Bringin' it Backwards

We had the opportunity to interview Armon Jay over Zoom video! For Armon Jay's third and latest solo effort, aptly titled The Dark Side of Happiness, the burgeoning auteur took matters into his own hands, writing, recording, arranging, engineering and producing every song, and playing virtually every instrument at his home studio in Franklin, TN. On his new album, Armon has turned his crisis of faith – all that anxiety, frustration, neuroses, self-doubt and compulsive behavior – into art, yet another step on his ongoing artistic journey. The Dark Side of Happiness isn't just personal but offers an intimate glimpse into Armon's own inner conflict, a quiet record with subtle dynamics, but emotionally raw. "Some days, Depression is real life for me, and other days it isn't. Most days, are somewhere in the middle, which can be the strangest. This album explores all of the above" Armon spent nearly 14 hours a day for two months recording the album, barely getting any sleep. "As heavy lyrically as the album is, it was the most fun I've ever had making music," he insists. "I woke up every day with a feeling of purpose which felt right. It felt good." Working with mixer Zach Hanson from Justin Vernon's April Base studio outside of Eau Claire, WI, where Bon Iver albums are made, proved to play a major role in how it turned out after Armon recorded "in the box," using UAD interface and plugins. "I credit Zach with bringing that analog warmth to the album," says Armon, adding kudos for Jeremy Larson, who recorded and arranged the strings for three tracks ("Lighthouse," "Break the Habit" and the title song) and Abby Gundersen, responsible for the violins on "Stay Grounded." The last two years have been the most successful yet for Armon Jay's ascendant musical career. As a member of Chris Carrabba's Dashboard Confessional, he toured and recorded with the band on its first studio album in nine years. Songs from his first two solo albums earned a number of song placements, including "Edge of the Dark" (from 2013's Everything's Different, Nothing's Changed), which garnered syncs in Criminal Minds, So You Think You Can Dance and Salvation, while "Better Off Without" (from 2015's Del Rio) ended up in 13 Reasons Why, Nashville, Heartbeat and Set It Up, among others. "In the end, I love life and believe it's precious," Armon insists. "There is always something to look forward to, even on my shittiest days, when the mood swings hit. I allowed myself to go to some dark places on this record, but the purpose was to try and work through them as a temporary residency." In The Dark Side of Happiness, Armon Jay offers his own glimpse of a life filled with hope, not quite a final destination, but a path towards further growth, artistic and personal. We want to hear from you! We want to hear from you! Please email Tera@BringinitBackwards.com. www.BringinitBackwards.com #podcast #interview #bringinbackpod #foryou #foryoupage #stayhome #togetherathome #zoom #aspn #americansongwriter #americansongwriterpodcastnetwork ​​Listen & Subscribe to BiB Follow our podcast on Instagram and Twitter! --- Support this podcast: https://anchor.fm/bringinbackpod/support Become a supporter of this podcast: https://www.spreaker.com/podcast/bringin-it-backwards--4972373/support. https://bringinitbackwards.com/

We had the opportunity to interview The Score Please share while we are #togetherathome 🏡 The harder we hustle, the more we push the envelope. A one-two punch of old school grind and modern adventurism quietly asserts The Score as a new paradigm for rock music. For the uninitiated, the boys cook up a signature style akin to Yeezus producing FooFighters—stadium-size anthems uplifted in equal measure by speaker-busting distortion and glitchy 808s. A five-year journey brought the Los Angeles duo of Eddie Anthony [vocals, guitar] and Edan Dover [keyboards, production] from a tiny Upper East Side apartment to gold plaques, nearly three billion streams, one million-plus YouTube subscribers, sold out shows on multiple continents, and a fan base of millions who sing along to every word. Thus far, the trip culminated on the band's 2020 second full-length album for Republic Records. "As artists, we're always striving to get to the next level," exclaims Edan. "There's an impatient anxiety to do so. After all of this time together, we reached real gratification and a moment of peace this year. However, we keep going. We want to play arenas around the world and reach as many listeners as possible." "Touring internationally, we got to meet people in places we'd never been, and it was really eye-opening," adds Eddie. "We do this out of love, so it's humbling to get to this point. Growing up, I always heard my favorite artists say, 'It's all about the fans'. It couldn't be truer for us at the end of the day." The band cultivated a fervent fanbase through a steady stream of releases. The 2016 UnstoppableEP paved the way for their full-length debut Atlasa year later. As album highlights "Legend," "Revolution," and "Higher" exploded, "Unstoppable" achieved a gold certification from the RIAA. The 2019 PressureEP yielded audience favorites "Glory" [38 million Spotify streams], "Stronger" [37 million Spotify streams], "Born For This" [20 million Spotify streams], and "Dreamin" with blackbear [17 million Spotify streams]. Among dozens of high-profile syncs, their music appeared in the NETFLIX blockbuster 6 Underground and soundtracked campaigns for Jeep, NBA, and many more. A 2019 European headline tour pumped up The Score to craft what would become their sophomore effort. "The shows evolved" Eddie. "We tried to make a batch of songs that you could hear at festivals. Thematically, the music still had our DNA. The songs were empowering and fun, but they were a little more personal to us." "We're maturing," agrees Edan. "We've experienced a lot on this journey. We've evolved individually. In turn, that evolution is reflected in the group. We dug deeper below the surface and explored some other ideas." Working primarily out their L.A. studio, they strengthened the sonic framework with fresh flourishes in the overall production of their sound. Additionally, they welcomed collaborators such as Pete Nappi [30 Seconds To Mars, Dreamers, Shinedown] and Tim Randolph [Imagine Dragons] into the fold. "It's The Score, but it's a slightly more organic version of us,"assures Eddie. The first single "Best Part" evinces their evolution. Produced and co-written by Nappi and Steve Aiello, a bombastic beat seesaws between a distorted groove and a chantable chorus, "I can be a liar, I can be a cheat, I can be neurotic, I can be a freak, I can be everything in between, but you always find the best part of me."Accented by a hummable guitar solo, live bass, and rollercoaster crescendo, it immediately invites a singalong. ]"Some days, you feel like a piece of shit," admits Eddie. "You're just down and out and don't feel good about yourself. However, there's always that one person who finds the best part of you, no matter what. This person doesn't have to be a girlfriend or boyfriend, but could be someone close to you who sees the best in you even when you don't." Elsewhere, whistles and bright riffs underscore a massive refrain on "Carry On." Originally --- Support this podcast: https://anchor.fm/bringinbackpod/support Become a supporter of this podcast: https://www.spreaker.com/podcast/bringin-it-backwards--4972373/support. https://bringinitbackwards.com/

We had the opportunity to interview Faouzia. When Faouzia (pronounced FOH-ZE-UH) steps up to a microphone, a mile-deep delivery emanates from her 5'2" frame lifted by Arabic trills informed from Moroccan heritage, lifelong pop reverence culled during a childhood in Canada, and diligence indebted to over a decade of classical training. This collision of cultures, eras, and styles asserts the trilingual 20-year-old singer, songwriter, and multi-instrumentalist as a fresh force for popular music and culture affirmed by millions of views and streams, and acclaim courtesy of Billboard, Idolator, Ladygunn, Ones To Watch, and more within only two years.Faouzia is fresh off the release of her debut EP Stripped, a top-notch collab with chart-topping DJ duo Galantis, a couple fantastic remixes of her rapidly climbing track "Tears of Gold" by Goldhouse and Owen Norton and an incredible performance with Kelly Clarkson on the multi-language duet, "I Dare You." The rising star just hit 1 million YouTube subscribers and shows no signs of slowing down. Stay tuned for more to come from this incredible talent! We want to hear from you! Please email Tera@BringinitBackwards.com. www.BringinitBackwards.com #podcast #interview #bringinbackpod #foryou #foryoupage #stayhome #togetherathome #zoom #aspn #americansongwriter #americansongwriterpodcastnetwork ​​Listen & Subscribe to BiB Follow our podcast on Instagram and Twitter! --- Support this podcast: https://anchor.fm/bringinbackpod/support Become a supporter of this podcast: https://www.spreaker.com/podcast/bringin-it-backwards--4972373/support. https://bringinitbackwards.com/

We had the pleasure of interviewing GRIFF over Zoom video! At the pivotal moment before the release of her first full EP, Sarah Faith Griffiths – GRIFF to friends and fans – had an epiphany. GRIFF's music has an elemental feeling all of its own. You can trace the genesis of her blistering, sparse, emotional songs, condensed on first bow into perfect, three-minute pop moments to her deeply individual aesthetic. Though reminiscent of a more user-friendly FKA Twigs or even back to the ground-breaking sounds captured by Nelly Furtado and Timbaland, the robust, singular five tracks have reminded GRIFF of one key detail to her work. "I'm running the show here," she says, with an infectious laugh. "Am I even allowed to say that?" Why shouldn't she? GRIFF is a one-woman production, song-writing and performing powerhouse, set to unleash her full future-pop powers and own 2020. On the one hand, GRIFF is your textbook good girl next door. She's just out of school, an 18-year-old straight A student from just outside Watford. On quite the other, on account of the mastery she's shown so far in taking complete control of her career, there is a touch of the young unicorn about her. When the realisation hits that this is all your own handiwork, it hits hard. For GRIFF it came as she sat down to talk about the treatment for the video for Didn't Break It Enough, the captivating electronic slow-jam which cuts straight to the core of semi-masochistic young heartbreak. Because she was used to exerting complete control of her music ("I didn't realise how rare it was for women to produce their own stuff, until people started telling me"), why couldn't she do it with the styling too? For GRIFF, a beautiful, striking young woman with Chinese/Jamaican heritage and the most fabulous, signature, outsized bubble pony-tail, the visuals count just as much as the music. "I said to everyone, it's one outfit, do we really need a stylist?" she recalls. "It's going to cost us how much? I may as well just go to Dover Street Market and buy myself a dress with the money." GRIFF's big fashion awakening were the romantic dresses of Molly Goddard "Before Villenelle," she notes. "But I always just find designers inspiring. I'm used to making clothes out of nothing. My favourite shopping is thrift." In the event, she didn't even need to shop for herself, taking to her sewing machine and creating a whole look in one week. "I thought I'd buy some stuff in case everyone at the label thought what we'd made was a bit shit. I brought it all out and everyone loved it." We shouldn't be surprised that a young woman, left to her unfiltered imagination can write and produce material of the mesmerising quality of Paradise, Say It Again or the two tracks which have already debuted to deep public approval, Mirror Talk and Didn't Break It Enough. After all, Kate Bush was 16 when she wrote The Man With The Child In His Eyes, Lorde 17 when she hit global number ones with Royals. That she has taken the reigns of the visual representation of herself is just a pleasing addition to the freshness of GRIFF's mission statements. If it feels like there is something of a happy accident to the nascent musical life of GRIFF, that's because there is. "It just seems to have found me," she says of her astonishing early promise. Griff was born the third of three in the "super white, super middle-class, super suburban" garden town of Kings Langley. "London was always teasing you in the distance," she says of growing up. The first album she loved and bought was Taylor Swift's Fearless, which she dutifully learned to play, back to front. "There was such a simplicity to the melodies and chords, you could do it very young." Would she still be able to do it now? "Every. Single. Word." Looking back, there was something more to the appeal of Taylor than her basic boy/girl, in and out of love stories that appealed to the little GRIFF. "I had the most horrendous growth spurt in primary school, I was HUG --- Support this podcast: https://anchor.fm/bringinbackpod/support Become a supporter of this podcast: https://www.spreaker.com/podcast/bringin-it-backwards--4972373/support. https://bringinitbackwards.com/

We had the pleasure of interviewing JY of STYX over the phone! The six men comprising STYX have committed to rocking the Paradise together with audiences far and wide by averaging over 100 shows a year every year since (yes) 1999, and each one of them is committed to making the next show better than the last. Founded in Chicago in 1972, STYX has the unique distinction of being the first band in rock history to have four consecutive certified multimillion-selling albums in a row: 1977's The Grand Illusion, 1978's Pieces of Eight, 1979's Cornerstone, and 1981's Paradise Theatre. STYX draws from over four decades of barn-burning chart hits, joyous singalongs, and hard-driving deep cuts. Like a symphony that builds to a satisfying crescendo, a STYX set covers a wide range of stylistic cornerstones. From the progressively sweeping splendor that is "The Grand Illusion" to the hunker-down fortitude of all that is the "Blue Collar Man," from the majestic spiritual love for a special "Lady" to the poignant rumination on the fleeting nature of fame in "Miss America," from an individual yearning for true connection as a "Man in the Wilderness" to a soul-deep quest to achieve what's at the heart of one's personal vision in "Crystal Ball," from the regal reach-for-the-stars bravado of "Come Sail Away" to the grainy all in gallop of that rugged "Renegade" who had it made, STYX draws on an unlimited cache of ways to immerse one's mind and body in their signature sound. We want to hear from you! Please email Tera@BringinitBackwards.com. www.BringinitBackwards.com #podcast #interview #bringinbackpod #foryou #foryoupage #stayhome #togetherathome #zoom #aspn #americansongwriter #americansongwriterpodcastnetwork ​​Listen & Subscribe to BiB Follow our podcast on Instagram and Twitter! --- Support this podcast: https://anchor.fm/bringinbackpod/support Become a supporter of this podcast: https://www.spreaker.com/podcast/bringin-it-backwards--4972373/support. https://bringinitbackwards.com/

We had the pleasure of interviewing grandson over Zoom video! Grandson is the pseudonym of Canadian/American alternative artist Jordan Benjamin. He takes elements of his rock and roll, hip hop and electronic music roots and combines them to tell stories of reclaiming power over one's life, confronting social issues facing his generation and opening up about struggles with addiction and mental health. Through his Resistance Fund, he has partnered with nonprofit organizations across the world to raise awareness and resources for those on the frontlines tackling voter suppression, climate change, social justice reform and mental health advocacy. Since releasing his modern tragedy EP series, grandson has toured extensively across North America, Russia and Europe, accumulated hundreds of millions of streams online, and received co-signs from the biggest names in rock and roll and progressive politics, from Tom Morello to Bernie Sanders. He uses music to embolden listeners, known as the grandkids, to feel a sense of agency over the direction of their lives, and provides a much-needed soundtrack to keep fighting whatever battle they may be fighting. We want to hear from you! Please email Tera@BringinitBackwards.com. www.BringinitBackwards.com #podcast #interview #bringinbackpod #foryou #foryoupage #stayhome #togetherathome #zoom #aspn #americansongwriter #americansongwriterpodcastnetwork ​​Listen & Subscribe to BiB Follow our podcast on Instagram and Twitter! --- Support this podcast: https://anchor.fm/bringinbackpod/support Become a supporter of this podcast: https://www.spreaker.com/podcast/bringin-it-backwards--4972373/support. https://bringinitbackwards.com/

We had the pleasure of interviewing Ryan and Pony over Zoom video! Ryan And Pony is a brand-new project from two indie-rockers who have been kicking around the much-vaunted Minneapolis music scene for years. Their debut album Moshi Moshi was recorded at a variety of Minneapolis studios including Flight Simulator, Flowers, Master Mix, and The Kill Room with Ryan producing. John Fields mixed and Greg Reierson mastered the album. Moshi Moshi is available on 12" blue vinyl LP, CD, digital download, and streaming services through Chicago's Pravda Records. Ryan is a workaholic multi-instrumentalist who has been playing lead guitar in Soul Asylum since 2016. Pony is a flamboyant performer and artist raised by deaf parents. Together they have made numerous albums and toured internationally leading The Melismatics. On Moshi Moshi they fuse Dream-Pop, post-Punk, Brit-rock, EDM, and good ol' fashioned Rock 'n' Roll into a sound all their own; irony, weirdness, and melody are at its heart. Peter Anderson (The Ocean Blue, Run Westy Run, The Honeydogs) adds his killer drum skills to the mix. Ryan Smith and Pony (AKA Kathie Hixon-Smith) first met touring the U.S. in a minivan as indie-rocker Mark Mallman's back-up band. Both Ryan's newly launched group The Melismatics and Pony's band Hundred Flowers started making waves in the Minneapolis scene. Before long, they joined creative forces and Pony became co-front person in The Melismatics. The Melismatics went on to release seven studio albums and several singles, play Lollapalooza, have their music used in numerous TV shows, tour internationally, and build a devoted fanbase. They also shared the stage with the likes of MGMT, The Von Bondies, Joan Jett, Plain White Tees, Shiny Toy Guns, The Jayhawks, and Soul Asylum. After the Melismatics released their most recent album Rising Tide in 2013, the group started to slow down their rigorous touring schedule. With this break in the action, the idea for a new project took shape and Ryan and Pony began working on new material. The first track to come into fruition was "First Night," a weirdly relevant song about rebirth. The duo continued recording songs for their debut album and playing local shows… Then Soul Asylum called. Ryan joined the legendary alternative rock group as their new lead guitarist and in 2016 and became very busy touring and recording. Soul Asylum released a new album in 2020, Hurry Up And Wait which quickly became their third highest charting album to date. After that album was in the can, Ryan was able to focus on putting the finishing touches on "Moshi Moshi" and finally turning it in to Pravda – now here it comes! We want to hear from you! Please email Tera@BringinitBackwards.com. www.BringinitBackwards.com #podcast #interview #bringinbackpod #foryou #foryoupage #stayhome #togetherathome #zoom #aspn #americansongwriter #americansongwriterpodcastnetwork ​​Listen & Subscribe to BiB Follow our podcast on Instagram and Twitter! --- Support this podcast: https://anchor.fm/bringinbackpod/support Become a supporter of this podcast: https://www.spreaker.com/podcast/bringin-it-backwards--4972373/support. https://bringinitbackwards.com/

Together with American Songwriter and Sean Ulbs of The Eiffels, we had the pleasure of interviewing JJ Wilde! Being the first female artist to have a debut single go to number one on all 3 Canadian rock radio formats, it has been a year since JJ released her debut single "Wired" and her career has skyrocketed since then: She toured with a plethora of modern rock royalty including The Glorious Sons, Incubus, The Blue Stones, The Struts, and Reignwolf, she headlined her first U.S. tour supporting her debut EP Wilde Eyes, Steady Hands, and has received acclaim from Paste, Earmilk, American Songwriter, etc. Her track "The Rush," has garnered over 2.3 million streams on Spotify alone and landed her first number 1 placing her amidst rock royalty like The Black Keys, The Killers, and Billy Talent. We want to hear from you! Please email Tera@BringinitBackwards.com. www.BringinitBackwards.com #podcast #interview #bringinbackpod #foryou #foryoupage #stayhome #togetherathome #zoom #aspn #americansongwriter #americansongwriterpodcastnetwork ​​Listen & Subscribe to BiB Follow our podcast on Instagram and Twitter! --- Support this podcast: https://anchor.fm/bringinbackpod/support Become a supporter of this podcast: https://www.spreaker.com/podcast/bringin-it-backwards--4972373/support. https://bringinitbackwards.com/

We had the pleasure of interviewing Michael C. Duguay over Zoom video! On The Winter of Our Discotheque, his first album in nearly a decade, Michael C. Duguay immerses listeners in his complex universe through work which is both familiar and inventive, equally whimsical and stone-cold stoic. The songs in this collection were composed over ten itinerant and disastrous years, in and about his life lived in hospital beds, shelters, and addiction treatment centres. This quasi-sophomore release finds Michael C. Duguay returned to wellness and rapturously reunited with his craft, writing with startling clarity and remarkable candor, withstanding the conventional singer-songwriter label. The Winter of Our Discotheque is a triumphant reemergence, establishing Michael C. Duguay as an idiosyncratic punk-poet whose mercurial work, while firmly rooted in the vernacular tradition, combines adroit pop and the avant-garde to ecstatic and often devastating effect. On Summer Fights, a song which morphs from pastoral alt-country ballad to jubilant, psychedelic honky-tonk, Michael sings the album's central thesis; 'there's a time and there's a place for all variety of grace'. This declaration is one of many which draws attention to the beauty that surfaces, and which so often goes overlooked, in a world of chaos and struggle. Describing his time spent battling addiction and mental illness, which found him drifting from the gulf islands of British Columbia, to Halifax's north end, to a halfway house west of Thunder Bay, Michael remarks, 'I completely lost hold of my identity, and as my emotions and thinking became increasingly compromised by substances and trauma, my relationship with my practice dissolved; first my ability, then my desire to try'. Despite the hardship endured, in broken moments of lucidity Michael was able to shape new personal understandings of the varieties of human experience, and his own relationship to privilege. These revelations have resulted in a body of work which neither dwells in the darkness nor trivializes his own experience, but which describe in poetic, naturalistic, and sometimes droll language, the realities of his lived experience "I spent a lot of time in places that others might describe as 'bottoms', where I never predicted myself landing, and these songs have helped me make sense of those experiences'. The narrative spun by The Winter of Our Discotheque is both bildungsroman and poioumenon (a work of art that tells the story of its own making). Revealing its own metfactions as it progresses, his writing draws comparisons to the literary school of Southern Ontario Gothic writers including Munro, Findley, and Urquhart. The album draws its title from John Steinbeck's final novel, which in turn references the opening words of Shakespeare's Richaed III. More than just clever wordplay, the themes on Duguay's record can be understood as contemporary expressions of both of those writer's existential anxiety. On the haunting and vertiginous Tithes, overtop of swirling reeds and reverberating electric piano, Michael sings 'there's no cause for your applause.' First sketched in a hospital bed in Moncton in 2014, these words make clear that Michael is not writing to solicit sympathy and validation, or to abide by convention, but to devoutly recommence his work with a new, refined focus and an unshakeable joie de vivre. Musically, this outsider ethos is also present. Soaring brass parts are unexpectedly paired with layers of synth drones and percussion, and the arrangements feature billowing woodwinds and iridescent piano in lieu of guitar solos and other conventional indie-rock signifiers. Clocking in at just under an hour, the album's eight songs are meticulous, and the genre-defying arrangements are palatial. Simply put, The Winter of Our Discotheque is an uniquely indulgent album, and audibly the work of an idiosyncratic artist skillfully working out a decade's worth of pent up creativity. In Michael's patient --- Support this podcast: https://anchor.fm/bringinbackpod/support Become a supporter of this podcast: https://www.spreaker.com/podcast/bringin-it-backwards--4972373/support. https://bringinitbackwards.com/

We had the pleasure of interviewing Ratinoff over Zoom video! Creativity burns like a flame. Fueled by inspiration it only grows bigger, bolder, and brighter. Inspired to blaze his own trail, Ratinoff ignites a scorching sound independent of border and genre lines. Fusing highly personal subject mater with '80s alt rock sounds and energy, his debut album teems with an incendiary, infectious, and inimitable spirit of its own. Once a budding Latin pop star with acting credits to his name, Joaquin Torres made waves with a pair of explosive singles which amassed over half a million You Tube views. The stage was set for a big change though. In 2019, activating a 360-degree reinvention, Joaquin legally changed his name to Ratinoff, adopting his mother's surname. He also received a second baptism as an adult at St. Bart's church in the SF Bay Area. The experience dramatically overhauled his creativity. "Right before I took a trip to Mexico to write music I had my baptism," he recalls. "Everything came out of wanting to do something different. It was important for me to be baptized again and turn the page on the next chapter. I was always close to my mother, so the name Ratinoff just felt right. I started weeping tears of joy during my baptism. Amazing things happened afterwards. It was a rebirth of a lot of things." Ratinoff's spiritual renewal in the wake of his baptism crystallized his musical perspective like never before, and he found himself reaching back to a time before he was born to draw on influences ranging from Joy Division, to New Order, Billy Idol, and The Cure. This newfound direction carried over into the studio with collaborator and producer Aldo Munoz, with whom Jay developed a simmering signature style. "This is everything I always wanted to do musically, " he explains, "This feels new because of the approach," he exclaims. "It was all about being open, unique, and experimental. I was thinking in terms of the song, not in terms of me. I have undergone an awakening, which has essentially been a lifetime in the making." The new songs, which will be unveiled in mid 2020, churn with driving bass and drums, and sinewy synth and guitar lines, over which his rich baritone spins tales of love, loss, and living in the modern world; think Ian Curtis meets Robert Smith, with a dash of Billy Idol. As an intro to the tunes check out Ratinoff's unique insight into the writing of a few of them. "RUN AWAY" is probably one of the songs that stands out the most on my mind. I remember listening to the Sex Pistols album Never mind the Bollocks, and also another song called ''Beginning of the End'' from a Punk band called 'The Cockney Rejects, and it triggered me to want to write "Run Away". I do not know if those lyrics were in some way connected to what I was living in at the time, but definitely old frustrations coming out. The Making of the video for was pretty bizarre, we shot it in my bedroom during quarantine while going off on my guitar and my amplifier. It was very crazy watching my bedroom in such a mess, because I am very clean and organized, despite my rebellious attitude. "FAITH" - It is a little bit hard to talk about this song specifically because it reminds me of people that were constantly letting me down. All I think of when I wrote the song is that I was extremely sad. I had wanted to put a band together with a group of my friends, and the drummer decided to just not show up at all and just disappear. Worst part is that I thought we were close friends. I think it is the first song I wrote that is empowering in a way, that even if I feel the worst in my life, I can still come out of the darkness. Really nothing was working out for me, I tried to be in a cover band, and I was always getting replaced. And rightfully so, I suck at singing other people's music, or songs. I think that is why I inevitably started writing my own songs. I am not the best singer/songwriter, and I am not the most skilled at all, but I j --- Support this podcast: https://anchor.fm/bringinbackpod/support Become a supporter of this podcast: https://www.spreaker.com/podcast/bringin-it-backwards--4972373/support. https://bringinitbackwards.com/