Exploring Creative Philosophy w/ Jayde | Cloud Machine Ep. 79

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I think that taking time off is really, really important, and I think it only took me, you know,
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nine years to realize that. Welcome to the Cloud Machine Podcast, your all-access path to the music
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industry. I'm your host, Matt Landry, and every week we immerse you in the music world, uncovering
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industry insights, offering expert guidance, and exploring the stories that influence the industry.
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The Cloud Machine Podcast is brought to you by AITS, the innovative creative agency behind
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some of your favorite live concerts and tours. Want to take your music to the next level?
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Join a vibrant community on the AITS Network Discord. And with that, let's get started with
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today's episode. Hello, everyone. Welcome back to the Cloud Machine Podcast. This week, we're thrilled
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to have the incredibly talented Jade with us. Jade is a dynamic pop artist, and she's been
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captivating audiences with her emotive music and powerful performances. With her latest hits,
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Like I Don't Want to Hate You, and last Friday's single, Absurdist Reality, Jade is making waves
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in the music scene with her new and unique approach to writing and recording. AITS Creative has had
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the pleasure of musical directing and performing with her for the past few years, and today we're
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diving into her journey, her creative process, and what's on her musical horizon. Hi, Jade, how are
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you? Good, how are you? I am fantastic, living, laughing, and loving as we say. I want to start
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off the podcast by asking you about your favorite live show experience as a fan.
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So I've been to so many shows, like genuinely, I went through a phase there, I think for the year
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right before the pandemic, I went to like 21 concerts. Yeah, well, it was actually too much.
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I got to the end of it, and I was like, I don't even want to go. But during that, I went to see
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the 1975 at Budweiser stage when they were doing their a brief inquiry tour, I think.
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And that was like one of the best shows. It's one of the things that I can't remember what made it
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so good. And I think that that's like part of what made it so good. Right. It's like, you just go in
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and you're completely like enthralled and encapsulated in like the whole like the sound design,
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stage design, like everything was perfect and beautiful and amazing. And I just, I love that
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show. There's something about the 1975 with this podcast. And specifically, it probably not with
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the podcast, but it's probably because I ask a lot of my guests that are like in like the more
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of the pop indie scene to come onto this podcast. And the 1975 seems to be like a major reference
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for a lot of people, you know, especially with their live show. And it's just, it's just crazy
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to see, is there anything that you remember like maybe a song from that from that performance
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specifically at the Budweiser stage that like that you keep on sort of referencing or thinking about?
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Um, I mean, yes and no, I can't remember the name of it right in this very moment. Yeah.
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Yeah. But it's one of like the slower ones. And it just like the way that the song itself builds,
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especially live, was like something I had never seen before. And I didn't have a great view of
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the stage because their stage design at the time was like those, it was like a box. Yeah. Yeah.
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Yeah. And I was like on the one side, but I don't know everything about that show. They just know
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how to do a live show. I've seen them so many times now and every time it's a different, but B is like
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you're just on a different planet. Right. And can I ask you what makes a live show memorable from
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from, from your point of view? Um, is it, is it forgetting sort of that you're, you're, you're
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almost there and in the world is sort of like the world doesn't exist except that kind of thing?
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Yeah. I think it's like, because sometimes you'll go to a show and you'll like, I mean, at least for
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me, having gone to so many. Yeah. I think like forgetting A, what time it is, B, where you are,
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C that you have to leave soon, like what place are in their set list, like how much longer you're
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going to be there. I think it's just like a complete loss of all of those feelings because
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sometimes you'll be, you'll be at a show, you'll be in the audience, you're like checking my time,
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it is, you're like, all right, you know, I don't know. Yeah. You see the clock in the arena at the
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top. Yeah. And you're like, okay, well, uh, how long is it going to go? They found it like 915 and
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it's now like, you know, 10, 15, they're probably going to be done soon. They're probably going to
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do the encore. They're going to do the whole thing. Yes. You know? Yeah. Yeah. And you do,
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basically what you're saying is that you don't want to have that feeling. No. Yeah. Yeah. Oh, yeah.
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If you have that, then you're like, you're still in your body. Like, you know what I mean? Like,
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you're still in your head. You're still thinking about all the things you have to do. It's just like,
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I don't know. I think that the best live experience can get you away from that. Fantastic. For listeners
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who maybe don't know Jade yet, what is the project that you've worked on or worked with or released
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that would best represent your work? I mean, the most annoying answer would be what I haven't put
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out yet. We've had that before and it's great. It's a great answer. Yeah. Well, I mean, it's like,
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it's true because it's the most recent representation of like artistically where I'm at. Yeah. But on
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that exact note, the best representation would be the project that I put out. I don't know when 2022
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maybe. Yeah. I'm sorry. It's on my fault project only because it is the most recent representation
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of me and it feels like that project while not entirely me has a lot of like foundational elements
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to like who I am as a person and as an artist like within those songs. Yeah. So yeah. And would you
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say, would you sort of because you've had a couple of more recent singles, would you say that
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you associate yourself with like entire projects like EPs or albums more than more than the singles
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themselves? Yes and no. Because before I started doing projects, I was fully singles based like
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me at 18. I was like, I'm not putting out a project. It's not happening. Right. Just doing
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singles until there's like a desire for a project that was like my thought process. Yeah. And then
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I had a distribution deal and then I had to start making projects because they were like,
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we don't really do singles. We just do projects. Okay. Great. So yeah, I think after that, I started
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thinking in terms of projects, but I also think that projects can be an accumulation of singles
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so that you can kind of get that reach in releasing because sometimes when you put out a project,
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people like don't listen to the whole thing, which is really upsetting, but it's like an attention
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span thing. Right. I've been hearing lately that like the industry and the artists and especially
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like the streaming platforms are trying to push like more and more like projects like full length
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projects or at least like singles that like lead to a project. Yeah. How have you been feeling with
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that? Yeah. Yeah. I think like signed artists definitely are, but I don't think as an independent
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artist, it's as easy to kind of do that because there's a lot of like costs involved with properly
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releasing projects. Yeah. And it can be really devastating when you put your heart and soul and
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blood and sweat and tears into a project and then you don't have the means to actually put it out.
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Yeah. No, it's tough. How do you balance that? Do you sort of you... Okay. So from a business
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perspective, I've been told recently, I don't know if I believe this and we'll get into this later, but
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I sort of believe it, but there's a little bit of salt there, if you know what I'm saying.
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The music industry is like 80% promotion and 20% artistry. And I heard this in a conversation.
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I was like, okay, well, there is some meaning to that, but also like from an artist standpoint,
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like you shouldn't necessarily be thinking like that. Where do you stand on like the whole like
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promoting versus artistry and is there a line there for you? How do you sort of... What are you doing?
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It's hard because like any industry executive that you talk to tells you,
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like, you need to be posting on TikTok. Any meeting that I have ever had in my entire artist career,
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which has been long, has been like, okay, yeah, music's sick. Yeah, that doesn't really matter
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if you're not on TikTok, if you're not like posting 17 times a day at 7am and then at 8am and then at
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you know, the rest of them post them at 9am. But yeah, I don't know, it's really upsetting,
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but I do think that it's kind of true. If you don't have the means to promote your music,
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it's naturally not like the algorithm doesn't work in a way that pushes you the way that you
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want it to. It's that, if that makes any sense. It's really like, it's really paywalled. You really
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have to pay for a promotion or hope that a TikTok blows up. But again, that's a whole
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different lottery, right? Yeah, yeah, yeah. Fantastic, fantastic. I want to get into the
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quote segment of the podcast, which you highlighted beforehand. You have a few thoughts on this,
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which I'm excited to get into. But for those of you who maybe it's the first time listening to
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the podcast, hopefully it's not your last, but we do a quote segment on the podcast. Last year
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it was the Erica Batu quote comparing artistry to music business and how they are maybe the same,
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how they are different, the lines that artists cross and different perspectives on that. This year,
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2024, we take a quote from 2004 from Joni Mitchell. Now she says that she heard somebody from the
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music business saying this. So she says, I heard someone from the music business saying that they
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are no longer looking for talent. They want people with a certain look and a willingness to cooperate.
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Now this is from 2004, so 20 years ago. Jada, I'd like to know your first instincts when you
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heard the sentence. I mean, my first instincts were like, how do I talk about this without
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sounding pessimistic? But it is kind of true. And as someone who's A, a female, B, been in the
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music industry since I was 13, it is true. I used to, as a kid, when I was stubborn and thought I
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knew what I wanted artistically, anyone that I walked into a room with and I told them what I
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wanted to do, it was like, oh, she's stubborn and she's hard to deal with. We just want you to do
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this. And because I was stubborn and young, I was like, I don't want to do that. Why would I do that?
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And so I think, and then naturally those people come and go and you cycle through them.
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But I mean, yeah, that's kind of exactly what happens. And it sucks. But
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I mean, 20 years ago, if we were on this road and we're still on it.
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Yeah, I guess my question is, do you think it's evolved since then?
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Not really. Not really. Okay. And what sort of, what's, which part of the quote sort of sticks
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out to you? Because to me and through various previous conversations with individuals, there
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seems to be a lot of people concentrating on the industry not necessarily looking for talent anymore.
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And then there's people that sort of talk about the industry wanting a certain look and a willingness
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to cooperate. There's like three different things there to really highlight. Is there one that like
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is specific to you? The willingness to cooperate is, I mean, it's like a double-edged thing,
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though, because it's like, obviously you have to be down for like teamwork and like cooperate
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with certain things. But it's, I don't know. Honestly, I'm going to spin this a little bit
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more positively, but I don't think that not looking for talent is the answer because I think that
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naturally those things come and go, even if someone say puts out a song and it's like a one hit wonder
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situation. It's, if you don't have like the, actually, if you don't have like all three of
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those things, like looking for talent, a certain look and like a willingness to cooperate, it's
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like it, it kind of, all of those things are necessary, I think. I completely agree. Yeah.
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Like I think that we've gotten to a place where we're looking for at least two of the three.
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Yeah. Yes. Yes. It's like, yeah. And honestly, I think nowadays because of the pool of artists,
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the music has to be good. Like it doesn't matter the genre. Like the music has to be good,
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has to work with a certain audience. And you know, more and more, I really believe that there's
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flexibility. And I don't want to say flexibility, maybe openness is the right term here, but
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with a certain look because there's so many, the industry is so open now and you know,
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and sort of, I don't want to say anybody, but yeah, like anybody can sort of pop off.
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But it's the willingness to cooperate. That's a little, it's a little like,
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but I mean, like I said, like teamwork is really, really important. And it's not, I think that the
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way that it's kind of put in this quote does have a more negative connotation. But I do think that
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like a willingness to cooperate, like you have to, you have to give and take, right? You have to,
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like for example, when I was signed to my deal, we would have meetings for marketing and things
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like that. And it was like, they would throw a bunch of ideas at me and I would take like one or two
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of them. Yeah, yeah. Yeah. Okay, you know what? I don't, the TikTok things like not working for me,
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it doesn't feel authentic. It feels like I'm playing a character. I don't like it. And then it was like,
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okay, well, what if you started vlogging? And I was like, that I can do. Right. I love that. And
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then so I started doing that. And it's actually become like one of my favorite hobbies. Right. Yeah.
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Yeah. I mean, it's like you giving you take and there are certain things that you can,
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you can hold your guard up about, but there are other things that you, you do have to cooperate on
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because it is at the end of the day, a business. Yes. Where do you think that this business
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and this industry is going? Very generally? Yeah, it's hard to say, like it changes every day.
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Okay. I think I'm personally, and I could be so wrong, but this is just me and what I would like
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to believe. I'm seeing like the TikTok of occasion of things kind of die out a little bit. Yes.
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Nice. Yeah. In a good way. Yeah. Like I just want that to be over. I miss when TikTok was like funny
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videos. Like, you know, I just wanted to be what it is. I don't, I don't want it to touch the music
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industry. Like I get when songs pop off, you have your, your Apple dance. Oh yeah. Love an Apple dance.
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Yeah. But I don't know. I think that it's like, it got too serious and it kind of killed the,
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the like sparkle that it had. So I hope that the industry kind of goes in a way that's like
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just away from TikTok. That's all I can ask right now. I don't know where it's going to go.
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I just want it away from that platform. Right. Do you think there's something
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after TikTok? And if so, what do you think it is? For sure there is. Like we,
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Yeah, of course. Same thing before it even came out, you know. It's just like, I don't know what
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that's going to be. I'm not a, I don't work in app programming. So I don't really know. Yeah.
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I think what you'll start to see and what we're already kind of seeing is like
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tight knit community building. Yes. I'd like Discord. You have Weverse, which Ariana Grande
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just joined. I was on Weverse a long time ago. Mind you, that's like a big, I want to say,
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like K-pop space. Right. But I think you're seeing, and I mean, even with Instagram,
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doing like the channels and you have close friends and you have specific like close friends
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posting now, I think that it's a lot more like community driven as opposed to public driven.
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Yes. And I feel like, especially with the Instagram, you know, how like artists are
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like creating their own channels now and stuff. Yeah. It's, I feel like because of the algorithm,
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the algorithm has sort of like corrupt, like people's like pages. So, and they're not like
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seeing the people that they actually want to follow. I feel like people want to see the people
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that they actually like and follow now. And it comes back to the community and sort of
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fostering those communities, which is, which is fantastic, honestly, for music specifically,
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because it's all about that. Anyway, for sure. Well, I mean, like, I have a really close relationship
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with like all of my fans. Like I make a conscious effort to like answer every single one of my DMs.
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Right, right. Every single one. Some of them are weird. But like, I do make a conscious effort to
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like talk to people that love my music and like I'm having full conversation. Like I know about
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their lives. And like, it's really, it's important to them. And it's important to me to like
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build that because at the end of the day, like the music industry hasn't changed that much. It's all
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word of mouth. It's all like sometimes it's Instagram ads. But most of the time it's word of
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mouth for like someone to go and be like, Oh my God, you should check out this artist because
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first of all, they're a great person. That's a big thing right now too. Where it's like,
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totally. People use support, you want them to be like decent human beings. Oh yeah. And so,
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yeah, I don't know. I think community building. Yeah, fantastic. Now, I wanted to get into the bulk
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of the questions here. For those who have been listening to the Cloud Machine podcast for a
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while, know that, you know, sometimes we would talk about the industry. Sometimes we talk about
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the creative process here on this one. I wanted to really deep dive on like
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the philosophy aspect of it because Jade is that girly, you know.
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Philosophy girly. And it just really speaks to her current music and the process that she's been
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going through over the past few years. So anyway, I hope you enjoy the next 45 minutes or whatever.
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Jade, I want to speak to your early memories and your early sort of connections with music.
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What is your earliest memory of connecting with music and how did it shape your path as an artist?
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There are a couple that I can remember. So my grandparents on my mom's side are super musical.
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There's like, you know, at any time like 12 guitars hanging in the living room,
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there's a baby grand or not baby grand, like an upright piano. There's like a bunch of,
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I grew up around a lot of music or just instruments in general. And I remember I would like sit at
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the piano whenever I would go over to their house and like try and make it sound good. And at one
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point I did think that I invented chords just to get what they were, but I would like press one
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key and then go to the, you know, like not right next to each other to make a chord. Yeah. So there
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was that. There was, I watched August Rush as a kid with my grandparents. That was a big one where
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I was like, he can do it. I can do it. Right. Yeah. And then another big one, I think that I've recently
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been coming back to is my parents listened to a lot of like pop top 40 radio like Ryan's
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depressed on the air kind of thing. And I remember I was in the car with my mom one time and a
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Maroon five song was playing like a really old one. And me as a child listening to this song
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about his partner cheating on him, I go, what is this song about? You know, I'm like a kid. I don't
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know anything. And I'm like, mom, like what, what is he talking about? And I'm like listening to the
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lyrics. And she, so she explains the song to me a little bit. And I was like, Oh, okay. So I was like
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innately like interested in what went into making a song. I wasn't listening to it as like a 13 year
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old in the back. But yeah, I think that I was just like very, very interested in how everything
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worked immediately. Yeah, no, that's great. And like from from the creation aspect and like what
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what from the the entire sort of process of it. Yeah, that's great. Like, I just wanted to understand
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it. And from there, from that moment, almost, I think I was like, I was like, I could, I could
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write songs. I could do that. Yeah. And then I started. It does two things on my end. I want to
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highlight August Rush. What are my favorite movies as a as a I don't want to say as a kid,
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because I discovered it maybe a little later on. But what a fantastic movie just for like wonder
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and music. And and it's a wreck for the people listening. Go check out August Rush.
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Also, you mentioned Ryan Seacrest. Yeah, I was a kid. Funny story. When I was a kid.
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So like the hot 93 five channel in Sudbury, Ontario. Yeah, Ryan Seacrest was the host.
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And I always thought that like Ryan Seacrest was like in Sudbury, like he was like this Sudbury
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like host kind of thing. And it wasn't just like a like a radio program that was like literally
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blasted out to the world from LA or whatever it is. And once I saw him on like American Idol or
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whatever, being the host and I was like, what the heck is this guy doing here? I didn't know that
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there was like, there's like a world outside of Sudbury's a hot 93 five channel for Ryan Seacrest.
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Like I thought he was just like this insane host. Like, like, guy's really good at his job.
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Yeah. No, honestly, I think I'm going to talk about the same thing. I didn't understand how the radio
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worked until I was on the launch. And then I got invited to my local radio station at the time.
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And I finally met the radio host that I've been listening to since I was a kid.
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Like it was wild. I've never exactly liked that. And like the voice too. Nice.
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Yeah. You guys are not supposed to be here. This is not the.
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Yeah, you're supposed to be on the radio. Yeah. Yeah. Oh my gosh. Yeah. And I was like,
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yeah. And also like the radio like hosts in my in Sudbury, like the local radio hosts are like
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celebrities. But like if you meet them in public, it's just like this random guy. It's like, oh,
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like I've never seen a picture of you ever. Like I wouldn't even expect you to look like this or
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like anything. Like I didn't even like, I didn't even picture you physically. You know, it's like,
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it's like, who's this person that sounds like the guy on the radio?
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Yeah. How do you say to your artistic vision in an industry that is constantly changing?
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Um, I mean, the industry is constantly changing. But like so is my artistic identity. Like as I
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grow and learn, I feel like I'm kind of growing alongside it, like not necessarily within it.
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Um, because that's a that's a whole other thing. But I think it's mostly just like,
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they kind of grow in tandem. Yeah. Kind of. Um, yeah. And also like, I've always been a really
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art forward person. I'm like, if it clicks, it clicks. If it doesn't, it doesn't. Like I can only
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do so much of my own promotion that like, if it doesn't click with the industry side,
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that's fine. It's still, it's like, I still love the song. Yeah. I don't know.
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Do you find yourself, I mean, you're telling me right now that you're sort of
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alongside the music industry as it grows and you're also growing. Do you find yourself influenced by
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what's happening in the industry sometimes? Sometimes I remember when the most recent
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Dua Lipa album came out, I was like, I'm going to start making like pop pop again.
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Right. And then, and then I tried it and I was like, no, no, no. I was like, it doesn't,
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it doesn't feel like me. So then I just, I started writing like pitch songs that were like in that
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pop pocket and it kind of like, um, suppress that need for me to do it and like give into the
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mainstream kind of thing. Cause I've been trying to get away from that for this current project
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that I'm working on. I'm trying to like be a little different. Almost got me.
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No, that's the, yeah. I mean, I found myself influenced by different, different projects.
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I know we have a very common, um, artists that, you know, we're inspired by the both of us,
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uh, Toronto based, uh, Sia Gray, um, which sort of inspired me to look beyond, um, just the, the,
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the con forms of like how music can be sort of made specifically made and written in 2024.
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Although it's not necessarily pop, uh, leaning, uh, it still has some pop
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sensibilities while being, I don't know, a little bit more on the alternative side of things. Um,
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how has, how has size music, and I want to talk about references later as well, but, um,
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how has her music, um, influenced like your current, the current music that you're putting out?
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I think the way, like even just sonically, it's not even like a lyrical thing, but I think
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every listening to her music had changed something in my brain in the way that I'm like processing
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how something makes me feel. Yeah. Because a lot of times I was like, I, I'm, I mean, I still am,
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but a very lyric focused writer. And I was like, it just, the lyrics need to be perfect. And then
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like the production will also be there. Um, but I think with listening to her music, I've realized
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how kind of sparse it can be lyrically and how impactful it can still be. And then when I went
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into start making the stuff that I've been making, it was a lot of like, okay, the lyrics that I'm
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writing have this kind of like grit and depth to them that we need to match sonically. Right.
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And I think like a lot of times if we'd be writing something that was kind of like aggressive or, um,
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kind of like hard hitting a little bit scary sounding, I was like, all right, get the crunchy
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synths. Let's go. Like I'm like, need like epicness. We need like big drums, you know, things like that.
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Um, and I think that her music not only like opened my eyes to that idea, but also made me feel okay
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with doing something a little bit left of center, especially considering I've done pop for the last
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like 10 years. Yeah, totally. Can you speak a little bit to the product, the creative process of,
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of doing this sort of collection of songs that you've been putting out and that you'll be continuing
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to put out compared to your early projects? Yeah. Um, I mean, everything that I've been working on
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comes from a place of I would write or I would have an idea and I would sit there for like hours
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trying to like chip away at it and make it sound like I would try and chip away at like the words
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that I was using to make it sound more interesting as opposed to being like,
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I don't know. I don't even have an example really, but it's kind of like, I was listening to a lot of,
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um, Lord, like Lord has always been a big influence and I remember seeing something,
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one of the producers that she's worked with was talking about how she'll just like,
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you know, you say like, oh, she walked across the street and she would like chip away at that
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until it's like she danced across the pavement. She'd like, you know, like to figure out a way
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more interesting way of saying something or a more poetic way. Right. So when I went into
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making these songs, that was like something that was really important to me to like push
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that boundary a little bit for myself because it was a boundary of my own. And so now I have songs
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with like lyrical content in them where like my mama listened to them and be like, what are you
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saying here? Like, what does that mean? And I'll be like, you don't get it. You don't get it. It's
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okay. Right. And then I'll explain it. I have this one line in the song that's like, I don't want to
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be wrapped up in silver. But initially what that started was was like, how can I find a cooler
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way of saying I don't want to find a silver lining or like I don't want to be second place to someone
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else? Like, I was just like, how can I make that sound cooler? And then I came up with, I don't want
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to be wrapped in silver. Yeah. Anyways, no, that's great. That is, that is great. And it's a great
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example as well. Yeah. How do you balance the technical sort of and technical skills and process
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of like writing, you know, a more complex song with maybe emotional expression or communicating sort of,
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you know, communicating in like,
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I don't want to say more clear way for your audience. Like, is there now like,
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is there now a balance between like, okay, making it a little bit more like complex and precise
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versus more like general and sort of open to anybody kind of thing to understand the music?
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I mean, it's not necessarily something that I consciously think of. Yeah. But it's definitely
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like, okay, if we're going to have to like craze the kind of sounding lines, like poetic, really
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have to read into them lines, then maybe we'll just be like, love you, baby, you know, like afterwards,
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like kind of, you just want to clarify. Yeah, yeah, yeah, really like bring it all together
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with something that everyone will understand. I don't know. It's not like I said, it's not something
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that I think about really, because as I was writing it, this next like slew of songs,
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I was like really trying to make every line be something a little bit more intricate than I
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would normally write. Right. But it was all in an effort to like just become a better songwriter.
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That's what I do. And it ended up sounding really cool when I did. So we're doing okay.
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Yes. But yeah, I don't know. It's not it's not something that I really
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that I'm like, okay, because we did this, we now have to say something a little more simple. It just
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kind of like whatever works in the flow of things. Yeah. That's great. Can you describe the moment
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when a song truly comes alive for you? Maybe it's maybe it's in the process of sort of, I don't
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want to say changing your sound, but the evolving sort of aspects of Jade and your music.
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Can you describe the moment when you like sort of found that sound and when a song truly comes
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alive? Yeah. I mean, I think it comes into its own. Yeah, like multiple different stages,
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like for absurdist reality, for example, when we were making it, I remember it was like one of
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the first songs that I had written off the tail end of like putting out my last project. And I
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remember kind of working through it and hearing the production. And as soon as we laid down the
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vocals for it, and did like all the harmonies and stuff, and we built up the production.
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And then I could, I could like feel the bass and the song like hitting me in the studio.
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That was one moment. But then I would say another one is when we, I mean, we just performed it live
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for the first time ever, which I didn't like clock in my brain that we had never done it before.
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But I think that looked like reflecting on that show that we just did. And remembering that we
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played it for the first time. That was another moment where I was like, Oh, this is like a real
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song that now people have heard. Right. Right. Right. I don't know. I think there's like multiple
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different, there's like checkpoints until it gets until it's, you know, released. And even
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once it is released, that's like a whole different version of being alive. Yes. How do you navigate
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that? Because I know a lot of artists are like, once it's released, it's like, okay,
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now like they're not responsible for it. Or it's like, it's like, this is like, this is yours now.
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You know, which, which is, you know, a lot of people say that and it's sort of cheesy, but
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there's some, there's definitely a degree of truth to that in regards to like the artist
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not necessarily having ownership over it anymore, because it's just now the world.
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Yeah. Well, I think because before you release a song, it's like all your opinion about it and
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all of your feelings about it are exclusive to you, like no one else outside of like family and
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friends who are naturally going to tell you that they love it. Yeah. It's like the only opinion
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you have is your own. And then when you put it out, you're like, it's like this wave of what
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other people think of it after sitting with it for who knows how long. Right. So yeah, I would say like
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it's, it's one of those things that it's still yours, but it kind of like takes on this new
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persona. It kind of like puts, it takes its mask off finally, you know, right? Yeah.
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How do your collaborations influence your personal sound and what do you seek for in collaborators?
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That's a good question. I don't know, because for this project specifically, I was really
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just working with like one producer. Yes. Shout out. Yeah, shout out TJ.
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TJ Whitelaw, everybody. Yeah. Great producer, great guitarist. I think a lot of it comes from
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just a willingness to be open to like any idea. I think that that influences a lot of
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what I was doing because with a lot of people that I was working with before, A, because I didn't
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know what I wanted to do, but also B, because a lot of the people I was working with before are like
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pop R&B producers. Right. Oh, they kind of know production style, what they want to hear. And
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because I was like not fully knowing what I wanted to do, I kind of, you know, ran with it. And I
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mean, it works, but it's also like not entirely, it wasn't like heavily influenced by like my
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decision, if that makes any sense. It sounds like it's not. But I think going into this new project,
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having like an openness and a willingness to just like, you know, change something entirely or
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what if we took all of this production out and put in a guitar here instead? Or like, you know,
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I think it's just a willingness to try anything and kind of take the strangest requests and like
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run with them. Like when I first met TJ, I walked into the studio and I was like, yeah, so I just
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put out a project. And now I'm thinking about doing like, imagine if Charlie XCX and Stranger
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XCX and Strokes did like a collab. Right. That's kind of, he was like, okay, I'm down.
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And, you know, from there, it was a lot of like, we would start a song on a guitar and then I'd be
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like, we need synthesizers, we need really crunchy, wavy synthesizers to come in. Yeah. And I mean,
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you kind of hear that on, I don't want to hate you less on absurdist reality, because it is very,
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like, very techno-y, you know, but yeah, with I don't want to hate you, the whole song is like,
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really guitar, piano, really pretty sounding, not super far off from what I was doing before.
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And then at the end of the song, we have that like massive, weird dance break. We didn't get
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enough of doing those. We did that on like three different songs over the course of that, like,
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couple weeks. No, fantastic. What's the most profound lesson you've learned from another musician?
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I don't know if it's profound, like it feels kind of like a really simple thing to say, but
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yeah, that mutual support can go such a long way. Yes. Like, I've been really lucky to come into some
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really amazing friends in music in the last couple years that I've never had that before.
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And I was actually talking to my mom about it because at the show that we just did, like,
368
00:40:37,760 --> 00:40:43,840
all of my music friends are all there. Right. They're all like front row singing every lyric
369
00:40:43,840 --> 00:40:49,200
and my mom was like, it's so nice to see that. And I was like, yeah, but like, I do it for them too.
370
00:40:49,200 --> 00:40:55,360
And it's not like, we don't even think about it. It's not even like a, it's not even, it's just like
371
00:40:55,360 --> 00:41:02,960
the support that you can get from one another is so beyond helpful. And it's not something that I
372
00:41:02,960 --> 00:41:09,280
had ever had the pleasure of experiencing before. Yeah. I think that that's a lesson that I'm learning
373
00:41:09,280 --> 00:41:15,200
right now is that it actually is so important, the people that you surround yourself with in such a
374
00:41:15,200 --> 00:41:23,600
vulnerable kind of space. Yeah. Do you think that creating that like tight knit group of people was
375
00:41:23,600 --> 00:41:29,760
natural or was it sort of intentional? I think it was a mix of both because I think that it was
376
00:41:31,440 --> 00:41:37,440
like I needed it to happen. Sure. Whether or not I knew that it was going to happen or if it was
377
00:41:37,440 --> 00:41:46,480
going to be this wonderful group of people that I know now, I definitely needed people that understood
378
00:41:46,480 --> 00:41:51,280
the way that my brain works in terms of like trying to be in the music industry. Yeah.
379
00:41:52,720 --> 00:41:56,880
So I don't know. I think like in a roundabout way, I had been looking for something like that.
380
00:41:57,600 --> 00:42:02,240
But I don't think like I do think that I kind of stumbled into it in the best way.
381
00:42:02,240 --> 00:42:11,600
And I'm like so, so grateful for it. But yeah. Yeah. No, that's really great. And you know,
382
00:42:11,600 --> 00:42:16,880
I've been seeing the friends and the people around you for a little bit of time now. And it's so great.
383
00:42:16,880 --> 00:42:22,560
And just even their energy at the front of the stage is great. And Shadow of Maddie specifically.
384
00:42:22,560 --> 00:42:30,800
Yeah. Nia Natterada knows how to sing and dance at the front of the stage. Yeah. She's great.
385
00:42:32,400 --> 00:42:36,640
How do you approach the concept of vulnerability in your songwriting?
386
00:42:37,920 --> 00:42:42,640
I don't ever like consciously approach it. It just kind of happens. I think because
387
00:42:42,640 --> 00:42:50,560
when I started songwriting, it was very much so it came from a place of me not being able to
388
00:42:50,560 --> 00:42:56,160
actually confront people with how I was feeling. Like the first song I ever wrote was this song
389
00:42:56,160 --> 00:43:03,120
about how my three best friends at the time in like grade eight, they had posted a photo of the
390
00:43:03,120 --> 00:43:10,000
three of them for National Best Friend Day. But it was initially a picture of the four of us and
391
00:43:10,000 --> 00:43:17,200
they had cropped me out of it. Oh. And so because I was like, I don't know how to talk to them about
392
00:43:17,200 --> 00:43:23,440
how this hurt my feelings. So I'm just going to write a song about it, I guess. Because I don't
393
00:43:23,440 --> 00:43:29,040
know how to, I don't, me as like in grade eight, I'm like, I don't know how to like have conflict
394
00:43:29,040 --> 00:43:35,520
with people. I don't know how to do that. So I just did it. And I think like starting from that kind
395
00:43:35,520 --> 00:43:43,440
of vulnerable place, I haven't known anything different. Right. Yeah. So I don't, I don't really
396
00:43:43,440 --> 00:43:50,000
like approach it. It just kind of is totally. You've just always sort of had that. That's great.
397
00:43:51,920 --> 00:43:56,960
What role does silence or space play in your music, especially these days?
398
00:43:58,400 --> 00:44:08,400
Yeah. I don't, I don't know. I don't, I think that it's, I don't know. I'm always surrounded by like
399
00:44:08,400 --> 00:44:14,400
sounds. Like when we get off this, like there's going to be music playing here. And my mom always
400
00:44:14,400 --> 00:44:20,080
says I don't put enough space in between some of my lyrics. Like I'm very wordy. Oh, interesting.
401
00:44:20,080 --> 00:44:24,240
Yeah. I'm not like, I'm not great with silence. I don't think that it plays a huge role.
402
00:44:25,040 --> 00:44:36,160
Right. Maybe, maybe the question is, how have you sort of included the musical technique of
403
00:44:36,160 --> 00:44:44,720
dynamics in your, in your, in your, in your new music? Because that's, for me, that's one of the
404
00:44:44,720 --> 00:44:52,960
biggest differences in your new sound compared to your past projects. It's very much dynamics and
405
00:44:52,960 --> 00:45:01,360
very much different structures and not necessarily because, because you're, you know, your structures
406
00:45:01,360 --> 00:45:09,040
are still very like verse pre-chorus verse pre-chorus bridge chorus, things like that. But
407
00:45:11,520 --> 00:45:16,800
there's, I just, from my perspective, there's been just a very different approach of production
408
00:45:16,800 --> 00:45:23,920
and sort of simplifying, but also going crazy sometimes as well. Can you speak a little bit
409
00:45:23,920 --> 00:45:31,440
about that? Yeah. Yeah. Yeah. I think because we were doing, at least to me, what felt so intense
410
00:45:31,440 --> 00:45:38,160
in some of the choruses, I was like, we need to like, we need to rein it in. Because if we just
411
00:45:38,160 --> 00:45:46,960
keep going down this like chaotic, really heavy sounding kind of vibe, people are going to,
412
00:45:46,960 --> 00:45:51,600
you know, start to like have a panic attack because it's like really overwhelming sounding.
413
00:45:51,600 --> 00:45:59,440
Yeah. And I think it was just, it wasn't really like, again, I keep saying nothing was conscious,
414
00:45:59,440 --> 00:46:06,320
like it just kind of happened. But I think it kind of needed it. You need to breathe
415
00:46:06,320 --> 00:46:11,040
there after like a big chorus, like what the absurdist reality chorus is or the don't leave
416
00:46:11,040 --> 00:46:16,640
me alone choruses. Like, especially with don't leave me alone, which is not out yet and it won't
417
00:46:16,640 --> 00:46:25,200
be out for a while. But it's like really, really big, intense lyrically and production wise in the
418
00:46:25,200 --> 00:46:29,280
chorus there. And then all of a sudden, everything's back out. And it's just like this really pretty
419
00:46:29,280 --> 00:46:36,400
vocal. Yeah. And it's like guitars again. I think when you're writing things with such depth,
420
00:46:36,400 --> 00:46:42,640
you do kind of need to like, it feels almost like you're almost out of the atmosphere. And then
421
00:46:42,640 --> 00:46:49,360
it's like, Oh, now just getting your back. Yeah. So I think, I think it was like, it was a, it was
422
00:46:49,360 --> 00:46:54,880
weird because it happened without planning, but yeah. Well, I honestly, I think a lot of the best,
423
00:46:55,600 --> 00:47:02,080
maybe not the best, but the more natural creative processes are like that, you know,
424
00:47:02,080 --> 00:47:07,120
it's not necessarily conscious, but it's almost like, okay, what comes to mind? And what fits
425
00:47:07,120 --> 00:47:12,640
just naturally. And you know, no, I think it's, I think it's great and all fits together. And
426
00:47:13,680 --> 00:47:18,240
yeah, just giving you your flowers for that and TJ as well. So there you go.
427
00:47:20,880 --> 00:47:26,480
Sorry. I'll pass along the message. Yeah, please. Or TJ, if you're listening to this,
428
00:47:26,480 --> 00:47:37,920
I wanted to ask you how you navigate periods of creative block or doubt. Oh, not great. I don't
429
00:47:37,920 --> 00:47:50,560
navigate them great. I think it is like, I'll go through periods of like really low self-esteem
430
00:47:50,560 --> 00:47:57,440
with everything. And then one day I'll wake up and be like, what am I doing? What am I doing?
431
00:47:57,440 --> 00:48:04,720
I'm really self-aware in the sense where I'm like, I need to like, relax a bit because I'm so like,
432
00:48:04,720 --> 00:48:10,000
I'll do 10 things in a week and then like three weeks go by where I'm like, I have nothing to do.
433
00:48:10,640 --> 00:48:17,120
Right. And I'm like freaking out. But I also have gotten a lot better at kind of like
434
00:48:17,120 --> 00:48:26,960
giving myself time and space to like just be a regular human and not like trying to necessarily
435
00:48:28,080 --> 00:48:32,400
like always be doing something because I think it's really important, at least for me,
436
00:48:34,480 --> 00:48:41,840
to take space from music so that I can come back and do something a little bit more productive.
437
00:48:41,840 --> 00:48:48,720
Because when you're making music, you're very influenced by the things that you're making.
438
00:48:48,720 --> 00:48:55,600
It's not only influenced by things around you, but it's influenced by everything that you've been
439
00:48:55,600 --> 00:49:03,120
doing. And so sometimes I find I get like very similar patterns to like production ideas or
440
00:49:03,120 --> 00:49:07,920
melody ideas or lyrical content. And then I'm like, I'm just writing a different version of the same
441
00:49:07,920 --> 00:49:14,560
song over and over again. Like I need to take a break. And so I think that I've gotten a lot
442
00:49:14,560 --> 00:49:22,640
better at navigating that. Okay. I'm realizing the pattern here. I need to like take a few days
443
00:49:22,640 --> 00:49:29,200
off. I need to take a month off. I need to just like sit around and play Zelda for a month. And
444
00:49:29,200 --> 00:49:35,600
then I'll do that. Fantastic. You touched on this a little bit just a few seconds ago, but how does
445
00:49:35,600 --> 00:49:40,400
your environment influence your music? And do you have a specific setting where you feel the most
446
00:49:40,400 --> 00:49:50,400
creative or an L add setting, but also like brain space? Yeah. I think brain space is really
447
00:49:50,400 --> 00:50:02,160
important to me. Yeah. I think that I have to be in a place where I feel like I am able to create
448
00:50:02,160 --> 00:50:08,880
because if I'm like, if something really horrendous has happened, then I definitely need like a
449
00:50:08,880 --> 00:50:14,640
couple days of like a breather before I can go and like make something out of it. Yeah.
450
00:50:16,400 --> 00:50:26,160
But I would say the environment that I create the best in is somewhere where I'm like comfortable
451
00:50:26,160 --> 00:50:31,440
with the people I'm with. Because I feel like sometimes when you get into a session with someone
452
00:50:31,440 --> 00:50:36,560
that you've never worked with before, it can be a little bit anxiety inducing and you're not
453
00:50:36,560 --> 00:50:41,600
necessarily going to get the best product, which I mean, sometimes it happens. It's happened to me
454
00:50:41,600 --> 00:50:46,080
as well where it's like, these are brand new people and then we've made like a great song.
455
00:50:47,920 --> 00:50:55,040
But I think like the whole energy and of the space that you're in when you're trying to make music
456
00:50:55,040 --> 00:51:03,200
is really important to me. I'm like, I need a blanket. I need like a warm drink. I need to
457
00:51:03,200 --> 00:51:09,040
have eaten something so that I'm like just fully, honestly, it's like a very similar way to how I
458
00:51:09,040 --> 00:51:17,920
play video games. It could be like wrapped in a blanket, feeling cozy. And also, I feel like
459
00:51:17,920 --> 00:51:22,480
when you're doing that, it almost, you almost trick your brain into being like, you don't have to
460
00:51:22,480 --> 00:51:26,240
stress about writing a song right now. Because sometimes you'll be in sessions where you're
461
00:51:26,240 --> 00:51:32,000
like, I must write something. Like I did like a pitch camp and I'm like, on my computer, freaking
462
00:51:32,000 --> 00:51:40,160
out, make the best thing that I possibly can. But like when it comes to writing the best thing
463
00:51:40,160 --> 00:51:46,080
for me at least, I have to be like sprawled out on a couch or something and like just on my computer.
464
00:51:46,080 --> 00:51:54,880
Right. Yeah. No, it's great. And it's good that you know that about yourself, right? Because
465
00:51:54,880 --> 00:52:00,000
it's like, it's only after so long that you sort of get to know that about yourself and where you
466
00:52:00,000 --> 00:52:05,120
can thrive and things like that. Yeah. Well, and also like the places in which being sprawled out
467
00:52:05,120 --> 00:52:09,920
on the couch with a blanket around you with a laptop on you is like acceptable and professional.
468
00:52:09,920 --> 00:52:18,560
Right. It's a good balance. Yeah. If you could only convey one message through your music,
469
00:52:18,560 --> 00:52:19,840
what would it be and why?
470
00:52:24,720 --> 00:52:34,240
A message. I would say like, no matter how hard things feel, they're never as bad as you think
471
00:52:34,240 --> 00:52:41,520
they are. Could be a lot worse. I feel like that's what my music lately has been saying.
472
00:52:41,520 --> 00:52:51,600
It's been like, it might seem like it's bad, but there's still a verse after this very intense
473
00:52:51,600 --> 00:52:57,200
chorus. Yeah. It's the light at the end of the tunnel. Yes. There's always a next step. That's
474
00:52:57,200 --> 00:53:02,160
funny. Yeah, exactly. It's never like, you know, I mean, you know the chorus to the one song I'm
475
00:53:02,160 --> 00:53:07,440
talking about, but like it's never, whenever actually that close to dying. Yes. Yeah.
476
00:53:12,320 --> 00:53:15,520
How do you envision your music evolving in the next few years past this,
477
00:53:17,200 --> 00:53:19,200
this project that you're producing right now?
478
00:53:22,400 --> 00:53:29,200
I would say, I mean, I hope to keep doing what I'm kind of doing right now.
479
00:53:29,200 --> 00:53:36,080
Because it feels really good. It feels like someone plugged the USB into my brain and then
480
00:53:36,080 --> 00:53:42,480
just like downloaded it. Right. That's a great feeling. Yeah. And I've never felt like that before.
481
00:53:44,720 --> 00:53:50,160
So I kind of hope that it just keeps growing in the way that it's growing. And you know,
482
00:53:50,160 --> 00:53:54,960
like I always want to be a better songwriter and a better vocalist and a better performer.
483
00:53:54,960 --> 00:54:00,960
So kind of just hoping that because this feels so new, it kind of feels like I'm starting over in
484
00:54:00,960 --> 00:54:09,440
a weird way. Yeah. But I kind of hope that it just continues to like build on top of one another.
485
00:54:09,440 --> 00:54:13,200
You know what I mean? Yeah, totally. I just kind of wanted to like get better.
486
00:54:15,120 --> 00:54:21,040
Sure. Sure. The most simple way of putting it, I just want to get better at the way that I'm going.
487
00:54:21,040 --> 00:54:28,400
Yeah. Yeah. And I mean, it'll evolve the way that it's meant to. It's again, never a conscious
488
00:54:28,400 --> 00:54:36,480
thing. It's just kind of something that happens over time. Yeah. That's fantastic. I think if
489
00:54:36,480 --> 00:54:43,280
everybody strives to just get better, I think that's fantastic. And better, but also just
490
00:54:43,280 --> 00:54:50,000
more specific to what they want. And like your wants always like evolve through time and through
491
00:54:50,000 --> 00:54:55,680
the years. And when you're like you're saying like influencing and influenced and hearing other
492
00:54:55,680 --> 00:55:02,080
projects and stuff like, you know, I'm just I just hope that that's somebody that's something
493
00:55:02,080 --> 00:55:10,480
that people always want to thrive is just to become better. For sure. Looking back, what advice would
494
00:55:10,480 --> 00:55:23,360
you give to your younger self that's just starting in music? Oh, goodness. I think I would tell myself
495
00:55:23,360 --> 00:55:33,120
to go a little easier on myself. I'm like violently hard on myself. And I think that it's
496
00:55:33,120 --> 00:55:40,480
done some good things for me. But I also think that like, just knowing when to take a break,
497
00:55:40,480 --> 00:55:49,280
especially given like who I was influenced by at the time. I think that taking time off is
498
00:55:49,280 --> 00:55:54,400
really, really important. And I think it only took me, you know, nine years to realize that.
499
00:55:56,560 --> 00:56:02,720
But I think I would say, yeah, like, give yourself a little more credit for the things that you've
500
00:56:02,720 --> 00:56:10,160
accomplished. And remember that like time is moving quickly, but also like painfully slowly.
501
00:56:10,640 --> 00:56:18,720
Yeah, yeah. You know, fantastic. How do you hope that your new single absurdist reality
502
00:56:19,360 --> 00:56:25,200
will impact listeners? That's my first question. And also just for context for the people,
503
00:56:25,200 --> 00:56:34,160
we're recording this on the Tuesday before its release. So just even just asking you now in
504
00:56:34,160 --> 00:56:39,920
the present moment, how do you hope your new single absurdist reality will impact listeners on Friday?
505
00:56:43,440 --> 00:56:50,640
I'm hoping that people will, this can sound really weird. So hear me out.
506
00:56:50,640 --> 00:56:57,520
I'm hoping that people will accept like where this new project is going, because I feel like
507
00:56:57,520 --> 00:57:05,200
the first single off the project was more of an intro to it versus absurdist reality does feel
508
00:57:05,200 --> 00:57:10,800
quite different from what I was putting out before. If anything, it's like a really, really,
509
00:57:11,360 --> 00:57:16,800
it's an older version of like some of my first releases, different.
510
00:57:16,800 --> 00:57:26,880
But I don't know. I just kind of hope that people will listen to it and hear the growth
511
00:57:28,000 --> 00:57:35,440
from the last project. Right. Yeah, that's kind of all I'm hoping for at this point is just for
512
00:57:35,440 --> 00:57:42,080
people to listen to it. And of course, I want people to like it. Sure. But I just hope that
513
00:57:42,080 --> 00:57:50,240
people can hear like how far everything's kind of come and how different how I'm in a different
514
00:57:50,240 --> 00:57:56,080
headspace. Yeah. And what can people expect for the other songs on this project?
515
00:57:59,120 --> 00:58:07,280
I don't know, actually, like it gets crazy. We have a lot of dynamic. Yes. Like we have a lot of
516
00:58:07,280 --> 00:58:13,200
like really big songs. And then we have like some more chill ones. So I think there's something
517
00:58:13,200 --> 00:58:19,840
for everyone in this project. Yeah. Because we have like our slow kind of like ballad, sad,
518
00:58:19,840 --> 00:58:25,680
cry yourself to sleep kind of songs. And then we also have like, I should probably visit a rage
519
00:58:25,680 --> 00:58:34,560
room kind of songs. Yeah. And you know, I've had the chance to listen to the project. And yeah,
520
00:58:34,560 --> 00:58:40,320
it's great. And I can't wait for for people to listen and continue on listening. Me too.
521
00:58:42,400 --> 00:58:48,480
I wanted to wrap up this pod with what we call the producers game on this podcast. So for those
522
00:58:48,480 --> 00:58:54,080
who maybe it's your first time listening, we play a few games on the podcast. One is called the
523
00:58:54,080 --> 00:58:59,120
dream fest game, which is basically giving our guests the chance to basically design their own
524
00:58:59,120 --> 00:59:02,640
sort of festival lineup and stuff. But with Jay this week, I thought it would be interesting
525
00:59:02,640 --> 00:59:12,160
to produce basically her dream album from the executive producers chair. So I'm basically
526
00:59:12,160 --> 00:59:18,720
going to ask her who would be slotted in these categories and slots. And this these can be
527
00:59:18,720 --> 00:59:27,280
people that are dead or alive. So anybody on it. And I don't know, maybe I didn't plan this,
528
00:59:27,280 --> 00:59:32,080
but maybe it's also fictional characters. I want to add, which is because we've been
529
00:59:32,080 --> 00:59:39,760
chatting about movies and stuff like that. Like Shrek is the artist. Just as a fun, fun game here.
530
00:59:40,400 --> 00:59:47,520
So basically asking you who the artists, producers, the genre of music, the band,
531
00:59:48,400 --> 00:59:54,960
the studio and city. But this can be this can be like, and for you, especially when we talk about
532
00:59:54,960 --> 01:00:01,040
environments and stuff earlier, it doesn't need to be necessarily like a studio studio. It can be
533
01:00:01,040 --> 01:00:08,000
like your couch on Mars or something or something like that. What era this would be released in.
534
01:00:08,000 --> 01:00:13,040
And then also the live performance concept. What we would you do for the live performance
535
01:00:13,040 --> 01:00:19,680
that in that and also for yourself specifically. I've also added who would be the writers on this
536
01:00:19,680 --> 01:00:27,520
project. Yeah, okay. So this is a big, it's a big process, big questions, but I also want to have
537
01:00:27,520 --> 01:00:34,480
fun with this. So please let me know what you would you want to talk about first? Okay. So
538
01:00:35,840 --> 01:00:40,800
artist, I can't, okay, here's the thing. I kind of want it to be me. I want to, I want to build my
539
01:00:40,800 --> 01:00:54,560
yeah, please, please let's do that. Okay. So if I'm the artist, yeah, I want to write a song with
540
01:00:54,560 --> 01:00:59,520
Lorde. I just want to know what that's like. Okay. I really want to know what that's like.
541
01:00:59,520 --> 01:01:05,520
Yeah. It's insane. And I just want to like, watch that. Yeah. I feel like Lorde would be one of the
542
01:01:05,520 --> 01:01:19,760
writers. Who else? I'm like blanking on every person that I put up to. It could be artists as well,
543
01:01:19,760 --> 01:01:24,880
like artists and other artists. I mean, I would want Lorde to be a writer for sure.
544
01:01:29,200 --> 01:01:36,640
I want to say like, I want to say Kevin Parker, but also I feel like they want producers.
545
01:01:37,600 --> 01:01:46,640
Sure. So like Dua Liva just did that. So yeah, I don't know. I think yeah. He can be a producer.
546
01:01:46,640 --> 01:01:53,840
Yeah, he can be a producer. Okay. Yeah. God, I'm like blanking on everyone.
547
01:01:54,880 --> 01:02:00,720
It's okay. Any fictional characters in those writers or producers?
548
01:02:05,040 --> 01:02:07,520
Also, this can be dead or alive. That's true.
549
01:02:07,520 --> 01:02:20,240
Yeah. I don't know. Me as the artist, Lorde as one of the writers, maybe Clara as a writer too.
550
01:02:20,240 --> 01:02:27,920
Oh yeah. Yeah. Her new album is Get Me. Get Me. Oh, another producer. I would love to work with
551
01:02:27,920 --> 01:02:37,040
George Daniel. Oh yeah, of course. Yeah. What would be the genre of the album?
552
01:02:37,040 --> 01:02:43,680
Genre is going to be pop. It's got to be all pop. Yeah. Yeah. It's got to be like some weird pop.
553
01:02:43,680 --> 01:02:50,960
Yeah. Yeah. Yeah. And then the band, are there some people that you'd want on the record just to
554
01:02:50,960 --> 01:02:55,280
maybe contribute musically to the album? Maybe play some songs?
555
01:02:56,880 --> 01:03:00,320
I don't actually like, I'm not very knowledgeable on like really,
556
01:03:00,960 --> 01:03:05,040
really talented like musicians, like what their names are. That's okay.
557
01:03:05,040 --> 01:03:10,400
Okay. What about some fictional characters here? Like if you could have like anybody play
558
01:03:11,840 --> 01:03:17,280
drums or like play guitar or like even if it's like, even if they don't play guitar or drums.
559
01:03:17,280 --> 01:03:23,200
Well, I want August Rush to, of course. Yeah. Yeah.
560
01:03:26,080 --> 01:03:30,080
Yeah. Who would I like to see in the drums? I'm trying to think of like a really funny
561
01:03:30,080 --> 01:03:36,880
fictional, I feel like Bob from Bob's Burgers should be the drummer. Okay. Fantastic. What about a bass player?
562
01:03:40,320 --> 01:03:41,120
Bass player.
563
01:03:47,280 --> 01:03:50,080
I keep wanting to say Shrek and it's not good.
564
01:03:52,000 --> 01:03:56,320
He would slap on the bass for sure. Oh, you know what? I'm actually going to use a video game
565
01:03:56,320 --> 01:04:09,520
character. Yeah. I want, I want Mario from like Super Mario Bros on the bass.
566
01:04:10,960 --> 01:04:15,600
That's crazy. He's holding it down, you know, say it's like, it's just so, so steady.
567
01:04:16,000 --> 01:04:20,640
Yeah. He's reliable. Yeah. Reliable. It's funny.
568
01:04:20,640 --> 01:04:31,920
What about the studio in the city? I've always wanted to work out of New York and that's probably
569
01:04:31,920 --> 01:04:37,360
not going to stay true when I actually do it. Right. Just because I feel like I'll be overwhelmed
570
01:04:37,360 --> 01:04:43,760
and I'll want to be in like a cabin in the woods somewhere. Right. But for now, I'm going to say
571
01:04:43,760 --> 01:04:52,160
a studio in New York, but I feel like I would want it to be like the studio that I've been working
572
01:04:52,160 --> 01:04:58,000
out out of. Right. But just in New York. New York. Yeah. Yeah. No, that's great. I mean,
573
01:04:58,000 --> 01:05:03,680
pretty much what we're doing now, like in Toronto. Yeah. Yeah. Yeah. It's very similar. Yeah. Maybe
574
01:05:03,680 --> 01:05:10,080
with Kolipe as well. Maybe I'll move into LA. Kolipe has to come. Yeah. Yeah. I'm taking that with me.
575
01:05:10,080 --> 01:05:16,400
Yeah. Yeah. Yeah. Along with the studio. Kolipe for those who don't know. Shout out Kolipe at
576
01:05:16,400 --> 01:05:20,880
the Thai restaurant in Toronto. So good. I actually ordered the last night. Okay.
577
01:05:23,280 --> 01:05:30,000
Fantastic. And then what era would this album be in? Like current. Current. Yeah. That's great.
578
01:05:30,000 --> 01:05:34,320
And then what about a live performance concept? Is Mario playing the bass live as well?
579
01:05:34,320 --> 01:05:41,920
Or Bob's Burgers on the drums? I really need someone to draw this image.
580
01:05:42,800 --> 01:05:48,880
Me on the mic. Kevin Parker is playing guitar and then Mario and Bob's Burgers.
581
01:05:49,680 --> 01:05:59,040
Holding it down. Yeah. Yeah. The cursed image. Yeah. Very cursed. The only reason this happened
582
01:05:59,040 --> 01:06:02,640
is because I genuinely couldn't think of anyone else. It's just a thing that came to my mind
583
01:06:02,640 --> 01:06:09,600
and I was like, yeah, sure. No, that's fantastic. I pushed you into that direction. But that's how
584
01:06:09,600 --> 01:06:16,320
we conclude the episode. Thanks so much, Jade. Thank you so much. Today we've had the absolute
585
01:06:16,320 --> 01:06:22,640
pleasure of chatting with Jade and discovering her profound journey in music and her creative process
586
01:06:23,360 --> 01:06:29,200
from her earliest music memories to now releasing her latest single Absurdist Reality.
587
01:06:29,200 --> 01:06:36,080
It's clear to me and it's clear to many others that she's pushing the boundary of recording
588
01:06:36,080 --> 01:06:44,240
and writing. And I really need to recommend her latest single, but even her past projects and
589
01:06:45,280 --> 01:06:50,320
to look out for her new music coming out soon. To our audience, you can connect with Jade and
590
01:06:50,320 --> 01:06:56,240
stay updated on her latest projects and her latest music by following her on social media at its
591
01:06:56,240 --> 01:07:02,320
Jade Music. It'll be in the link below in the description below. Thanks for tuning in again.
592
01:07:02,320 --> 01:07:08,720
And don't forget to like, comment, subscribe and leave a review on this podcast. This podcast is
593
01:07:09,520 --> 01:07:17,200
made for networking, but not necessarily networking, but resources and educating ourselves on the
594
01:07:17,200 --> 01:07:23,760
music industry through the experiences of music industry professionals. Also, be sure to join
595
01:07:23,760 --> 01:07:28,720
our vibrant community on the AIDS network, whether you're a musician industry professional,
596
01:07:30,320 --> 01:07:34,720
you know, somebody that's interested by the music industry, you can find like-minded individuals
597
01:07:34,720 --> 01:07:42,400
on this Discord channel. It's, you know, we chat, gain valuable insights, and you can also access
598
01:07:42,400 --> 01:07:48,800
exclusive conversations and insights on this Discord. Visit the links in the episode description
599
01:07:48,800 --> 01:08:04,720
to join today. Thanks everybody. Stay safe and see you next week. Bye.
600
01:08:18,800 --> 01:08:19,300
you