Focus Features presents Peace by Peace, a first-of-its-kind Lego movie event. The story of revolutionary artist Pharrell Williams turns up the volume on your imagination with a big screen experience like no other. Discover what it takes to build the greatest music ever assembled with a star-studded lineup. Snoop Dogg, Kendrick Lamar, Gwen Stefani, Justin Timberlake, Jay-Z, Busta Rhymes, Daft Punk, and more. Peace by Peace, Rated PG, directed by Morgan Neville, opens October 11th in theaters everywhere. Get tickets at peacebypeacefilm.com. H5N1 bird flu is spreading in some animals. If you work with poultry, dairy cows, wild animals, or with raw, unpasteurized milk, wear protective gear and take precautions. cdc.gov/birdflu, a message from CDC. Stay up to date on the latest in music with SoundUp, with Mark Edmond and Alan Light. Join the SoundUp Pod Squad simply by liking our Facebook, following us on X and signing up for our weekly newsletter. At SoundUpPod.com. This is SoundUp with Mark Goodman and Alan Light, the only music podcast that matters. All right, I'm Mark Goodman. And I am Alan Light. On this episode of SoundUp, singer-songwriter and emo legend Chris Karaba of Dashboard Confessional joins us to discuss their fall tour and new collaborative single with Moquita. Plus some wild music news this week. Jane's addiction, fighting each other on stage, canceling a show and apologizing to fans. The boss rocks a hometown gig at the sea here now festival in Jersey and Pink Floyd could be the next big catalog sale. All this plus a few SoundUp Pod Squad concert reviews and as always, our new music picks of the week. Before we get into all of that, each of us saw some big shows this past week. We want to give you some concert reviews. And Roger, we should probably start with you since you're going to tee up our guest coming later in the show. That's right. Chris Karaba of Dashboard Confessional is joining us later and I got to see Dashboard last week in New York City. And it was a special night for a couple of reasons. One was the concert was at Pier 17 and I had never been there before. And it is a spectacular outdoor venue with these beautiful views of New York City, of the Brooklyn Bridge, of the skyline. And when you get there and you get great weather, it is just an amazing place to see the show. And I'm a big Dashboard confessional fan. I've known Chris for a long time and been a follower of this band since their very, very early days. So being able to see them in this setting was really special and they were fantastic. It was exactly what I hoped for and what I expect from a Dashboard show. It was a great set list, mix of old, mix of new. It also had a ton of crowd participation, which you've never seen Dashboard live. That is a very big part of the show. The audience knows the words to every song and has certain parts where they will sing along and do a call and response with Chris. So it's really, really amazing. And that's still true wherever we are, more than 20 years in. Yeah, for sure. I mean, that's the remarkable part of that, right? Yes. And them doing vindicated in New York City with the skyline as the backdrop, even Chris had mentioned the Spider-Man connection from the movie with that song. Right. Vindicated became a hit because of its placement in Spider-Man. And people, I'll just say that venue, I mean, people listening from all over the country, for us to talk about a venue is meaningless. I will say I've been to a bunch of shows there. I just check out my Instagram. I've posted shots from this amazing venue at the bottom part of the island. You're looking at the East River, you're seeing the Brooklyn Bridge, Brooklyn. And then you see all these skyscrapers and there's a giant, you know, old colonial sailboat right next to you. Every band I've ever seen there stops in the middle and goes, this place is amazing. It's high risk, high reward is what I would say. Why high risk? Because if you get the wrong weather, there's no place to take cover. And you're just standing in puddles. That would be true. I mean, that's what it is. That's what that kind of outser. But there really isn't any escape. If it's bad, you're just standing out there or you're, or you're bailing out. Been there. Yeah. That's all I'm saying. What you're signing up for. Well, lucky for me, I did catch a great night with a great band and a great performance from Dashboard Confessional and Chris Coraba. It was really, really a great evening. Great. I'm sorry that I missed them this time. I saw the last, or last year, I saw them at Jones Beach, a great beach amphitheater, which is another great venue around here. What else we got? So I got, I got, I had two shows, so I'll do them quick. First one was my first time in a new venue. I went to see Saint Vincent, who everybody knows I love, at the Brooklyn Paramount last Tuesday night, I guess. And I had not been since the Paramount re-opened earlier this year. On the one hand, you know, it's another, it's a beautiful, restored, old movie theater. One of those movie palaces, like what the beacon was, or what the King's Theater, deeper in Brooklyn, is like, and it looks great and everything's sort of state of the art. On the other hand, it is a standing venue, which I didn't really expect, because when I think of those kinds of rooms, you think of them as seated rooms. Yeah. And it's big. That's the other. If you took all the seats out of some of those rooms, they would feel really big too. But it's a really large floor, there's a lot of bodies in there. And I will say, and I do not hold this against anti-clock or anybody on the Saint Vincent team, unlike Roger's experience at Pier 17. This was not the ideal crowd and concert experience, because it was one of those nights where the guys standing next to us would not shut the hell up. We wasn't singing along, was he just yacking? Just yacking. We moved to another spot, we were standing in a puddle of beer, then there was some other guy being in front of us. We had to move, but we couldn't find this. It was one of those, we all know those nights. This was one of those nights where we could not catch a break from the crowd. So all that said, you sound like an old man, you know. That's part of the gig, some nights it's, some nights you get all works for you, some nights it doesn't. You know, it's very, I don't want to get side tangent to this, but I ran into a friend who went to see one of the dead in company shows at Sphere. And I don't know if you read our friend Nick Poundgarten in The New Yorker, wrote a piece about going to see dead company at the Sphere. And a lot of it was people will not shut up. Like it's a thing you paid, you traveled, you paid huge ticket prices to be there. And they're talking about sandals. And my friend who was there said he was exactly right. He was at this different night, different show. And it was just a racket and it was super distracting when you're, so I don't know what's going on with people's post COVID concert behavior, but that's a separate conversation. So all of that said, I love St. Vincent. I love Annie and her playing. I really like the new record, but this show, I was the first time I felt like I want something else from her, and I don't know what that is. It's the first time I feel like I've seen her where she wasn't in a character in a persona. You know, it was just sort of Annie Clark playing the St. Vincent songs and being sort of funny between doing the thing. And that in itself is interesting because I don't really feel like I've ever seen that, but and the band was great. Everybody's the players are tremendous, but it's the first time that it didn't all come together for me, for her. Song by song, everything was totally was strong, but I didn't love it the way that I have so often loved St. Vincent shows before. So I'll leave it there. The next night went to the beacon to see our friend Peter Frampton play and he sits down. He comes out moving very slowly walking with a cane as his muscular degeneration does continue, but sits in a chair and plays his ass off for two and a half hours and sounded great, singing voice sounded great, and I can't help but be so inspired. I mean, it is, it was five years ago that he went out on his farewell tour after he'd gotten his diagnosis and was feeling, yeah, it was pre lockdown because the Europe dates were supposed to be in 2020 and ended up getting it. But that was after all the U.S. dates. So it's five years ago that he was saying, I don't know how much longer I can play. So I'm going to do this tour while I still can. And he is still out there and he is in great spirits and he's playing a long show, playing a ton of guitar is in, you know, great mood. So I'm afterwards briefly, he's super excited about the upcoming rock and roll Hall of Fame induction, which for years, he's always come on with a film of a bunch of clips throughout the career. And then it ends on David Bowie saying, on guitar, Peter Frampton, and that's when he comes out, but now it's that clip. And then they put up the rock and roll Hall of Fame inductee logo and then he comes out. So he's so into it. He's even changed the intro of the show for it. So it was a busy week. Friday, I went to see a Latin jazz orchestra play James Bond music, which was awesome. But I'll, you know, I'll leave that for another time. That sounds really, really great. That was really cool. That's why you live in New York City. That was a show in Bryant Park, a beautiful night and a super cool show. But great news to hear that Peter is doing that well, that he can continue to tour and be, you know, be up there for a long show. Yeah, it's not a compromised show in the least. That's awesome. And to think about how long it's been that it's been, you know, how long can I keep going? Well, I'm just still doing it. So great. I got a concert review that'll take us into some music news. I was at Pier 17, the aforementioned Pier 17, for the second night of James' addiction and love and rockets, love and rockets opening for James on a spectacular double bill, in my mind, just an incredible double bill. And for me, first time I've ever seen either of these bands live. And I kind of can't believe I'm even saying that. Both bands were freaking amazing. Love and rockets opening up. They started off with the light into Kundalini Express into no big deal into, I mean, it was just bam, bam, bam, great song, great song, great song, and the band sounds as great as ever. You know, David Jay is right, I mean, it was everything that I would have wanted from a love and rockets show. I can't talk about it enough. I was a ball of confusion. They stretched on ball of confusion. And it just, it was really, really good. So alive, of course, the big hit. No new tale to tell. I mean, every song, I can't stop raving about it. I was so happy that I got to see these guys for the first time. Jane's also who followed up that night was before a night we're going to talk about in just a second. But Perry Farrell, he would do these raps on stage that I would look at my friend who I was with and go, I didn't, I didn't understand what, what did he just say? And she was like, I don't know, I didn't understand that. He was like, it was almost non sequiturs and things. And I guess, I think he was drinking maybe something was happening, something was happening. But again, I'm first time viewer for Jane's live. And again, song after song after song, this, there's several songs that that I'm not familiar with. Most I am. In fact, the first song kettle whistle, I didn't, I didn't remember. That's what they opened with. But summertime rolls, obviously Jane said mountain song and the closing few songs, three days stop been caught stealing just incredible. And Dave Navarro sounded amazing. We were talking, and I don't know, Roger, or either of you guys, if you've seen Jane's, it seemed like it was something that was in Dave Navarro's contract that he was never in the spotlight. He always wanted to be, he was wearing this long coat, you know, and he was just like mysteriously, you know, getting off my wrist, get to do that. Well, yeah, except, I mean, he's the quintessential rock star that dude. Look at how he looks. I mean, he's just incredible. And I just thought it was funny that he didn't want to, even for his solos, he didn't come to the front of his stage and take a spotlight. And it wasn't like he was pissed about it. That was the way things went. I wonder if it had anything to do with the health issues he's had recently. That may be. I mean, the times when he, I did see him in the spotlight, he looked fine. And certainly, as we'll talk about in a second, he seemed to defend himself pretty well at the fight, just a couple of nights later. But just to wrap up my review, James crushed it at Pier 17. And that's, it's those shows that I posted some pictures from. So if you want to check, we'll get those pictures up in our gallery at sounduppod.com oddly. First time ever. So Jane's addiction live, they were opening for love and rockets here in New York City. And we were like, who is this man open for love and rockets? Nice full circle. Absolutely. And they were fantastic. Wow. It was, it was great. And Perry sounded fantastic. He looked great. He was, there was actually down front. We couldn't see it. We didn't know what was going on. But apparently there was a fight down front. And Perry like stopped the band for a second and, you know, pointed down to the front and said, Hey, hey, you know, there's no, no fighting here. And, and that was it. And then a little, they played more of the song. And then he stopped again and made the guy apologize and they met, he made them make up. He didn't get him kicked out. He made them make up in front of the audience, which apparently happened. So before we get into the next story and, and as we transition into music news, I got to do this. I got to do this live. You guys haven't seen. Since we've been come on here to tape this, because audience will know this by then a statement from Jane's addiction, yes, to all the fans, the bands have made the difficult decision to take some time away as a group, as such, they will be canceling the remainder of the tour refunds for the canceled dates will be issued at your point of purchase. If you purchase from third party resale site like stop hub seat geek, et cetera, please reach out to them direct. Thank you, Jane's addiction. So that is literally just happening as we're here doing this. So I suppose we should back up now to talk about why this is happening. Yeah, Mark, you may have seen their last full concert literally. I literally thought that I was talking to the friend that I went with and we were like talking about that, this story about this incredible, this fight that happened. And we thought, yeah, maybe we caught the last show. I mean, it was Boston the next night or the next show anyway in Boston, which they did perform everything. As I said, everything was fine in New York, but they in the next game following New York was Boston and things got ugly on stage. I haven't seen specifically what actually happened except that at one point and there's video of this, we see Perry Farrell getting up into Dave Navarro's face and he literally gets crew and other band members pull him off. He sort of bangs into him, yeah, right. And but I haven't seen anywhere what was said or what happened or any like he didn't hit a bad note or something. I don't know. I mean, the store, the things I have heard and I don't know that any of this is confirmed in any real way. There were two issues, one of which as you alluded to is there's a lot of talk that Perry is drinking somehow, you know, out of control through these shows and that they're not satisfied with what he's doing on stage and it's making it very difficult. Apparently he's been frustrated that he feels like the band is mixed way too like higher than the vocals. And he said, people in the crowd were yelling, we can't hear you over the band. And when he heard that, he went over and like took that out on on Dave. Yes. Because as we all know, he has his own little futs are up there, this little box that he messes around with through the whole show. So maybe by the time this airs, there'll be more information or detail, don't know. That's what I've been hearing. Meantime, then there was a subsequent story from Perry's wife, if you saw this saying that when they peeled Perry off of Dave that Eric Avery jumped in and sucker punched him two or three times and she was punched, punch Perry, punch Perry. Yes. Yeah. Apparently he grabbed him in a headlock to get him away and I guess hit him three times and they got while he was doing it. Can't they just observe the Gallagher brothers and figure it out? Did you see Liam's tweet with a photo of the two of them, you know, fighting each other and he wrote something like their attitude sucks. So it didn't take long for Liam to jump in. It's sad that they had to do that. I mean, heels of that, initially they canceled the following night's show in Bridgeport. But literally just as we're having this conversation, they announced the rest of the tour is off. And the hope, my hope, and I was speaking with folks who I know are involved with the tour, their hope was, okay, they canceled one show. There's five days until the next show. Maybe they can figure it out because while Perry Farrell may not need the payday, the rest of his band does. And Love and Rockets absolutely does. So kind of a shame that these two couldn't, couldn't work. Well, it sounds like it's more than two if, if the bass players jumping in and taking swings. Well, drummer Steven Perkins so far, the only one who's not mentioned in any story. Get out there. Get their trust in love. He could throw drumsticks, throw it from where he was. It could throw some sticks. All right. Well, there's all that. Elsewhere. In happier concert news, live performance news. This weekend was the see here now festival in Asbury Park, New Jersey on the beach. And for the first time, Bruce Springsteen and the E Street band headlined the Sunday evening performance. And the whole thing kind of turned into a little bit of a boss fest. Yeah. Saturday night, there was a jam. So the whole our friend Danny Clench photographer and asbury park VIP, he has a gallery down there is the is really a driving force behind this festival. He sort of organized a jam night at the stone pony at the legendary stone pony on Saturday night following the Saturday performances where Bruce and Jake Clemens jumped on stage joining Noah Kahn, Grace Potter, Robert Randolph, a bunch of the folks who played at the festival. And they played a bunch of rock and roll standards and blues songs, Chuck Berry songs and had a grand old time. That was just Saturday night. And on Sunday, Bruce sat in with the Gaslight Anthem, we were just talking about the Gaslight Anthem the other week, Mark, you just saw them in Central Park. He came back out and played with Trey Anastasio's band on a version of Kitty's Back that they played. And then E Street closed out the festival with a set including a very specific, a bunch of very specific Jersey songs and a bunch of songs from the first album greetings from Asbury Park, New Jersey, just to run some highlights blinded by the light, first time since 2017, does this bus stop at 82nd Street, first time since 2017, Fourth of July Asbury Park, first time since 2016, local hero, very apropos song, a tour debut, meeting across the river, first time since 2016, closed with Jersey Girl, a tour debut for that, and on the heels of her very sad announcement last week, Patty Scalfa came out and sang tougher than the rest. I was wondering if she was going to make it out. That is great news also. That having announced that her live appearances are very limited because of her cancer diagnosis, she did come out, join for this show, which must have been, you know, people must have gone bananas. Yeah, for sure. So everybody I know who was there was posting going out of their mind saying show of a lifetime and sounds like it was a pretty special one. Mm-hmm. Mm-hmm. Glad to hear the Patty was out there. I'm so sorry that I was not able to be at that show. Wow. And that's it. I'm Bruce's tour is done now. Well, it's not. He's got Canadian dates. He's done with the States. He's done with the States. But he's got right at the end of October into November, he's got a Canadian run fully, I think starts in Montreal and ends on the West. And then there's dates next summer in Europe, they'll pick it back up then, but that closes at the US dates for this tour. Because I know Danny Clinch was checking out his tour schedule and actually, you know, he'd never asked Bruce to do this before to play this festival and saw that there was an opening. Baltimore on Friday night was the last official show, the last stadium show, and then they tagged on this as a festival date and splendid time was had by all. Indeed. All right. So there's a quick look at some music news. Oh, I think we have one more story, don't we? We had one more we were going to mention. Yeah. This is important. Alan, I know you've been talking about this for a while, Pink Floyd, one of the last bands yet to sell their catalog there, they're close to a deal. They're close to a deal of the few major multi-million dollar, multi-million, hundreds of millions of dollars catalog deals that are still left and haven't been done. The queen deal that was done recently was, you know, certainly one of the last big targets. But Pink Floyd is the one that's still kind of hanging out there and has been a really contentious fight, the infighting between the band members have made it really difficult to get this thing done. Roger Waters, statements and behavior have scared off plenty of potential buyers looking to risk a half a billion dollars on an acquisition like this. And apparently Sony music is in advanced talks, quote, from the variety report is advanced talks to require the groups recorded music rights for a price between four and five hundred million dollars. Specifics are not clear. If they were able to hold on to the high end of that price, that's kind of what they've been talking about all along. If it's on the lower end, as the financial time says, it means that the fighting and Roger Waters has devalued the catalog by as much as 20%. If it takes it down from five hundred to four hundred million dollars, that's a hit. Other potential suitors were said to be underwhelmed with the catalogs annual earnings. So you know, we've talked about these deals, we've talked about what was what it was a big boom that has maybe tailed off a little bit that, you know, the company that initially started driving a lot of this was was hypnosis company in England. They've had to sell off a bunch of the catalogs that they acquired. They've reorganized and restructured their board and moved the role that Merk Mercuriatis, who was sort of the mastermind behind all this, has been moved out of, I think the CEO role and into just a board position. So there's maybe a sense that the, the bloom is off this rose a little bit, but there are still some of these big prizes out there and available. And Floyd has come on in and out of rumors for a number of years and we'll see if this gets done and we'll see what the price tag is. And if we know what the price tag is. I wonder has the, the numbers, have they changed over the years? I mean, we're talking about the fact that the bloom is off the rose that, you know, Pink Floyd aside, it's not such good business anymore to spend this incredible amount of money for catalogs. But look, they still ended up doing, I mean, the, the rumors were it was at or near a billion dollar deal for the queen catalog. Now the queen catalog is one that it's among the easier ones to make a case for what we see for continuing placements, commercial usage. You know, the, the theatrical show that will continue to run around the world, you know, they're much more of a going concern. Yes, it's clear that there's a lot more, that there's a pulse around the queen catalog in a way that you can understand, okay, that's, that's still going to throw off a lot of revenue for quite some time. And the question is, you know, for any of these when you're looking not at the next five years, but 20, 30 years down the road from now, are you confident that there's still going to be enough relevance and still going to be enough opportunity for some of these bands? Or are they just going to get old and, and, you know, and back burnered? There's always going to be 14 year old boys who smoke weed for the first time and discover dark side of the moon. There is an eternal market, but, you know, how big that is as it gets less illicit to, to do that is, you know, a fair question. I think other other groups may sidle in there as the years go by for 14 year old boys to listen to when they're blasted for the first time. It's interesting, though, that it seems to the business folks that it's, in fact, Roger Waters comments that have devalued this catalog. I think that's a really interesting situation. Well, look, it's, it's a volatile, it's, he's certainly for a long time now sort of danced on that edge of how what is, you know, what will people continue to tolerate from him and continue to, you know, support him if you feel like he's one statement away from just blowing up his whole thing. Right. Right. Yeah. If you got 500 million dollars on the line, that's a big risk to take. I can see people using that as certainly as the opportunity to say, okay, we're interested, but we got to talk about fire sale. That's right. Then, you know, right. It's a strong marketing chip to hold. It sounds like others have bailed out and some of this, look, some of this is also a mass, you're building catalogs to have a number of them matters. You want to, you know, so for Sony to stay in the game, having the rights, you know, the distribution rights already, even if others drop out, it's still significant for them to have a number of these big ticket catalogs under their umbrella. So we'll keep our fingers on this one. Yeah. Yeah. We've got to keep our fingers on the pulse of this one. If the deal ain't done yet, it ain't over until there's two signatures on the, on the bottom lines, right. In this case, more than two signatures. More than two signatures. I mean, like the, the company and the artist, well, I don't know if you've seen, but David Gilmore in doing press around his new project has said, I'm happy to get rid of this. Yeah. He's like, I don't, basically, I don't need the headache of, you know, having to negotiate and navigate with Roger's team for us to do anything, you know, let it be, I'll take the cash and let it be somebody else's problem. What a shame. If there was ever a band built for this fear, right? That's right. Laser Floyd, you know, they got in there early. Too bad. That's true. All right. So there we go with the biggest stories of music news that you need to know about here. I'm excited. I think we all are. In fact, we've got dashboard confessional Chris Karaba joining us in just a couple of moments here on Sound Up. H5N1 bird flu is spreading in some animals. If you work with poultry, dairy cows, wild animals, or with raw unpasteurized milk, wear protective gear and take precautions, cdc.gov/birdflu, a message from CDC. In the sprawling expanse of Texas, where oil, cowboys, and cattle loom as large as the state itself, tales of true crime defy the imagination. The Texas Crime Stories podcast unravels the most chilling and perplexing crimes that has scarred the Lone Star estate. Join me, investigative reporter Robert Riggs with firsthand accounts from law officers and chilling encounters with serial killers. I take you from the crime scene to the courtroom and into prisons. It's a journey into the heart of darkness, not for the faint of heart. Listen to True Crime reporter on the Pandora app, Apple Podcasts, Spotify, or wherever you can listen to podcast. Stay right where you are. All right, welcome back. This is Sound Up with Mark Goodman and Ellen Light. Chris Karaba, as dashboard confessional has been the poster child for Emo, pretty much since his first album in 2000, even as the nature of that band changed, going from an acoustic side project to a full band as Karaba's main focus. Dashboard's last album release, 2022, all the truth I can tell, was a return to his acoustic roots and his personal take on hitting 40. Dashboard, boy can we talk. Dashboard confessional is out on tour right now with dates running through the end of October and Chris Karaba is joining us right now on Sound Up. Welcome 40-year-old Chris Karaba. Or actually, you must be, I think you're a bit older than that now, plus a little. I got a few years on you, we can talk later. It only gets worse, so get ready. So this new music that we have from you is, I was just saying, mostly at this point anyway, features with other artists, Sam Tena's last year, Yellow Card, and this latest one, the feature on this new one from Mokita, it was real to me is the name of this. Really personal, kind of a take, in my opinion, on a breakup. What prompted the work with Mokita and the song, and how do you two work together? Who's writing? Who's producing? All of that. Take me from there. Well, with Mokita, it's more like I'm writing and he's producing as we go really fast. His whole thing is this beautiful lush production that he does, and he wanted to couple it with sort of the more sparse acoustic thing that I favor so often. It was a fun project that kind of happened off the cuff, and to your point mark about all these features and kind of guest spots and collaborations, they were a way out for me through this writer's block that I was at, and I was like, realized it was the absence of friends and the absence of community that was part of the last piece of the puzzle. I'd been in this accident, and while I was in the chair recovering forever, I was like, "I don't want to do anything alone, I don't want to do my laundry alone. I certainly don't want to write songs alone." So that was sort of my foray between just getting together with my friends as I found my way back to my own songs, and I figured I'd put them out and show people the process before I show them the new dashboard stuff. Was that a shift for you to feel that need for collaboration community in the work? Was it a different focus? Because it could be that you're somebody who works very much in isolation and then your own head, and this sort of flipped another switch. That's right. Traditionally, I wrote Dashboard so it's kind of end-to-end on my own. That may be a bit of an overstatement, but the bulk of the writing of the song itself would be me by myself, and I was really born out of the fact that Dashboard originally was a side project. I was in probably no less than five or seven bands at the time that I was a writer, I was the main writer or a main writer in, but they were all heavy-duty collaborations. I was like, when I turned my attention to what would become Dashboard, I guess my pencil was really sharp, so the song's just spilled out, fully formed and ready to go, and just over the years, I've had less time to spend with friends in the writing, but still had the mindset that I was supposed to be doing this alone. So I thought, "Well, how could I replicate that original scenario where I was in so many bands at once?" I was like, "Well, why do I go sit on these fabled writing sessions I hear about so often?" and see what happens there, and it's proving true. I've got some great, beautiful, collaborative work that I'm really proud of, some of which will probably end up on Dashboard Records, but also maybe the next day a whole song will spill out that I buy myself, but then the first thing I do is run to my friends. Hey, let's finish this. Has there been a fundamental change then in the way that you're looking at creating? Are you sort of more open or leaning more towards working with others, writing with others? I think I don't know how fundamental the change is. That's a really good question. I don't know how permanent anything is ever with songwriting, but I can tell you, right now, the thing that gets me lit up the most is being in the room with somebody where you can see their physical reaction to a good idea or where you can have that instant and kind of vaulted dopamine rush that you get when somebody else cracks the code. I know that there's absolutely no answer to this, really, but you very rapidly brought up the accident from a few years back. Do you feel like this shift, whatever it is, however permanent, however long it lasts, did that come from the rupture of what the accident was and being sidelined and everything like that? Or was it, you know, as you said, songwriting changes the way that you create changes and this? Or was it COVID? Well, and there's that in there too. I think all of those things were true and not a remain true, but I will say the, as these things can be, the accident and the recovery produced a monumental shift in the way I looked at the world. And writing is just the lens through which I look at the world and try to navigate it. So of course it was changed to some degree, but how lucky is that though? Because I'm sort of an old now. So like, how do you get like that shot of adrenaline over and over again as the age? I wondered, I worried. I kind of wish I hadn't had to crash a motorcycle to find out, but you know what you do when you take their takes? Right. That's not now. Right. Yeah. It worked for Dylan. Yeah. It did. But you know, Mark, I'm no Dylan. I could have probably, I don't know, crashed my skateboard or something instead. We were talking about those, the moments when you're working with someone else that you can see there, the visceral reaction to something that has just happened. And I have found with you, and I think your fans have found with you, that we have visceral moments with you. You turn phrases so beautifully that in simple ways articulate a complex emotion and a moment. For example, because this is something I've been doing since the song came out, I just played stolen. We watched the season pull up its own stakes. You know, that vision last, last weekend of the last week, I mean, you capture it beautifully. And I wonder, are you now feeling, maybe I'm not, I'm not there anymore. I was younger. I was freer. Now I'm older. I'm a little more stuck. How do you feel about that? I was feeling stuck. I was feeling stuck for quite a while. And that is the enemy, right? Of, of, of creativity. And you wait it out. You have no other option. I think I saw, I heard Johnny Resnick say this once, it's like, writer's block's not, not writing. It's writing tons of stuff that just doesn't feel like it carries the weight of importance anymore. And I think I, I know that I went through that and you just pray that you're going to be out of it. And when you're out of it, you remember, I just have to like get as much down as I can. So I, you know, these, these things that I kind of, the lyric you just remarked on, for example, yes, I was younger when I wrote that, but I think I see the world more fully now. And so that the question becomes, what am I thrilled about in the discovery of new things? And what am I thrilled about in the processing of the same old things? And the answer is plenty. Then there's also the performance piece of this. I mean, Roger spoke earlier in the show about your show at Pier 17 last week and still seeing everybody singing every word, everybody understanding when it's their turn to sing, you know, that two decades plus later, you still have that audience that's dialed in and feeling it. You know that profoundly. You know that that works. You know that that's still there. What's the balance or what's the push, as you're saying, to continue to find the new directions when you are still getting that response to the stuff that, you know, that you've been doing? You have no choice. I'm given no choice about whether to keep writing or not. It's just who I am. Now, a different question is which songs do I play now? So how many of the new songs are you going to get away with? Right. The answer, fellas is not so many, but not none. And that's the beauty of it. They are there to embrace these new songs and experience them in the live setting. I don't know if you talked about this, Roger, but we had some moment at that show the other night. Just as I was kind of giving credit to, you know, Roger's brother, Alex Scholetti, famously gave me an MTV unplugged that was the only non platinum artists ever given an unplugged, I think, were the first. And it went platinum and changed my life forever, I'm telling this very story to this audience and what I was saying to them was that Alex came to a show, very small one, and he saw that crowd interaction you just described and wanted to say something he thought was a little bit missing from his original conception of unplugged and thought he'd revive the show to get it in there one time for sure. And I was the right band for it. What a flattering thing. Well, I wanted to do right by him and show him that we still had it as an audience and we did. But even more so, in that moment, the light rig went down. And in this moment, the crowd jumped into action and I don't mean like waving their flashlights and it was like this purposeful, like I'll send you guys a picture of the way they shown their lights, thousands of people instantly became the light show. And I like to think about was Alex in that moment. I was like, he pegged this audience. So on the nose that they will not let anything dissuade them from feeling fully, whatever they're feeling in this song, and they're going to take it over the top. And they still do. Love that. Can you talk a little bit about since, you know, you have passed 40 and that's a big signpost for everyone. I know that when when I crossed 40, I really did feel as though my perspective had changed that I looked. There were things that I looked at that I did when I was younger and that I was involved with when I was younger. And I was like, yeah, that really was not as well as good as I could have been. Do you re is there any reassessment going on? Of course, it's a little bit torturous. Is there an age? I wonder where you get to where you could just go. Okay. Good. I did it. After 60. I have it. Okay. So zero. I'm going to keep my on the horizon. I pick apart every record I've made still I pick up. I think that the I recognize there's certain ones that I got fully right. And it's because I had total commitment to whatever the, the inception of the idea was I could not, I would not allow myself to veer. I could find my way back to it. And then there's a point in your career where there are, there's a lot of people relying on you for their livelihood. So they bring a lot of input to the table and have a lot of respect for these people. This is not a like a, it wasn't calamity. It wasn't like, oh, and then the suits came in and ruined anything, everything. That is not what I mean. Everybody wanted a big win for me. And I certainly wanted to deliver for them. But what I do think is that I would respond to what I thought they thought the vision could be as opposed to what I knew was where I could be effective. And who doesn't want to go have a little adventure and try something new. You started speaking with me about, or you quoted the song stolen and that, that was during a period where I began up chasing, maybe not chasing, but being inspired by the groupthink kind of mentality of like, well, you know, maybe down the road this way, specifically stolen was somebody had, Jimmy Ivey had, had made a suggestion of us, of a chorus that didn't have very many words, which I don't like to do generally. I'm writing a thesis in the chorus. And I gave it a shot and stolen. And so, and that's one of my favorite songs I've ever written. So thankfully, there's a lot of good things to find when I go back and I look at these periods where I feel less certain. I don't feel like at all like it was a loss or a win. I just feel very certain of an era of work at the first few records. And then the last record I made, which is a couple of years old now, but that one was a fully realized piece of work that was unified from end to end. And and came out like a cannon shot, like it was like a 10 day, like the songs were just done, you know, wow. So this is this is maybe related, peripherally related to that. Got to ask you about doing the emo super jam at Bonnaroo. Yeah. What a time. There are two on two levels, one is just what it was to do that and to curate and think about and put that together. But what that, you know, this sort of emo as institution now that, you know, it cracks me up that you can't go three days doing the New York Times crossword puzzle without, you know, angsty punk genre being a clue is, you know, and what that represents as far as just it's a thing that's in the vocabulary that's in the world that, you know, that is this, again, it's not an institution, it's at least sort of an established thing. So I guess pulling those together, pulling the, putting that event together, putting the super jam together and sort of what that was thinking about looking across, Hey, here's what I did and what we did. And sort of where this sits now, we were screech out that every time and me and like Mikey Way will send it back and forth to each other. They got us again, they got us again. I think me and my friends were on to something back then, it turns out, apparently. But to bring it to the super jam thing where we, for those that don't know, Bonnaroo's big festival that does a thing every year where they have an artist this time, it was me coming to curate a song that celebrates something that's important to them. They actually suggested doing the emo scene to me because they know how important it is to me. See, this is, this is not a four letter word to me. I've been a very proud member of this community well before it was heralded as a thing that was coming to take over or likes to be excited about well before that and certainly well after it became a slag that you might say about bands and, and it's kind of come back into favor in some fashion, you know, like all things do. And I've loved it. I've been a huge fan of the scene that inspired me. I've been a huge fan of my peers as they went on to great success and I've been a massive fan of the lineage that so clearly came out of the inspiration of that we were drawing on and maybe set forward. So it was a great opportunity to kind of stand up in front in the middle and say let's play all these songs together. What was just the logistics I know because I'm from previous years and people who've done it of what it is to decide, you know, what the dream set that you want to put together is for that. Yeah, it was long process. You know what I want to say is like, ah, no prop man, I came in smoking cigarettes and tossed it. We went on stage. But that is just not how it goes. We were very meticulous about wanting to because okay, here's the other things. I wasn't playing Dashboard. I played a couple Dashboard songs, but we're playing all the songs that came that inspired the scene that happened during the scene that are maybe my friends bands like Paramoro or taking back Sunday, my chemical romance. These bands of my peers that I grew up with that went on to be, I wanted to play them perfectly. I wanted to play them. I wanted to do our spin on it, but I wanted it to be as accurate as can be. And I assembled a band of absolute ringers that really believe in this scene and are in big bands in the scene or in big bands inspired by this scene. And then of course we had the guest performers of all guest performers to join us. And we really tied it in together. I'll give you a great example. We did a my chemical romance song and we had Jeff Rickley from Thursday, Fantastic Singer from Man. Come and sing it. He'd also sang a Thursday song with us, he stayed up and he sang my chemical romance. And why did I pick Jeff from Thursday, many people asked? And I said, well, you wouldn't have ever heard of my chemical romance and neither would I if it wasn't for Jeff. He's the one who discovered them. He produced their first EP. He helped me basically A&R their first couple records for them and helped them shape them. He was the consummate big brother, hero guy to the whole scene by developing that, that band, which I think is the most important band that came out of us. And on the other end, the things I had Anthony Green, who's famously from Seosyn and Circus Survive, and a solo artist, but also is in a band with at least one member of my chemical romance called Ellis Dunes, sing another my chem song with us and the list goes on. We had people like pick their favorite songs that inspired them and come and choose that. So some of the choosing was theirs. Some of the choosing was, most of the choosing was me going, let's learn way more just in case somebody asks for something that we aren't ready for, I don't want to look like a fool. But you know what guys, when you're a kid, you get excited about your a Green Day record comes out. You lose your mind. You learn every song. You learn to play every song. But then an interesting thing happened for a certain period. I was in dashboard. I was doing dashboard. So when taking back Sunday would put a great new record of my chem, I didn't really have the time to sit. I was a fan, I sat down and became obsessed with the songs, but I'd never learned them. And it was a really like a luminative thing. It was like, my friends are so good at music and it's wild. It's wild. They're so good. It was really fantastic to get inside the songs like that. Going forward, we're talking about maybe a new approach to writing and we're still waiting for maybe that next record that you're theoretically out on tour to support as we speak. What the hell is going on there? Well, we will have a new song coming out in the next and short order. I think it's on the 20th. And I have enough songs to put out a record. Now here's the question, Phyllis. What do records mean anymore? In the beginning of my career I had this wonderful way of connecting with people where I put out a song on samplers. I put out seven songs and seven different samplers and then I put out a full length and then I put out three EPs and then I put a full length out and I put a one song out and then I got boxed in to what felt like slightly, the only option at that point. I don't really know who decided. This was you just put a record out and then you moved on to the next record two years later and I'm wondering, do I have to wait at all anymore? Does anybody? You don't have to do anything anymore, right? That's in theory the best thing about all the chaos is the options are your own. That's right. I don't have any answers though. I have a lot of questions that I have no answers but I have a lot of songs and a lot of them are ready to come out and so we're going to just start putting them out. Okay. So not in an album. I'm not sure not in an album but I'm not sure that I have to wait to know that I have an album. I'm over that hum. That's worth of songs. Yes. I'm over that hum. Maybe I have an album but I've been sort of living in this like stasis because I'm like thinking like well what if I don't? Who cares? The only thing is there's got to be a reason for it to be an album. Right before that was the only thing it could be. Now you could do that. Nobody's stopping you from doing it but it doesn't you could do something else. That's right. I wanted to ask how much is the audience in the front of your mind when you're songwriting or putting together a live set because going to the show the other night it dawned on me walking in as an audience member. I have a part to play in this show like I don't think there's any other show I would walk into or any other band. I would go see where I feel like I'm part of the show in some way knowing going and I'm going to be singing certain parts that I want to sing that I love in these songs. Does that shape how you write or how you put live sets together these days? I will say this Roger. I don't think about it when I'm writing but I do think about it once it's written and what I think about is because I will fully agree with your spot on. I think about the audience a lot when it comes to the set list. It is their show. It's not my show. I'm lucky to be there. And so I think about how they might play these songs with me and what order they might sing them the most fully or find the feeling the most fully in them. And I think when I write a song and not I don't think that every I don't believe that every song I've written is meant for us to sing together in the room. Sometimes they're just meant for you to be in to heaven your headphones. And so I don't often bring those ones and I know I get a feeling very early that this is just one that will live off the stage. And the ones that do feel like they're going to be on the stage then it becomes sort of like an obsession of mine of like two things are going on. How can I best make a framework for this audience? And then during the show how can I pivot the most easily because you get a sense during the set like this is where it's this is where they're going I'm running back we have a little talk back Mike you'll see me there a lot I'm most often I'm saying I think we got to flip these two I think we got to add this one this one doesn't feel like the right place that they're that they're in today and they're taking me to the place. So if I'm trying to force the thing I thought would be a good idea I'm not going to sing it as well. I'm not going to find it as well either. Are you doing any new songs live you say you got some yeah we're doing one song we need a beer break you know when the news you got to go buy so much sometime right they've helped us out to we have we're doing at least one or two songs from our last our latest record is which is all the truth that I can tell and we're doing the new renditions that we have prepared for an EP which was that record was largely just me in an acoustic guitar and even though the couple few that had drums and more instrumentation on them were still acoustic and so we've reconfigured some of them to be to fit the live setting more with more muscle and that was always the idea we got sidetracked sorted by the pandemic and all that stuff so the original idea was to record them that way also and put them out as a series of EP's maybe that's still a plan but nonetheless the songs sound good for that environment and they fit the set better this way for what we're doing so we fill them out a little bit more we do about two from that we rotate we know a lot of them I think we rotate one or two slots in from that record we have a new song that we're doing with boys like girls those guys are geniuses it's real big fun to work with those guys big brains in that band really giant musical brains in that band and so we wrote a song together which is coming out why not play it on this tour of course we should so we're having a lot of fun doing that and we are visiting some newer where's older stuff that is not often in our set we're trying to bring out some things that we that we've rotated out for reasons no one can ever remember Chris Carava dashboard confessional it's always great to talk to you great to hear the music that's coming from you we appreciate you coming by sound up looking forward to new music imminent I'll see you then it's good to see you guys miss you in the sprawling expanse of Texas or oil cowboys in cattle loom as large as the state itself tales of true crime defy the imagination the Texas crime stories podcast unravels the most chilling and perplexing crimes that have scarred the lone star state join me investigative reporter Robert Riggs with firsthand accounts from law officers and chilling encounters with serial killers I take you from the crime scene to the courtroom and into prisons it's a journey into the heart of darkness not for the faint of heart listen to true crime reporter on the Pandora app apple podcast Spotify or wherever you listen to podcast hey there I'm your host and channeler and medium bringing you over 30 years of experience to put that mystical podcast I've dedicated my life to uncovering treasure trove of tools and techniques and I can't wait to share them with you join me on this incredible journey where will dive deep into spirituality astrology channeling fitness the divine feminine numerology and various spiritual modalities and each week you'll receive invaluable insights and interviews that are going to bring you closer to that version of yourself that you want to achieve expect captivating interviews with experts deep dives into metaphysical concepts and practical advice to ignite your creativity and boost your personal growth I'm your host Lita Mago I put it that mystical podcast listen to what I missed to go on Pandora app Apple podcast Spotify or your favorite platform indeed welcome back to sound up so each week we ask you our beloved sound up pod squad to send us your questions concert reviews album reviews whatever's on your mind to get involved join our Facebook page sound up pod and stay connected to everything sound up related including future live shows send in your comments or reviews is text or audio message send it to connect at sound up pod calm and become part of the podcast like this double-header review Scott take it hello sound up hosts and pod squad listeners this is Scott in Houston occasionally known as vinyl into my nails I wanted to call in two quick concert reviews last Thursday I was in Austin at my favorite venue in that city ACL at the Moody Center seeing keen on their limited city 20th anniversary tour of their breakthrough debut album hopes and fears first off shout out to the opening band everything everything who were great and performed some of my favorite songs off their new album Mountain Head which is in my top 50 albums of 2024 then keen took the stage to rousing applause it seemed like this audience had been waiting for this sold out concert and keen lead singer Tom Chaplin seemed genuinely excited to be in Austin he prompted to crown early to keep the energy high and the whole night the band and the crowd gave a hundred and ten percent and it felt amazing I forgot how powerful and anthemic their music is and their musicianship and Tom's powerful voice sounded incredible then I was back in Houston Friday night where I saw what felt like two different concerts from one band Peter Hook and the light played the House of Blues and started the show with new order songs mostly from the album substance which had the boomer goth audience moving on the crowded floor then after a 20 minute break the band came back to frenzy the audience with Joy Division songs culminating in the finale sing along to Love Will Terrace Apart which Hooky sang with real emotion that he seemed to get from the Houston crowd in hindsight I got the sense that Hooky prefers his association with the music of Joy Division no doubt he's a major contributor to the music of new order and he was essential to both bands but he seemed more connected to the early punk rock aesthetic especially when he would pose with his muscled arm in the air ready to attack the low slung bass guitar he still commands I had fun seeing new order in their amazing effect show last summer but for the real deal go see Peter Hook and the light thanks guys all right that was pretty good that's pretty good you Scott well done bringing it yeah keen I didn't know keen or out playing shows right it caught me by surprise because for some reason it's a mistake on my part keen and snow patrol like totally fair simple spots absolutely right and snow patrol has a new song out yes so I don't are they the same people I like that everybody instantly says you guy absolutely get that you know his review does make the case for Peter Hook to get at least considered for the musical excellence for the rock and roll Hall of Fame how about it first the rock hall it's the sort out Joy Division new order which yeah not to the ballot two years ago as one thing like doing faces small faces yeah yeah good luck with that Alan all right so we've got new music picks one I'll tell you I'll start it off and I don't know I I don't think that you have picked this one already this is a new song from the Linda Lindes the song is called no obligation which is in fact the the title track from their new album upcoming new album and it is it's just it's great if it's the third single from this upcoming album including their colabo with weird Al Yankovic I did pick that a few weeks back yes you did so this is the the second album which is going to be called no obligation set to release on my birthday October 11th it's Eloise Wong who wrote that one and it is a rockin number the band says that Eloise wrote this song because we won't adhere to what anyone else thinks we should sound like or who they think we are we don't make music out of obligation we make music out of love so Linda Lindes with no obligation their new single can't wait for the rest of this record my other pick is um snake gang which if you've been following along in your book is snake hips and earth gang who have been working together for a couple of years now and they have a song out just out called don't rush and it is from this upcoming well actually it's not an upcoming album it's snake gang volume one which came out initially in 2021 but there is a deluxe edition which is due for release a deluxe edition features this brand new track called don't rush but it's snake gang which is snake hips and earth gang together and again a rockin little number there you go all right so i got two uh i will start with one from suki waterhouse the song is called model actress whatever i thought that which ma if you know anything about suki waterhouse uh she kind of is a model actress whatever known largely known like it or not as uh the spouse of robert patinson but uh one of the stars in daisy jones in the six and a new album out called unfortunately called memoir of a sparkle muffin i'm not really at ease with that as an album title but the song i but i like the album and i like this song very much which is almost sort of sugezi sort of big lush you know sort of orchestral feel to it kind of washes of sounds a sad song about being in the spotlight which you know is a certain sort of a of a sub-genre but but she makes you feel it she makes you feel her her loneliness what happens after you you hit the big time and i like this song a whole lot and then a new song from soccer mommy sophie allison has an album uh coming out called evergreen this is the third single that's coming out that that's out for that a song called driver which i don't know roger if you have listened but is very i think in your uh sort of 90s not really grungy but like this goes on a playlist with like liz fair belly like very sort of uh chugging guitars a little bit of a grungy sort of thing and uh she's she does good this is particular you know sort of on the rocking edge for soccer mommy and i don't know if a date for the album i'm sure it's out there evergreen coming soon but driver the song that's out now my other pick for the week good one roger you got something yes my pick is not a song but an album or an EP thankfully we got a surprise drop of a live album from ray last week live at montro jazz festival and it is as apple says a masterclass in live pop and r&b this girl can do no wrong she can bob and weave through genres like no one i've ever heard and i am just waiting for her to have that one moment where the rest of the world catches on to her and i don't know what that moment or song needs to be but everyone needs to know who ray is she's just fantastic they just re-aired the snl that she was the guest musical guest on performance was so great right so great yeah yeah you hoped that that was gonna and it bumped up the profile a bit but you're right she's she's in one of those one song away from raking wide open so uh i like that you're you're flying the flag with every new every new project from from yeah well everything she does is better than the next thing and she seems to be leaning a bit more into the big band stuff than she had in the past which i love and i think she's just so unique and one of the things i like about her too is normally you know european artists when they sing they lose their accent her accent is always front and center and that also adds to the uniqueness of how she sounds and how she phrases things and it's just really really great true that um i'm hoping that somebody or a lot of somebody start to understand how great this woman is and it's that situation i remember just having the same conversation with someone about teddy swims a couple of years ago he's one song away from blow enough and that new song is great i almost picked the new song that dreams is really really good as the follow-up to the the breakout hit um i very nearly put that on the list it's really something so yeah ray definitely i have not listened to that live record yet i i gotta all right i think that's gonna wrap it up for this edition of sound up what we ask of you don't forget to check us out on all socials and youtube we've got uh shows up on youtube now for exclusive content full video episodes and more all at sound up pod and remember please to give us a five-star review wherever you listen like our facebook page subscribe to our youtube page share with a friend take an episode send it over to somebody who should know about what we're doing here on sound up and always email us your questions concerns reviews whatever you want to communicate you can email us via text or via voice at connect@sounduppod.com we thank you for listening we really thank you for supporting us here on sound up with mark goodman and allen lights season sound up is hosted by mark goodman and allen light distributed by revolver podcasts feed music by smile from tokyo produced by roger kledi for roger that media project that in the sprawling expanse of texas were oil cowboys and cattle loom as large as the state itself tales of true crime defy the imagination the texas crime stories podcast unravels the most chilling and perplexing crimes that has scarred the lone star state join me investigative reporter robert riggs with firsthand accounts from law officers and chilling encounters with serial killers i take you from the crime scene to the courtroom and into prisons it's a journey into the heart of darkness not for the faint of heart listen to true crime reporter on the pandora app apple podcast spotify or wherever you listen to podcast hey there i'm your host and channeler and medium bringing you over 30 years of experience to prototype mystical podcast i've dedicated my life to uncovering treasure trove of tools and techniques and i can't wait to share them with you join me on this incredible journey where will dive deep into spirituality astrology channeling fitness the divine feminine numerology and various spiritual modalities and each week you'll receive invaluable insights and interviews that are going to bring you closer to that version of yourself that you want to achieve expect captivating interviews with experts deep dives into metaphysical concepts and practical advice to ignite your creativity and boost your personal growth i'm your host elita mago i put that mystical podcast listen to porta time mystical on pedora app apple podcast spotify or your favorite platform [BLANK_AUDIO]
On episode #59 of “Sound Up!,” Mark and Alan welcome Chris Carrabba of Dashboard Confessional to talk about his new music and tour, how his motorcycle accident changed his writing process, and the legacy of emo. We have concert reviews of St. Vincent, Peter Frampton, Keane, and Jane’s Addiction - whose on-stage fight and tour cancellation leads this week’s music news, along with Bruce Springsteen’s historic Asbury Park show and Pink Floyd potentially selling their catalog. Plus we offer our new music picks of the week, including songs by the Linda Lindas, Snakegang, Soccer Mommy, Suki Waterhouse, and Raye.
