year to bring this project to its final fruition. 00:09:02.839 --> 00:09:05.759 Yeah, I would say the peer pressure was a long 00:09:05.759 --> 00:09:10.799 time coming. My brother in particular and the 00:09:10.799 --> 00:09:12.679 rest of my bandmates have been encouraging me 00:09:12.679 --> 00:09:16.200 to do a solo project for years. But my brother 00:09:16.200 --> 00:09:18.220 was relentless about it. Like, you got to do 00:09:18.220 --> 00:09:20.980 it. You got to do it. And I was like, every time 00:09:20.980 --> 00:09:22.779 I was kind of like, I'm not so sure that I do, 00:09:22.940 --> 00:09:27.320 you know, until I finally like, I think the timing 00:09:27.320 --> 00:09:31.120 was just right. He was busy doing some solo touring. 00:09:32.159 --> 00:09:34.519 My kids weren't so young anymore that I had a 00:09:34.519 --> 00:09:37.240 little more free time on my hands. And I guess 00:09:37.240 --> 00:09:40.399 I grew curious as to what my solo project would 00:09:40.399 --> 00:09:43.039 even sound like. Kind of that existential, well, 00:09:43.120 --> 00:09:46.240 I've written for Switchfoot my entire life and 00:09:46.240 --> 00:09:49.340 I've never written for my own voice. What would 00:09:49.340 --> 00:09:50.980 that even sound like? So then I just started 00:09:50.980 --> 00:09:53.259 writing and I was like, okay, if I can get 10 00:09:53.259 --> 00:09:56.360 songs that I love, then maybe I'll put it out, 00:09:56.379 --> 00:09:59.419 you know? I ended up with 15 songs that I really 00:09:59.419 --> 00:10:02.720 loved and made a 12 -song record. I worked really 00:10:02.720 --> 00:10:05.700 quick. I think I was trying to outrun my fears 00:10:05.700 --> 00:10:09.039 the whole time. I'm really proud of it. It's 00:10:09.039 --> 00:10:12.000 everything that I love about music. There's Beatles, 00:10:12.259 --> 00:10:15.600 Beach Boys, Zombies, My Bloody Valentine. All 00:10:15.600 --> 00:10:18.379 the bands that I grew up loving have found their 00:10:18.379 --> 00:10:21.639 way into this album, but it feels uniquely mine 00:10:21.639 --> 00:10:25.070 at the same time. So then let's dive into the 00:10:25.070 --> 00:11:15.409 album's lead single, When You Walked Away. The 00:11:15.409 --> 00:11:18.350 first time I heard this song, I was impressed 00:11:18.350 --> 00:11:21.350 because there was a blending of alternative rock 00:11:21.950 --> 00:11:25.190 with maybe a dash of power pop. And even though 00:11:25.190 --> 00:11:27.909 Switchfoot's no stranger, like we talked about 00:11:27.909 --> 00:11:30.309 before, of exploring different musical boundaries, 00:11:30.629 --> 00:11:34.110 has this project as a whole given you a little 00:11:34.110 --> 00:11:37.029 bit more freedom to maybe explore genres that 00:11:37.029 --> 00:11:41.669 wouldn't fit with Switchfoot's sound? Yeah, well, 00:11:41.710 --> 00:11:44.070 I think one of the beauties of being a band as 00:11:44.070 --> 00:11:46.470 long as Switchfoot has been is that we've had 00:11:46.470 --> 00:11:49.269 a chance to really kind of do a lot of twists 00:11:49.269 --> 00:11:52.279 and turns along the way. And I think our fans 00:11:52.279 --> 00:11:54.740 are kind of expecting that with every record. 00:11:54.899 --> 00:11:57.879 But I do think with the Bongo Chico record, I 00:11:57.879 --> 00:12:01.600 was able to kind of uniquely showcase the music 00:12:01.600 --> 00:12:03.840 that I really love. And I think that's definitely 00:12:03.840 --> 00:12:06.820 the flavor that I bring to Switchfoot. But with 00:12:06.820 --> 00:12:11.000 Bongo Chico, it's just entirely that. And it's 00:12:11.000 --> 00:12:14.480 really a fun thing to be that kind of indulgent 00:12:14.480 --> 00:12:17.220 of just like, I just get to make exactly the 00:12:17.220 --> 00:12:20.259 record that I want to make. Awesome. What can 00:12:20.259 --> 00:12:23.379 people expect from the rest of the album? Well, 00:12:23.519 --> 00:12:26.799 it really dives into my love for psychedelic 00:12:26.799 --> 00:12:30.120 music, but in a very pop way. Because I love 00:12:30.120 --> 00:12:32.960 a good hook. I love chords. I'm obsessed with 00:12:32.960 --> 00:12:36.620 chords. And I feel like chords can make you feel 00:12:36.620 --> 00:12:39.559 things that words can't, you know? They do the 00:12:39.559 --> 00:12:43.240 heavy lifting. And so I really spent my time 00:12:43.240 --> 00:12:47.059 just kind of obsessing over... finding the right 00:12:47.059 --> 00:12:49.320 key changes and chords and just being really 00:12:49.320 --> 00:12:52.679 adventurous with this project. I think we took 00:12:52.679 --> 00:12:55.879 big swings the entire way and we just didn't 00:12:55.879 --> 00:12:59.039 let up and chose the more adventurous option 00:12:59.039 --> 00:13:02.159 every single time. Well, with those big swings, 00:13:02.259 --> 00:13:04.659 it certainly landed in a home run as far as I'm 00:13:04.659 --> 00:13:07.620 concerned. But while we're here, I'd be remiss 00:13:07.620 --> 00:13:10.000 if we didn't talk just a little bit of Switchfoot 00:13:10.000 --> 00:13:14.950 as 2025 also marks... the 20th anniversary of 00:13:14.950 --> 00:13:19.350 Nothing Is Sound. For me, this fantastic album 00:13:19.350 --> 00:13:22.289 was kind of marred in some controversy because 00:13:22.289 --> 00:13:26.889 Sony included that XCP copy protection on the 00:13:26.889 --> 00:13:31.850 CD. Now, I'm someone who owns 4 ,500 CDs, so 00:13:31.850 --> 00:13:34.710 I'm going to admit here, this was an alarming 00:13:34.710 --> 00:13:38.049 move to me on Sony's part. But I vividly remember 00:13:38.049 --> 00:13:41.029 you personally taking a stand against Sony and 00:13:41.029 --> 00:13:44.480 posting the workaround, on Switchfoot's social 00:13:44.480 --> 00:13:47.480 channels. Could you talk about the impact that 00:13:47.480 --> 00:13:51.500 XCP had on the band? Because most of the articles 00:13:51.500 --> 00:13:55.259 that came out around that time focused on the 00:13:55.259 --> 00:14:00.580 impact to the fans. And I've often wondered if 00:14:00.580 --> 00:14:04.100 this debacle hindered the album in any way, shape, 00:14:04.100 --> 00:14:08.059 or form. Yeah, I mean, absolutely. So that was 00:14:08.059 --> 00:14:11.620 our second major label. record is following up 00:14:11.620 --> 00:14:13.519 our biggest record which was the beautiful let 00:14:13.519 --> 00:14:17.200 down our expectations were high because we felt 00:14:17.200 --> 00:14:19.019 like we'd made the best record of our career 00:14:19.019 --> 00:14:21.159 you know i still think it's one of my favorite 00:14:21.159 --> 00:14:25.340 switchfoot records and we got our first shipment 00:14:25.340 --> 00:14:29.039 of cds i think the day before it came out and 00:14:29.039 --> 00:14:32.059 there was all this legal wording on the back 00:14:32.059 --> 00:14:34.659 talking about this new software that was installed 00:14:34.659 --> 00:14:37.799 on it none of that had been Run by us. We weren't 00:14:37.799 --> 00:14:39.860 the only artists affected. Foo Fighters had a 00:14:39.860 --> 00:14:42.240 release same week. In your honor, yeah. Yep. 00:14:42.299 --> 00:14:45.659 There are a few others, but it was shocking. 00:14:46.379 --> 00:14:50.440 A, even if it hadn't had spyware, and we'll get 00:14:50.440 --> 00:14:52.960 into that, but just, I felt like it was a slap 00:14:52.960 --> 00:14:57.899 in the face to customers, to fans, to say right 00:14:57.899 --> 00:15:00.840 out of the gate, we don't trust you. And looking 00:15:00.840 --> 00:15:03.759 back, it seems almost absurd that you would tell 00:15:03.759 --> 00:15:07.230 someone. that they're not allowed to copy something 00:15:07.230 --> 00:15:10.669 that they own and put it in another media form 00:15:10.669 --> 00:15:13.850 that they also own. But back then, that was the 00:15:13.850 --> 00:15:18.429 fight that Sony was having with consumers was, 00:15:18.590 --> 00:15:21.149 we don't trust you, so we're not going to let 00:15:21.149 --> 00:15:25.090 you rip the CD and put it on... iPhones weren't 00:15:25.090 --> 00:15:27.610 even a thing. It was iPods at the time. iPods, 00:15:27.669 --> 00:15:32.269 you know? And so, you know, major slap in the 00:15:32.269 --> 00:15:35.320 face to our fans. But then... Above and beyond 00:15:35.320 --> 00:15:38.019 that, it comes out immediately that there was 00:15:38.019 --> 00:15:41.899 spyware on the CDs and they were actually gathering 00:15:41.899 --> 00:15:46.220 data illegally. Big lawsuit. So I was a computer 00:15:46.220 --> 00:15:49.679 science major. I didn't graduate because we got 00:15:49.679 --> 00:15:52.159 too busy touring, but that was kind of like the 00:15:52.159 --> 00:15:55.080 other part of my brain. And I was like, well, 00:15:55.159 --> 00:15:57.320 there's got to be a way to find a workaround 00:15:57.320 --> 00:16:00.120 for this. And I kind of figured out a way to 00:16:00.120 --> 00:16:04.379 hack the system and posted it online. Of course, 00:16:04.399 --> 00:16:06.879 Sony's lawyers were very upset about that. And 00:16:06.879 --> 00:16:09.840 they were following me around in interviews. 00:16:10.159 --> 00:16:14.679 And it was kind of this big, horrible thing that 00:16:14.679 --> 00:16:17.000 at every interview, we weren't even talking about 00:16:17.000 --> 00:16:19.960 the music. We had put out this great record that 00:16:19.960 --> 00:16:22.940 we believed in. And all anyone wanted to talk 00:16:22.940 --> 00:16:25.620 about was this spyware that we had nothing to 00:16:25.620 --> 00:16:29.139 do with. And I was like, I guess. the champion 00:16:29.139 --> 00:16:31.120 of the people but i didn't even want to be that 00:16:31.120 --> 00:16:33.659 i just wanted to be a musician and play the songs 00:16:33.659 --> 00:16:36.799 that we had put out and so anyway the cds were 00:16:36.799 --> 00:16:39.460 pulled from the shelves immediately because of 00:16:39.460 --> 00:16:42.519 the lawsuit this was like in november you know 00:16:42.519 --> 00:16:45.399 which is when record labels release their big 00:16:45.399 --> 00:16:48.320 releases for the year yeah and it didn't make 00:16:48.320 --> 00:16:50.759 it back into stores until after christmas and 00:16:50.759 --> 00:16:53.419 then the record was done and it was essentially 00:16:53.419 --> 00:16:56.350 shelved you know the message we got from Sony 00:16:56.350 --> 00:16:58.629 at the time was we just need to put out another 00:16:58.629 --> 00:17:01.070 record real quick and put it behind us. And, 00:17:01.129 --> 00:17:05.109 um, that was the story of nothing to sound, which, 00:17:05.170 --> 00:17:07.309 you know, it was appropriately named, you know, 00:17:07.309 --> 00:17:10.970 it was, um, nothing was sound at that time. That 00:17:10.970 --> 00:17:13.950 was a chaotic time. And, um, it's, it's crazy 00:17:13.950 --> 00:17:16.869 story to look back on now, but, um, yeah, that 00:17:16.869 --> 00:17:19.529 really happened. Well, I want to thank you because 00:17:19.529 --> 00:17:23.369 thanks to your help, I was able to put both Nothing 00:17:23.369 --> 00:17:26.609 Is Sound and In Your Honor onto my iPod the week 00:17:26.609 --> 00:17:29.150 I bought it. So thank you for that, 20 years 00:17:29.150 --> 00:17:33.529 later. But with 2025 being the album's 20th anniversary, 00:17:33.789 --> 00:17:37.049 and given all that went down the first time around, 00:17:37.369 --> 00:17:39.950 are there any plans for the band to maybe try 00:17:39.950 --> 00:17:43.009 to celebrate the album's anniversary and make 00:17:43.009 --> 00:17:46.690 up for Sony's mistakes with Two Decades of Hindsight? 00:17:47.440 --> 00:17:50.200 uh we'll certainly do something i think um you 00:17:50.200 --> 00:17:53.200 know we just did the full re -record of the beautiful 00:17:53.200 --> 00:17:56.900 letdown um which was the last anniversary we 00:17:56.900 --> 00:17:59.519 just had and um so i think right now we're more 00:17:59.519 --> 00:18:02.680 excited about making new music than just rehashing 00:18:02.680 --> 00:18:05.559 old music that's kind of where our our heads 00:18:05.559 --> 00:18:07.240 are at right now but i'm sure we'll do something 00:18:07.240 --> 00:18:10.210 because we do love that record Well, then I have 00:18:10.210 --> 00:18:12.890 to follow up and press just a little bit. Are 00:18:12.890 --> 00:18:15.450 there any new details about the next Switchfoot 00:18:15.450 --> 00:18:17.190 album that you'd be willing to share? Some new 00:18:17.190 --> 00:18:20.150 song titles? Maybe an idea of when the album's 00:18:20.150 --> 00:18:23.630 going to drop? Yeah, we're pretty far along on 00:18:23.630 --> 00:18:26.789 it, actually. We spent some time in Nashville 00:18:26.789 --> 00:18:29.450 at the beginning of the year working with Mike 00:18:29.450 --> 00:18:32.470 Elizondo, who we've worked with on a few records 00:18:32.470 --> 00:18:35.670 in the past. Most notably, Hello Hurricane was 00:18:35.670 --> 00:18:38.430 the first record that we'd worked with him entirely 00:18:38.430 --> 00:18:41.730 on, which is another special record for us. And 00:18:41.730 --> 00:18:43.950 we won a Grammy with that record. So it's good 00:18:43.950 --> 00:18:47.069 memories working with Mike. And I mean, he's 00:18:47.069 --> 00:18:50.349 phenomenal. His studio in Nashville is great, 00:18:50.529 --> 00:18:53.950 super inspiring place. So we did a couple weeks 00:18:53.950 --> 00:18:55.890 of tracking there. And now we've been finishing 00:18:55.890 --> 00:18:59.029 up here in the studio back in California. And 00:18:59.029 --> 00:19:04.450 it's a mean rock record. Probably the most aggressive 00:19:04.450 --> 00:19:08.430 record that we've ever made. Wow. Super excited 00:19:08.430 --> 00:19:11.690 about it. Yeah, we're excited about guitars again. 00:19:11.809 --> 00:19:15.230 So we're ready to go. So when do you think fans 00:19:15.230 --> 00:19:17.109 will get their first taste of the new songs? 00:19:17.730 --> 00:19:20.269 Well, we're hoping that we can get some music 00:19:20.269 --> 00:19:22.730 out before the end of the year. That's amazing. 00:19:22.970 --> 00:19:25.130 Now, I do want to touch base on another Switchfoot 00:19:25.130 --> 00:19:28.730 song, if that's okay, because what it costs from 00:19:28.730 --> 00:19:31.670 the Edge of the Earth EP. was a song that you 00:19:31.670 --> 00:19:33.769 took the lead vocals on, which is something that 00:19:33.769 --> 00:19:36.829 is a bit of a rarity across the Switchfoot catalog. 00:19:37.329 --> 00:19:41.490 However, it's such a great song. I'm wondering 00:19:41.490 --> 00:19:45.049 why it wasn't included originally on Fading West, 00:19:45.210 --> 00:19:47.329 because when you listen to that album and then 00:19:47.329 --> 00:19:50.210 you listen to what it costs, it's a perfect fit. 00:19:51.109 --> 00:19:54.549 Oh, thanks. That whole EP, The Edge of the Earth 00:19:54.549 --> 00:19:57.309 EP, I think there's a lot of songs on that that 00:19:57.309 --> 00:20:00.269 arguably could have been on. fading west i think 00:20:00.269 --> 00:20:05.690 um we really like that ep and uh i think some 00:20:05.690 --> 00:20:07.970 of those songs are more attached to the film 00:20:07.970 --> 00:20:11.210 version of fading west than the album um and 00:20:11.210 --> 00:20:13.990 that song in particular i wrote during the filming 00:20:13.990 --> 00:20:16.329 of fading west when my brother had to fly home 00:20:16.329 --> 00:20:19.049 from australia for emergency surgery that his 00:20:19.049 --> 00:20:21.809 daughter was going through and really um kind 00:20:21.809 --> 00:20:24.490 of a crazy time and so suddenly i'm in a hotel 00:20:24.490 --> 00:20:26.910 room by myself john and i normally share a hotel 00:20:26.910 --> 00:20:30.569 room you know and um and his guitar is there 00:20:30.569 --> 00:20:32.369 because he just had to pack everything up and 00:20:32.369 --> 00:20:35.210 go uh we had to cancel the rest of the tour and 00:20:35.210 --> 00:20:37.970 so i'm there you know thinking about my brother 00:20:37.970 --> 00:20:40.269 and picked up his guitar and wrote that song 00:20:40.269 --> 00:20:43.940 for him oh it's an amazing one Well, that was 00:20:43.940 --> 00:20:46.539 a really deep focus on one song. I kind of want 00:20:46.539 --> 00:20:49.359 to expand things all the way out, kind of a top 00:20:49.359 --> 00:20:52.339 level view here for this last question. In the 00:20:52.339 --> 00:20:55.119 spirit of my weekly mixtape, if you had to sum 00:20:55.119 --> 00:20:59.460 up the entire career of Switchfoot from The Legend 00:20:59.460 --> 00:21:01.960 of Chin all the way to the music you're working 00:21:01.960 --> 00:21:05.240 on now, if there were three songs that you had 00:21:05.240 --> 00:21:09.440 to pick that told the story of Switchfoot, which 00:21:09.440 --> 00:21:13.000 three would you choose and why? Okay. I'm not 00:21:13.000 --> 00:21:16.559 going to overthink it. Learning to breathe, meant 00:21:16.559 --> 00:21:21.319 to live, and dare to move. Switchfoot and Buddy 00:21:21.319 --> 00:21:24.500 Guy's collaboration Last Man Standing is available 00:21:24.500 --> 00:21:28.319 now on all streaming platforms. Bongo Chico's 00:21:28.319 --> 00:21:31.380 When You Walked Away in 1995 are also available 00:21:31.380 --> 00:21:34.900 now with the full album coming your way May 30th. 00:21:34.900 --> 00:21:37.039 So be on the lookout for that. Tim, this has 00:21:37.039 --> 00:21:39.259 been an absolute pleasure. Thank you so much 00:21:39.259 --> 00:21:42.009 for joining me on My Weekly Mixtape. Yeah. Thanks 00:21:42.009 --> 00:21:44.730 Brian. And to those listening, remember you can 00:21:44.730 --> 00:21:47.049 find my weekly mixtape on almost all the social 00:21:47.049 --> 00:21:50.529 media haunts at my weekly mixtape. You can also 00:21:50.529 --> 00:21:53.190 head to my weekly mixtape .com to check out the 00:21:53.190 --> 00:21:56.509 full catalog of my weekly mixtape episodes. And 00:21:56.509 --> 00:21:58.210 finally, if you like what you're hearing on the 00:21:58.210 --> 00:22:00.470 show, you can help me out by either telling a 00:22:00.470 --> 00:22:02.809 friend, leaving the show a five -star review, 00:22:02.930 --> 00:22:05.900 wherever you're tuning in. or becoming a Patreon 00:22:05.900 --> 00:22:10.599 mixtaper at patreon .com forward slash myweeklymixtape. 00:22:10.680 --> 00:22:13.180 There you can find ad -free episodes of the show, 00:22:13.359 --> 00:22:16.240 gain early access to upcoming episodes, chime 00:22:16.240 --> 00:22:18.660 in on future topics, become a guest curator, 00:22:18.940 --> 00:22:21.859 and so much more. That's all for this week. Thanks 00:22:21.859 --> 00:22:24.480 again for listening, and until next time, enjoy 00:22:24.480 --> 00:22:25.019 the tunes.