WEBVTT

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Hey, what's going on? This is Barry from the

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band Shinedown, and you're listening to my weekly

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mixtape with Brian Colburn. And I say you should

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listen to it because he's my new best friend,

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and we listened to a lot of the same music growing

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up, and you're going to have a lot of really

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cool, eclectic things on the show from all genres

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of music. But importantly, just listen. Have

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fun. Welcome to My Weekly Mixtape, a podcast

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that takes the classic mixtape approach to building

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a modern playlist. I'm your host, Brian Colburn.

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Tonight, I am thrilled to be joined by Barry

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Kirch, drummer for the band Shinedown. Barry,

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welcome to the show, my friend. Good to be here.

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Thank you. Thanks for having me. Well, I'd like

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to start by asking all of my first -time guests,

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what does the word mixtape mean to you? I guess

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I'm a product of the 70s and child of the 80s.

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For me, mixtape was the thing. And to me, it's

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two things. Either you're making the mixtape

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for your girlfriend, the love of your life, and

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you're getting all the songs you can to prove

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to her your love. But for me, more importantly,

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it was getting those songs that you heard on

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the radio and sitting there in a bedroom with

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your little cassette player going. Record. OK,

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got it. Got that song. Oh, that's a new song

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for this. Because back in those days, you couldn't

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you know, you had to listen to the radio to hear

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that song. And once you had it on that tape,

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you had that song. So it's the it's the nostalgia

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and joy of really having to dig deep to search

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out music, which you don't have to do anymore.

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That's part of the reason I do this show each

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week is to try to bring back some of that joy

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of finding that song, because when you look for

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things on Spotify, everything's so instantaneous

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that. the joy of discovering that new song, it's

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almost watered down compared to the way it was

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when we were growing up. I agree. And I guess

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I'm a curmudgeon in that way because I don't

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like the instant gratification of the internet

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these days and social media and all that kind

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of stuff, though it's a wonderful tool. I get

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frustrated sometimes because I do miss those

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times of being introduced to a new band, and

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it's like, oh, my friend had this CD that he

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passed me, and I finally heard it, and it was

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like, oh, wow, what is this? That's how I got

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introduced to Nine Inch Nails was I'm an 80s

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metalhead. I'm playing tennis in high school.

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I'm on a tennis trip, and my friend Bao Nguyen,

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he has a pretty hate machine CD. And I didn't

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give it back to him. I kept listening to it,

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listening to it. And that's why I'm a diehard

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Nine Inch Nails fan, because that was a pivotal

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moment in my life that changed my taste in music.

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And it's those happy accidents or those neat

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surprises that make music so much fun and personal

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for yourselves. And that it is. So let's now

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dive into the reason we're here tonight. And

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that is to talk all things Shinedown. And I'd

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like to kind of start. from the beginning, maybe

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a top -level approach here. Sure. Could you talk

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about the evolution of the band's music that's

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taken place over the last 24 years and counting?

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Oh, wow. How much time do we have? You know,

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it's grown. I look back on it now, and when Shinedown

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started, I was 25 years old. And I played like

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a 25 -year -old person, a 25 -year -old musician.

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I only had that much experience getting in there.

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And the rest of us as well, we were all around

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the same age. Brent was a little younger. Jason

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at the time and Brad at the time were a couple

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years older. So we were right within a year or

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two of each other. And we were playing what we

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felt at the time and what we grew up with. And

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the early sound of Shinedown, I think, had...

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Quite a bit more Southern influence that came

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from Jason and Brad growing up in the Jacksonville

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area, in the Northeast Florida area. I grew up

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in the panhandle of Florida, but I'm a military

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brat, so my exposure was different. They grew

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up deep in that scene of Southern rock and Skinner

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and stuff and all those things. And Brent being

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a Tennessee boy who grew up primarily listening.

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Not to Southern Rock, though he's a Southern

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Rock fan, but he also listened to a lot of Motown

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and things like that. He learned to sing by singing

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Otis Redding because his parents were very religious.

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And when they found his poison cassette in his

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house, they threw it out and said, you need to

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listen to this, you know? So it wasn't allowed.

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So what was cool about Shinedown, especially

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in those early days, was the mix of those things

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and the excitement of being new to professional

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studios and new to that side of the craft that.

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I think has been honed over the years. And then

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it grew, you know, the second record was a total

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different journey. It was more trippy and things

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of that nature. And it was kind of more raw because

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we were doing it almost home studio based because

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we didn't have a lot of time to do it because

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the label's like, okay, first record's done.

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We need another one in six months. And, you know,

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we were having to write and get it done. And

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there was a lot of pressure because though the

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first record did really well, it didn't do well

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enough to where they weren't worried about us

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having a second record. You know, it was like,

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we got to get through this hump or we might not

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be here. And the band at the time was pretty

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tumultuous. There was a lot of infighting. There

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was a lot of things going on that made it difficult

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to be, even though we were a band of brothers,

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it was just a hard time. And then growing into

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Sound of Madness is when I kind of everything

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changed. And there was, you know, Dave Bassett

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was brought in with Brent to write some stuff.

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And, you know, the writing, I think, became more

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sophisticated. Brent really focused more. on

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his lyrics in there he had something to prove

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all of a sudden this thing went off in his brain

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and there was more of something to prove like

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you listen to sound of madness the song compared

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to like 45 45 was like uh the world's looking

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in at me sound of madison's like i'm gonna be

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that person and that's what really changed the

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trajectory of our career and then you know also

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we had new members coming in so when we got to

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like amaryllis and threat and attention up through

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planet it was really having the you know eric

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is a juggernaut of a songwriter and player and

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engineer and producer you know he's produced

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the last two and a half records and he's produced

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this one that we're working on now so that changed

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our sound but i think for the better we became

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more open to well if we want to put a keyboard

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on the song or we want to put a drum machine

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on the song why not you know we don't it's always

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going to come down to vocals bass drums guitar

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But we were willing to just throw caution to

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the wind and go, this is what the song needs.

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I don't care if it needs a mandolin and me clapping

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in the background. And that's the drum track.

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That's the drum track. And I think we got better

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as songwriters and better as players. I would

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hope anybody who's in this industry continues

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to grow as a player. I still take lessons. I

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still work on my craft. There's still a lifetime's

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worth of things to learn on my drums and to learn

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in the studio and how to make these things happen.

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Every time I get with Eric, I'm like, dude, you're

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taking me to college every time. I learn a new

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technique and I learn a new thing. And we learned

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so much early, God rest his soul. But Doug, the

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engineer on Sound of Madness, Amaryllis, and

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Attention to Tension, and I think a song or two

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on Threat, unfortunately passed away. And his

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knowledge was scary because he's an LA guy. He

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grew up in those studios. He just knew how to

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engineer. And he'd be like, what do you mean

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you haven't tried this mic technique where I

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take this? crappy radio shack mic and i put it

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against this wall and i you know blow it up with

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a compressor but check out what it does to the

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drums when you turn it up and you're like god

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how did you think of that you know so you learn

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over the years and you hone your craft and you

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know in a very long i can be long -winded but

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a very long story short i think we've just become

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better at our personal instruments better song

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crafters and a little bit less cautious, a little

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bit more of, I don't give a shit. This is the

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song we're going to do. This is the songs that

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you're going to get from Shinedown. And we never,

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you can never change Brent's voice, right? And

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never leave Shinedown. It still sounds like Shinedown,

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but I don't want to make leave a whisper again.

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I love that time period. And I have nothing but

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fond memories and I have no regrets over our

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whole lexicon of music, but I don't want to make

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that again. I got to make what we're feeling

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right now. And that's, that's the most important

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thing. You brought up something about working

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with Eric and what he's brought to you. And I

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talked to him about his album that's being released

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this week as well. But I'd like to talk about

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your writing and approach to recording drums,

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because one thing that I mentioned to Eric that

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has always impressed me about what you bring

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to the album is you're always willing to play

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to the strength of the song, no matter what that

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is, be it the timing changes in unity. to where

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you kind of sit back in a song like A Symptom

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of Being Human from Planet Zero. How do you decide,

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is it during the writing or the recording session

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where you should be laying into a song and bringing

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that metal background into play or sitting back

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and letting kind of the song breathe and speak

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for itself? It definitely becomes song dependent

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and it happens in the studio when it's time to

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track the drums. Because a lot of times... Within

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Shinedown, I get presented a demo form and it's

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going to have, you know, a finger drummed programmed

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kind of placeholder that goes, OK, I see where

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this is going. And then it's up to me to form

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what's going to happen in the fills and things

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of that nature, because I am unabashedly not

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apologetic to say that I am not a songwriter.

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I do not have that ability. I think in rhythms.

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I don't think in melody. I just I am a proud

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drummer. And that being said, you know, early

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in your career as a drummer. if you are a drummer

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and they're taking this, you want to play all

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those cool things you learned. And it's look

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at me, look at me, look at me, look at this cool

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thing I did. Look at these stick twirls, all

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these things. And there is a place for someone

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and maybe certain bands that you're in. You know,

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if you listen to like a rush mastodon, whatever

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you name it, those drummers have a little bit

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more freedom to go look at me, look at me. And

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they play a little bit more wild stuff. That's

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not what Shinedown is. And for me, probably when

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it goes back to even the last question you asked

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about the evolution of Shinedown and their songwriting.

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I've learned humility in my music and in my playing.

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And I think that's the most important thing a

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drummer can learn is humility in your playing

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to play the song. You are not the star. You are

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the drummer. You are the support. And you should

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wear that as a badge of courage and a badge of

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honor. That's something to be proud of, to sit

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back and go, I'm going to hold this band down

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and make that song feel as good as that song

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should feel. every single time so when i'm there

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live and i'm locked in and everything's vibing

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i can look at my guys who could be a little bit

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crazier maybe get off a little bit on the guitar

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or you know something falls apart i'm not gonna

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f up because i'm holding it down for my band

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i'm the support and when it comes to recording

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that's when that really happens like what does

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this song need and we'll talk about it sometimes

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especially with eric and i we have such a good

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working relationship at this point that, you

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know, he's not afraid to go, oh, Barry's going

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to get pissed because I want to change this.

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It's like, no, what's your idea? What do you

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hear? What are you hearing that I'm not hearing?

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Or vice versa. I go to him and go, hey, man,

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it'd be really cool if we did a little clap in

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this area or a tambourine here. What do you think

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about a shaker tambourine mix? And he'll go,

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that's too much because it's going to step on

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the vocals here. Oh, you're right, because you

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already hear the vocals and I haven't heard them

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yet. We're doing the drum track. So it's those

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kind of conversations, especially when you're

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starting from the ether to go. Yeah, I think

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that's a good idea. But that fill, as cool as

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it was, can you shorten it a bar? Why? It was

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a cool fill. He's like, yeah, it was. But the

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vocal is still going right there and you're stepping

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all over it. Cool. Let's do a shorter fill or

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a longer fill. Hey, man, we need this to build

00:11:00.190 --> 00:11:02.049
into this chorus where everything's just going

00:11:02.049 --> 00:11:04.789
to come in and hammer you in the face. That's

00:11:04.789 --> 00:11:06.470
what I'm going to do. And that's my job is to

00:11:06.470 --> 00:11:09.110
service the song. And that's I pride myself on

00:11:09.110 --> 00:11:10.730
that. And my favorite drummers are our groove

00:11:10.730 --> 00:11:13.110
drummers, more so than the show off drummers,

00:11:13.149 --> 00:11:15.580
as much as I appreciate their talents. I'd much

00:11:15.580 --> 00:11:17.240
rather listen to Charlie Watts from the stones.

00:11:17.240 --> 00:11:20.620
God rest his soul. Just lay it down or Steve

00:11:20.620 --> 00:11:22.879
Jordan, just laying it down. That makes you feel

00:11:22.879 --> 00:11:24.519
something. Drums are supposed to make you feel

00:11:24.519 --> 00:11:26.480
something and just nod your head. And that's

00:11:26.480 --> 00:11:29.320
what I want to do. Oh, Steve Jordan, man. I saw

00:11:29.320 --> 00:11:31.059
him this past summer with the Rolling Stones.

00:11:31.139 --> 00:11:34.440
And as sad as I am that Charlie wasn't back there,

00:11:34.580 --> 00:11:38.059
he holds down a groove like no other. And he

00:11:38.059 --> 00:11:41.279
brought this swagger to the Rolling Stones that

00:11:41.279 --> 00:11:43.789
I don't want to say that. is better because it's

00:11:43.789 --> 00:11:45.590
not better. It's just different. And there's

00:11:45.590 --> 00:11:47.629
something about his playing that it's distinctly

00:11:47.629 --> 00:11:49.549
Steve Jordan. So I love that. Yeah, I agree.

00:11:49.669 --> 00:11:52.639
And I think it brought his, he brought. Not that

00:11:52.639 --> 00:11:54.220
he's a super young man, but he brought youth

00:11:54.220 --> 00:11:56.500
back to the stones. You know, I think there was

00:11:56.500 --> 00:11:57.879
an article. It was either Jordan was talking

00:11:57.879 --> 00:12:00.519
or it was Mick Jagger. But he was like, yeah,

00:12:00.580 --> 00:12:02.299
also we're playing the tempos that we used to

00:12:02.299 --> 00:12:04.080
play back in the 60s. And we hadn't done that

00:12:04.080 --> 00:12:05.600
in a while because, you know, we're all getting

00:12:05.600 --> 00:12:07.559
older. And Steve Jordan's like, no, this is the

00:12:07.559 --> 00:12:09.440
tempo you used to do it at. And so it's pushing

00:12:09.440 --> 00:12:11.559
them, which is entertaining, too. It's neat to

00:12:11.559 --> 00:12:13.639
see how those things happen, you know? Oh, 100

00:12:13.639 --> 00:12:16.220
percent. Yeah. You said something before that

00:12:16.220 --> 00:12:18.000
I actually want to challenge you on because you

00:12:18.000 --> 00:12:20.419
said that you're not a writer. But I'm going

00:12:20.419 --> 00:12:22.580
to challenge that a little bit because I have

00:12:22.580 --> 00:12:26.360
dents in my steering wheel from the sound of

00:12:26.360 --> 00:12:30.340
madness and adrenaline that say otherwise, because

00:12:30.340 --> 00:12:35.580
the drums really are a piece of what makes those

00:12:35.580 --> 00:12:39.620
songs so massive and so emotional. The opening

00:12:39.620 --> 00:12:42.919
drums in the sound of madness are so thunderous

00:12:42.919 --> 00:12:46.679
that when that kicks. you feel it in your bones.

00:12:46.799 --> 00:12:49.360
And I want to applaud that contribution that

00:12:49.360 --> 00:12:51.000
you bring to the band. Thank you. Because, you

00:12:51.000 --> 00:12:52.519
know, the drummer's got to get some love every

00:12:52.519 --> 00:12:55.179
now and then. And as a bass player, I look out

00:12:55.179 --> 00:12:57.360
for my rhythm section, man. That's right. I'll

00:12:57.360 --> 00:12:59.259
take that love and I appreciate it. I guess in

00:12:59.259 --> 00:13:01.779
the industry side of the things, drums is not

00:13:01.779 --> 00:13:03.679
part of songwriting. How that happened over the

00:13:03.679 --> 00:13:05.440
years, I have no idea. But in the industry, the

00:13:05.440 --> 00:13:07.860
business side of things, doesn't matter what

00:13:07.860 --> 00:13:09.299
I play, it's not part of the songwriting. It's

00:13:09.299 --> 00:13:12.100
about the melody. And so maybe that's a small

00:13:12.100 --> 00:13:14.139
point of contention with me because I think it

00:13:14.139 --> 00:13:17.279
takes, all sums to make the song great. You know,

00:13:17.279 --> 00:13:19.360
if a different drummer played on second chance,

00:13:19.519 --> 00:13:20.960
it might've been a different fill there. And

00:13:20.960 --> 00:13:23.299
that's one of my most recognized fills. It's

00:13:23.299 --> 00:13:25.860
simple, super simple, but it sticks out. And

00:13:25.860 --> 00:13:27.320
that's a part in the song that really makes that

00:13:27.320 --> 00:13:30.039
song what it is. So poignant, absolutely poignant.

00:13:30.080 --> 00:13:32.620
Now on the flip of the heavier side of things,

00:13:32.700 --> 00:13:34.580
when you have a song, like a symptom of being

00:13:34.580 --> 00:13:37.759
human, the first time I heard that song, the

00:13:37.759 --> 00:13:41.480
hair on my arm stood up, not just from. the lyric

00:13:41.480 --> 00:13:43.399
perspective, because it's a song that hits home

00:13:43.399 --> 00:13:46.200
for a lot of people and it's made a lot of important

00:13:46.200 --> 00:13:50.740
conversations happen. But musically, the fact

00:13:50.740 --> 00:13:53.080
that you just sat back and kind of did this shuffle

00:13:53.080 --> 00:13:57.519
beat made the song a hundred times more powerful

00:13:57.519 --> 00:14:01.000
than had you brought the whole kid into the fold.

00:14:01.080 --> 00:14:02.879
And I'd love to know the mindset behind that

00:14:02.879 --> 00:14:06.740
because the song is perfect in its simplicity

00:14:06.740 --> 00:14:08.899
almost. And I don't mean to make that sound as

00:14:08.899 --> 00:14:10.820
a negative. No, no, no. I think some of the best

00:14:10.820 --> 00:14:12.600
songs out there are perfect in their simplicity

00:14:12.600 --> 00:14:15.039
because it's a tendency for all of us, especially

00:14:15.039 --> 00:14:17.220
when producing and recording to throw the kitchen

00:14:17.220 --> 00:14:18.820
sink at it. And then sometimes you just have

00:14:18.820 --> 00:14:22.879
too much. I think for that song, I remember vividly

00:14:22.879 --> 00:14:24.659
being in the studio with Eric and talking about

00:14:24.659 --> 00:14:26.559
it because the demo was quite a bit different,

00:14:26.639 --> 00:14:28.360
even maybe a little more sparse. We just had

00:14:28.360 --> 00:14:30.419
it wasn't wasn't an afterthought. The vocals

00:14:30.419 --> 00:14:32.100
were there and the melody was there. But the

00:14:32.100 --> 00:14:34.480
music, the backing music really was just very

00:14:34.480 --> 00:14:38.080
basic and rudimentary in a demo format. And in

00:14:38.080 --> 00:14:39.700
talking about it, it's like we need the song

00:14:39.700 --> 00:14:42.379
to grow because tempo wise, if it didn't grow,

00:14:42.639 --> 00:14:44.860
it could fall flat easily, even though the lyrics

00:14:44.860 --> 00:14:46.980
are so good. It needs to just constantly grow

00:14:46.980 --> 00:14:49.000
as the song is going on to keep the interest

00:14:49.000 --> 00:14:53.159
of the listener. And we looked at it as I remember

00:14:53.159 --> 00:14:55.100
he and I talking and I don't know which one of

00:14:55.100 --> 00:14:56.580
us said it first, but we're like, we need to

00:14:56.580 --> 00:14:59.100
treat this like an orchestra. And so I turned

00:14:59.100 --> 00:15:01.320
on my high school and college brain when I played

00:15:01.320 --> 00:15:03.159
in the orchestras and stuff and went, we're going

00:15:03.159 --> 00:15:04.720
to treat this like this. So I didn't even set

00:15:04.720 --> 00:15:07.059
up a drum kit. All those ports were recorded.

00:15:07.720 --> 00:15:11.179
as if it were a concert setting. Upright bass

00:15:11.179 --> 00:15:14.100
drum, concert snare drum, cymbals were done afterwards.

00:15:14.259 --> 00:15:17.279
It was absolutely done as if I were in a orchestra.

00:15:17.659 --> 00:15:19.500
And that's, I think, what gave the lift to the

00:15:19.500 --> 00:15:22.539
song. You listen to certain orchestra pieces

00:15:22.539 --> 00:15:24.659
where when the drums finally come in, it's like,

00:15:24.759 --> 00:15:27.799
oh, oh, it just hits you. That was the whole

00:15:27.799 --> 00:15:31.200
premise behind Symptom. I know that you did not

00:15:31.200 --> 00:15:33.419
have any part of the lyric writing in this one.

00:15:33.519 --> 00:15:35.919
I know that that was between Eric and Brent,

00:15:37.610 --> 00:15:40.350
Heavier subject, mental health, anxiety. It's

00:15:40.350 --> 00:15:43.029
something a lot of people struggle with. I personally

00:15:43.029 --> 00:15:47.549
struggle with it. And there's such a humble connection

00:15:47.549 --> 00:15:51.230
in these lyrics to these songs. And I'm curious

00:15:51.230 --> 00:15:54.049
to know if these songs are as meaningful to the

00:15:54.049 --> 00:15:57.809
band as the fans that have really found hope

00:15:57.809 --> 00:16:03.750
and purpose from these words. Yes and no. I think

00:16:03.750 --> 00:16:06.720
it hits differently. For the fans, it's something

00:16:06.720 --> 00:16:08.480
they can relate to and take as their own as,

00:16:08.500 --> 00:16:10.320
hey, they're writing this about me and it's an

00:16:10.320 --> 00:16:13.720
outlet. For us, it's the therapy of getting those

00:16:13.720 --> 00:16:15.279
feelings out because it's a true story about

00:16:15.279 --> 00:16:18.080
us. You know, that's the one thing I love about

00:16:18.080 --> 00:16:21.259
my band. The one thing I cherish about Shinedown

00:16:21.259 --> 00:16:23.519
and always have is the lyrics are true stories.

00:16:23.759 --> 00:16:27.139
Every last one of them. And it's not about, you

00:16:27.139 --> 00:16:29.299
know, just making something up. So that song

00:16:29.299 --> 00:16:31.399
is about mental health because it's about Eric's

00:16:31.399 --> 00:16:34.139
head. And Brent looking at him and them looking

00:16:34.139 --> 00:16:37.120
at each other. And it's about dealing with that

00:16:37.120 --> 00:16:39.840
and realizing that all of us have our issues

00:16:39.840 --> 00:16:41.559
and the things we go through on any day. You

00:16:41.559 --> 00:16:43.100
know, I'm kind of the rock of the band. I'm the

00:16:43.100 --> 00:16:45.360
one that takes care of my boys. And I'm the one

00:16:45.360 --> 00:16:47.460
that all the problems for my band and crew come

00:16:47.460 --> 00:16:49.279
to me. They always come through me because I

00:16:49.279 --> 00:16:51.960
get to talk to or something. But everybody, I'm

00:16:51.960 --> 00:16:54.379
that person that I'm the vampire. They just dump

00:16:54.379 --> 00:16:57.620
it all on me. And I'm there to support my guys

00:16:57.620 --> 00:16:59.860
because, yes, I have my good days and bad days.

00:17:00.830 --> 00:17:03.009
and the human as well, but I'm a little more

00:17:03.009 --> 00:17:04.950
solid than they are. I don't deal with the same

00:17:04.950 --> 00:17:07.029
things they do. You know, Brent with his past

00:17:07.029 --> 00:17:09.910
addiction issues, Eric with his depression, that's

00:17:09.910 --> 00:17:13.289
just ungodly. And even Zach, he's a very emotional

00:17:13.289 --> 00:17:15.509
guy. And I think all artists really truly are

00:17:15.509 --> 00:17:18.250
led by emotion more so than most. I think we

00:17:18.250 --> 00:17:21.230
have to be to be creative. And I think, you know,

00:17:21.250 --> 00:17:24.890
that's why Eric and Brent are so good at lyrics.

00:17:25.339 --> 00:17:26.880
Because I think they're so emotionally damaged.

00:17:27.940 --> 00:17:30.079
They can just get it out there and that's their

00:17:30.079 --> 00:17:32.440
therapy. So I think, are these songs equally

00:17:32.440 --> 00:17:35.000
as important to us? Yes, in that it is our therapy

00:17:35.000 --> 00:17:36.839
and we're able to get it out there. But when

00:17:36.839 --> 00:17:39.019
people outside of us, when the fans take ownership,

00:17:39.359 --> 00:17:41.720
we have a different love with that song because

00:17:41.720 --> 00:17:43.940
now we get to see it affect other people and

00:17:43.940 --> 00:17:46.680
like, holy shit, we put that together and they

00:17:46.680 --> 00:17:49.339
get to feel that. And when I look at the audience

00:17:49.339 --> 00:17:51.859
and I see people crying or laughing or jumping

00:17:51.859 --> 00:17:55.980
and that emotion. It's like a drug for me in

00:17:55.980 --> 00:17:59.599
that we created this for you and you're able

00:17:59.599 --> 00:18:01.599
to feel something and have an escape from your

00:18:01.599 --> 00:18:04.619
everyday life for just a moment. Best thing ever.

00:18:05.480 --> 00:18:09.680
What was the first Shinedown song for you personally

00:18:09.680 --> 00:18:14.140
that made you realize that the band had something

00:18:14.140 --> 00:18:19.740
special? 45. All the way back? Yeah. Because

00:18:19.740 --> 00:18:22.460
I was given that in a demo form for my audition

00:18:22.460 --> 00:18:24.359
for the band. I was given that and lacerated

00:18:24.359 --> 00:18:26.299
off the first record because I was the, I think,

00:18:26.299 --> 00:18:28.680
seventh drummer to try out. And so we go into

00:18:28.680 --> 00:18:30.339
a practice space here in Jacksonville, Florida,

00:18:30.420 --> 00:18:33.380
and they give me those two songs and learn these,

00:18:33.440 --> 00:18:35.279
learned them, played them. I go, good, cool.

00:18:35.380 --> 00:18:37.440
You know the songs. Tomorrow we want you to go

00:18:37.440 --> 00:18:40.160
in a studio here locally and just record a demo

00:18:40.160 --> 00:18:41.519
with real drums on it, because at that point

00:18:41.519 --> 00:18:43.680
it was just a demo without drums or whatever.

00:18:44.220 --> 00:18:47.880
Great. So we're going to do 45. No problem. Go

00:18:47.880 --> 00:18:50.519
in there with my busted up kit, old heads because

00:18:50.519 --> 00:18:53.759
I wasn't prepared, some crack cymbals, but it

00:18:53.759 --> 00:18:55.440
had a vibe. And I went in there and I recorded

00:18:55.440 --> 00:19:00.039
45. And it just felt good. And it was great.

00:19:00.799 --> 00:19:03.500
Fast forward, we end up in L .A. We finally get

00:19:03.500 --> 00:19:05.819
the green light from Atlantic Records. We finally

00:19:05.819 --> 00:19:08.880
found a name for ourselves. We're in L .A. recording

00:19:08.880 --> 00:19:11.019
the first record. And we record this massive

00:19:11.019 --> 00:19:14.259
version of 45 and put an orchestra on it, did

00:19:14.259 --> 00:19:16.559
all these things. And it was great. Getting ready

00:19:16.559 --> 00:19:19.059
to release the record, our A &R guy goes, man,

00:19:19.099 --> 00:19:21.359
there's something special about the demo version

00:19:21.359 --> 00:19:25.339
of 45. And we all agreed. And that's the one

00:19:25.339 --> 00:19:27.960
you hear on the record. That's my audition. Wow.

00:19:28.039 --> 00:19:30.980
That's how I got into this band was that recording

00:19:30.980 --> 00:19:33.019
that song and that busted up kit. That's the

00:19:33.019 --> 00:19:37.119
original demo version of 45 that changed everything.

00:19:37.259 --> 00:19:39.359
But we all knew there was something in that song.

00:19:39.420 --> 00:19:41.279
And that was the first time I knew this band

00:19:41.279 --> 00:19:45.569
has something. Wow. That reminds me of. When

00:19:45.569 --> 00:19:48.869
I read the story about Dimebag using the four

00:19:48.869 --> 00:19:51.670
track demo for the opening riff to Cowboys from

00:19:51.670 --> 00:19:54.470
Hell on the actual album, because they couldn't

00:19:54.470 --> 00:19:57.309
replicate the sound that they got from that cassette

00:19:57.309 --> 00:20:00.549
in the studio. Sometimes you just get handed

00:20:00.549 --> 00:20:03.490
a gift and you just got to take it. Well, as

00:20:03.490 --> 00:20:06.289
the band is building up to Shinedown 8, there

00:20:06.289 --> 00:20:10.369
are a ton of songs from the catalog that have

00:20:10.369 --> 00:20:14.089
become staples. So much so that you have. More

00:20:14.089 --> 00:20:17.869
songs than you can play in any given night at

00:20:17.869 --> 00:20:20.269
a concert, unless you did the three, four hours

00:20:20.269 --> 00:20:21.950
for a night. I don't think Brent's voice would

00:20:21.950 --> 00:20:26.150
last three, four hours. But there are some tracks

00:20:26.150 --> 00:20:28.849
that I think are important to the band's legacy

00:20:28.849 --> 00:20:31.849
personally, maybe, but Adrenaline, the opening

00:20:31.849 --> 00:20:35.069
track from Amaryllis, or I Dare You from Us and

00:20:35.069 --> 00:20:38.009
Them that haven't been broken out over the last

00:20:38.009 --> 00:20:41.279
few tour cycles. How does the band make the difficult

00:20:41.279 --> 00:20:44.200
decision over which songs get kind of shuffled

00:20:44.200 --> 00:20:48.000
in and out when crafting that tour set list as

00:20:48.000 --> 00:20:53.240
the catalog continues to grow? It's very difficult.

00:20:53.299 --> 00:20:56.099
We fight like cats and dogs about it sometimes.

00:20:56.680 --> 00:20:58.559
Zach is really good at putting a set list together.

00:20:58.680 --> 00:21:00.079
And a lot of times he'll come up with like three

00:21:00.079 --> 00:21:01.700
or four. And then we kind of talk about those

00:21:01.700 --> 00:21:04.720
because Eric and I just. you guys just tell us

00:21:04.720 --> 00:21:07.180
what you want to play because at this point i'm

00:21:07.180 --> 00:21:08.960
tired of arguing with you and the songs i want

00:21:08.960 --> 00:21:10.619
to hear maybe not the ones and then we really

00:21:10.619 --> 00:21:12.980
have to look at our fans and and you can you

00:21:12.980 --> 00:21:15.119
know it's one of the great things about the internet

00:21:15.119 --> 00:21:17.819
now is you can look at the plays of songs you

00:21:17.819 --> 00:21:20.359
can look at the views of videos you can go that

00:21:20.359 --> 00:21:22.420
you know who would have thought that you know

00:21:22.420 --> 00:21:25.420
the monsters video is one of our biggest watched

00:21:25.420 --> 00:21:27.839
songs of all time well we have to play that song

00:21:28.410 --> 00:21:30.150
But we want to play some of the new stuff. And,

00:21:30.150 --> 00:21:31.549
you know, I'd love to play Adrenaline again.

00:21:31.609 --> 00:21:33.529
That's a fun one for me to play live. Oh, it's

00:21:33.529 --> 00:21:36.069
a badass. I'd love to play Black Cadillac. You

00:21:36.069 --> 00:21:38.490
know, Black Cadillac was a blast. And that actually

00:21:38.490 --> 00:21:40.630
was a single in the UK. So when we go there,

00:21:40.710 --> 00:21:42.289
we can play that song over here. People don't

00:21:42.289 --> 00:21:44.509
really know it. It's a deep cut. Cyanide Sweet

00:21:44.509 --> 00:21:46.410
Tooth off of Sound of Madness. Another fun one

00:21:46.410 --> 00:21:48.950
that I love. It's just getting harder and harder,

00:21:49.029 --> 00:21:50.730
you know, and you can only fit so much in 90

00:21:50.730 --> 00:21:53.109
minutes and there's curfews. So we can only go

00:21:53.109 --> 00:21:55.670
up to the curfew. You know, I'd love to play

00:21:55.670 --> 00:21:58.140
three more songs. All right, so I have to follow

00:21:58.140 --> 00:22:00.599
up then. You're giving full carte blanche. The

00:22:00.599 --> 00:22:02.559
band just says, you know what, Barry? It's on

00:22:02.559 --> 00:22:05.420
you. Come up with a set list tonight. Would the

00:22:05.420 --> 00:22:08.339
set list be similar to what people see on any

00:22:08.339 --> 00:22:10.539
given night, or would you be throwing out some

00:22:10.539 --> 00:22:13.539
personal curveballs? It would definitely not

00:22:13.539 --> 00:22:17.240
be the norm. There would be curveballs. I can

00:22:17.240 --> 00:22:19.619
tell you there's certain songs I wouldn't play.

00:22:19.660 --> 00:22:21.240
I don't want to hear Simple Man again. It's not

00:22:21.240 --> 00:22:22.839
even our song. I don't want to hear it anymore.

00:22:23.000 --> 00:22:25.160
I know the fans love it. I'm over it. I'm over

00:22:25.160 --> 00:22:27.920
not playing during that five minute escapade

00:22:27.920 --> 00:22:30.720
of a Skinner song. That one's gone. So it's easier

00:22:30.720 --> 00:22:32.460
to tell you what I guess I would get rid of for

00:22:32.460 --> 00:22:34.960
a minute. 45, as much as my heart loves that

00:22:34.960 --> 00:22:37.799
song, kind of overplaying it. Let me put something

00:22:37.799 --> 00:22:41.079
else in. I would probably play. I dare you again.

00:22:41.160 --> 00:22:43.619
I would play cyanide. I get some deep cuts in

00:22:43.619 --> 00:22:46.220
there. One of Brent's least favorite songs that

00:22:46.220 --> 00:22:48.180
we've ever recorded. Better version of the first

00:22:48.180 --> 00:22:50.259
record. I actually really enjoy playing because

00:22:50.259 --> 00:22:51.740
the drum parts on there a lot of fun. So I'd

00:22:51.740 --> 00:22:54.400
make him sing that again. And then. You know

00:22:54.400 --> 00:22:57.559
what I do is I do a, I would probably do a poll

00:22:57.559 --> 00:23:00.579
on our socials and go, what do you guys really

00:23:00.579 --> 00:23:03.019
want to hear that are the deep cuts? I know you

00:23:03.019 --> 00:23:04.460
want to hear Second Chance. I know you want to

00:23:04.460 --> 00:23:05.880
hear Symptom. I know you want to hear Sound of

00:23:05.880 --> 00:23:08.480
Madness. And I get it. We should play those songs.

00:23:09.240 --> 00:23:11.539
What are the other ones? And I'd build a set

00:23:11.539 --> 00:23:13.400
list completely off of that. And then I'd end

00:23:13.400 --> 00:23:16.430
on a big song. I was going to say, I told Eric

00:23:16.430 --> 00:23:19.569
that one of the songs that I have for the last

00:23:19.569 --> 00:23:22.470
four years wondered how it didn't make attention

00:23:22.470 --> 00:23:25.369
attention was A New Way to Die, the song that

00:23:25.369 --> 00:23:28.809
ended up on the Walmart exclusive download edition.

00:23:28.910 --> 00:23:32.470
And Japan got that track on the CD, but us in

00:23:32.470 --> 00:23:35.829
the US didn't. That song is a, pardon the pun,

00:23:36.009 --> 00:23:39.210
an absolute monster. That would be my vote. That

00:23:39.210 --> 00:23:40.950
would be fun because we've never played that

00:23:40.950 --> 00:23:44.319
together as a band live ever. Really? That was

00:23:44.319 --> 00:23:46.599
recorded, and then we never looked at it again.

00:23:46.920 --> 00:23:49.000
I've never played that song with my band members

00:23:49.000 --> 00:23:51.420
all in one room, ever. So that would actually

00:23:51.420 --> 00:23:54.220
be a lot of fun. Well, on the flip side to the

00:23:54.220 --> 00:23:58.240
deeper cuts, are there any Shinedown songs that

00:23:58.240 --> 00:24:01.480
you guys could never skip for fear of the chaos

00:24:01.480 --> 00:24:06.440
that might ensue? Second Chance, for sure. Symptom,

00:24:06.440 --> 00:24:09.480
I think at this point, Monsters. Unfortunately,

00:24:09.599 --> 00:24:12.579
Simple Man. Because we tried that one. We dropped

00:24:12.579 --> 00:24:16.720
it once and we got a lot of backlash. Enemies,

00:24:16.740 --> 00:24:19.920
especially live. People love that song live.

00:24:19.980 --> 00:24:21.900
And it's a fun one to play. I don't mind playing

00:24:21.900 --> 00:24:25.119
it. Unity. And I don't enjoy playing Unity. I

00:24:25.119 --> 00:24:27.599
don't. Really? I'm not going to lie. That surprises

00:24:27.599 --> 00:24:29.519
me because there's something that's going on

00:24:29.519 --> 00:24:31.240
in the song. I don't want to say it's necessarily

00:24:31.240 --> 00:24:33.700
the timing. Yeah, I know what you're talking

00:24:33.700 --> 00:24:36.500
about. It kind of does that shift, which sometimes

00:24:36.500 --> 00:24:38.869
I find. distracting for my own self when I'm

00:24:38.869 --> 00:24:40.589
playing, because that's one of those where I

00:24:40.589 --> 00:24:42.150
played for what the song needed, but it wasn't

00:24:42.150 --> 00:24:45.829
exactly a natural motion for me. What I wanted

00:24:45.829 --> 00:24:47.789
to play in my head was more like coming to that

00:24:47.789 --> 00:24:49.630
compromise when we were creating that song in

00:24:49.630 --> 00:24:51.809
the studio, like we needed to do this. Can you

00:24:51.809 --> 00:24:53.710
play this? Yeah, but I wouldn't play it that

00:24:53.710 --> 00:24:55.910
way. Yeah, but we need you to play that. Cool.

00:24:56.009 --> 00:24:57.589
Let me play that. So when you take it to a live,

00:24:57.630 --> 00:25:00.109
I'm always going, this doesn't feel natural to

00:25:00.109 --> 00:25:02.130
me. It's not what I would have necessarily done.

00:25:02.210 --> 00:25:04.230
Not that it'd be very different, but it's like

00:25:04.230 --> 00:25:06.970
writing with your opposite hand for a second.

00:25:07.400 --> 00:25:09.559
I wouldn't have done that, but that's what the

00:25:09.559 --> 00:25:11.160
song needs. So I'm going to have to do that.

00:25:11.500 --> 00:25:13.519
So that's why unity kind of gets under my skin,

00:25:13.599 --> 00:25:15.799
but it's a crowd favorite that, and it's a great

00:25:15.799 --> 00:25:17.440
song and it should be played and it's got a great

00:25:17.440 --> 00:25:20.980
message. Well, are there any plans on this tour

00:25:20.980 --> 00:25:23.519
this year to maybe shuffle around some songs,

00:25:23.519 --> 00:25:25.279
some surprises? Cause you've done that in the

00:25:25.279 --> 00:25:27.619
past where the band will disperse throughout

00:25:27.619 --> 00:25:30.400
the audience and you'll do a kind of a random

00:25:30.400 --> 00:25:32.240
pick of the night. Are there plans to do that

00:25:32.240 --> 00:25:34.450
this time around too? We've had a lot of talks

00:25:34.450 --> 00:25:35.930
about that. Just recently, we were in New York

00:25:35.930 --> 00:25:38.829
together filming the videos and stuff for the

00:25:38.829 --> 00:25:42.630
latest releases. Dance Could Dance and 365. Yes.

00:25:43.089 --> 00:25:44.990
Will there be something? There will be. Have

00:25:44.990 --> 00:25:46.690
we pinpointed what that's going to be yet? We

00:25:46.690 --> 00:25:49.410
haven't. Is the show going to be bigger, better,

00:25:49.450 --> 00:25:50.990
different than what we did last time? It has

00:25:50.990 --> 00:25:53.089
to be. You know, we have to always change it

00:25:53.089 --> 00:25:55.109
up. It's, you know, still going to be those songs,

00:25:55.150 --> 00:25:57.349
but we definitely have to put on, you know, we

00:25:57.349 --> 00:25:59.769
pride ourselves on putting on a show and we appreciate

00:25:59.769 --> 00:26:02.119
the fans that spend the. Shit tons of money it

00:26:02.119 --> 00:26:04.579
takes to go to shows these days because of service

00:26:04.579 --> 00:26:06.200
fees. So we better give them the show and the

00:26:06.200 --> 00:26:07.799
release that they deserve. And we're going to.

00:26:08.380 --> 00:26:11.220
Well, while you were in New York, you also shot

00:26:11.220 --> 00:26:13.940
some footage that went out on social media of

00:26:13.940 --> 00:26:16.460
the band in front of this venue. It's off the

00:26:16.460 --> 00:26:19.099
top of my head here. Let me think about it. Madison

00:26:19.099 --> 00:26:23.059
Square Garden. Correct me if I'm wrong. This

00:26:23.059 --> 00:26:26.900
is the first time Shinedown's ever played the

00:26:26.900 --> 00:26:28.779
garden. This will be the first time I've ever

00:26:28.779 --> 00:26:31.140
stepped in that venue. How is that possible?

00:26:31.279 --> 00:26:34.160
I feel like that's just impossible over 25 years

00:26:34.160 --> 00:26:36.839
that no bill ever made its way through those

00:26:36.839 --> 00:26:38.900
hallowed doors up from New Jersey. I'm allowed

00:26:38.900 --> 00:26:40.720
to say hallowed doors. Well, they are. I mean,

00:26:40.720 --> 00:26:42.539
it's a bucket list. It's a bucket list place

00:26:42.539 --> 00:26:44.259
to play, especially if you're from the States,

00:26:44.359 --> 00:26:47.420
Red Rocks and their MSG. You know, those are

00:26:47.420 --> 00:26:49.380
the two that everybody says they want to get

00:26:49.380 --> 00:26:52.119
to and maybe the form out in L .A. I don't know

00:26:52.119 --> 00:26:55.440
how because we've been on big tours before. I

00:26:55.440 --> 00:26:57.759
know that Madison Square Garden is notoriously

00:26:57.759 --> 00:27:00.099
hard to play because of the union rules and it

00:27:00.099 --> 00:27:01.740
just being in the heart of the city. It's very

00:27:01.740 --> 00:27:04.420
notoriously hard for bands to play. And, you

00:27:04.420 --> 00:27:07.539
know, it's cost prohibitive to put on shows there.

00:27:07.640 --> 00:27:09.079
That's why a lot of times when you see artists

00:27:09.079 --> 00:27:11.420
play Madison Square Garden, they do two nights.

00:27:11.539 --> 00:27:13.559
First night's to pay for Madison Square. The

00:27:13.559 --> 00:27:17.779
second night's to pay the crew. So it is notoriously

00:27:17.779 --> 00:27:19.799
difficult to play. Well, I guess that explains

00:27:19.799 --> 00:27:22.680
Fish's Bakers doesn't run there then. Yeah, right.

00:27:24.089 --> 00:27:26.509
We just said to our booking agent on this when

00:27:26.509 --> 00:27:29.089
we were, this was probably October, November

00:27:29.089 --> 00:27:30.869
of last year, maybe even before that, we said,

00:27:30.930 --> 00:27:32.690
I don't care what you do, get us in Madison Square

00:27:32.690 --> 00:27:34.470
and get us there on the weekend. We have to play

00:27:34.470 --> 00:27:36.269
it. It's just ridiculous that we haven't. And

00:27:36.269 --> 00:27:40.069
I am pinching myself that I get to do it. And

00:27:40.069 --> 00:27:42.390
actually, it's funny you ask. I was sitting at

00:27:42.390 --> 00:27:45.690
the dinner table with my wife and daughter an

00:27:45.690 --> 00:27:48.349
hour ago because we had to eat old person's dinner.

00:27:48.390 --> 00:27:50.470
We eat early because my daughter has swim and

00:27:50.470 --> 00:27:52.190
my daughter has swim in the evening. So we eat

00:27:52.190 --> 00:27:54.259
at like four o 'clock. basketball i know the

00:27:54.259 --> 00:27:56.440
feeling man yeah you get it i'm like what do

00:27:56.440 --> 00:27:58.319
you mean i'm eating at four o 'clock fine because

00:27:58.319 --> 00:28:01.720
she swims from five until eight but um we were

00:28:01.720 --> 00:28:03.420
just talking about you know i'd really like them

00:28:03.420 --> 00:28:07.160
to be at that show but the next weekend is summer

00:28:07.160 --> 00:28:09.700
champs for her swim and she's like dad i don't

00:28:09.700 --> 00:28:12.240
know that i want to miss and i'm like i can't

00:28:12.240 --> 00:28:14.160
be selfish for me just because i want you to

00:28:14.160 --> 00:28:16.019
be there you have to live your life and she takes

00:28:16.019 --> 00:28:18.660
someone very seriously so we'll see what happens

00:28:18.660 --> 00:28:22.450
well I think it's safe to say this is a pretty

00:28:22.450 --> 00:28:26.009
historic show for the band. Is there any chance

00:28:26.009 --> 00:28:28.430
that you guys might consider, I don't know, capturing

00:28:28.430 --> 00:28:31.990
the show for a future live Blu -ray or something

00:28:31.990 --> 00:28:35.089
along those lines? You never know. We haven't

00:28:35.089 --> 00:28:36.390
talked about that. I'll tell you that we did

00:28:36.390 --> 00:28:39.269
record one on the last, the end of the Planet

00:28:39.269 --> 00:28:41.230
Zero tour. And we still haven't released it.

00:28:41.269 --> 00:28:43.250
I'm not sure why. I know the footage is done.

00:28:43.650 --> 00:28:47.170
So I would love to. And I know the fans would

00:28:47.170 --> 00:28:49.569
love something live. And I actually... Personally,

00:28:49.670 --> 00:28:52.289
just as a fan of music, I like to watch the live

00:28:52.289 --> 00:28:55.009
stuff. When I'm watching my favorite bands on

00:28:55.009 --> 00:28:56.890
YouTube or whatever, or even in the early days

00:28:56.890 --> 00:29:00.190
when they'd release a VHS or a DVD, that's the

00:29:00.190 --> 00:29:02.230
way I wanted to see the band. Like the Peter

00:29:02.230 --> 00:29:05.029
Gabriel secret live world tour videos. There

00:29:05.029 --> 00:29:07.410
you go. Oh my God, this is the best show I've

00:29:07.410 --> 00:29:10.650
ever seen in my life. So never say never. Don't

00:29:10.650 --> 00:29:13.470
know yet. All right. Well, I want to turn the

00:29:13.470 --> 00:29:15.650
conversation to philanthropy for a moment here.

00:29:16.250 --> 00:29:18.769
Last year, the band released hot sauces that

00:29:18.769 --> 00:29:21.670
were in conjunction with the Torchbearer Company,

00:29:21.789 --> 00:29:25.250
and that included Attention Attention Mango Habanero

00:29:25.250 --> 00:29:29.509
Sauce, Symptom Chipotle Garlic, and Devour Pineapple

00:29:29.509 --> 00:29:32.130
Jerk, with a portion of the proceeds of these

00:29:32.130 --> 00:29:35.809
going to Musicians on Call, which is a nonprofit

00:29:35.809 --> 00:29:38.930
that brings live music to the bedsides of patients,

00:29:39.269 --> 00:29:42.990
families, and caregivers in hospitals. Can you

00:29:42.990 --> 00:29:46.460
talk about the band's mindset? about giving back

00:29:46.460 --> 00:29:50.619
over the years and why you guys do ventures such

00:29:50.619 --> 00:29:54.119
as this one. I think when you are lucky enough

00:29:54.119 --> 00:29:55.660
to put yourself in a position to where you can

00:29:55.660 --> 00:29:59.839
give back, you should. And the four of us being

00:29:59.839 --> 00:30:01.900
from the backgrounds we come from, from being,

00:30:02.000 --> 00:30:06.140
you know, I guess, you know, we grew up with

00:30:06.140 --> 00:30:08.940
good parents that taught us values, you know,

00:30:08.940 --> 00:30:12.259
and taught us to give instead of take as much

00:30:12.259 --> 00:30:15.039
as you possibly can, you know, and. Now that

00:30:15.039 --> 00:30:19.619
we have the ability to, why wouldn't we? I think

00:30:19.619 --> 00:30:23.200
you should. And I think it warms your heart probably

00:30:23.200 --> 00:30:27.839
more than anything else. It's just what you should

00:30:27.839 --> 00:30:29.920
do if you have the opportunity. If you can drop

00:30:29.920 --> 00:30:31.380
a nickel in a bucket for somebody that really

00:30:31.380 --> 00:30:33.980
needs it, then just do it. And don't tell everybody

00:30:33.980 --> 00:30:36.039
that you do. I don't go out there and say, hey,

00:30:36.039 --> 00:30:37.480
I've done this and this and this and this for

00:30:37.480 --> 00:30:39.319
charity. We've done a lot for different places.

00:30:39.400 --> 00:30:42.220
We have. It's not about the attention you get

00:30:42.220 --> 00:30:44.680
from us. It's just about doing it. I've got the

00:30:44.680 --> 00:30:47.059
ability now. And I want to bring that up because

00:30:47.059 --> 00:30:50.319
back in 2019, I caught the band's tour in Guilford,

00:30:50.400 --> 00:30:53.460
New Hampshire, when it was Shine Down, Bad Flower,

00:30:53.799 --> 00:30:57.460
Dinosaur Pile Up and Broken Hands. And on that

00:30:57.460 --> 00:30:59.940
tour, I'll never forget this. Dinosaur Pile Up

00:30:59.940 --> 00:31:02.819
had the band's stage banner draped over their

00:31:02.819 --> 00:31:05.859
amplifiers because it had broken. And my wife

00:31:05.859 --> 00:31:07.900
and I talked about that. I said, oh, my God,

00:31:07.920 --> 00:31:10.660
this. poor band on the ride home they have this

00:31:10.660 --> 00:31:15.019
opportunity to come from the uk share this tour

00:31:15.019 --> 00:31:17.079
of the states they're introducing their music

00:31:17.079 --> 00:31:20.099
to people all over the country what a shit thing

00:31:20.099 --> 00:31:22.259
to happen to them that it broke and not even

00:31:22.259 --> 00:31:25.259
a couple of days later i see the article that

00:31:25.259 --> 00:31:28.059
you guys went out and got them a new backdrop

00:31:28.059 --> 00:31:32.119
for the rest of the tour that's unheard of usually

00:31:32.119 --> 00:31:35.930
the vibe is that It's kind of a dog eat dog world

00:31:35.930 --> 00:31:37.809
on the rock scene, but you guys are going against

00:31:37.809 --> 00:31:40.009
that grain and showing that it's a community.

00:31:40.549 --> 00:31:43.750
And I know you won't applaud the band for doing

00:31:43.750 --> 00:31:45.789
it, but I wanted to applaud the band for doing

00:31:45.789 --> 00:31:48.609
something like that because I'm a huge fan of

00:31:48.609 --> 00:31:51.609
Dinosaur Pile Up because of Shinedown introducing

00:31:51.609 --> 00:31:54.529
me to them. Right. And I can tell you why we,

00:31:54.569 --> 00:31:57.509
one of the reasons we do things like that. And

00:31:57.509 --> 00:31:59.490
all I can do is give thanks to Three Doors Down.

00:32:00.230 --> 00:32:02.769
when we were a young band first record had just

00:32:02.769 --> 00:32:04.869
come out three doors down took us out and they

00:32:04.869 --> 00:32:06.369
ended up taking us out for i think nine months

00:32:06.369 --> 00:32:08.809
total on that uh was the beyond the sun tour

00:32:08.809 --> 00:32:10.869
um when they were at the top of their game and

00:32:10.869 --> 00:32:12.890
they were the biggest thing in rock at the time

00:32:12.890 --> 00:32:16.269
and we were the dumbest band in rock at the time

00:32:16.269 --> 00:32:19.089
we were young punk kids making all the mistakes

00:32:19.089 --> 00:32:20.869
didn't know how to load in properly didn't know

00:32:20.869 --> 00:32:23.920
how to do it and instead of them you know berating

00:32:23.920 --> 00:32:26.799
us as some bands do or some bands crews do it's

00:32:26.799 --> 00:32:28.460
typically not the band it's the other band's

00:32:28.460 --> 00:32:30.299
crew that you know treats the opening band like

00:32:30.299 --> 00:32:32.579
shit they went hey let me show you how you can

00:32:32.579 --> 00:32:35.599
do that better let me show you how how to wrap

00:32:35.599 --> 00:32:37.359
a cable properly you know all these things that

00:32:37.359 --> 00:32:38.880
you don't learn as a baby band that you have

00:32:38.880 --> 00:32:40.920
to learn later in life or hey you know i see

00:32:40.920 --> 00:32:42.579
you running audio this way let me help your audio

00:32:42.579 --> 00:32:44.420
guy because you guys are taking way too much

00:32:44.420 --> 00:32:46.119
time getting on off the stage let's help you

00:32:46.119 --> 00:32:48.839
out and they helped us for nine months and taught

00:32:48.839 --> 00:32:53.069
us so much and didn't ask for a thing aside from,

00:32:53.130 --> 00:32:56.250
hey, hope you guys had a good time. And we took

00:32:56.250 --> 00:32:58.769
that to heart, all of us, and especially Brent

00:32:58.769 --> 00:33:01.049
and myself, now that the lineup has changed.

00:33:01.089 --> 00:33:03.450
But I'll never forget the grace of that band.

00:33:03.529 --> 00:33:05.970
And I'll tell you this, too. Out of all the bands

00:33:05.970 --> 00:33:08.670
we've toured with, I can barely count on three

00:33:08.670 --> 00:33:10.329
fingers bands I would never want to tour with

00:33:10.329 --> 00:33:13.430
again. The vast majority of the bands out there,

00:33:13.490 --> 00:33:15.230
including the huge ones like Kiss and Iron Maiden,

00:33:15.329 --> 00:33:18.829
even Van Halen, there's a reason they stuck around

00:33:18.829 --> 00:33:21.660
for a long time. And it's because of what they

00:33:21.660 --> 00:33:24.460
do. They might not like each other, but their

00:33:24.460 --> 00:33:27.160
band and their crew takes very good care of the

00:33:27.160 --> 00:33:28.980
opening bands. And that's, I think, shows why

00:33:28.980 --> 00:33:31.380
they stand the test of time. And I want to stand

00:33:31.380 --> 00:33:33.619
the test of time as well. And it's about helping

00:33:33.619 --> 00:33:36.519
those around you. It is a community. We're all

00:33:36.519 --> 00:33:38.180
working just as hard, and especially a band like

00:33:38.180 --> 00:33:40.480
Dinosaur Pileup. I know how expensive it is to

00:33:40.480 --> 00:33:44.200
cross the pond, especially as a baby band. What's

00:33:44.200 --> 00:33:45.680
it going to take out of us to throw a little

00:33:45.680 --> 00:33:47.519
bit of money together and go, hey, man, get your

00:33:47.519 --> 00:33:50.339
name out there? You know, that's simple. That's

00:33:50.339 --> 00:33:54.319
non -starter, non -question, really. Well, when

00:33:54.319 --> 00:33:56.740
I bring my family to see a Shinedown show, I

00:33:56.740 --> 00:33:58.759
know they're going to get some diversity in the

00:33:58.759 --> 00:34:01.640
music. Sure. Just for the last few years, for

00:34:01.640 --> 00:34:04.900
example, Papa Roach, Jelly Roll, Spirit Box,

00:34:05.160 --> 00:34:08.159
The Pretty Reckless. And now this year, you're

00:34:08.159 --> 00:34:11.760
touring with Bush, as well as Morgan Wade, who

00:34:11.760 --> 00:34:15.699
was also a guest on this show in the past. Knowing

00:34:15.699 --> 00:34:18.559
her music, similar to Jelly Roll, is like a country

00:34:18.559 --> 00:34:20.780
slash rock. You had mentioned earlier in our

00:34:20.780 --> 00:34:23.599
conversation that you guys kind of have those

00:34:23.599 --> 00:34:26.239
roots in the Southern rock backgrounds. Is that

00:34:26.239 --> 00:34:28.739
why you kind of diversify the lineup of the night,

00:34:28.780 --> 00:34:30.380
get a little bit of that Southern rock with a

00:34:30.380 --> 00:34:32.699
little bit of the heavier side of things? I think

00:34:32.699 --> 00:34:34.280
we just want to make it interesting for the audience

00:34:34.280 --> 00:34:36.559
and for ourselves. You know, we could do the

00:34:36.559 --> 00:34:40.050
same tour and, you know, aside from always. Somehow

00:34:40.050 --> 00:34:41.690
tune with Papa Roach because we love those guys.

00:34:41.969 --> 00:34:43.730
You know, you want to mix it up. Yes. Papa Roach

00:34:43.730 --> 00:34:45.329
is on the chart. Breaking Benjamin's on the chart.

00:34:45.429 --> 00:34:47.309
You know, we could go with all those bands that

00:34:47.309 --> 00:34:49.750
are our peers and on the same charts as us and

00:34:49.750 --> 00:34:51.789
everything else. But why not stir it up? You

00:34:51.789 --> 00:34:53.369
know, we were so lucky enough to get Jelly Roll

00:34:53.369 --> 00:34:54.690
to open for us. And the next thing you know,

00:34:54.690 --> 00:34:56.369
he's the biggest thing in the world. I'm happy

00:34:56.369 --> 00:34:58.670
for him. That's great. I'm glad we could even

00:34:58.670 --> 00:35:01.449
be a part of your ascension to the top. And I

00:35:01.449 --> 00:35:03.010
hope the best for, you know, for Morgan Way,

00:35:03.110 --> 00:35:05.309
too. And, you know, we also have Beartooth on

00:35:05.309 --> 00:35:07.670
the spring run. Yes. I'm just a fan of the band.

00:35:07.809 --> 00:35:09.880
That's going to be fun. I like to see something

00:35:09.880 --> 00:35:12.380
different. I like to see a female crushing it

00:35:12.380 --> 00:35:15.019
in this industry, especially in the alt rock

00:35:15.019 --> 00:35:17.980
countryside, because it still is pretty hard

00:35:17.980 --> 00:35:19.980
for a female in this industry, especially if

00:35:19.980 --> 00:35:21.719
you're going to lean that rock side. Spirit Box

00:35:21.719 --> 00:35:25.179
is a great example of that. Why not support our

00:35:25.179 --> 00:35:27.980
fellow friends and females and people that are

00:35:27.980 --> 00:35:30.219
working this business? Yeah, we want it to be

00:35:30.219 --> 00:35:32.460
different. We don't want it to be the same thing.

00:35:32.539 --> 00:35:34.159
We don't want it to be the greatest playlist

00:35:34.159 --> 00:35:37.119
of active rock radio. We want it to be everywhere.

00:35:38.670 --> 00:35:40.250
If you're a music fan, you listen to everything.

00:35:40.789 --> 00:35:42.449
You know, you look through what I've played in

00:35:42.449 --> 00:35:45.250
the past month. It's all over the place. It doesn't

00:35:45.250 --> 00:35:47.429
make sense. But that's how I was feeling that

00:35:47.429 --> 00:35:49.389
day. You know, I was listening to P -Funk the

00:35:49.389 --> 00:35:51.030
other day just because I love P -Funk and I was

00:35:51.030 --> 00:35:53.230
in that mood. You know, tomorrow I could be listening

00:35:53.230 --> 00:35:56.389
to Maiden again and whatever. Who cares? I like

00:35:56.389 --> 00:35:58.670
the way you think, man, because this show every

00:35:58.670 --> 00:36:01.150
week, it's a different topic or a different genre.

00:36:01.269 --> 00:36:02.730
And some people have actually reached out to

00:36:02.730 --> 00:36:04.949
me saying, man, you're all over the place with

00:36:04.949 --> 00:36:08.179
music. And in my brain, my response is. Is there

00:36:08.179 --> 00:36:10.800
any other way? Like, I feel like if you love

00:36:10.800 --> 00:36:13.780
music, it's just I want to consume all of it.

00:36:13.900 --> 00:36:15.599
I always tell people and I tell my daughter this

00:36:15.599 --> 00:36:17.559
a lot because she listens to music and she's

00:36:17.559 --> 00:36:19.639
got her own music that she listens to. And I

00:36:19.639 --> 00:36:21.579
go, I don't care what you listen to as long as

00:36:21.579 --> 00:36:23.619
it makes you feel something and you feel good.

00:36:23.980 --> 00:36:25.739
Obviously, I'm going to monitor it because she's

00:36:25.739 --> 00:36:28.099
just 14. So, you know, I don't want to listen

00:36:28.099 --> 00:36:30.949
to certain things, but. you know she's gotten

00:36:30.949 --> 00:36:33.710
she gets into the the spotify's itunes those

00:36:33.710 --> 00:36:36.230
things and she finds her own lane and she's more

00:36:36.230 --> 00:36:37.730
of a pop girl than i thought she'd be because

00:36:37.730 --> 00:36:39.909
initially when we when she was coming up we listened

00:36:39.909 --> 00:36:41.809
to deftones together and slipknot and she enjoyed

00:36:41.809 --> 00:36:44.610
that now she's listening to imagine dragons and

00:36:44.610 --> 00:36:46.409
benson boone and that's her thing and i'm like

00:36:46.409 --> 00:36:49.889
does it make you feel good yeah okay great because

00:36:49.889 --> 00:36:52.820
that's what i did as a kid Amen. As a father

00:36:52.820 --> 00:36:55.159
of two girls, I applaud that because my daughters

00:36:55.159 --> 00:36:58.639
both listen to as much Taylor Swift as they do

00:36:58.639 --> 00:37:01.659
The Interrupters. And because of me, I've taken

00:37:01.659 --> 00:37:05.420
them to see bands like Lamb of God and Metallica

00:37:05.420 --> 00:37:10.860
and John Fogerty and ZZ Top. I want them to go

00:37:10.860 --> 00:37:14.559
off into the world, if nothing else, having a

00:37:14.559 --> 00:37:16.719
musical education that comes from a little bit

00:37:16.719 --> 00:37:18.440
of everything and let them kind of form their

00:37:18.440 --> 00:37:21.300
own path. Absolutely. You have to, because eventually

00:37:21.300 --> 00:37:22.800
they will, they're not going to listen to your

00:37:22.800 --> 00:37:24.820
music, but I listened to some of my parents'

00:37:24.920 --> 00:37:26.619
music, you know, certain things that my parents

00:37:26.619 --> 00:37:29.300
listened to. I love Beach Boys, Allman Brothers,

00:37:29.900 --> 00:37:32.699
Bill Collins and Genesis. Absolutely. My parents

00:37:32.699 --> 00:37:35.139
introduced me to that. They wouldn't have introduced

00:37:35.139 --> 00:37:38.119
me to Nine Inch Nails, you know, it's just the

00:37:38.119 --> 00:37:40.179
way it goes. And nor would they listen to it.

00:37:40.219 --> 00:37:43.440
They'd say it's a bunch of shit, but it's a,

00:37:43.639 --> 00:37:46.179
and that's the fun journey of music. And I, you

00:37:46.179 --> 00:37:49.320
know, things hit everybody differently. There's

00:37:49.320 --> 00:37:51.960
bands out there right now that people love. Then

00:37:51.960 --> 00:37:55.820
I'm like, why? I don't get it. But somebody does

00:37:55.820 --> 00:37:57.900
because they're huge. That's the love of music.

00:37:58.420 --> 00:38:00.559
Subjective. Absolutely subjective. Absolutely.

00:38:00.780 --> 00:38:02.920
Now, when I spoke to Eric a couple of weeks back

00:38:02.920 --> 00:38:06.300
about his solo album, I Had a Name, he explained

00:38:06.300 --> 00:38:11.239
that Shinedown 8 would, spoiler alert, not be

00:38:11.239 --> 00:38:15.130
a concept album. So after back -to -back concept

00:38:15.130 --> 00:38:17.889
albums in Attention, Attention and Planet Zero,

00:38:18.030 --> 00:38:22.710
for you as the drummer, do you find it a disappointment

00:38:22.710 --> 00:38:26.369
or a relief not going the concept album route?

00:38:26.690 --> 00:38:31.250
Thank God it's not a concept record. You know,

00:38:31.289 --> 00:38:33.349
I had a great time with Attention and Planet

00:38:33.349 --> 00:38:36.829
Zero. Attention was purposely a concept record.

00:38:37.159 --> 00:38:39.119
Planet Zero just happened to become one because

00:38:39.119 --> 00:38:41.099
of the time period recording it during COVID.

00:38:41.199 --> 00:38:42.679
It just we were talking about what's going on

00:38:42.679 --> 00:38:45.780
in the world. And shit, we wrote another, you

00:38:45.780 --> 00:38:48.199
know, another concept record. We purposely said,

00:38:48.260 --> 00:38:49.659
can we just get a collection of songs together

00:38:49.659 --> 00:38:52.519
that are fun and put out a record like an old

00:38:52.519 --> 00:38:55.619
school rock and roll record? And that's what

00:38:55.619 --> 00:38:58.860
this this one will be. Well, the band just released

00:38:58.860 --> 00:39:02.179
a new double A -side single, 365, along with

00:39:02.179 --> 00:39:04.460
Dance Kid Dance, which I'll play a clip of now.

00:40:09.519 --> 00:40:12.019
Now, Eric brought this track up briefly when

00:40:12.019 --> 00:40:14.159
he and I spoke, but we didn't get into the story

00:40:14.159 --> 00:40:16.860
behind the song. So can you talk about how Dance

00:40:16.860 --> 00:40:18.960
Kid Dance came together during the writing and

00:40:18.960 --> 00:40:21.420
recording sessions for that one? That one came

00:40:21.420 --> 00:40:24.599
together really with those guys. I didn't hear

00:40:24.599 --> 00:40:26.400
it until it was completely done. Vocals are there.

00:40:26.519 --> 00:40:29.280
And even then I had to go, I'm not sure what

00:40:29.280 --> 00:40:32.760
they're writing about initially. And for me,

00:40:32.760 --> 00:40:34.739
I think it was kind of the tongue in cheek Dance

00:40:34.739 --> 00:40:36.440
Kid Dance. But then if you really listen to the

00:40:36.440 --> 00:40:38.780
lyrics. You know, the pills will make you dance.

00:40:38.880 --> 00:40:41.920
It's a lot darker. It's very tongue in cheek

00:40:41.920 --> 00:40:44.000
and makes you want to rock out. But if you listen

00:40:44.000 --> 00:40:46.000
to it, you're like, oh, wait a minute. This is

00:40:46.000 --> 00:40:48.860
a little darker than what you think. And I think

00:40:48.860 --> 00:40:51.639
it stems from the experience that Brent had during

00:40:51.639 --> 00:40:55.059
his addiction days and really knowing way too

00:40:55.059 --> 00:40:58.320
much about those things and overcoming that and

00:40:58.320 --> 00:41:01.760
really kind of not making a statement like watch

00:41:01.760 --> 00:41:04.059
out, but more of a this is a statement. I know

00:41:04.059 --> 00:41:07.280
what you're going through. I've seen this. maybe

00:41:07.280 --> 00:41:09.719
you want to watch out, you know? It's definitely

00:41:09.719 --> 00:41:14.340
a powerful message, which is similar to the song

00:41:14.340 --> 00:42:29.809
365, which I'll play a clip of now. Now, the

00:42:29.809 --> 00:42:32.949
band chose to drop two songs simultaneously.

00:42:33.670 --> 00:42:38.349
Dance Kid Dance went to rock radio and 365 went

00:42:38.349 --> 00:42:41.409
to pop radio. Can you talk about the thought

00:42:41.409 --> 00:42:44.889
process behind that move? Because releasing simultaneous

00:42:44.889 --> 00:42:47.329
singles to different formats is something you

00:42:47.329 --> 00:42:50.809
don't hear a lot of in modern music. No, and

00:42:50.809 --> 00:42:53.619
we've been fighting to do it for years. literally

00:42:53.619 --> 00:42:55.840
probably since the amaryllis record we've been

00:42:55.840 --> 00:42:57.880
fighting like why can't we service a song over

00:42:57.880 --> 00:42:59.639
here and we can't and then service a song over

00:42:59.639 --> 00:43:03.000
here and typically you get shot down by management

00:43:03.000 --> 00:43:05.219
or the label typically the label at the time

00:43:05.219 --> 00:43:07.619
would just be like well we don't have the funding

00:43:07.619 --> 00:43:09.840
to push both of these up the charts and we don't

00:43:09.840 --> 00:43:12.059
want to you know take away from this one if we're

00:43:12.059 --> 00:43:14.059
pushing this and it becomes a political quagmire

00:43:14.059 --> 00:43:16.500
and nightmare and you're like yeah but why not

00:43:16.500 --> 00:43:18.659
and you can never get a really straight answer

00:43:18.659 --> 00:43:21.960
and we were finally able to with well i say we

00:43:22.400 --> 00:43:27.500
Nobody says no to Brent Smith. And he is a bulldog

00:43:27.500 --> 00:43:31.599
negotiator. And he's really grown a lot in the

00:43:31.599 --> 00:43:34.880
past eight, nine years as far as his shrewdness

00:43:34.880 --> 00:43:37.320
in business. And he basically doesn't take no

00:43:37.320 --> 00:43:39.420
for an answer. And you can see that in the climb

00:43:39.420 --> 00:43:42.920
of symptom being human. We were told no a million

00:43:42.920 --> 00:43:44.920
times. It'll never do anything at Odyssey. It'll

00:43:44.920 --> 00:43:47.829
never make it to top 40. No, it's a great rock

00:43:47.829 --> 00:43:50.250
song, but they don't play that on Hot AC. They

00:43:50.250 --> 00:43:52.150
don't play rock. And he's like, well, why not?

00:43:52.869 --> 00:43:56.349
Let's just try it. And he was right. And it climbed

00:43:56.349 --> 00:43:59.650
the charts and it did really well. It was a marathon,

00:43:59.710 --> 00:44:01.750
not a sprint. It took a minute, but they got

00:44:01.750 --> 00:44:05.050
it. Riding on the coattails of that, he could

00:44:05.050 --> 00:44:08.210
look at them all and go, hey, I proved it last

00:44:08.210 --> 00:44:11.289
time. Let's shoot for them all right out the

00:44:11.289 --> 00:44:13.840
gate. And that's what we're doing. And it's exciting.

00:44:13.980 --> 00:44:15.980
It's exciting for us after, you know, a 24 year

00:44:15.980 --> 00:44:19.340
career so far of going, not only are we still

00:44:19.340 --> 00:44:23.219
relevant, but we're still growing. And, you know,

00:44:23.239 --> 00:44:25.219
the debut of these two songs, at least in the

00:44:25.219 --> 00:44:27.719
radio world, are our best debuts we've had to

00:44:27.719 --> 00:44:29.360
date. The most added, the most this, the most

00:44:29.360 --> 00:44:32.460
that, the most. And we're like, all right, we're

00:44:32.460 --> 00:44:35.019
doing something right. And that's important to

00:44:35.019 --> 00:44:36.880
us. So it was really a fight for many years.

00:44:36.980 --> 00:44:40.519
And finally, we got our way. We screamed, begged,

00:44:40.699 --> 00:44:42.739
pleaded, rolled over on our back through temper

00:44:42.739 --> 00:44:45.380
tantrums and finally got our way. And I think

00:44:45.380 --> 00:44:47.260
it's proof in the pudding, you know, and it's

00:44:47.260 --> 00:44:50.539
also for us. It's kind of like putting our flag

00:44:50.539 --> 00:44:52.579
in the ground and going, look, rock isn't dead.

00:44:52.679 --> 00:44:54.659
And we're not the only rock band out there that

00:44:54.659 --> 00:44:57.219
deserves to be on these other places. And hopefully

00:44:57.219 --> 00:44:59.659
they start paying attention. Well, I want to.

00:45:00.030 --> 00:45:02.110
follow up on that because when you think about

00:45:02.110 --> 00:45:04.949
the last run of singles which would be the poppier

00:45:04.949 --> 00:45:07.929
side of shine down in get up a symptom of being

00:45:07.929 --> 00:45:12.510
human and 365 yeah is there ever a pressure that

00:45:12.510 --> 00:45:15.869
the label or anybody is putting on the band to

00:45:15.869 --> 00:45:18.869
maybe steer it more towards the pop direction

00:45:18.869 --> 00:45:22.650
if they came to us and said that it would be

00:45:22.650 --> 00:45:24.570
the biggest middle finger we could ever give

00:45:24.570 --> 00:45:27.300
to them good because that's not who we are That's

00:45:27.300 --> 00:45:29.159
not who we are. We write the song. And if it

00:45:29.159 --> 00:45:30.900
happens to be a pop song, it's a pop song. It

00:45:30.900 --> 00:45:32.360
happens to be a rock song. It's rock. It's a

00:45:32.360 --> 00:45:35.139
punk song. It's a punk song. We write for ourselves

00:45:35.139 --> 00:45:38.340
first. And I will give credit to both management

00:45:38.340 --> 00:45:39.880
and the label that we've been with the whole

00:45:39.880 --> 00:45:42.219
time, Atlantic Records. They've never once tried.

00:45:42.920 --> 00:45:44.739
Never once have they said, hey, we want you to

00:45:44.739 --> 00:45:46.860
try to write a song like this or why can't you

00:45:46.860 --> 00:45:49.940
or any of those things. Even in the early days,

00:45:50.059 --> 00:45:53.349
they've been supportive. maybe frustratingly

00:45:53.349 --> 00:45:55.750
so for themselves, because it is a business,

00:45:55.849 --> 00:45:58.190
it is a music business, but they've let us be

00:45:58.190 --> 00:46:01.050
ourselves. But if you listen back to the albums

00:46:01.050 --> 00:46:03.190
that we've put out there, just about every single

00:46:03.190 --> 00:46:04.989
record, if not all the records, if I think about

00:46:04.989 --> 00:46:06.869
it, have a little bit of everything on them.

00:46:07.469 --> 00:46:10.599
They really do. That's just what we do. Well,

00:46:10.639 --> 00:46:13.900
when Eric and I talked, 365 and Dance Kid Dance

00:46:13.900 --> 00:46:16.840
were not out in the universe as of yet. Yeah.

00:46:16.900 --> 00:46:20.219
So I did my part as a podcaster in my years in

00:46:20.219 --> 00:46:24.099
radio, and I asked what dirt he had on Shinedown

00:46:24.099 --> 00:46:27.659
8. And he alluded to a few songs like Searchlight,

00:46:27.940 --> 00:46:32.260
The Killing Fields, and The Pilot. Are 365 and

00:46:32.260 --> 00:46:36.199
Dance Kid Dance a strong representation of the

00:46:36.199 --> 00:46:39.340
sound and style that fans can expect from Shinedown

00:46:39.340 --> 00:46:44.670
8? No. Not at all. It's as eclectic as we always

00:46:44.670 --> 00:46:46.230
do. There's going to be things that you're going

00:46:46.230 --> 00:46:48.570
to be like, oh, I didn't expect that. And there's

00:46:48.570 --> 00:46:49.670
going to be some that are like, oh, that took

00:46:49.670 --> 00:46:52.989
my head off. You mentioned Killing Fields. I'm

00:46:52.989 --> 00:46:54.909
like, wait till you guys get to hear that one.

00:46:56.309 --> 00:46:59.389
It's exciting. No. Is it a reflection of where

00:46:59.389 --> 00:47:02.210
we're at right now? Sure. But every song is its

00:47:02.210 --> 00:47:04.670
own little animal. And I think that's kind of...

00:47:05.059 --> 00:47:07.119
the excitement of it. Yeah. There's, I think

00:47:07.119 --> 00:47:08.659
there's going to be some fun stuff that comes

00:47:08.659 --> 00:47:10.300
out that people are, fans are going to really

00:47:10.300 --> 00:47:12.739
glom onto. And there's, there's certain ones

00:47:12.739 --> 00:47:14.500
I'm thinking of in the back, back of my head.

00:47:14.519 --> 00:47:16.699
They're like, it's different. That one's different,

00:47:16.800 --> 00:47:19.079
but I love it. And then there's some that, Oh

00:47:19.079 --> 00:47:21.280
yeah, that's just a straight ahead. It hits you

00:47:21.280 --> 00:47:23.119
over the face, shine down rock song, you know,

00:47:23.119 --> 00:47:24.980
and that, which I think dance kid is in a lot

00:47:24.980 --> 00:47:27.380
of ways, get ready for a ride. Just like we always

00:47:27.380 --> 00:47:29.889
do. I'm not going to lie. Both you and Eric,

00:47:29.949 --> 00:47:32.070
when the Killing Fields came up, you both made

00:47:32.070 --> 00:47:36.190
this same like, ooh, you guys can't. Is there

00:47:36.190 --> 00:47:40.170
any timeline for when fans can expect to, you

00:47:40.170 --> 00:47:43.550
know, I know I'm being greedy amongst Shinedown

00:47:43.550 --> 00:47:46.010
fans right now because you just released two

00:47:46.010 --> 00:47:49.869
new songs, but when will the next taste of Shinedown

00:47:49.869 --> 00:47:53.010
8 be released? I honestly don't know. This year?

00:47:53.839 --> 00:47:55.619
But honestly, there's no we haven't even put

00:47:55.619 --> 00:47:56.980
a date on it right now. We're really focused

00:47:56.980 --> 00:48:00.340
on tour prep and building the stage show. Honestly,

00:48:00.519 --> 00:48:02.420
you know, we spent time in New York. We filmed

00:48:02.420 --> 00:48:05.599
the videos for the two songs. We did some social

00:48:05.599 --> 00:48:07.559
media stuff. We did some press things. We did

00:48:07.559 --> 00:48:11.639
photos. And then we said, oh, crap. Come the

00:48:11.639 --> 00:48:13.920
end of April, we're on tour. We've got to get

00:48:13.920 --> 00:48:15.380
the show together. You know, there's been concepts

00:48:15.380 --> 00:48:17.219
and ideas, but now we've got to work on trucking,

00:48:17.219 --> 00:48:19.739
busing, what we're putting in those trucks, renting

00:48:19.739 --> 00:48:21.800
those things, building the kits, building the

00:48:21.800 --> 00:48:24.519
lighting rig. What is this going to be visually?

00:48:24.760 --> 00:48:26.519
And, you know, that takes months of time. That

00:48:26.519 --> 00:48:28.940
takes a lot of work. So that's really where we

00:48:28.940 --> 00:48:30.579
are right now. We're just knee deep in that.

00:48:31.000 --> 00:48:34.420
And also because Eric is the producer of Shinedown

00:48:34.420 --> 00:48:37.880
and pretty much the engineer along with his engineer,

00:48:38.159 --> 00:48:41.059
Eric Rickert, we also want to give Eric the time

00:48:41.059 --> 00:48:43.739
to work on his solo thing right now. So we got

00:48:43.739 --> 00:48:46.320
these songs out there. Now he can focus on the

00:48:46.320 --> 00:48:48.420
rest of his because he deserves that. And it's

00:48:48.420 --> 00:48:50.860
so awesome. And we're so proud of him. And I'm

00:48:50.860 --> 00:48:53.539
glad we finally twisted his crazy little mind

00:48:53.539 --> 00:48:55.400
to put it out there. I want him to be able to

00:48:55.400 --> 00:48:57.820
focus on that right now in the lead up to when

00:48:57.820 --> 00:48:59.260
we're just going to be really too busy for him

00:48:59.260 --> 00:49:01.340
to do that anymore once we really start getting

00:49:01.340 --> 00:49:04.079
in the meat of touring. And I wanted to ask,

00:49:04.099 --> 00:49:06.119
because the album is coming out this week, have

00:49:06.119 --> 00:49:07.599
you heard it all the way through? And if so,

00:49:07.679 --> 00:49:09.710
what your thoughts were? I have heard it all

00:49:09.710 --> 00:49:11.170
the way through. I have it on this computer.

00:49:11.210 --> 00:49:12.949
I'm looking at you right now and I've had it

00:49:12.949 --> 00:49:17.030
here for a couple of years now. He explained

00:49:17.030 --> 00:49:21.710
that he sat on it for a while. I love it. What

00:49:21.710 --> 00:49:24.170
I enjoy about it is it's all him, you know, cause

00:49:24.170 --> 00:49:25.630
he played every instrument on there and I know

00:49:25.630 --> 00:49:26.949
he goes through and tells everybody he didn't

00:49:26.949 --> 00:49:28.829
play a drum kit, which he didn't, but he played

00:49:28.829 --> 00:49:30.889
all the drums on there. You know, he would sit.

00:49:31.239 --> 00:49:32.840
bass drum up and snare and he'd play those parts.

00:49:32.940 --> 00:49:35.219
Then he'd play the cymbals. This is his brainchild.

00:49:35.519 --> 00:49:38.119
But I love more about it knowing him and knowing

00:49:38.119 --> 00:49:40.599
the background of the music he grew up on and

00:49:40.599 --> 00:49:43.500
the music that really excites him. I can point

00:49:43.500 --> 00:49:45.320
out in every single song, oh, that's a little

00:49:45.320 --> 00:49:48.900
bit of, oh, that's Outkast. Oh, that's theater.

00:49:49.099 --> 00:49:52.139
That's like Broadway theater theatrical things

00:49:52.139 --> 00:49:54.960
because his mom taught voice and he grew up kind

00:49:54.960 --> 00:49:57.340
of with a theater mom and piano in that way.

00:49:57.380 --> 00:49:58.699
And oh, that's the piano that would be like,

00:49:58.800 --> 00:50:02.030
and I love it because it's just a, Absolute reflection

00:50:02.030 --> 00:50:06.349
of him and how he grew up. It's funny, your explanation

00:50:06.349 --> 00:50:08.809
there, I immediately thought of the song Azalea.

00:50:09.050 --> 00:50:11.150
Yeah, absolutely. And the rest of the record,

00:50:11.210 --> 00:50:12.769
you hear that, and if you go, oh, that's reminiscent

00:50:12.769 --> 00:50:16.090
of so -and -so, there's probably maybe a little

00:50:16.090 --> 00:50:18.989
bit of honesty in that. Not that he's, the record

00:50:18.989 --> 00:50:21.730
is definitely all over the place. It's like his

00:50:21.730 --> 00:50:24.190
brain. It is all over the place in the story

00:50:24.190 --> 00:50:27.289
and the way it goes. It's almost schizophrenic

00:50:27.289 --> 00:50:29.769
in a great way. You're just like, where is this

00:50:29.769 --> 00:50:32.599
going? And it's a journey. But you do have these

00:50:32.599 --> 00:50:34.800
little things like, oh, that reminds me of so

00:50:34.800 --> 00:50:37.739
and so. Probably because it somehow deep in his

00:50:37.739 --> 00:50:40.059
brain came from that because he had the freedom

00:50:40.059 --> 00:50:43.099
to just it's all him. It's all him. Nobody else

00:50:43.099 --> 00:50:44.400
had anything to do with this. And that's the

00:50:44.400 --> 00:50:47.739
cool part about it. When the focus does shift

00:50:47.739 --> 00:50:50.519
back to Shinedown, I am going to press one more

00:50:50.519 --> 00:50:53.139
time on Shinedown 8 because, you know, it's going

00:50:53.139 --> 00:50:55.579
to come at some point this year. Is the working

00:50:55.579 --> 00:50:58.460
title just 8 or do you guys have something in

00:50:58.460 --> 00:51:01.239
mind? That's literally the working title is 8.

00:51:02.940 --> 00:51:05.000
We have no idea what we're going to name it yet.

00:51:05.960 --> 00:51:07.900
Initially, there was talks of Dance Kid Dance

00:51:07.900 --> 00:51:09.820
being the title of it because it kind of had

00:51:09.820 --> 00:51:12.940
that vibe in some respects. With Planet Zero

00:51:12.940 --> 00:51:14.619
and even with Attention to Tension, they just

00:51:14.619 --> 00:51:16.260
quickly raised their hands. It was like, oh,

00:51:16.260 --> 00:51:17.619
yeah, that's got to be the album title. That

00:51:17.619 --> 00:51:20.500
just fits. This one also not being a concept

00:51:20.500 --> 00:51:22.599
and just being a collection of songs, that one

00:51:22.599 --> 00:51:25.780
thing hasn't raised its hand yet. And each one

00:51:25.780 --> 00:51:27.980
of us, because Shinedown is a democracy, we're

00:51:27.980 --> 00:51:30.739
all 25 percenters, but we're all very opinionated

00:51:30.739 --> 00:51:34.840
25 percenters. So sometimes we'll see what happens.

00:51:35.320 --> 00:51:37.619
And, you know, I'll give Brent the 26 because

00:51:37.619 --> 00:51:39.500
it's definitely you have to have a leader. And

00:51:39.500 --> 00:51:42.139
he is the leader of Shinedown proudly and should

00:51:42.139 --> 00:51:44.739
be. He's got the vision more so than anybody.

00:51:45.239 --> 00:51:47.440
So what you're saying is the enemies video is

00:51:47.440 --> 00:51:49.380
true to form. That's not, that wasn't acting.

00:51:49.639 --> 00:51:52.699
No, that's our personalities. Except there's

00:51:52.699 --> 00:51:54.360
no way in hell Zach could kick my ass. So that

00:51:54.360 --> 00:51:59.929
whole scene. The singles 365 and Dance Kid Dance

00:51:59.929 --> 00:52:02.289
are available now wherever you stream music.

00:52:02.369 --> 00:52:04.489
And I'll also have a playlist embedded on the

00:52:04.489 --> 00:52:07.449
episode page at myweeklymixtape .com where you

00:52:07.449 --> 00:52:09.449
can check out all the songs we've talked about

00:52:09.449 --> 00:52:12.489
this evening, including a mix of some of my personal

00:52:12.489 --> 00:52:14.789
favorites from the band. Barry, this has been

00:52:14.789 --> 00:52:17.510
an absolute honor. Thank you so much for joining

00:52:17.510 --> 00:52:20.130
me on My Weekly Mixtape. It's my pleasure. Thanks

00:52:20.130 --> 00:52:22.139
for having me. It was a great conversation. And

00:52:22.139 --> 00:52:24.079
to all the My Weekly Mixtape listeners, if you

00:52:24.079 --> 00:52:26.719
want to continue your Shinedown fix, don't forget

00:52:26.719 --> 00:52:29.400
to check out the other Shinedown -related episode

00:52:29.400 --> 00:52:31.780
that dropped just a few days ago as Eric Bass

00:52:31.780 --> 00:52:34.239
joined me on the program to talk about his brand

00:52:34.239 --> 00:52:37.880
new solo album, I Had a Name, as well. as all

00:52:37.880 --> 00:52:40.199
things shine down. And remember, you can find

00:52:40.199 --> 00:52:42.320
My Weekly Mixtape on almost all the social media

00:52:42.320 --> 00:52:45.420
haunts at My Weekly Mixtape. You can also head

00:52:45.420 --> 00:52:47.699
to myweeklymixtape .com to check out the full

00:52:47.699 --> 00:52:50.900
catalog of My Weekly Mixtape episodes. And finally,

00:52:50.940 --> 00:52:52.280
if you like what you're hearing on the show,

00:52:52.420 --> 00:52:54.440
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00:52:54.639 --> 00:52:56.559
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00:52:56.559 --> 00:52:59.739
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00:52:59.739 --> 00:53:03.440
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00:53:03.500 --> 00:53:05.960
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00:53:06.139 --> 00:53:08.880
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00:53:08.880 --> 00:53:11.199
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00:53:11.460 --> 00:53:14.219
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00:53:14.219 --> 00:53:18.219
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00:53:18.219 --> 00:53:20.079
for this week. Thanks again for listening, and

00:53:20.079 --> 00:53:22.260
until next time, enjoy the tunes.