Willy Vlautin, The Delines: 3:28

I'm exhausted. Actually. I went on a little bender. I like took care of myself. Like I was drinking Guinness and then I did an Irish thing. I went saw the band's cheese in there. Sharon. That movie they thought was brill. Yeah, yeah. The vanishes into Sharon. Yeah, I haven't seen that yet. I thought it was brilliant. And then someone a little getting suspended after that. And and then the now I'm back to work, man. Yeah, I've been trying to chase you down a little bit. I didn't want to get you on when you're in the middle of the tour. But yeah, I've been listening to your music for a while. I'm a huge fan. Something about Portland as well, by the way, because I think you're the fourth band, or artists that I've had on from Portland. And you're not the last like there's another one coming up. So I mean, there's something going on in that city. There's something in the water there. When I moved here in the 90s, every weird guy from in the west from say, Michigan, in West Michigan would come to to Portland, OR Seattle. So it's just a place for every kind of weird arty person from a small town or a nowhere town would come. And I did the same. So I think you get that. It's always been a really kind of a cool music town and a weird art town. So some people just kind of gravitate here. I guess. I was delighted to see new music come from the deadlines recently, when you release the two new songs as the last Stewart's

Keith Jopling: 5:00

And that was quickly off the back of Seadrift. So it felt like a bit of a bit of a bonus treat really for fans. Tell me a little bit about those two songs. So the Golden State and my blood bleeds to darkest blue. Is that part of a bigger projects to come? Or where did those songs come from?

Willy Vlautin, The Delines: 5:19

Goes state came early. I think that was like our second second recording session. We did, we started messing around with that, too. And it just, we were kind of just drifting away from that sound, like that kind of cow punky sound. And so we just kind of let go. And then then when I was writing a CD of songs, I started messing around with my blood leads darkest blue, right, another duet, but it didn't really fit that record either. So so we decided that we would put them in on a single, like, they were kind of wayward misfit duets. So we thought we would put them together and give them a nice home before they got, you know, lost in the shuffle of a band songs, you know? Yeah, my blood bleeds, the darkest blue has that lovely kind of outro? Where there's the dialogue between the two protagonists? How do you come up with with those lines? Is that sort of stuff that's just hanging around in your head, Willie from one of your books or whatever? Where does that where does the dialogue come from? Well, I mean, to be honest, I think Amy's got one of the coolest speaking voices. She could sell anything man, like your voice, like listen to her voice on record, singing, but also, the way she talks. I think it's so cool, that I just kind of start writing that stuff. And then we just play around with it and to see if it if it works. But I think Willie is infatuated with the idea of Grifters. And that dialogue at the end of that duet, is kind of lightens it up a little bit, because I don't think we've seen it a few times. And people didn't know what to make of that. Explaining that they love and hate each other at the same time. So we didn't do it live. We didn't do the the outro dialogue live at all but maybe one special occasion or show that one out of our hat. I mean, always like stuff like that we did this kind of side project. It was called the kill switch. This is a short story. And we had a lot of time off. So we did a soundtrack to this, this short story I wrote and then we put it out. It's like an audio. You know, story? Yeah, Amy did a hot for House Painters like an ad. It's one of the funniest things I've ever heard, because there's some about your voice that just just cracks me up a bit, then you'd like my voice? Because you're in a band with me.

Keith Jopling: 7:39

Well, Amy, you mentioned Grifters. Yeah, I want to talk about that, because it's probably one of the secrets of longevity that I've discovered through these conversations, especially in this day and age when you need to sort of say something with your music beyond just putting a record out, is creating a world like creating not just a genre, but diving so deep into that genre that you kind of create that world. I want you to tell me more about it. To me, it's a sprawling blue collar soap opera. It's barroom fights, flawed characters, beat up cars, convenience stores, parking lots, broken relationships, just tell me about the obsession or the fascination because it's so central to your music.

Amy Boone, The Delines: 8:34

Well, for me, I mean, just growing up, first of all, the concept that you were talking about a concept record, I grew up with fine also, we listen to a record through and through. And so a record having a flow and having, you know, being its own thing, not just a single alphabet was what we were both raised with. So it makes sense that I think when Willie goes and approaches to record, it is a concept. It's not just, we're gonna throw a bunch of songs together, if we put a song and we record it, and it doesn't work with the idea of the flow. It doesn't make the cut. So I think that's really important, our style and our background and our age, too. And then I think we both, you know, we both love Tony Joe White,

Willy Vlautin, The Delines: 9:21

in the Gulf Coast. For me, it was just like, and I think this is true. I think he said, you know, why don't you write me a rainy night in Georgia. And you're like, Man, that's one of my favorite songs. I would love you know, I wouldn't kill somebody write that song. But I think about it. I think it starts kind of there where we're just kind of talking and then that just thinking about that song in that field in that area. You know, then you just start writing songs, see if it works, and we that we have anything to say with it and you then you start once you get a couple of them then you start creating a world of it. And she's Brian, I've always liked grifter stories. And there's something about the demonic declines that makes me makes me think of Grifters were like my last man and everybody is really but there's something about the delights and the feel of it. Maybe it's the roads and the major sevens and, and Amy's voice out don't know, it makes me feel like I could run about caricatures all day long. The lines, the blue collar soap opera, I like that. That's a you can that's your line. That's a good one she worked hard on that night just popped out. It actually popped out of the recent show. I just thought yeah, this is what I'm seeing here. And what I'm hearing, it's a, you know, a bigger story than, than just the song after song. But yeah, you definitely get drawn into the characters. Well, the other idea I was interested in is, is the idea of the end of these people's lives like Little Earl, you're like, suddenly in a car with the two brothers, you pull out of that. And then you're in another car with with, with a couple. That's relationships falling apart. And then you're in a car with a with a housewife who's who's in the process that happened to break down. So it was that idea of just like drifting through these different people's lives. And then the hope was that musically, we would, we would create a world that would make all these stories kind of, kind of fit together. Yeah, there's something about the car is so central. Kind of there's so many things going on, like these people. And a lot of these stories are really trapped. But they're trapped in a car and the car is moving in the in the landscape is expansive, and big. And you know, anybody that's been to the coast knows if it's, that's open country, they're flat driving forever. And so there's a class of phobic feeling of that. But there's also a feeling of moving and traveling. Well, absolutely. You have a following a fan base here in the UK. And I think part of the Euro appeal here is exactly that. It's that kind of romantic, magnificent idea of Americana being sort of attached to these characters that you write about. And you know, drifting along from town to town, in the car or along the coast. Because we don't have that here yet. It's it's such a romantic idea for us, was romantic for us. So you got to remember, like about the movies, you probably grew up watching 92 There's definitely a Hollywood take on America, the Americans can't help but be seduced and suckered by as well. And the thing I've always liked about the lines, it's very romantic band, but it's very dark minded band to lyrically anyway. So it has both romance and tragedy mixed into it. And I think musically, Corey Gray, the keyboard and trumpet player really, and, you know, he arranged the horns and the strings. I mean, he's really into the idea of making it like a soundtrack and making it really atmospheric and, and fit the emotion of the song. So we get we owe a lot to him as well. Yeah, it's very visual. And I do want to come on to the members of the band in a bit. But Amy, specifically, the way you sing these songs, it feels very lived in. I'm just curious as to how much you have lived some of these these stories.

Amy Boone, The Delines: 13:30

Not in a specific way. But I did grow up in that economic bracket of what you've called blue collar workers. You know, money puts a lot of strain on the American family. I think people fight more when they don't have money.

Willy Vlautin, The Delines: 13:45

And they freak out. And they stress out in traffic and getting to their jobs. And, you know, we don't our society still hasn't incorporated a lot of vacation days and things like that. And I just think it's hard on the American family or just, you know, single moms, I was raised by a single mom. So yes, we're both from the generation we're a Ma'am, I can't speak for me. But you know, I think all my friends only one of them had a dad around. It's kind of like the generation where they got married early, had some kids and then the data upgrade, upgrade and wives moved on to the next value the absent father. Yeah, yeah. I think there is a sense of stability in that and being stuck. You know, I mean, you put a single mom getting paid less than than a man would and trying to keep a family together. I mean, that's classic is talking about makes me want to have a guy, right.

Keith Jopling: 14:44

The art of longevity is presented with Bowers and Wilkins, the revered British Premium Audio brand, Bowers and Wilkins make some of the world's finest audio products from the iconic 800 series loudspeakers trusted by Abbey Road Studios. for over 40 years, so the flagship px eight wireless headphones. This is music as the artist intended you to hear it was actually thinking of Bruce Springsteen. And, you know, obviously the stories that that Bruce was told in his songs, but it was incredible when he did his Broadway shows a few years ago, and kind of openly admitted that he'd never done a hard day's work in his life. And just found that whole thing quite interesting that you can, of course, as artists you can occupy, you can occupy a character right and express that character. But that does feel like there's definitely some realism in your music. We talk a lot about our past jobs just hoping that we don't ever have to go back to them. I like your warehouse job. Pick up in the whiskey.

Amy Boone, The Delines: 15:52

So we talked about our city jobs. Yeah, I don't think

Willy Vlautin, The Delines: 15:57

I think I could speak for you. I don't think either of us were talented as Springsteen. I mean, we were busting our ass up until well, we still are. But I mean, that's the power of Springsteen, though, you know, when you think about it, he never did the day's work. But the pride saw a lot of movies about working class people was around working class people. I mean, he grew up I think his dad was a bus driver or something. So that dudes just smart. He's just a natural storyteller. Like get guys always come up to me. And we'll sit down and you read working class stories, but you're you don't, you're not a working class guy anymore. And I'm like, I was a house spinner until I was 35. And he kind of just go like, Look, man, you if you get older you can, you can only do one or the other. Like when you're a kid, you can work all day, and then be in a band all night and be a maniac and still do it. But as you get older, you got to choose one. So you hope to God that the band

Unknown: 16:51

thing starts working or are the weird stories you write, start selling. So you can do that full time. But that's really hard to do both as you get older. Well, I mean, there isn't anything more working class in a way than making it as a musician. I mean, that's the working class dream. I'm not saying for a minute that Bruce Springsteen is fake in any way. It's just the way he does what he does. Or just it was incredible thing to admit that

Willy Vlautin, The Delines: 17:19

when he's such a good storyteller, you know, like, I remember, like, 1314, my brother left home, and I was helping him load his car and I stole the Springsteen records, you know, and this is before Born in the USA. I mean, I loved man, I loved him, and I believed them, and I still believe him. That's the thing, man, you know, Tom Waits, you know, or Springsteen, they don't have to live under a car, and drink and freeze. You know, they are smarter than that. They're just naturally good down and some writers.

Keith Jopling: 17:53

Absolutely. But tell me about Tony, Joe White, because I hadn't come across this guy. I guess he's not well known in the UK or maybes. I certainly don't know him. So you, you guys introduce me to him? Why is he such an influence on you? And as a new listener, where should we start with Tony, Joe White? How would you get into his music? I'll let him take

Amy Boone, The Delines: 18:17

many records as he's he spent a lot of time in Texas, I think even was from around there. But what Willie was saying his big hit was rainy nights in Georgia, bringing it in Georgia. Actually, somebody else made it a hit. I think I heard one version of it first. But Randy Crawford, of course, made it a big hit. Oh, yeah. I think that one was a hit several times, even Tony Jones, I think But growing up, I didn't have access to any kind of underground music. We just got one radio station. We got what we got. So the first time I heard it, it was it was a hit in. And it was on the radio all the time. And I just remember just just that clincher hook, you know, it's a rainy night in Georgia feels like it's raining all over the world. It's just you can say anything in the verse if you have a hook like that. Right? I mean, it's a great hook in. But you know, he's also really revered in Austin, as was one of the Texas songwriters. Austin really holds its songwriters. Dear. So I heard of him when I moved to Austin to so I mean, for me, it was like,

Willy Vlautin, The Delines: 19:29

Tony joy, there's a handful of songs. Well, the one thing you can say right away about that guy with his voice in his guitar, and he's a very visual writer. You're automatically in the swamp with him. It's the same thing with Springsteen. You know, you're you've never been I've never been to the East Coast. I've never been around oil refineries or you know, New Jersey kind of stuff, but you listen to Springsteen in there and with Tony Joe why you're like hanging out with him.

Keith Jopling: 20:00

Unlike in the deep south with this really cool cannon like, elegant, hillbilly. And when when he sings ballads, I mean, you just melt in doing the, you know, some of the background for this, of course, I'm Willie, I had no idea that you'd written six novels. It makes sense to me now because you know, the stories in those songs, the music crosses over with your writing, how do you separate the two? Or how do they work together?

Willy Vlautin, The Delines: 20:28

I've always kind of done done on both. I mean, in the old days, I was in this band called Bridge for Fontaine. And I used to write, like, songs have, like eight verses, and no hook and no chorus. And I'd write not just one of them, but like 10 of them. And the band would be so not just depressed because the stories were depressing, but depressed because they weren't that much fun. Because there was no book they're gonna, like, people got to actually liked this stuff. It was really hard for me to ever figure out how to write music that people would actually like, because I was so worried about the story. So then when I started writing more novels and stuff like that, I could separate them more. And I think I got better at trying to be a little catch here. And then with Amy, I just don't want it like I love being in a band. Thank you. So every time I tried to write a song, I generate the best song that has hooks in it. So it's like she says she doesn't go back to Texas, you know?

Keith Jopling: 21:23

Yeah, so a hook is it's for variety of reasons, right? Is to please the listener. So the singer in the band? Yeah, yeah, there were times with Rachel Fontaine, were I?

Willy Vlautin, The Delines: 21:36

Not seriously, but they could have told me out of a window, just because they're like Jesus, could you just write one catchy tune for us? And then it's like being a bad boyfriend. And then you finally go, oh shit, I better. I better be better. And then I'd go home and try to write a catchy song and they'd get off my back for

Keith Jopling: 21:58

it. Since you mentioned Richmond Fontaine. Let's just go back to the beginning of the declines, which is kind of the end of Richmond Fontaine. When Richmond Fontaine finished. What was your what was in your head at the time? Did you want to just simply create a new vehicle for your music? Or did you think of that? Did you consider your career in music being done at that point?

Willy Vlautin, The Delines: 22:22

Well, you know, we did a record called the high country, which was a kind of a weird art record with Rison Fontaine, and Amy sister, Deborah sign on. And then when we were going to tour on it, her sister got pregnant and couldn't tour. And so Amy was nice enough to go on the tour. I think we were actually in Scotland and Ricky Ross show. And she was in the play piano, and we were me, and one of the guys day and we're in the control room, and we could hear her she didn't know we could hear but we were hearing her by herself playing piano. And I told dad, I go man, I would love to be in a band where she sang a song. And then he said, Man, I'd love to be in a band with a real singer too. Which is really funny, I thought, anyway, so I, I just went home after that tour. And I just started writing or secretly writing songs. I knew Richard Fontaine had been so good to me, and I love those guys so much. But I can tell, we're like an old vein, you know, and one of the wheels is gonna fall off, or the engines gonna blow up. And I just didn't want to have that conversation where one of the guys couldn't do it anymore. You know, we've been kind of a small town band for 20 years. And so I just kind of wanted Fontaine and pulled over on the side of the road, when we wanted to pull over on the side of the road. And we did we got out of the van buddies, and we're still buddies. And we'd left feeling good about it. And to get out of the band, that 20 year relationship. Loving the guise and feeling good was my goal. So and then I just I secretly wrote her songs. And then I send you a few of them. And then I'll let me take it from there. Yes, I still have that handwritten letter. I was in Austin and he wrote me

Amy Boone, The Delines: 24:11

a letter and said, I wrote a batch of songs and if you want to try singing them, I'd love to hear them. If you don't like them, we're still going to be friends so no worries. And of course I love them. That was what ended up being Colfax. The first song I learned was oil rigs and the song called facts. And I actually hadn't even met the rest of the band. I knew Sean because Willie's band Richmond Fontaine had toured with my band, our our band, my sister span and I the damnation so we already knew each other, but I didn't know the rest of the band. I'd never met the rest of the deadlines. I met them at the recording session when I looked in Portland. So Amy, you you were considering teaching when you when you receive that letter? Yes, I Actually I was in I was in college, when I received that letter and I was in mid semester. So I walked outside of, I think it was a chemistry, which I was struggling and walk to the back of the campus and took me about 10 minutes to be like I'm on the next played it. So I was I was hook line and sinker, I didn't think twice about dropping out of college. I love that the fact that you know, you were considering, you know, a steady career, you know, you had this offer to go back into music and you didn't hesitate a lot. And I wasn't I was older, I was already in my midlife. So it was just going back to college. And being in college with 20 year olds was already just like, oh my gosh, and trying to start a new life again. And it was hard. And so the opportunity to go out and play music, and which ended up being able to travel. I've never been to places in Europe that I've been to now. So it's just kind of like a Cinderella story. For me. I'm traveling and I'm playing music. I didn't dream of being a singer, but I'm trying to make myself into one.

Keith Jopling: 26:09

Thanks for listening to the art of longevity, I hope you're enjoying the conversation so far. Please take a moment to rate the show, leave a review on Apple podcasts if that's where you're listening and do spread the word. Also, you can sign up via the songs familia web page for our newsletter, artwork, and much more. Back to the conversation. I had the pleasure of seeing you at the Alexandra Palace Theatre in London, it was a few weeks ago, I guess a month ago or something also. And the show for me was really special because, you know, as a live band, there's something there that you don't often see when you can't see, you know, a rock show or a pop show without you know, because there's a restraint and a precision to the way you play and render that that those songs that are in that world we talked about. And it's completely egoless certainly, you know, they're aiming as a as a front woman, you're not you're not trying to command anything, Willy, you've stepped to the side. Everybody gets to play their role, with incredible restraint. Just tell me how much that's by design, like, how much do you have to work on that?

Amy Boone, The Delines: 27:23

Well, when you're playing with such good musicians, it's just well, the songs actually have so much atmosphere going on. It's nice to take a break and let the musicians just do their thing. And I just I love standing next to these guys on stage when I can just close to my eyes and listen to the trumpet and in the beautiful bass playing. These guys aren't saying to but it feels like what you said, there's nobody grandstanding in this fan. We're just friends and we all get our shot and taken our soul or doing our thing. It feels right. To me it feels that's I think that's why we get along so well is that we just don't really appreciate each other.

Willy Vlautin, The Delines: 28:04

Amy is a great songwriter, Freddie's a great songwriter Corey.

Unknown: 28:09

And so I think every buddy's goal is to make the song work. And so I think it is a band, it's focused, like everybody knows when a song is working, and when it's not working. And they all kind of it seems like everybody knows, the song is the most important thing that your personal client or the ego of your plane means nothing. If the songs not King, songs got to be the most important thing. And if you just play one note, and it makes the song work, then you have to play one note. I think everybody in the band understands that. And then we have Shawn, the drummer who's we call HQ because he's the leader of the band. He's really good at focusing everybody on this. It's the sign that matters the most and that emotion of the song. Yeah, I was just wondering about that. Because, you know, you don't necessarily get assertive feedback from the audience. from song to song. It's I mean, you know, the audience was, you know, there's a difference between audiences wherever you go, I appreciate that. And there's something about a British audience, but the audience was quiet, you know, and so you're not getting the feedback from song to song, that kind of, you can hold a mirror up and go, Okay, that song worked really well, because everybody loved it. I mean, at the end, there was a standing ovation, but in between, everything's quiet and quite transformative for the audience. So, I mean, was there any particular songs that you played? Either that night or on the European tour that you enjoyed more than others? And why was that?

Willy Vlautin, The Delines: 29:49

Who is bad fan of like, if anyone does someone to play a song, then in the band, then you just give it that song of vacation? So I like playing while I'm in summer. Take more energy than others. The thing about the demands that I've kind of noticed is it's a slow bill. Because it is a subtle ban. Hopefully you get them into the world. And hopefully they start buying into it. And then you tell one story after another after another and you start building, like when it's working, you can really feel the audience like you're starting to get them. Not so much like a rock band, where you get them with one song, but you get them with a whole mood of the thing that starts getting them after a while. Because we live and die by restraint and the ballad, we're not real flashy. And so our goal is that you get them inside, and then you start building on each song. I think you have this brilliant liquor, this line or in the song, but it just doesn't work. And you have to let it go that you serve the song. I think with all of us, we don't mind having restraint. I mean, I guess I could be bombastic and be singing really crazy. I mean, I've been in bands where I did. I've been in bands where I was louder, or more bombastic, but that would certainly not serve this band at all. So my scene has developed around the ballots that Willie right, so my, my style has totally changed. Yeah. And then like, we always have the conversation, the lions, like, we're not a rock band. And so, so you can't rely you can't, you know, it's like fish contain you, we'd have these big epic up and down songs or punk rock songs are crazy Sonic destinations, but to kind of dance, they can get you through a lot of gigs. And with the delights, you know, I've been really, I think everybody has been pretty adamant that we don't want to rely on that. We want to create kind of create this different kind of world that not rely on, you know, kind of teams to get us out of a

Keith Jopling: 31:54

jam and again, yeah, you're right, that's a factor, I think, because the there are those big songs that, you know, band can play to either bring the audience up, or get them through it, even if they're not having a particularly great night. But I mean, I thought your show was more akin to sort of, like a classical concert in so many ways. Pretty interesting from that point of view, but I can tell you, the audience to transform, so even if we're quiet, absolutely fine, don't worry about it.

Willy Vlautin, The Delines: 32:21

No, yeah, I just remember, like, in the US with the fire team, you know, throw in a couple ballots, and you know, nothing would really happen. And then all you have to do is go back to Bucha to prompt you to function from and everything, but

Keith Jopling: 32:34

you have to do something with it. And make it fast. Yeah, you don't have that comfort zone in the device. You don't need it. Okay, well, your music is very anti trends, right now, for a number of reasons that sort of slow build live. It's not exactly streaming friendly music. How do you get to your audience these days? How do you promote that sound in this current world we live in where everything's got to be, you know, get to the hook in 30 seconds. Don't let anybody skip your tracks on streaming. You don't live in that world. So I'm just wondering, as you know, commercial musicians, you have to make a living? What's the strategy for sort of putting your music out there?

Amy Boone, The Delines: 33:15

Well, that we're not pop artists. So we don't have to keep reinventing ourselves. I think, what's inventing the decline song is just the word longevity of making records. I think our style and our sound is coming out of the records we're making. So it's, it's a merging, if you will, we don't think about commercialism. I mean, we want people to like our music, but we definitely have a niche of people that are going to first of all, listen to the stories. So first and foremost, I think that these people that are coming to our shows, listen to lyrics and care about lyrics and care about the story. So I think that's number one. But as far as making a big hit,

Willy Vlautin, The Delines: 34:00

we joke about it, I said, I'll get a tattoo with the lines on my arm that can ever write a hit. But if you know, I'm bringing the funny thing is is, as I was about laughing, the whole time, she's talking because Amy and I, and I think I can speak for you. I mean, we're not like, sadly, we're not that we're very ambitious musically. So we do some cool. But I think if, for instance, if somebody invited us to a party, we're gonna meet some movers and shakers. We wouldn't probably even go we'd probably go to the bar next door, where there was a bunch of toothless old men, and we find that they're so I've never been very savvy that way. I don't think either of us are that interested in it? Yeah, we're not. I'm not that savvy. That stuff. like Amy said, We just tried to make something that we think is really cool. And that we believe in and then at the end where we're old school will will will tour it when we can And helping if we know how they help it. And then we got to just hope to God that saw the record can make it on its own and get into people's hands. And I think what you were saying about the show in London, I think if our band is being more theatrical, I see it not as a musical or play, but I think our shows do have a cohesiveness about it. And we intentionally start out with these slow songs. I mean, we started the whole tour with the same song because it's long, and it's brings you in, and it's called the same get away. And that was a perfect spot for it, because you just slowly bring people in. But to me, it's theatrical, too. I liked that aspect of this band. I've never been in a band that's like that, you know, we're talking about, I guess, marketing your music, but one of the better whether it's not a bad thing to hook it on, because it's very different from that perspective. And it definitely appeals to, I think, what we all want, how we want to appreciate art, which is not always just, you know, firing up an app and, and then skipping from song to song. And it was quite reassuring in a way to think so many people turn up for that experience. It's always nice to travel to Europe and have an audience it would be really, I mean, it's, it's really lucky, you know, maybe it's from being in a band for so many years, people didn't really, you know, as bands, we both worked best for so long. Your band was really successful. But I've been in bands, till I was pushing 40, they weren't doing very good. So anytime anybody shows up, I'm so relieved.

Amy Boone, The Delines: 36:46

It hits some nerve in me that, you know, indicate it could be 200 people or whatever. I'm so relieved that I got I can't even describe the how happy I am that somebody showed up. Because that is that means that the bank can keep going and doing its thing. And I can keep playing guitar. And I also think, as far as our generation, we all went to see live music it was, you know, Austin snowing for live music. They call themselves the live music capital. But, you know, we all went to see each other's bands. It wasn't just going to see a big concert, I went to big concerts growing up to, you know, the cars and the police and all that. But we would go to smaller shows and support fellow musicians or open mic nights. And you know, I have a nephew now that's 11 and one that's 25. And I want them to experience that.

Keith Jopling: 37:37

Yeah, absolutely. I think when you see a band like the deadlines live kind of interesting to you know, observe in the audience. You know, who was there? It was a nice variation for sure. Yes, definitely. You got Ben Ron over emotionally. Getting the delight. I mean, every time I see a kid, there I go, man, what did you What did you rob a bank or something to get as your punishment? You gotta go see the lions. But once in a while they go no, I really, you know, I got my mom really likes. And I got it. I mean, look, I mean, you know, to bring up some kind of weird comparison. If you look at someone like Lana Del Rey. Yeah, yeah, you're not that different. And look at the appeal that she has and the music she makes, which is definitely have similar themes, but has this kind of huge, you know, Gen Zed following. So it's, it's it's really close. You know, it's a really fine line. Yeah, yeah. She's, she's really I've always really liked her songs. i Yeah, talk about being a lot smarter. This is live and cooler. But yes, same. It's the same world. We're little, our little orbit. But yeah, I really like I like your stuff. Willie, the show, I thought was really nice of you to give a shout out to Laura Barton, actually for writing piece in Ankara. And I remember reading that, and it definitely helped. I think that's probably where I discovered just diving into the Seadrift. And I was wondering about that, because obviously, music journalism has completely changed. Even with this podcast, we're having our little niche and in terms of what we're trying to do for for artists and bands, in a way that kind of suits the lines, doesn't it because you know, back in the day, when everybody had to be hyped and you had to be on the cover of NME or sounds or whatever. I guess there wasn't too much room for you, or bands like The blinds but now there is it's just in kind of niche media, but it's it's nice that you acknowledge that I think you get lucky once in a while, you know, like say that uncut and that's just a lucky break for any band. And then to get a really good writer, she wrote she you know, that said she got it and she took the time. And so that was like really do is just pure luck. You know, as far as

Willy Vlautin, The Delines: 40:00

Success is it's luck if someone pays attention to you and they do it in a way that other people relate to. But anyway, she she really nice article and both Amy and I were like Jesus, thank God she wrote it because she's really good writer. And for whatever reason she liked us when she wrote that piece. And thank God she did. Yeah, and that was it was really nice to hear it.

Keith Jopling: 40:24

The art of longevity is brought to you by the song familia. That's me. Working with Project melody and audio culture. It's recorded at the cube. London's first member studio for content creators, currently based in West London cube will be opening a second site in Canary Wharf in January 2023. Our cover art is by Mick Clark and original music for the podcast is by the neoclassical composer and artist Andrew James Johnson. Okay, so I don't do this too often. But I just wanted to stop off at some songs because I think it's a nice way in for listeners of the podcast who maybe don't know your your music yet. So surfers and Twilight first, which I just loved this tune so much. And again, it seems to be very much drawn from life. So this is a scene that definitely happened. I mean, don't tell me it didn't happen. There's a summary at the end. You know, Amy, you just simply say it, you know, flashing lights, the cups, the beach, the tourists, surfers and Twilight never heard anything like that before. And in a song just tell me a little bit about where that whole concept and and song came from?

Amy Boone, The Delines: 41:44

Well, well, you wrote it. I love those lines. So I think that's a really grand finale of that I love the song. I love singing a song. It's very dramatic and sparse, when he's playing some really cool guitar on that list at the end. Because I love kind of talk singing that I think it's very dramatic. It's a list of what this person's seen a list of nouns and I just loved the ending of that song. I love the whole song. You wrote it so well, I mean, to be honest,

Willy Vlautin, The Delines: 42:17

a relative of mine, or a kind of pseudo relative of mine, I was down in Mexico as a kid. And this relative of mine, was a boxer. He was a really tough guy, and wild drunk. And I just remember walking down the street with my dad and we looked down the street. And there's this guy who's this relative of mine, in a fight with like three Mexican cops fist fight. And I guess that's probably where the root of that story I've never really thought of that. But that imagery of like being some more touristy and then all of a sudden you see someone you know, and with the cops are getting thrown against a wall, and you're like, the juxtaposition of in service and Twilight, in particular, the idea of, you know, the workers, the tourists, the beauty, and then all of a sudden, your boyfriend's who's supposed to walk and pick you up from work is getting thrown against the wall by the cops. And then when she sees him, she's like, oh, man, they think he's done. He's probably done. I can, I can feel it. And I can see in his face. I think the setup for that song when I first looked at the lyrics and heard because Willie always sends me demos of him singing the songs first. And I was just pulled into it. I was so ready for this guy that we not guilty, you know. And so I was like, whoa, this just took a 360 years. So I love I think it's shocking. The first time I heard it, I was just like, wow, this is so set up that this poor guy, right? And then she just has this feeling by the look on his face that whatever he did, he's guilty. As that's a clincher line right there. Yeah, yeah, it is. It's like when you go and see one of those really good movies and you think, okay, it's gonna be a Hollywood ending here. It's all gonna be fine. And then it's actually not. And you leave the cinema a little bit stuck. It's a little bit like that. And Corey Gray, you mentioned Corey earlier. Yeah, plays a big part in that song. That trumpet line is just incredible. So he's one of the one of the secret weapons in the band. He plays a big part in every song really. And I think the longer we're together, the more space we give him to, to come up with really cool trumpet lines. And more. I mean, string lines. So yeah, yeah, he's he's definitely our kid genius. You know, he's, he's a pretty talented guy. We're really lucky to get to play with him. Plus, Plus, he's a super cool guy. Yeah, he's really suave. He's got to go on and he's you know, I wish I was more like him. We call him band baby cuz he's seen this in the back.

Unknown: 45:00

So

Keith Jopling: 45:01

I was at the show with, with actually the podcast artists, Nick Clarke who does some wonderful covers for us. And at one point, he just sort of nudged me with with his elbow say, hey, look, the trumpet player is playing with two hands. Because everything was one handed up to that point. Yeah, it's pretty amazing

Willy Vlautin, The Delines: 45:21

that he can do that. And I remember I mean, I'm still shocked he can do it. I mean, we get kind of used to it because he does it all the time. But when you step back and and think that he's playing the trumpet, and one key and then doing all this different stuff on keyboards with his other key and a different key, and then and then he's like, every second or so he's like moving some little knob to get a different kind of sound. So, yeah, he's really talented do. Alright, let's do one more. And we could just about pick anything really, but I wanted to go back a little bit in time to Colfax and there's a song on there called Sandman is coming, which is not a typical dielines number. Well, we didn't write that one. Okay, okay. I didn't realize that. Because it's, it's Randy Newman. Ah, it's Randy Newman. I didn't even know so it's like comes across like a Gershwin kind of feel. That means can we both like we both like those big songwriters in like we both like the classics in and I don't know, I heard Sandman in and I just thought Amy because I liked it. It's such a sad tune. It's like, Hey, little girl, you know, you better watch out you're doing you know, life's can really stick it to you. Without any kind of like romance to it. It's just like, you poor thing. The war of your life is about it is start. Alright, well, you should take it as a compliment that I didn't know it was a Randy Newman. It just, it just it blends in nicely with everything else. You've you've done. Okay. Thanks for that. Alright, so Willie, you called out the deadlines as a small time band I can't possibly carry on like this. I mean, for my point, we're going to do everything we can on this show to to shout about you. Just tell me about what's what's next for the band? What do you have planned? You know, in the next couple of months, and also maybe into next year? Well, I know for sure we're recording sometime in the spring, my pride march ish. We're gonna make a new record. We're doing a little bit of tour and in the summer, but not much. Mostly we're just trying to make sure we get this record done and where we want it to be. So it depends like, if March, we do the record and it sounds good, then it won't be an all year struggle. And then if we don't get it right the first time, we'll do it. We'll probably record into the fall too. So there's no real hurry. We're just going to try to make another record that we all like and then tour if we can. But we don't want to wait too long because we don't want people to forget about us. We love coming over there. So we're recording a Christmas song.

Keith Jopling: 47:58

Oh, okay. We're gonna do a Christmas show. Actually, we're just going to sort of share with my co host Philippus. I'm going to just share our favorite Christmas songs or asking guests what their favorite Christmas song is. And we'll definitely put a playlist with your song on it. But do you have a favorite Christmas tune? Well, there's always fairy tale from New York. Yeah. Everybody loves that. I can help. I mean, I got a Polish postman behind.

Willy Vlautin, The Delines: 48:24

I've had that since I was. I think that since I was 19, or something like that. It's the only thing I've lost most everything from that age, but I still get that. And no one ever lets me put it up in my house. But my wife won't let me put up in the house. So I got put up here. fairy tale in New York is is pretty amazing. You know, I don't know the title of it. But I started crying in the thrift store yesterday. Joni Mitchell wrote one about skating away. It's so sad. I wish I knew that. Oh, is the river. Oh, is that which is one of those sort of adopted as Christmas songs because it does mention Christmas in there. It wasn't specifically made to be at Christmas time, but it's a real heart wrenching song. And then you know that Darlene Love Song, baby, please come home. Yeah, that's, uh, you should listen that one that'll kill you. Alright, I'll check that one out. And then Christmas card from a hooker and Minneapolis by Tom Hayes. That's a great. That's a great.

Keith Jopling: 49:27

Yeah. Do you know that too? Yeah. Yeah, a little bit. Yeah, yeah. But we'll Okay, so we're gonna compile a playlist and have some fun with that. So so thank you. Well, Willie, namely, it's been a real pleasure to have you on and you know, absolutely love your music. We're going to tell everyone about it. It's good to know you're making some some new songs for next year and and you come back to Europe whenever you whenever you like, as far as I'm concerned with open arms. So thanks very much for coming on. And we'll see you soon. Have a good Christmas. You too. Happy holidays. We appreciate all your support.

Willy Vlautin, The Delines: 50:00

Yeah man, thank you very much for letting us be on your show and have a good one.