February 14, 2025 • 28 mins
The Lumineers co-founders Jeremiah Fraites and Wesley Schultz joined Bret at a secret location to discuss their new album AUTOMATIC. They also discussed parenthood. And sushi.
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Episode Transcript
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Speaker 1 (00:01):
Well Hi. This week on the Brett Sonders Podcast, I'm
joined by Wesley Schultz and Jeremiah Frates, the two guys
in charge of the Lumineers. Their new album Automatic is
out now here. Singer, songwriter, guitarist Wesley Schultz.
Speaker 2 (00:16):
Nice to see.
Speaker 1 (00:17):
Jeremiah Frates, drummer, pianist and dreamer.
Speaker 3 (00:21):
Good to see it.
Speaker 1 (00:23):
It's called Automatic and it's out on Valentine's Day, February fourteen. Yeah,
February fourteen album.
Speaker 2 (00:32):
Our loves that.
Speaker 3 (00:33):
Yeah, You're welcome Valentine's Day.
Speaker 1 (00:36):
Happy Valentine's Day. I have to say, you guys both
have a gift for writing songs that are instantly relatable
to the audience. I'm not hearing a lot of perils
of a rock star stuff in your music conscious choice.
Speaker 2 (00:50):
I don't think we live. We're like writers to the core.
We're like got into music just because I think we
spent something like seven years writing and home recording and
then got signed. And I think we would still do
that if nothing ever happened. We're just obsessed with the writing.
And then the sort of like the things that people
(01:14):
think about as being a musician and being a rock
star is like kind of turns us both off half
the time. It's just like, whatever you're interested in will
keep you there. And I think we've found our magnet
through that and it brought us together, and you know,
so in a weird way, it's not We're just not
that indulgent in that way. It's just not us. If anything,
(01:36):
we're just we're so obsessed with the writing of it
that you almost have to drag us out sometimes to
things like that.
Speaker 1 (01:44):
It's worth mentioning to Jeremiah that you guys are one
of the few bands I can think of off the
top of my head. You write all of your own music,
you don't farm out your songs, and so many bands
do that.
Speaker 3 (01:56):
Now, yeah, we do. I think that it's odd to
think of that as a novel or some sort of outlier.
I think that when Wes and I were growing up,
we fell in love with bands. Many bands influenced our
writing and our love of music. And I think that
I remember we were at some sort of like we
got an award. I think for jhe and Ophelia and
I swear me and West were the only two people
(02:18):
there was like sometimes six writers, eight writers, sometimes double digits,
multiple producers, and I think that's not a knock in
other bands or how artists conduct themselves. And it's also
not to like pat ourselves in the back. But I
think we kind of thought, well, how else would you
do it? There's not really any other way. I think
the greatest high for me has always been that moment
(02:38):
of check out this idea, Wes, and then we kind
of collaborate on it, and then that proverbial space bar moment.
You're the only two people in the world to hear
that first iteration of that idea ever in the whole universe,
and it's such an exciting thing to be It's never
been about let's farm this out, let's speed up the process,
Let's make an Amazon, you know, workplace out of this craft.
(03:01):
It's really about I'd rather write, you know, mediocre music
in thirty years just with Wes than trying to find
some shortcut to you know, stay relevant, you know, or
stay important. So I think that, you know, next year,
twenty twenty five will be about twenty years being together,
and I think that says a lot. I mean, we've
(03:23):
gone through so much together. I think a lot of
that's in this album. In some some conscious ways and
subconscious ways. And I think it's just I feel proud
to continue to be in a band and be this
inspired with our you know, fifth album Automatic. It's great.
Speaker 1 (03:38):
You have by far surpassed any level of mediocrity. I
wouldn't even think about that anymore.
Speaker 3 (03:43):
No, but you know, I never yet.
Speaker 1 (03:47):
Yeah, both of you guys are dads now parenthood or
co parenthood? How does it affect your work? Both of you?
How does it affect the whole process of what you
do here?
Speaker 2 (03:59):
I mean, Jared say this not that long ago about
it kind of forces you to be hyper efficient with
your time. You know, there's just like saying that I
think married couples have after I have kids, Like what
did we do before kids? Is like we had so
much more free time. But I will say it. I
don't know if it's because of that or as a
(04:19):
byproduct of that mentality, but we do things faster even
though we have plenty of time allotted. And I think
the end result of that is that you're getting something
that's less filtered and less poured over in terms of
like it's got to be perfect. And I from all
(04:42):
my favorite bands growing up, I think they like were
much more raw than today's edited stuff, and it's when
you have limitless editing options and you do everything isolated.
I think for this recent album, it was a lot
of bleed between different instruments, tons of it. Most of
it was done live, and it was in an effort
(05:03):
to recreate what the bands were doing in the seventies
and some of these records that are just stand the
test of time. And a lot of that was like,
let's not use the click track. Let's just play it
as we would play it, and if it gets a
little faster at the course because we get excited and
we play that together, let's do that. And for us
(05:23):
that was liberating because it's less work in a weird way,
and it's faster to the point, and it's also by
the sometimes by the time you record something and you've
tried it so many ways and it's click click click,
you're it sterilizes the magic of it. So in a
funny way, I felt like we were finding ourselves. It
(05:45):
was a more innocent, innocently made record because we were
we didn't know what we were doing, and we were
kind of just letting it hang out, letting it all
hang out, and that's I think it's just based on
those are our role models. That's what our role moods
did in our favorite bands. You know that we still
listen to.
Speaker 1 (06:05):
You guys. Are Dad's on different continents too, Jeremiah, you
are in Italy much of the time when you're not
here in Colorado. Wesley us still live in Colorado. How
does the communication process work between the two of you
since you were on different continents.
Speaker 3 (06:21):
I think that there's so much a great deal of
shorthand between us. I think that when we moved to Denver,
maybe twelve thirteen years.
Speaker 2 (06:31):
Ago, what do you think it's two and nine, so fourteen.
Speaker 3 (06:35):
Okay, So when West and I moved there, the band
was seven or eight years yeah, like very unsuccessful East
Coast band, and we we had written close I think
I swear we had written close to maybe seventy songs.
I'm talking before the debut album, many different genres, many
different songwriting styles, all over the map. And that was
(06:55):
like our cutting our teeth, our outliers, you know, Malcolm
Gladwell ten thousand hour school, like you know, training. And
when we moved to Denver, we lived in the same house,
little house in Washington Park. Back then we could afford that.
Two other guys. We worked at the same the sushi
den South Pearl Street. That was the job that paid us.
(07:17):
And then the unpaid job, of course, was being in
a band, and we were Every Monday we'd go out
to the Metal Ark open Mic. It's the best open
mic we've ever been in. And that was clearly unsustainable,
you know, living in the same house, working at the
same job, and working at music, the craft, the obsession.
But I feel like it's kind of what we.
Speaker 2 (07:36):
Would show up to like a party and people would
be like, where's the other one?
Speaker 3 (07:39):
Yeah, because you're like, it's just me tonight. Yeah.
Speaker 2 (07:42):
It's just like we were glued. We were tied at
the hip. It was like you can do that for
so long. It was a bit like boot camp or
something where you get to know each other and like
you said, it's you can't go on forever like that,
but it's it was it's important to have that bond,
to like develop that shorthand because it is all of
a sudden, you know, how each other.
Speaker 3 (08:01):
Do you remember that last house that we lived at together.
We were there for like two months. Yeah, Third and Grant,
So I'll never forget this. We were working on music
before going to the sushi den, and like the living
room was just cluttered with drum sets, and I remember
we ate lunch and I remember having to move the
high hats away from the TV because we were watching
the Office on DVD, and I was like, this is
(08:25):
not working, Like it's like something's got to give, you know.
But I think contextualize you asked about being parents. I
think when we wrote Cleopatra, we were still living in Denver.
We actually rented a house again in Washington Park, sort
of hidden in plain sight. And I think this was
before kids. I believe it took about six months to
write that record we had kids, and then the writing
(08:47):
of Three was about half that time, let's say two
to three months. Bright Side was written in about a month.
Automatic was written in a couple of weeks. And I
think that you know, me moving whatever it is, eight
thousand miles across the world, it was very import and
to maintain that our musical marriage, Yeah, how do we
keep that? How do we keep that spark? I mean,
it's we're just I don't know if anybody does this,
(09:08):
but it's not like I send an idea. Wes puts
his pro tools. He sends it back. It's more like
it's very crude, you know, raw vulnerable recordings that have
mistakes and a lot of it might not even be
that cool, and one of us find something very interesting
within that singing Yeah, attitude, guitars, the works, you name.
Speaker 2 (09:28):
Its stuff is like really crude, unusable.
Speaker 1 (09:33):
But even being here with the two of you in
a room, you still have a telepathic relationship big time.
You know when to stop and start talk over.
Speaker 3 (09:44):
There's even I think there's even something when we're playing
a song that's predominantly let's say Wes on a guitar
and me on a piano in a live setting, there's
just this crazy ability to to to slow down, to
speed up, and I think to our you know, to
credit David Baron credit a producer, engineer mixture of this
(10:04):
album Automatic. We had worked with him in a more
limited capacity on less On album three and more so
on bright Side, but the most on Automatic, he was
like the light bulb moment. He was like, guys, this
right in front of you. It's you know, it's you
and Wes, it's you and Jerr, it's it's you guys
playing in a room. So His whole mantra was plug
(10:26):
and play, sort of greatly inspired from let it Be Beatlestock.
We went out to the studio in Woodstock, New York.
Three pianos on the floor, West's guitars, two different drum sets,
a rock kit you know, quote unquote, and then like
a dry kit. Wes had his vocal booth and the
whole notion of all right, this is the final take Wes,
(10:46):
you know, same olsong. Great example. We flew in from
Texas playing a show, five or six hour travel day.
It got to Woodstock, and I remember making the joke,
but I was serious. I was like, well, let's just
get like a snare drum sound tonight or something like,
well tune West's guitar, you know, very meek, humble aspirations.
We'd basically cut that song that night, really quick drum loop.
(11:08):
Wes did a take guitar and vocal, and I think
first and foremost West was like, that's a great vocal take.
But we live with that, you know, for days and weeks,
and then West tried to you know, beat it and
re record it, and we were like, you nailed the
first night, man, and that was so like the worst
conditions to arrive into New York State at two three,
you know, drive an hour to the studio. You get there,
(11:30):
there is a little bit of that awkward like what
song do you want to work on? You know, you're
not really quite ready to let your soul be bleeding
like the full you know, idea of making a record.
And that happened. The whole made the whole record in
twenty one working days. We took breaks, for sure, but
it was It was astoundingly fast and astoundingly fun playful,
(11:51):
and after being in a band with West for twenty years,
I was just like, this is so cool to be
this inspired, you know. I felt like I was fifteen
sixteen again playing the drums. Didn't believe how much fun
I was having and that the product seemed to be
high level, and I just I'm proud of it. I'm
not saying this is like the sickest record of all time,
but I'm very proud of it. I'm very proud of it,
and I think it was it was a surprise, and
(12:15):
don't take that in the wrong way. It was an
amazing surprise. After two decades of of doing that. It
just was amazing.
Speaker 1 (12:23):
Well, we're going to hear another song from this new album,
which is perhaps the sickest album.
Speaker 2 (12:29):
Ever made, perhaps the sickest album all.
Speaker 1 (12:34):
This song so long. The narrator is very colorful in
his imagery. Here's a line the moths are eating blankets
for babies.
Speaker 2 (12:43):
This is like my inner psyche subconscious. I feel like
I shouldn't go to therapy. I should just submit that
to somebody, this song because I didn't. I didn't. I
just sang all those lines. I think it was like
the day we were recording it and I kept sending
you stuff, so I would say, I don't really have
a good answer. I think what that means is that
(13:05):
you're in the moment. I was like, imagine when your
kids are grown and these all these things that mattered
in the moment were so important are now collecting dust
somewhere and the moths eating them. Like how you're just
a slave to this time and it's like slipping by.
It's like a crazy visual and it's someone that you
(13:27):
protect so much as a baby grows up.
Speaker 1 (13:30):
What was it like, since you're both from New Jersey,
what was it like appearing on stage with Bruce Springsteen
in twenty twenty four?
Speaker 2 (13:38):
I mean, that was really bucketless stuff. And we had
met him one at another event and told him our
exit on sixty three all the New Jersey's turnpike and
he's like, oh, you guys from Jersey didn't know that.
And then when we saw him again, he's like, I
remember you guys. We're like, hoh. Even if he's lying,
(13:58):
this is fun. So I think, you know, that's born
in the USA was something that I literally have memories
of being on a rug as a kid and picking
out the plato in the rug that got stuck in
there and hearing this what I thought was like an
ancient man singing these songs, and then all these years
(14:18):
later to have him interact with us at all, it
just means a lot. And I think also, you just
marvel at talk about a role model like who stays
curious about what he does with his own art and
his own music. He seems just forever reinventing himself and
forever curious. And it's not for the sake. It's like
(14:40):
Nebraska is a great example. It's not for the sake
of getting bigger. It's for the sake of satisfying that
creative it. He wants to scratch and keeping himself hungry,
and it's like someone that you can really learn a
lot from, you know, just watching what he's done all
these years and and just stay curious. He's just done that.
(15:02):
And it was a thrill. It was just yeah crazy, I.
Speaker 3 (15:06):
Mean, yeah, it was surreal to meet someone. I don't
think there's many people as I as I age, many
people that you would feel truly like starstruck around for
lack of a better description. And I think that just
and we were backstage, we were at a show this
particular time over the summer, doing a collaboration with Zach Bryan,
and Bruce is just standing there and you can just
(15:28):
tell everyone in the room sort of like freaking out
that he's there and there he has flesh and blood
standing there. He's real and it's must be strange to
have that level of fame, that level of iconicness. It's
like a superpower. You know, Yeah, I can't where he's
kind of like yo, it's fine, like, yeah, you guys.
Speaker 2 (15:45):
Travel with one. Uh. We thought it was almost like
a friend of his, but it was his bodyguard. But
that was it. It wasn't like a huge entourage, which
is like classic Bruce. Yeah.
Speaker 3 (15:55):
I was reading something about in that Delivering Me from
Nowhere book about the making of Nebraska, and I think
that's been his MO when he was doing that song.
What was that song with every single Michael Jackson world. Yeah,
he drove, he landed, and I think either Burbank or
La drove himself to the studio, parked on the street,
paid the meter and all these vps are like, he Bruce,
(16:18):
and they were like, this guy is just you know,
this was like the height of his fame too, after
Born on the Run and I think the river was
out yet, but I forget, but yeah, it was just
it's a huge genre.
Speaker 1 (16:28):
Have you guys seen the documentary for the making of
We Are the World?
Speaker 2 (16:33):
No, I've just seen the awkward Bob Dylan clips are
my favorite.
Speaker 3 (16:37):
His singing is the best.
Speaker 1 (16:39):
It's it's literally one of my favorite things in the world.
Speaker 2 (16:41):
And Quincy Jones sure for being like the floor general
there and like controlling the room full of stars, like
they somehow respected him enough to listen. And Michael Jackson,
I don't know, I didn't realize how musical that guy was,
like kind of being the band leader in a way,
and I just thought he was a talented singer and dancer. Dude, Yeah,
(17:04):
it's crazy.
Speaker 1 (17:05):
You have to see the documentary because at one point
they introduce an African chant into the recording and that's
when Waylon Jennings just walks out and never returns.
Speaker 2 (17:16):
Oh my god.
Speaker 1 (17:18):
I guess he had to be on the set of
the Dukes of Hazard or something. But it's the funniest,
funniest thing in the world. All Right, we better get
back to the music.
Speaker 2 (17:26):
I don't know why I just thought of this, but
when I was a kid, I remember listening to Dave
Matthews and had that song too Much, I Eat too Much,
Like he was talking about a similar thing. You know.
I think there is an insatiable thing that we have
in us, and it can it can lead to a
(17:46):
lot of great things, and it can lead to a
lot of depression and like sadness. And I think the
line that follows that, which is automatic that that's the
title of the song, but it's like it follows that
line for me, it started to feel like, you know,
it's more of a Rorschach type of song, like there's
not really like this is what it means. But for me,
(18:07):
it started to mean, you know, our our behavior is
becoming so predictable, depressingly so because look look at the
ads placed on your Instagram feed that you're like, oh,
that looks like a good shirt. I need some coffee.
The Kayak is on sale, Like it is relative to that,
but it's it's relative to a lot of things. I mean,
(18:29):
but just this idea of like are we hardwired to
want more? Is that automatic? And are we automatic? And
like it's almost like where does the line end of
like the technology in US. That's what it started to feel.
Speaker 1 (18:43):
Like, is the culture where you live, Jeremiah, in Italy
similar to that culture of consumerism that we have here
in the States.
Speaker 3 (18:53):
No, I don't. I don't think it is. I mean
you've seen, like you know, we're Black Friday is upon us,
and I think that you've seen that. Yeah, I've seen that.
You've seen that overflow into places like England in London
and it kind of bums me out a little bit.
It's this odd thing of like I need the best
new flat screen, I need the new iPhone twenty eight
or whatever, you know, And I think that I think
(19:14):
that Italy has been shielded from that. They have other
problems don't worry. But there's other concerns. There's always concerns,
but uh, I think that hyper consumerism does feel a
little bit less driven. I think the advent of social
media and Amazon and everything's that your fingertips and this
idea rarely gets felt that I have enough. I am enough.
(19:38):
I've tried to. I mean, I've been guilty of not
feeling that. But lately in my life I've been trying
to remind myself I have enough. I have more than enough.
I have a healthy, two children, wife, an amazing band member,
amazing band, all these things that no for real, you know,
like beyond zeros and commas in your bank account and
the car you drive, and you have a car that
(20:00):
it works, it's great, You're lucky. You have clean water,
You're lucky, all these things that try to take stock of.
And again I'm not always the zen and lucid. Don't worry,
but in times of in good times, trying to feel grateful.
Speaker 1 (20:12):
And yeah, there's a song on the new album. I'm
not allowed to say the name of this song, but
I want to say to both of you, thank you
from the bottom of my heart for writing a song
about me. I really appreciate that you guys.
Speaker 2 (20:25):
Yeah, I didn't want to say your name of the song,
but when you guys hear this, you're gonna know exactly
what we're talking about.
Speaker 1 (20:31):
The illumineers in KBCO Studio C on the Road another
great example of a lumineer song that is universally relatable
to anyone at some point in their lives. You're all
I've got. Have you been there before? Have you been
in that position?
Speaker 2 (20:45):
Wesley? Yeah, I'm in it all the time. It was
born out of uh, this idea that I was trying
to explain it to Jar without feeling like we would
insult each other by saying this, But I believe it
to be true even with my kids. With my wife.
Is like, when you love someone, you're a bit, your
(21:06):
heart is a bit. Beholden to that. And if if
you don't want to feel beholden, then you don't get
to love. But if you're gonna love, you don't get
to love like part way. And so you now have
somebody that if something happens with is it's dicey, it's
(21:27):
very risky, it's vulnerable feeling. So it's easier in a
way in theory to be An Island and just kind
of like almost like a hermit. But the minu you
start really having partnerships, you know, like like with me
and Jerr, like we need each other right better music.
But that's also like annoying at times, like even though
(21:47):
it's not he's not annoying me, but the feeling of
I want to just be prince and do it on
my own. Well, there's one prince out there. There's not
that many princes, you know, and I think he's probably
felt that towards me, and I feel that about my kids.
Look both ways, like it's almost upsetting how much you
care about them, or it's so many things in your
(22:07):
life that bring out this strange dichotomy of like you're
so lucky to have love in your life, but you're
also kind of annoyed by how open you have to
be or open to being hurt you are because of
that From.
Speaker 1 (22:22):
The lumineer's automatic, it's out Valentine's Day? Was that a
conscious decision? I think the date's been moved around. No,
it's for our wives. Yeah, you're all I got ladies.
Have the two of you been to Sushi Den lately?
Speaker 2 (22:34):
Yeah, but not that I would say a couple months ago.
Speaker 3 (22:38):
I think I went when I came back to Denver
to write this album with Wes earlier this year March, right,
But David.
Speaker 2 (22:44):
Barron maybe he might have mentioned that, or is that another.
Speaker 3 (22:46):
Time that was No, I think that was ages ago
when we recorded Firewood.
Speaker 2 (22:52):
Yeah, I went there probably two months ago.
Speaker 1 (22:54):
So good for our listeners who don't know you both
worked at Sushi den before becoming the breakouts superstars you've
ascended to. I was wondering when you walk in there,
do you get a hero as welcome?
Speaker 2 (23:06):
I just know I don't think anybody know, like a
couple every time. Every once in a while a waiter
will recognize me or Yasu or Toshi. If he's there,
I'll say ah to him. But like I saw Takoma,
he didn't recognize me.
Speaker 3 (23:19):
I painful price as a heroes welcome then, yeah.
Speaker 2 (23:23):
But it's a I remember like I hated Sushi when
I worked there and now I like it. So it's
bad timing because I I think I could have had
some some snags of sushi as I was busting tables
that I didn't really take advantage of. I was disgusted
by it. Other time, you were pretty hungry and starving artist,
but that was beneath me.
Speaker 1 (23:43):
On the last big tour, I had to go to
Chicago to see you guys for the album that came out,
the live album that came out, which, ye, what an
experience for people who have not been to a Luminear show.
There's such an energy and a love of life that
transpires in the audience, and you guys really know how
to project that on stage.
Speaker 3 (24:04):
Well, thank you.
Speaker 2 (24:06):
I would say, we're dead and lifeless inside, but we
love it.
Speaker 3 (24:09):
I would say playing Wrigley was the ultimate childhood fantasy,
you know, realized. I remember songs started off with the
song bright Side and I rot, you know, I rise
from the ether below the stage, out of sight, and
I remember looking, you know, to my left and just
saw a wall see if people, and how high it
was and how far back and when it was, you know,
(24:31):
even beyond one eighty. It felt like a two seventy situation.
And I was just like at West playing the guitar.
And sometimes you have these sort of flashbacks of like,
you know, trying all these ideas out in my attic
in rams in New Jersey, and just like I feel
like this thing's going to work, but you the universe
didn't you know, give it to you easy took you know,
(24:53):
a decade to be an overnight success classic, And I
think that moment felt sometimes like you do the thing
like you play Saturday Night Live for the first time,
or maybe Letterman or Conan O'Brian. You have these almost
superficial or things that universally are deemed to be cool,
and you're not present for those moments. Everyone around you,
maybe your wife or your mom, is like, that's so cool,
(25:16):
and you're like, I'm so not present during this. But
for Rickley, I was very present, and I was I
felt lucky to be that present. It was just a
really incredible experience pinch you know, pinch yourself moment well.
Speaker 2 (25:30):
And we like had a good show, which is also
important to really sometimes sometimes you know, those big moments
get the best of you and you press and you
you kind of try harder than you need to try.
And I felt like it was like all this stuff
built built up to that moment and the band came together.
It was really special. So that's not again it's not
(25:51):
meant to be sounding at all arrogant. It was just
more like Wow, like we we did it, like we
we did what we wanted to do there and that
felt really good.
Speaker 3 (25:59):
And I'm looking for or to Denver next summer wink wink,
because I think that for me personally, coming back to
my second home, it's like the New Year's You've complex,
it was so built up in my mind that it
was amazing. Don't get me wrong, but I think it
was like we broke the seal on that and then
regally I could sort of like Coursefield, Yeah, like Coursefield
(26:21):
was amazing, But I think it was It's Denver. It's Denver.
You know, it's Denver. It's just this built up for
for probably over a year, you know, Wes and I
internally knew about that show and you just see it
on the calendar and it's sort of this.
Speaker 2 (26:34):
Like you're supposed to play pre pandemic, that's right.
Speaker 3 (26:37):
So it felt even more you know, impossible to reach
these these heights. And then so I'm looking forward to
next summer, say the least, well.
Speaker 1 (26:47):
That's right, Yeah, yeah, I mean have you actually before
I let you go, have you guys considered that just
showing up with the Metal Lark.
Speaker 2 (26:52):
We do every Tuesday. We're there for the Open Mind.
Uh yeah, I mean we've we talked. We like to
do like they call the industry calls like an underplay,
where you just have a pop up show like Jack
White does it a lot. Sure, So we've played the
Boulder Theater a couple of times. I'm not sure quite
the exact plan, but it's something we really enjoy because
(27:14):
you get to create a fake band name and usually
you're running through like a whole new album with fans
that are hearing it for the first time. So I
guess like keep an eye on for that. But I
like what I like about what we're trying to do
is and again it's kind of harkening back to the
Bruce Springsteen conversation, is like he made the biggest rooms
(27:36):
feel small, and like if you can figure out ways
to do that, you don't feel like short change because
you saw a band at a bigger you know, in
a bigger environment, and then the smaller ones just feel
amazing in and of themselves. But it is a really
like amazing thing when you go to a show and
the blast brow feels included.
Speaker 1 (27:56):
You guys have done it again with a new album
Automatic On Valentine's Day, Jeremiah Frates, Wesley Schultz.
Speaker 3 (28:04):
I'm glad to see you guys.
Speaker 2 (28:07):
Brett.
Speaker 1 (28:08):
There are hundreds of interviews waiting for you in the archives.
It's the Brett Sonders Podcast. I'll see you next time.
Well Hi. This week on the Brett Sonders Podcast, I'm
joined by Wesley Schultz and Jeremiah Frates, the two guys
in charge of the Lumineers. Their new album Automatic is
out now here. Singer, songwriter, guitarist Wesley Schultz.
Speaker 2 (00:16):
Nice to see.
Speaker 1 (00:17):
Jeremiah Frates, drummer, pianist and dreamer.
Speaker 3 (00:21):
Good to see it.
Speaker 1 (00:23):
It's called Automatic and it's out on Valentine's Day, February fourteen. Yeah,
February fourteen album.
Speaker 2 (00:32):
Our loves that.
Speaker 3 (00:33):
Yeah, You're welcome Valentine's Day.
Speaker 1 (00:36):
Happy Valentine's Day. I have to say, you guys both
have a gift for writing songs that are instantly relatable
to the audience. I'm not hearing a lot of perils
of a rock star stuff in your music conscious choice.
Speaker 2 (00:50):
I don't think we live. We're like writers to the core.
We're like got into music just because I think we
spent something like seven years writing and home recording and
then got signed. And I think we would still do
that if nothing ever happened. We're just obsessed with the writing.
And then the sort of like the things that people
(01:14):
think about as being a musician and being a rock
star is like kind of turns us both off half
the time. It's just like, whatever you're interested in will
keep you there. And I think we've found our magnet
through that and it brought us together, and you know,
so in a weird way, it's not We're just not
that indulgent in that way. It's just not us. If anything,
(01:36):
we're just we're so obsessed with the writing of it
that you almost have to drag us out sometimes to
things like that.
Speaker 1 (01:44):
It's worth mentioning to Jeremiah that you guys are one
of the few bands I can think of off the
top of my head. You write all of your own music,
you don't farm out your songs, and so many bands
do that.
Speaker 3 (01:56):
Now, yeah, we do. I think that it's odd to
think of that as a novel or some sort of outlier.
I think that when Wes and I were growing up,
we fell in love with bands. Many bands influenced our
writing and our love of music. And I think that
I remember we were at some sort of like we
got an award. I think for jhe and Ophelia and
I swear me and West were the only two people
(02:18):
there was like sometimes six writers, eight writers, sometimes double digits,
multiple producers, and I think that's not a knock in
other bands or how artists conduct themselves. And it's also
not to like pat ourselves in the back. But I
think we kind of thought, well, how else would you
do it? There's not really any other way. I think
the greatest high for me has always been that moment
(02:38):
of check out this idea, Wes, and then we kind
of collaborate on it, and then that proverbial space bar moment.
You're the only two people in the world to hear
that first iteration of that idea ever in the whole universe,
and it's such an exciting thing to be It's never
been about let's farm this out, let's speed up the process,
Let's make an Amazon, you know, workplace out of this craft.
(03:01):
It's really about I'd rather write, you know, mediocre music
in thirty years just with Wes than trying to find
some shortcut to you know, stay relevant, you know, or
stay important. So I think that, you know, next year,
twenty twenty five will be about twenty years being together,
and I think that says a lot. I mean, we've
(03:23):
gone through so much together. I think a lot of
that's in this album. In some some conscious ways and
subconscious ways. And I think it's just I feel proud
to continue to be in a band and be this
inspired with our you know, fifth album Automatic. It's great.
Speaker 1 (03:38):
You have by far surpassed any level of mediocrity. I
wouldn't even think about that anymore.
Speaker 3 (03:43):
No, but you know, I never yet.
Speaker 1 (03:47):
Yeah, both of you guys are dads now parenthood or
co parenthood? How does it affect your work? Both of you?
How does it affect the whole process of what you
do here?
Speaker 2 (03:59):
I mean, Jared say this not that long ago about
it kind of forces you to be hyper efficient with
your time. You know, there's just like saying that I
think married couples have after I have kids, Like what
did we do before kids? Is like we had so
much more free time. But I will say it. I
don't know if it's because of that or as a
(04:19):
byproduct of that mentality, but we do things faster even
though we have plenty of time allotted. And I think
the end result of that is that you're getting something
that's less filtered and less poured over in terms of
like it's got to be perfect. And I from all
(04:42):
my favorite bands growing up, I think they like were
much more raw than today's edited stuff, and it's when
you have limitless editing options and you do everything isolated.
I think for this recent album, it was a lot
of bleed between different instruments, tons of it. Most of
it was done live, and it was in an effort
(05:03):
to recreate what the bands were doing in the seventies
and some of these records that are just stand the
test of time. And a lot of that was like,
let's not use the click track. Let's just play it
as we would play it, and if it gets a
little faster at the course because we get excited and
we play that together, let's do that. And for us
(05:23):
that was liberating because it's less work in a weird way,
and it's faster to the point, and it's also by
the sometimes by the time you record something and you've
tried it so many ways and it's click click click,
you're it sterilizes the magic of it. So in a
funny way, I felt like we were finding ourselves. It
(05:45):
was a more innocent, innocently made record because we were
we didn't know what we were doing, and we were
kind of just letting it hang out, letting it all
hang out, and that's I think it's just based on
those are our role models. That's what our role moods
did in our favorite bands. You know that we still
listen to.
Speaker 1 (06:05):
You guys. Are Dad's on different continents too, Jeremiah, you
are in Italy much of the time when you're not
here in Colorado. Wesley us still live in Colorado. How
does the communication process work between the two of you
since you were on different continents.
Speaker 3 (06:21):
I think that there's so much a great deal of
shorthand between us. I think that when we moved to Denver,
maybe twelve thirteen years.
Speaker 2 (06:31):
Ago, what do you think it's two and nine, so fourteen.
Speaker 3 (06:35):
Okay, So when West and I moved there, the band
was seven or eight years yeah, like very unsuccessful East
Coast band, and we we had written close I think
I swear we had written close to maybe seventy songs.
I'm talking before the debut album, many different genres, many
different songwriting styles, all over the map. And that was
(06:55):
like our cutting our teeth, our outliers, you know, Malcolm
Gladwell ten thousand hour school, like you know, training. And
when we moved to Denver, we lived in the same house,
little house in Washington Park. Back then we could afford that.
Two other guys. We worked at the same the sushi
den South Pearl Street. That was the job that paid us.
(07:17):
And then the unpaid job, of course, was being in
a band, and we were Every Monday we'd go out
to the Metal Ark open Mic. It's the best open
mic we've ever been in. And that was clearly unsustainable,
you know, living in the same house, working at the
same job, and working at music, the craft, the obsession.
But I feel like it's kind of what we.
Speaker 2 (07:36):
Would show up to like a party and people would
be like, where's the other one?
Speaker 3 (07:39):
Yeah, because you're like, it's just me tonight. Yeah.
Speaker 2 (07:42):
It's just like we were glued. We were tied at
the hip. It was like you can do that for
so long. It was a bit like boot camp or
something where you get to know each other and like
you said, it's you can't go on forever like that,
but it's it was it's important to have that bond,
to like develop that shorthand because it is all of
a sudden, you know, how each other.
Speaker 3 (08:01):
Do you remember that last house that we lived at together.
We were there for like two months. Yeah, Third and Grant,
So I'll never forget this. We were working on music
before going to the sushi den, and like the living
room was just cluttered with drum sets, and I remember
we ate lunch and I remember having to move the
high hats away from the TV because we were watching
the Office on DVD, and I was like, this is
(08:25):
not working, Like it's like something's got to give, you know.
But I think contextualize you asked about being parents. I
think when we wrote Cleopatra, we were still living in Denver.
We actually rented a house again in Washington Park, sort
of hidden in plain sight. And I think this was
before kids. I believe it took about six months to
write that record we had kids, and then the writing
(08:47):
of Three was about half that time, let's say two
to three months. Bright Side was written in about a month.
Automatic was written in a couple of weeks. And I
think that you know, me moving whatever it is, eight
thousand miles across the world, it was very import and
to maintain that our musical marriage, Yeah, how do we
keep that? How do we keep that spark? I mean,
it's we're just I don't know if anybody does this,
(09:08):
but it's not like I send an idea. Wes puts
his pro tools. He sends it back. It's more like
it's very crude, you know, raw vulnerable recordings that have
mistakes and a lot of it might not even be
that cool, and one of us find something very interesting
within that singing Yeah, attitude, guitars, the works, you name.
Speaker 2 (09:28):
Its stuff is like really crude, unusable.
Speaker 1 (09:33):
But even being here with the two of you in
a room, you still have a telepathic relationship big time.
You know when to stop and start talk over.
Speaker 3 (09:44):
There's even I think there's even something when we're playing
a song that's predominantly let's say Wes on a guitar
and me on a piano in a live setting, there's
just this crazy ability to to to slow down, to
speed up, and I think to our you know, to
credit David Baron credit a producer, engineer mixture of this
(10:04):
album Automatic. We had worked with him in a more
limited capacity on less On album three and more so
on bright Side, but the most on Automatic, he was
like the light bulb moment. He was like, guys, this
right in front of you. It's you know, it's you
and Wes, it's you and Jerr, it's it's you guys
playing in a room. So His whole mantra was plug
(10:26):
and play, sort of greatly inspired from let it Be Beatlestock.
We went out to the studio in Woodstock, New York.
Three pianos on the floor, West's guitars, two different drum sets,
a rock kit you know, quote unquote, and then like
a dry kit. Wes had his vocal booth and the
whole notion of all right, this is the final take Wes,
(10:46):
you know, same olsong. Great example. We flew in from
Texas playing a show, five or six hour travel day.
It got to Woodstock, and I remember making the joke,
but I was serious. I was like, well, let's just
get like a snare drum sound tonight or something like,
well tune West's guitar, you know, very meek, humble aspirations.
We'd basically cut that song that night, really quick drum loop.
(11:08):
Wes did a take guitar and vocal, and I think
first and foremost West was like, that's a great vocal take.
But we live with that, you know, for days and weeks,
and then West tried to you know, beat it and
re record it, and we were like, you nailed the
first night, man, and that was so like the worst
conditions to arrive into New York State at two three,
you know, drive an hour to the studio. You get there,
(11:30):
there is a little bit of that awkward like what
song do you want to work on? You know, you're
not really quite ready to let your soul be bleeding
like the full you know, idea of making a record.
And that happened. The whole made the whole record in
twenty one working days. We took breaks, for sure, but
it was It was astoundingly fast and astoundingly fun playful,
(11:51):
and after being in a band with West for twenty years,
I was just like, this is so cool to be
this inspired, you know. I felt like I was fifteen
sixteen again playing the drums. Didn't believe how much fun
I was having and that the product seemed to be
high level, and I just I'm proud of it. I'm
not saying this is like the sickest record of all time,
but I'm very proud of it. I'm very proud of it,
and I think it was it was a surprise, and
(12:15):
don't take that in the wrong way. It was an
amazing surprise. After two decades of of doing that. It
just was amazing.
Speaker 1 (12:23):
Well, we're going to hear another song from this new album,
which is perhaps the sickest album.
Speaker 2 (12:29):
Ever made, perhaps the sickest album all.
Speaker 1 (12:34):
This song so long. The narrator is very colorful in
his imagery. Here's a line the moths are eating blankets
for babies.
Speaker 2 (12:43):
This is like my inner psyche subconscious. I feel like
I shouldn't go to therapy. I should just submit that
to somebody, this song because I didn't. I didn't. I
just sang all those lines. I think it was like
the day we were recording it and I kept sending
you stuff, so I would say, I don't really have
a good answer. I think what that means is that
(13:05):
you're in the moment. I was like, imagine when your
kids are grown and these all these things that mattered
in the moment were so important are now collecting dust
somewhere and the moths eating them. Like how you're just
a slave to this time and it's like slipping by.
It's like a crazy visual and it's someone that you
(13:27):
protect so much as a baby grows up.
Speaker 1 (13:30):
What was it like, since you're both from New Jersey,
what was it like appearing on stage with Bruce Springsteen
in twenty twenty four?
Speaker 2 (13:38):
I mean, that was really bucketless stuff. And we had
met him one at another event and told him our
exit on sixty three all the New Jersey's turnpike and
he's like, oh, you guys from Jersey didn't know that.
And then when we saw him again, he's like, I
remember you guys. We're like, hoh. Even if he's lying,
(13:58):
this is fun. So I think, you know, that's born
in the USA was something that I literally have memories
of being on a rug as a kid and picking
out the plato in the rug that got stuck in
there and hearing this what I thought was like an
ancient man singing these songs, and then all these years
(14:18):
later to have him interact with us at all, it
just means a lot. And I think also, you just
marvel at talk about a role model like who stays
curious about what he does with his own art and
his own music. He seems just forever reinventing himself and
forever curious. And it's not for the sake. It's like
(14:40):
Nebraska is a great example. It's not for the sake
of getting bigger. It's for the sake of satisfying that
creative it. He wants to scratch and keeping himself hungry,
and it's like someone that you can really learn a
lot from, you know, just watching what he's done all
these years and and just stay curious. He's just done that.
(15:02):
And it was a thrill. It was just yeah crazy, I.
Speaker 3 (15:06):
Mean, yeah, it was surreal to meet someone. I don't
think there's many people as I as I age, many
people that you would feel truly like starstruck around for
lack of a better description. And I think that just
and we were backstage, we were at a show this
particular time over the summer, doing a collaboration with Zach Bryan,
and Bruce is just standing there and you can just
(15:28):
tell everyone in the room sort of like freaking out
that he's there and there he has flesh and blood
standing there. He's real and it's must be strange to
have that level of fame, that level of iconicness. It's
like a superpower. You know, Yeah, I can't where he's
kind of like yo, it's fine, like, yeah, you guys.
Speaker 2 (15:45):
Travel with one. Uh. We thought it was almost like
a friend of his, but it was his bodyguard. But
that was it. It wasn't like a huge entourage, which
is like classic Bruce. Yeah.
Speaker 3 (15:55):
I was reading something about in that Delivering Me from
Nowhere book about the making of Nebraska, and I think
that's been his MO when he was doing that song.
What was that song with every single Michael Jackson world. Yeah,
he drove, he landed, and I think either Burbank or
La drove himself to the studio, parked on the street,
paid the meter and all these vps are like, he Bruce,
(16:18):
and they were like, this guy is just you know,
this was like the height of his fame too, after
Born on the Run and I think the river was
out yet, but I forget, but yeah, it was just
it's a huge genre.
Speaker 1 (16:28):
Have you guys seen the documentary for the making of
We Are the World?
Speaker 2 (16:33):
No, I've just seen the awkward Bob Dylan clips are
my favorite.
Speaker 3 (16:37):
His singing is the best.
Speaker 1 (16:39):
It's it's literally one of my favorite things in the world.
Speaker 2 (16:41):
And Quincy Jones sure for being like the floor general
there and like controlling the room full of stars, like
they somehow respected him enough to listen. And Michael Jackson,
I don't know, I didn't realize how musical that guy was,
like kind of being the band leader in a way,
and I just thought he was a talented singer and dancer. Dude, Yeah,
(17:04):
it's crazy.
Speaker 1 (17:05):
You have to see the documentary because at one point
they introduce an African chant into the recording and that's
when Waylon Jennings just walks out and never returns.
Speaker 2 (17:16):
Oh my god.
Speaker 1 (17:18):
I guess he had to be on the set of
the Dukes of Hazard or something. But it's the funniest,
funniest thing in the world. All Right, we better get
back to the music.
Speaker 2 (17:26):
I don't know why I just thought of this, but
when I was a kid, I remember listening to Dave
Matthews and had that song too Much, I Eat too Much,
Like he was talking about a similar thing. You know.
I think there is an insatiable thing that we have
in us, and it can it can lead to a
(17:46):
lot of great things, and it can lead to a
lot of depression and like sadness. And I think the
line that follows that, which is automatic that that's the
title of the song, but it's like it follows that
line for me, it started to feel like, you know,
it's more of a Rorschach type of song, like there's
not really like this is what it means. But for me,
(18:07):
it started to mean, you know, our our behavior is
becoming so predictable, depressingly so because look look at the
ads placed on your Instagram feed that you're like, oh,
that looks like a good shirt. I need some coffee.
The Kayak is on sale, Like it is relative to that,
but it's it's relative to a lot of things. I mean,
(18:29):
but just this idea of like are we hardwired to
want more? Is that automatic? And are we automatic? And
like it's almost like where does the line end of
like the technology in US. That's what it started to feel.
Speaker 1 (18:43):
Like, is the culture where you live, Jeremiah, in Italy
similar to that culture of consumerism that we have here
in the States.
Speaker 3 (18:53):
No, I don't. I don't think it is. I mean
you've seen, like you know, we're Black Friday is upon us,
and I think that you've seen that. Yeah, I've seen that.
You've seen that overflow into places like England in London
and it kind of bums me out a little bit.
It's this odd thing of like I need the best
new flat screen, I need the new iPhone twenty eight
or whatever, you know, And I think that I think
(19:14):
that Italy has been shielded from that. They have other
problems don't worry. But there's other concerns. There's always concerns,
but uh, I think that hyper consumerism does feel a
little bit less driven. I think the advent of social
media and Amazon and everything's that your fingertips and this
idea rarely gets felt that I have enough. I am enough.
(19:38):
I've tried to. I mean, I've been guilty of not
feeling that. But lately in my life I've been trying
to remind myself I have enough. I have more than enough.
I have a healthy, two children, wife, an amazing band member,
amazing band, all these things that no for real, you know,
like beyond zeros and commas in your bank account and
the car you drive, and you have a car that
(20:00):
it works, it's great, You're lucky. You have clean water,
You're lucky, all these things that try to take stock of.
And again I'm not always the zen and lucid. Don't worry,
but in times of in good times, trying to feel grateful.
Speaker 1 (20:12):
And yeah, there's a song on the new album. I'm
not allowed to say the name of this song, but
I want to say to both of you, thank you
from the bottom of my heart for writing a song
about me. I really appreciate that you guys.
Speaker 2 (20:25):
Yeah, I didn't want to say your name of the song,
but when you guys hear this, you're gonna know exactly
what we're talking about.
Speaker 1 (20:31):
The illumineers in KBCO Studio C on the Road another
great example of a lumineer song that is universally relatable
to anyone at some point in their lives. You're all
I've got. Have you been there before? Have you been
in that position?
Speaker 2 (20:45):
Wesley? Yeah, I'm in it all the time. It was
born out of uh, this idea that I was trying
to explain it to Jar without feeling like we would
insult each other by saying this, But I believe it
to be true even with my kids. With my wife.
Is like, when you love someone, you're a bit, your
(21:06):
heart is a bit. Beholden to that. And if if
you don't want to feel beholden, then you don't get
to love. But if you're gonna love, you don't get
to love like part way. And so you now have
somebody that if something happens with is it's dicey, it's
(21:27):
very risky, it's vulnerable feeling. So it's easier in a
way in theory to be An Island and just kind
of like almost like a hermit. But the minu you
start really having partnerships, you know, like like with me
and Jerr, like we need each other right better music.
But that's also like annoying at times, like even though
(21:47):
it's not he's not annoying me, but the feeling of
I want to just be prince and do it on
my own. Well, there's one prince out there. There's not
that many princes, you know, and I think he's probably
felt that towards me, and I feel that about my kids.
Look both ways, like it's almost upsetting how much you
care about them, or it's so many things in your
(22:07):
life that bring out this strange dichotomy of like you're
so lucky to have love in your life, but you're
also kind of annoyed by how open you have to
be or open to being hurt you are because of
that From.
Speaker 1 (22:22):
The lumineer's automatic, it's out Valentine's Day? Was that a
conscious decision? I think the date's been moved around. No,
it's for our wives. Yeah, you're all I got ladies.
Have the two of you been to Sushi Den lately?
Speaker 2 (22:34):
Yeah, but not that I would say a couple months ago.
Speaker 3 (22:38):
I think I went when I came back to Denver
to write this album with Wes earlier this year March, right,
But David.
Speaker 2 (22:44):
Barron maybe he might have mentioned that, or is that another.
Speaker 3 (22:46):
Time that was No, I think that was ages ago
when we recorded Firewood.
Speaker 2 (22:52):
Yeah, I went there probably two months ago.
Speaker 1 (22:54):
So good for our listeners who don't know you both
worked at Sushi den before becoming the breakouts superstars you've
ascended to. I was wondering when you walk in there,
do you get a hero as welcome?
Speaker 2 (23:06):
I just know I don't think anybody know, like a
couple every time. Every once in a while a waiter
will recognize me or Yasu or Toshi. If he's there,
I'll say ah to him. But like I saw Takoma,
he didn't recognize me.
Speaker 3 (23:19):
I painful price as a heroes welcome then, yeah.
Speaker 2 (23:23):
But it's a I remember like I hated Sushi when
I worked there and now I like it. So it's
bad timing because I I think I could have had
some some snags of sushi as I was busting tables
that I didn't really take advantage of. I was disgusted
by it. Other time, you were pretty hungry and starving artist,
but that was beneath me.
Speaker 1 (23:43):
On the last big tour, I had to go to
Chicago to see you guys for the album that came out,
the live album that came out, which, ye, what an
experience for people who have not been to a Luminear show.
There's such an energy and a love of life that
transpires in the audience, and you guys really know how
to project that on stage.
Speaker 3 (24:04):
Well, thank you.
Speaker 2 (24:06):
I would say, we're dead and lifeless inside, but we
love it.
Speaker 3 (24:09):
I would say playing Wrigley was the ultimate childhood fantasy,
you know, realized. I remember songs started off with the
song bright Side and I rot, you know, I rise
from the ether below the stage, out of sight, and
I remember looking, you know, to my left and just
saw a wall see if people, and how high it
was and how far back and when it was, you know,
(24:31):
even beyond one eighty. It felt like a two seventy situation.
And I was just like at West playing the guitar.
And sometimes you have these sort of flashbacks of like,
you know, trying all these ideas out in my attic
in rams in New Jersey, and just like I feel
like this thing's going to work, but you the universe
didn't you know, give it to you easy took you know,
(24:53):
a decade to be an overnight success classic, And I
think that moment felt sometimes like you do the thing
like you play Saturday Night Live for the first time,
or maybe Letterman or Conan O'Brian. You have these almost
superficial or things that universally are deemed to be cool,
and you're not present for those moments. Everyone around you,
maybe your wife or your mom, is like, that's so cool,
(25:16):
and you're like, I'm so not present during this. But
for Rickley, I was very present, and I was I
felt lucky to be that present. It was just a
really incredible experience pinch you know, pinch yourself moment well.
Speaker 2 (25:30):
And we like had a good show, which is also
important to really sometimes sometimes you know, those big moments
get the best of you and you press and you
you kind of try harder than you need to try.
And I felt like it was like all this stuff
built built up to that moment and the band came together.
It was really special. So that's not again it's not
(25:51):
meant to be sounding at all arrogant. It was just
more like Wow, like we we did it, like we
we did what we wanted to do there and that
felt really good.
Speaker 3 (25:59):
And I'm looking for or to Denver next summer wink wink,
because I think that for me personally, coming back to
my second home, it's like the New Year's You've complex,
it was so built up in my mind that it
was amazing. Don't get me wrong, but I think it
was like we broke the seal on that and then
regally I could sort of like Coursefield, Yeah, like Coursefield
(26:21):
was amazing, But I think it was It's Denver. It's Denver.
You know, it's Denver. It's just this built up for
for probably over a year, you know, Wes and I
internally knew about that show and you just see it
on the calendar and it's sort of this.
Speaker 2 (26:34):
Like you're supposed to play pre pandemic, that's right.
Speaker 3 (26:37):
So it felt even more you know, impossible to reach
these these heights. And then so I'm looking forward to
next summer, say the least, well.
Speaker 1 (26:47):
That's right, Yeah, yeah, I mean have you actually before
I let you go, have you guys considered that just
showing up with the Metal Lark.
Speaker 2 (26:52):
We do every Tuesday. We're there for the Open Mind.
Uh yeah, I mean we've we talked. We like to
do like they call the industry calls like an underplay,
where you just have a pop up show like Jack
White does it a lot. Sure, So we've played the
Boulder Theater a couple of times. I'm not sure quite
the exact plan, but it's something we really enjoy because
(27:14):
you get to create a fake band name and usually
you're running through like a whole new album with fans
that are hearing it for the first time. So I
guess like keep an eye on for that. But I
like what I like about what we're trying to do
is and again it's kind of harkening back to the
Bruce Springsteen conversation, is like he made the biggest rooms
(27:36):
feel small, and like if you can figure out ways
to do that, you don't feel like short change because
you saw a band at a bigger you know, in
a bigger environment, and then the smaller ones just feel
amazing in and of themselves. But it is a really
like amazing thing when you go to a show and
the blast brow feels included.
Speaker 1 (27:56):
You guys have done it again with a new album
Automatic On Valentine's Day, Jeremiah Frates, Wesley Schultz.
Speaker 3 (28:04):
I'm glad to see you guys.
Speaker 2 (28:07):
Brett.
Speaker 1 (28:08):
There are hundreds of interviews waiting for you in the archives.
It's the Brett Sonders Podcast. I'll see you next time.
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