Maggie Rogers, it's so great hearing you put that into such perfect form because it more than, and it's a point of people to hear that, more than that. I feel so comfortable and happy now that no one's ever going to be able to take this away from you. And you just give us so much music. Because that's what you realize, right? Is that when you're able to take a look at all of these things that are flying around, trying to distract you, and some of them are positive and exciting and short-lived and other ones are just annoying, but you've got to do them and then all of a sudden you see it with clarity. Then I feel like when you show back up, you do so so much more willing and like, oh man, I'd love to do that and absolutely I'll go do that because it's less out of control. It's like I get it. It doesn't fit into my vocation, but it's my profession and I can box it. I get I understand it.

Oh my God. And there's just like, does that make sense? So much. It's like, it's gratitude practice, it's all those things, but it's also just like, it's allowed to be like kind of silly. It's

allowed to be silly.

And it can only be that where you could only find that joy when it doesn't. It's not being asked to be everything. Like, I can like, yeah,

yeah. Yeah. This album is so good. I kind of want to talk about

the record. I

want to talk about symphony. Oh, okay. I love that song. Thank you. I love that song. It's the title is appropriate. Not because it's symphonic, but because it's the symphony of an experience. Like by the end of it, it's like, wow, I don't know enough yet to know who you're duetting with or whether it's you. But what's going on two thirds of the way through the song when the emotion is let loose and you anchor it down and someone's up here and you're here. What's going on there?

Yeah, it's me. What? I've

never heard you sound like that. Am I crazy?

That was one of the songs I wrote in Maine with my friend Gabe. That was like an after dinner song. And it almost didn't make the record because it was sort of in that batch that I like of the like middle ground thinking through some things and I kept being like, there's something in this song. And then I brought it to Tom and like, it became this like whole other thing. And it was like really our final day working on the record that Tom added a couple guitar parts. And I was like, it now sits like now it holds hands on the record. Thank you. I wanted to write a song that as soon as I made it, I knew it was track 11. Like I was actively sequencing this record the whole time. It I wanted to write a song where like so much of what I was playing in this with in this record is vocal delivery. And like my voice is really big in parts, but also I think in order to do that with intention, I needed to have it also be quiet almost like I was just speaking in other times. And the vocal like doesn't move very much. But the but the music is everywhere on purpose, because like that was very much like the experience I was talking about trying to reach someone who has like a deep internal world, but you sort of like can't can't reach it. And I was thinking a lot about like the the delivery like that the national uses that like Matt Beringer and then like in the way that he is very conversational with himself. I feel yeah. And the melodies are super simple. And I want to think about like what what that could look like to just hold that center and let the music and and all of my sort of like dance influences like swirl around it.