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Asaro, the most beautiful iPhone 16 Pro on AT&T NextUp Anytime. Asaro, the most beautiful iPhone 16 Pro on AT&T NextUp Anytime. Asaro, the most beautiful iPhone 16 Pro on AT&T NextUp Anytime. Robert Smith just put out a remix of the single "A Fragile Thing." After 16 years, there's a flood, there's a tsunami of new cure projects. Is that for you kind of fuel? He's not committing to anything, but doesn't that fuel like 2025 is going to be our year? And then it's, "Buh-bye." Well, that's, he has, they rolled out that three-year plan. Yeah. Of the finishing these other albums and the touring that will take them up to their 50th anniversary. And then he says that punch out. So we're on a long, but, you know, a full itinerary for what these final years will look like. It's like a long landing strip. That's at least the plan for now. But 16 years and then the album and the remixes and the live album. And let's see him keep it going. Then there's this. Oh boy. New single from Snoop Dogg. There is a new album coming that is the Snoop Dogg and Dr. Dre Reunion album called Missionary. That being the 30 years later sequel to Doggy Style. I see what he did there. I got that. I got that. How about that? The new single, "Another Part of Me" features Sting with the baseline guitar and melody from the 1979 hit message in a bottle. Sting gets a little vocal showcase spot at the end. And there you go. Meantime, there's also a cover on this album coming of "Last Dance with Mary Jane" with vocals from the late Tom Petty. So we're just going full classic rock in the Snoop Dogg household at this point. So it's Petty and and Jelly Roll. And Jelly Roll, right. Did you listen to this message in a bottle track, this "Another Part of Me"? I did. Corny as hell. Corny. Corny. Why? What about it is Corny is opposed to any other, you know, revisit. Where you had a rapper and, you know, use a sample. Why? Why? Because if that's good, it takes it someplace else and does something new and different with it. It just kind of rides on that, you know. It rides on the riff. That riff. And it feels really like a bad cover or anything. I don't know. I liked it. I thought it was entertaining. It's Dr. Dre we're talking about. It is one of the great producers of our time. And this is what we get. Like that just, you know. Oh, I see. I see how you are with Dre now. Okay. I forgot about Dre. Dre? I didn't forget about Dre. Dre doesn't miss much, but this feels a little, a little not fully baked as it were for Dr. Dre. I'm curious what people have to say. What did you think, Roger? Did you feel the same way? Well, I think it's "Another Sting, Police, Cover and a Hip Hop Song" where it's 99% Andy Summers. And very little Sting, but yet it's billed as Sting, you know. It's weird. I don't know. It is interesting. I think when you've got those guitar riffs as the hooks. Like we know it. You don't think about it. But then like if you're going to sample a message in a bottle, what are you sampling? You're sampling that guitar part. You're not sampling the chorus. How many songs, especially their biggest song every breath you take. Yeah, right. Which is all about that guitar signature that Andy came up with. He gets no songwriting credit on that one. Screwed no wonder he hated that fucking band. And I hope they negotiated a better price for it. Because apparently did he owes like Sting like two grand a day. Yes, he puts thousands of dollars a day in the bank from that. Because he held out for, I don't know if he has the full writing credit. Or if it's one of those where they didn't clear it right. And he had to take, you know, get the full publishing on it. But I think he puts a huge amount of money in the bank. From that, I'll be missing you, song. So maybe he's smarter than we think. That's Sting. You know. And I mean, he did show up at the end and it was sort of a jaunty little. Yeah, I didn't get that far. You didn't even get to the end. I did like Snoop's part though. A lot. That's what I'm saying. I don't know. Maybe my standards are lower than they should be when it comes to a song like this. But I enjoyed it. And you know, when we were talking earlier about comments and things, let us know what you think about it. Please hit us up on any of our socials. You can go to our own website. Whatever. I'm curious. Am I out here all alone? Like, I don't know what's cool anymore. No. I mean, on the one hand, you're right. Like once you see what it is, that's kind of what it's going to be. But I just feel like, I guess my expectation especially from Dre is a little more than that. I mean, I was, it wasn't lose yourself or anything like that. You know, but I just want to know whose idea this was. Like, did Dre think I really like that hook? Let's get Sting involved or Sting like, Hey, I could use some cash. You want to use this? I think one rather than two. Well, wait a second. Didn't Sting sell off all his publishing a few years back? I think he did. Did he? I remember we were talking about it. It was room. And then I think it actually did happen. I'm going to go back in the look. Almost everybody has. So he might not even have anything to do with this really. Well, yeah. Depends if it's a, did they replay it? Did they sample it? Or are they using the record? You know, it's all that stuff. And once again, if you replay it, hello, Andy Summers. And since he's got that vocal part on it, I'm sure he's got some sort of. Yeah. That cuts him in though. I'd be curious about that also. It sounds like a sample as opposed to replaying. And with that tone, it's such a. Exactly. So I'm curious, but hopefully we'll find out a little bit more about it. Sting and Snoop. What a collabo. All right. That's our, our fast look at some music news and stay right where you are. We're really excited about our special guests coming up next here on Sound Up. It's our friend Yola. Asara, the most one apart from is the kind of cologne that chooses you. Like a stranger at a bar sliding you a bottle. No, it's not a drink. It's cologne. Spritz. And invite the sense of vibrant cardamom, addictive toffee, and sensual bourbon vanilla, infused with a trail of amber wood. This hot cocktail is the fragrance for adventurous men. Asara, the most one in par fun. Guess what's next? I'm going to show you how to make a new iPhone 16 Pro on AT&T next to Penny Time. I'm going to show you how to make a brand new iPhone 16 Pro on AT&T next to Penny Time. I'm going to show you how to make a new iPhone 16 Pro on AT&T next to Penny Time. I'm going to show you how to make a new iPhone 16 Pro on camera control on AT&T. I'm going to show you how to make a new iPhone 16 Pro on AT&T next to Penny Time. I'm going to show you how to make a new iPhone 16 Pro on AT&T next to Penny Time. I'm going to show you how to make a new iPhone 16 Pro on AT&T next to Penny Time. I'm going to show you how to make a new iPhone 16 Pro on AT&T next to Penny Time. Welcome back to sound up. We are so excited to welcome Yola to sound up this week. She is a hugely talented, multi-hyphened artist. She's a singer, songwriter, musician, actress born in the UK and early on in her career. She was an occasional songwriter and guest vocalist with dance oriented acts like massive attack and chasing status. In February of 2019, she released her debut album Walk Through the Fire that notched four Grammy nominations, including Best New Artist. Her second album, Stand For Myself, was released in 2021. Her second on Dan Hourback's Easy Eye Label. Yola's acting career started with her being cast as sister Rosetta Tharp in Baz Luhrman's Elvis Biopic. In this past summer, she made her Broadway debut playing Persephone in the musical Hades Town. She's dropped two singles, Future Enemies and Symphony from her upcoming EP My Way. Do for release on January 17th. And I'm going to go out on a lemon save and a friend, an old friend. We have spoken with Yola in the past and I'm very, very excited to welcome you, Yola, onto our podcast. Good to see you. Yes! It's been a minute. It's been a while. Yes. Good to see you again. Really, really excited. We've got a bit of new music from you. Two, actually two new songs, which I'm pretty excited about. So let's basics. Your first two albums Walk Through the Fire, Stand For Myself. It was Nashville. It was Dan Hourback, St. First Two, and he helped with the songs as well. The second album, I know you had more Nashville writers involved. Give me some credits on Future Enemies and symphonies. I did a lot of this in New York and LA, but most of it was in LA. And so didn't have like the usual Nashville stable. So the way that kind of understand what happened was that like easy eyes, like an old school record label. This is Dan Hourback's label. Dan Hourback's label. And it's like what they did in the old days. So you have like the stage, the house band, and they've got their stations, you know, kind of thing. So they go in and all their stuff's there. It's always there every day of the week, you know, and they do everyone's records. And so that's what that was. And also with the kind of writers to a degree, very kind of entrenched in the machine. I broke those rule a little bit for staff and myself, because I like to break a rule. And so, which no one else on the label normally does. So I definitely work a world. And so this is kind of an extension of that the spreading of those wings in the way that you might have heard darts in the way in tears. And, you know, starlight and Mike, my soul stylings. And if I had to do all again, especially if you saw the live show, the biggest. Unsubtle hints were in the live show. So people were like, your fans really knew what was going to come. And I'm like, yeah, because I did the most unsettled covers in all of creations, basically spoon feeding the three years. Here's where we're going. Everyone, here's what I'm going to be doing. And so no one was surprised. And like, I know, especially sodium press, like friends of mine in the press, no one surprised. I'm like, no, every day I went to, it's the same thing. And like I sold out a decent number of these shows, everybody knows. So like when we got to this record. And like it was sounding very soulful. It sounded like 80 soul. It sounded like rare groove. It was sounding like funk. They were like, duh, they're the covers you was doing. She was covering your people's and ready and after that, I'll be good and like sweet love by Anita Baker. And so like it was all the, this is three years of doing these covers and even like reworking songs like if I had to do all again. Mixing that into your people's don't stop the music. It was like a kind of a hybrid version of the song that we did. So there was no subtlety at all. So yeah, that's what some of the sounds are coming through. I mean, obviously it's, this is not from the two songs we've got. The EP that's coming, you know, no one's going to say this is an Americana record. No, you know, Nashville record. As you said, it's that's been coming and building a long time. Did you know that's where you've wanted to be through these shows? But how far out were you thinking really? How calculated are you? That's the stuff I'm going to be doing. Mark, you nailed it. It wasn't calculated. And the answer is yes. It was highly calculated. So this is how calculated it was. And I don't think I said this 21. So let's give you some a million exclusives back to back. So like, so why? I made my money in dance music in the UK. You might notice that a lot of kids that come over from the UK kind of come from a little bit of money. You know, it's not cheap to cross this ocean. The whole no land border thing really does prohibit a lot of people from coming across. And so like, I was a charting writer by the time I landed on these shores in the top 10 in the top five, some performances. And so that's how I could afford to do this in the first place. I didn't come from money. Oh, hey, oh no. But like, but I managed over the years to strategize myself into making some. I started out in a what was known as in the time was broken beat. But it's like a hybrid of like rare grooves, soul, funk, jazz, alcohol bugs in the attic. And that was like where I started and where I cut my teeth, like touring wise and writing wise. We got a record called back in the dark house, which has songs from that stand up like a mother frickin today. And so, yeah, like, I was always planning to come back to that. I'm going to have to go back and find that one. Because like when I auditioned for them, I was trying to get into like them or basement jacks. Yes. Right. I'm so weary with that. Right. That's awesome. It's like so obvious when you think about it. Like, but basically, jacks had like Vula Belenga, had Charlene Hector. So like, they were doing fine. They were happy. Yeah, they would be well, but bugs still were like looking and I was like, cool. Me. And so, yeah, like, that was a big part of my life. And like, then obviously, like, I went into massive attack for a bit and their whole minimalist thing was very, very counter my maximalist. Clearly maximalist aesthetic. No matter what I'm doing, it's going to be maximalist as you noticed. But I was like, it's a bit fun. I'm from Bristol. They're from Bristol. It's a thing that you want to take on. I did this thing list. And so I was like, cool. But I came from what all of the things I was doing came from soul music. The common thread and everything has been told music. So even when I went into Americano, it was like, yeah, my first, my first single. Faraway look, would you say that was strictly Americana? Oh, hell no. Hell no. And so it's like, I've never really played by any of the rules when it comes to like, but one of the rules I've stuck with it all the time is that soul music in one of its incarnations. There's going to be there. And so that's the most consistent thing. Yeah, it's all going to be somewhere. You don't got to worry about yoga. She'll bring soul and she'll mix it with something. And soul is so infinitely mixable. That allows me to move in quite a lot of spaces. So that's why I bring myself genre fluid because I love that, by the way, genre fluid. That's cool. It's because I'd already been genre fluid before I even got to America. When I was in jazz, then went into like broken B, definitely went via dance music and loads of other things are rock, and then landed here did a bit of Americana with soul with classic pop. And I was like, yeah, I'm kind of doing all of the things already. It's really, it's interesting that you talk about needing needing some means to be able to come from the UK and come across because it's still even as much as you think like, oh, everything streaming, everybody gets music from the same place. It's still a hard thing. Most acts. It's still a huge challenge to come across and make it in ways that don't really like that used to be logical. It's not even doesn't even fully still make sense, but it just seems like such a different. It's so much bigger. The media work so much different. They're like, it's you're just playing such a different game. You really are. And to that point, a visa to be able to work here is a few grand. And if you don't have a few grand spare to even start, and a lot of us when we're starting out, we don't. You've got to be able to get signed. So these showcases become elemental in how you get signed, and you know, you do or how you get known once you're signed. And so that's why I came via the showcasing system. You could do all of that on Esther, but no one thinks about the whole immigrant thing. And no one then thinks about the whole immigrant with no land border thing. The whole no land border changes the whole game. And the amount of information that is lost across that ocean is massive. I had a conversation years and years ago with a bunch of Australian musicians. Okay, now we're talking. I had never heard it before I went there. It's my first and only time. And they had a phrase that they called it in terms of their careers, the tyranny of distance. Wow. Right. That's the next album, I think. I don't know, right? The tyranny of distance, because it's brutal. Yeah. He scrapes away at your runway. So I made some money doing write some pop songs. One got to number 10, then I did some performances. Wasn't in the right shape of those ones, but they got to number two. I don't know if you know about foreigners and their neighboring rights, they're better than your American ones. And we get a whole bunch of money. And so that then brought into a pot and allowed me to create a business plan for myself to launch myself. Wait, what? You created a business plan? Yeah. What? I wanted to talk about songwriting, but let's talk about this for a second. You're like sidebar. What? I'm a nerd and I'm just a tiny bit of a nerd. I'm a big nerd. And don't get me wrong. That can be problematic to people sometimes, because people love a vessel. People love a -- I term it a skin suit. People love to be able to take your skills and put them on and run them around their dreams, whilst you are in the upside down, like, get out. And a lot of my life has been that. It's been me as being worn, unbeknownst to myself as the skin suit. And so that's kind of why the EP is named what it is. It's not about some kind of dictate issue. So there isn't going to be the Frank Sinatra cover on your EP called My Way? No, darn it. It's about, like, actual -- well, one's about agency and other just your own life. Not anyone else's. Just your own. I know that seems crazy for someone who's an artist, but that's what it is. But it's also about consent and about being in the environment of people that seek consent in their interactions with you, because you can't really fully collaborate without consent. Indeed. You know, and people really -- for some people asking for consent, it's like polity. And so those things, like being in a space where I'm able just to interact, knowing that consent is being sought, and we are in full flow in that way. It feels luxurious, and it shouldn't. But it does feel highly luxurious. And I thought I was just really blessed in the making of the CP. So the other thing that's had another timing on any of this, but over the summer, you came to Broadway. You start in Haiti's town. You took on what it is to do eight performances a week, you know, working that way. This was coming off of that you did whenever it was, because I know it was so COVID-related, but the Elvis film and your appearance in the Elvis film. How did all of this stuff, how did the theater stuff, how did the, I don't know, the discipline, the approach, what did you bring back into your, into YOLA music from all that? There are three questions. I'm going to answer them all. Yes. Because, yeah, you're right. It's a lot. We actually were able, so the Australian government gave us dispensation to shoot with a gazillion protocols and the army escorting us from the airport to hotels in which we would not leave for 14 days upon rigorous testing. And still Tom Hanks got COVID and it was an international story. Right. At that point, those measures were involved because Tom Hanks was the budgie in the coal mine, you know, a very expensive high class budgie nonetheless, but a budgie. And we all thought this, and let's just be real here. If a rich white man can get COVID, we can all get COVID. This is terrifying. He's like the highest upon high. If he can get it, we are screwed. Whoever knows why. And I remember told you when they're like, if he can get it, I'm like, that's exactly what I thought. And then it was just like, you know, when you see like a movie and they go, you can get it. It's not like that was just a thought that just permeated. So yes, dear Tom, thank you because Tom and Rita were okay. Did you plan? I mean, was that something way back? You're a college kid. You dropped out of college. Were you thinking? I know you wanted to sing, but I never know. None of this was a part of the acting part. You wanted to sing though, since... Yeah, it's a hundred percent. That's when I auditioned with months in the attic. Right. But acting was like, oh, sure. Why not? Well, acting was again another kind of accident. So I auditioned to be part of the soundtrack of the Elvis movie. They needed someone who could throw their voice. And I used to work for a sample replay company called replay heaven. And our job was to take sections of songs or entire songs sometimes, and replay them to circumnavigate the mechanical royalty for people that would like to recoup ever. And so in a world where sales aren't really a thing. And so like everyone's desperately trying to recoup. And so like we do things like virtually model studios or like, you know, sun records, like, you know, Sam Smith studios or like, you know, stats or Motown. Or you name it, we'd remodel all the different kinds of studios. And then I would throw my voice in numerous different ways. And we create this composite thing. And it required, because it was so much about... It was mostly like DJ producers that were using it. So it danced music and then hit pop. They would need a small section of the song. And they needed the energy to be the same. The vibe. And you found yourself more and more having to do research as to where they were in their life. So that you could get into the mindset that they were in. So that when you gave it the energy that the energy was right. And so it wasn't just like phonetic coding, which I also did do. It was really doing like research. Getting inside. The character you're seeing, the connection here. So fast forward to doing the session. I get the audition. I get the job to do the vocal for the Elvis movie. And Baz is in the session. And he sees me clearly going through my process like I'm acting. Little did I know that that's what acting was. Anyway. And he's like, you're so easy to work with. You just have your whole process down. You throw your voice like an expert. What kind of background did you come from to do that? I'm like, there are probably only a few sample replay companies in the world. And I worked with one of them for 15 years. So there aren't, I don't exist. It's along in the short of that question. So he snapped that up in about three seconds. I got the other. You know, I didn't do an official acting audition at all. That was it. And so he's just like, what are you? And Dave Cobb sent me a text going. There's more digital. I think you are made for this because of the backgrounds you told me about. And so we can play Dave Cobb for that. And thanks, Dave. You're dope. And also via that, Natalie Hemby and Brandi Carlisle. And putting me on to the high women thing that I met Dave in the first place. So this is kind of like, we want to keep back, back, backtracking it. Like these things are me having the way with all to say yes to all those things. It is happening in and then that movie inspires Hades town kind of thing. And I get offered it. I don't audition for it. They saw me and others and like her. So. So yeah, seamless, although. Convolution of itself. Yes. Doing something like Broadway. The demands of that, the discipline of that and having to sing in the way that that's required. Again, do you feel like, what do you feel like you brought back out of that? What do you feel like you carried from that experience? I'll tell you what, I'm not carrying 10 inches around my way. It will, it will work you out. I mean, it was rude. Alan, it was brutal. It was brutal. First month I couldn't walk. Wow. Yeah. I had every single step had to be safer stage if I took one more step outside of car to dressing room, car to apartment. I wouldn't have got through the whole show. So like, that's how hardcore it was. And then about six weeks, I lost 10 inches around my way. So exactly the most effective boot camp I've ever been to, for all these people that charge you half a ton of money to like fail at breaking terraforming your body. You just need to lead on Broadway. That's what you need to do. And then I've only got a sing eight days, like, you know, eight shows, six days a week. So, yeah, like my, I was ravaged, but then when my body kind of started coming round to it, I had maybe like a couple of months, I'm just like, Oh, great. Yeah. And then like injury, like towards the end was like looming and I managed to get out before it kind of totally ended me because like a lot of possibilities came out with injuries. And so like, is that so? Yeah. Yeah. And so like, it's like a really be careful. Broadway is basically the entirety of Broadway is people managing injuries. And so like, it's really normalized. And within the culture is like this kind of just acceptance that injuries a thing. And it's very, very normalized. And I'm not used to injury being normalized. Certainly as a kind of survivor and fully recovered person from nodules and then consequent lecture of vocal biomechanics, the university lecture of that subject. I'm like, my whole thing was avoiding injury. Like, most people that are in the voice field deal with you once you're broken. But my job was to deal to deal with you before you get broken, which wasn't really a field at all in a lot of most universities and conservators. And I taught in two, one kind of like music institute and one university. And yeah, like I, so this is very counter my programming to be like injuries just normalized and you manage it. So I got those kind of inflating pants that like the recovery pants, so I was like living in those things and they're a gunning and everything. But I felt like she got out of it. I got out alive and everything works. And I'm really happy about that. So I think I came out with a real knowledge of how to survive. I think I got a real, I came out with a real knowledge of a question that was asked by the dance captain Tara, who is a goddess on earth. And she asked me this every time I did something awesome. Is that sustainable? That's great. You nailed it. Is that sustainable? You do it every night. Yeah, you do it every night and sometimes twice a day because you're going to be dancing. You know, two, two and a half hours or five or five hours a day. You better be sure that this is sustainable. And but just that question, it dawned on me that no one asks that in the music industry. No one goes awesome. Is that sustainable? Awesome. Are you healthy? Awesome. Is this what you want? So beyond the whole people that don't know how to ask for consent, people that don't realize that it probably behooves them to ask certain very foundational questions like is it sustainable? And so that was something that like I was like, well, I'm going to have to throw that question into every conversation I have here on out. Wonderful. Is that sustainable? Oh, excellent idea. Is it sustainable? Yeah. And so, yeah, that's what I felt like I took from it. This sense of like really guarding health, which I kind of always had, but like having some better ammunition to do that. Right, right. Can we, I know we chatting you up a bit here, but I wanted to talk just about these first two songs that are out a little bit. Yeah. This was future enemies, which to me, it was an anti love song. Sometimes I think of how I wish I never met you, then I don't have to forget you. Why don't we just know so I don't wish I never met you? Maybe we were never meant to. It's like, you know what? It's too painful. I'm not going to. Let's just stay nice to meet you. Stay the fuck away from me kind of a thing. And the new single is symphony feels like the complete 180 degrees to the opposite. Oh, how you make me sing. Oh, the revelation that you bring. There ain't nothing better than this just being in the warmth of your embrace. I mean, both of those things live inside you. Yes. Yes. Yeah. That's just dating. That's just dating. Wow. That's just about relationships then. Yeah. That's a hundred percent talking about relationships. Yeah. So, um, I feel like there's a type and a typo somewhere. So, and it's the big tagline. Why don't we just not? That's not new. Hey. This was lovely. Why don't we just not? It's not. It's so British. It's not. It's one to learn. What? Exactly. Oh. So, but like, it was about this epiphany asking it on dates with people. And there were moments where I'd be like, Oh, this is really nice. But, you know, it's not really a thing. But this is cool. Thanks. And we, you know, it's not a big deal. But then we so often there'll be a situation where I'd be like, Oh, you know, when the red flag kind of goes. Yeah. And that there's the content creator and it runs with like, runs in a field with a red flag or green flag. And like, I, I pictured him in my mind running with a red flag. I'd be like, Oh, right now we're having a dark time because I know how to be a charming person. But we are destined to be future enemies. We don't know it yet. So if I just keep it nice and just. You know, evaporate from, evaporate from this person's purview for eternity. Then I managed to avoid making a future enemy. Like, sometimes it doesn't have to be beat. Sometimes you can just disappear like David Copperfield. And that was really like, like inspiring to me because I was like, sometimes like you, and like, it's really like people are like, I'm going to take on the beat. But there's a lot of like conversations at the moment of going, maybe you just don't want to, maybe you just want to relax, maybe life is stressful enough. And so there's a time and a place and we choose our battles. And this is me going, no, this, whatever this is, I'm not going to make 15,000 new freaking enemies from jump because they're freaking weird and, you know, there's a lot of people with no skills. There's a lot of people with no social skills, you know. Oh, my God. Yes. Oh, my God. Yes. I'm one of them. So yeah, the other song is very the opposite because I then met my partner. So you are in love now. Yes, indeed. This is the person I'm going to marry. Wonderful. How about 180 degrees? Yeah. But I just know, I know when it is and I know when anyone that's like with their person goes, oh, yeah, it's supposed to be easy. Oh, yeah. It totally everyone else. Everyone I totally make sense. And I was being really bloody minded about it. I was like, no, there is someone that's a really great match. And then I found exactly him. And I was like, oh, God, thanks, that should get the heck out of here. And we're really lucky and we still, it's funny. We're talking about this this morning. We're just insanely lucky to have this much of a match. But I was being really bloody minded and I was single for, you know, dating, but not, not in a relationship about 11 years. So a lot of people were like, hell no. So when I say yes, I mean, yes, but when I say no, I mean. I think we can take that from this conversation for sure. Yola, it's wonderful to see you. Wonderful to hear new music. Wonderful to chat with you. Can you tell us real quick before we let you go? Are there US dates? Are we talking about here? Can we get into that yet or no? These are all things that I'm not allowed to say. Okay. That means she's coming to the US. We just can't. I know. I'm always here. You're always here. Do you live in Nashville? I live between Nashville and New York. You do. I'm basically constantly in one place with the other. All right. So I mean, so concert dates is what I meant. Yeah, yeah. So we'll figure something out. Fair enough. Announcement incoming. That's the best way I can say. Stay tuned. We'll keep you informed. Yola with a new EP called My Way coming out at some point when she can figure out when it is a good time. Symphony is the new single. It is. It is. It is. Maybe if we're lucky in time to make a great Christmas gift. Yola. Thank you. Thank you. Thank you for talking to us today. A blast. Thank you so much for having me. We'll see you soon. Asara, the most one apart from is the kind of cologne that chooses you. Like a stranger at a bar sliding you a bottle. No. It's not a drink. It's cologne. Spritz. And invite the sense of vibrant cardamom, addictive toffee, and sensual bourbon vanilla, infused with a trail of amber wood. This high cocktail is the fragrance for adventurous men. Asara, the most one in par fun. Guess what you want to know about the iPhone 16 Pro? Next up any time? This is. Next up any time? You want to know about the iPhone 16 Pro? You want to know about the iPhone 16 Pro? Welcome back. It's sound up with Mark Goodman and Alan Light. Thanks again to our special guest Yola on this week's episode. And before we get into our new music picks of the week pod squad member April sent in this review of the new Yott Rock documentary. So Cal Music Al writes, I was lucky enough to score a ticket to the HBO and Grammy Museum screening of Yott Rock a documentary. Followed by a panel discussion. This film is warm and funny. Of course the featured music is fantastic. The stories were amazing. And all the Jesus beards were a thing of follicular beauty. Nice use of follicular. Good April. I appreciated the discussion surrounding the importance of black artists within the genre as influencers and as performers. The adoption of jazz, R&B, and funk vital to the sound and artistry. There was also some candid commentary surrounding the song Africa and it's problematic video. I have always loved this music. April continues. It's like a warm blanket. It brings me back to a simple and happy time. I'm a little kid driving around with the high schoolers. I was getting my prog rock loving feet wet. The music is complex but not complicated and neither was my nine year old life. It's true. Many, maybe most of the lyrics lack a certain, shall we say, substance. But there are a few when I feel defeated, passed over, a little hopeless. I am right there with you Kenny and Mike. Yott Rock, a documentary is airing on HBO and April says yammo be there or be square. Yammo be there. Yammo blow my fucking head off. Thank you April. I've been seeing a lot of different of very varying responses to this Yott Rock documentary. Some people love it. Some people who are hating, like saying it's useless. I don't know if that has to do with what they think about the music or I haven't watched it yet. I can't say. I certainly will. I'm eager and curious. But there's a real spectrum of reaction to this one. Let me know if you guys had a similar experience from so many of my friends. They're literally, Mark, have you seen this? It's so great that people, my friends are freaking online. That's another story. I see people just ripping it to shreds online. Known crank, but I think that Bob Lefsatz in his newsletter called it a piece of shit. Yes. No one crank starts from there and see where it takes. It's true. Yeah. But on the other hand, there are certainly people who are loving it and April seems to be one of those. And we listen to what April says. And you know what? We can't be so damn serious about it. Yeah, I don't even know if it's that or not. I have no idea. It's, you know, the, what my joke is, they just tagged it. They just gave it a name. We used to call it. Oh, yeah. And we used to call it middle of the road music. AC, another derogatory term. Yeah. Now it's yacht rock. So, you know, it's the same damn shit as it was before. And if you liked it, then I actually, I think you'll probably like it more now because of this breakdown. I think there's a lot of people who said I didn't like it then, but I like it now. Yeah. Yeah. It's the thing that I've heard. And again, we haven't seen it is that it leans into the musicianship and the fact that these guys were jazz players and how incredible, you know, the talent, which only to me goes, and that's what they came up with. Look, they had hits this way. They haven't hit play a jazz. I'll tell you're not right now. So, let us know as with everything that we bring up, let us know your thoughts. Connect at sounduppod.com. Send us your emails, your voice messages, weigh in on the doc, you mentory yacht rock or the new cure music or whatever you have to say about whatever you want to say. Is that why it's called yacht rock because they all scored these big hits and then bought yachts? Well, that's, I think one of the quotes that I've seen from, I think it's Luca there is like, where's my yacht? And he's probably on every single one of those songs. Exactly, exactly. So, well, who knows? Maybe we inspired you to actually go and I have to actually get a subscription to that channel now. Well, it's on HBO. This one you can get. Oh, that's on HBO. I thought it was on, you know, some other like... No, no, no. This one's on HBO. This one's part of the Bill Simmons ringer series on HBO. All right. In that case, I will have a look this week. Maybe we'll touch base next week on it for sure. All right. Before we get out of here, we should jump to some new music. We always try and do new music picks for you each week. And you can, as always, listen to all of our new music picks on our sound up soundtrack playlist on Spotify. We got some new music for you. Roger, what do you got? Stumbled upon this song by an artist I have not heard of called Yuna. Malaysian singer who's been around for a while and has a song out called "Out of My Mind" off this new "Wasting Away" EP. And it's just another one of those softer, dreamy, like Sunday's Mazzie Starish style songs that I automatically always gravitate to. And she's got this fantastic voice. And that's really much all I know is that I love this song. I stumbled upon it this morning and I'm going to do a deep dive into this artist now and see what her whole kind of catalog is about. But I had not heard of her before and I was wondering if you guys did. So I had on the lists, but that's all I got. So I've got some homework this week. That's it. All right. I have just won this week. I'm a massive Bright Eyes fan. Bright Eyes has some new music out. Rainbow Overpass is the name of the single. It's Bright Eyes featuring a guy named Alex Orange Drink, who I've never heard of. He's like that name. Right? He's in a band called The So So Glows, a Brit Band. And that's all I got. It's great Bright Eyes. It kind of rocks. It's fun. The US tour. They're coming back to the US for a tour with us. And this guy, Alex, is a Brit. So sort of an across-the-pawn kind of collabo. But the tour starts in Phoenix for Bright Eyes in January. So I'm pretty excited about that. And I've just got one. I don't have much. I mean, there wasn't a ton of stuff that came out over the holiday weekend. There wasn't a ton of time to dig too deep into it. So I've got not a great song, but let's call it a cute song. Runaway June group that we had on with us back in our radio days. One of them, John Wayne's granddaughter. I'm never going to quite get over that. Such a crazy thing. The comparisons to the early days of the chicks are inevitable for three women. Largely sort of bluegrassy acoustic country band. And they have a new song out called "He Ain't My Problem." That's one of those, you know, happy to be broken up and done with that idiot song. A grand tradition in country and pop songwriting as well. That I thought was fun to listen to. That's not going to change your life. But they've been out with Carrie Underwood. They've been out with Loubrian. They're one of those bands that's kind of at a mid-level in the country world. And, you know, maybe a little too rootsie to sort of break into something bigger. But have a nice sound. So Runaway June, my take for the week. Nice. All right. I think we've covered it all. We are at the end of the line. This wraps up our edition, the current edition of Sound Up with Mark Goodman and Alan Light. Don't forget to check us out on socials and YouTube for exclusive content, full video episodes, and more all at Sound Up Pod. Stay connected to everything Sound Up related, including future live shows on our upcoming Mailbag show and various looks back at the end of the year. Send in your comments or your reviews as text or audio messages to connect@sounduppod.com and become part of the podcast. And while you're here, go give us a five-star review. Like our Facebook page, subscribe to our YouTube page, and again, email us. Whatever you want, whenever you want, connect@sounduppod.com. Thank you for listening and supporting us here on Sound Up with Mark Goodman and Alan Light. We will catch you next week. Sound Up is produced by Roger Coletti for Roger, that media hosted by Mark Goodman and Alan Light, distributed by Revolver Podcasts, the music by Smile from Tokyo. For more information, go to sounduppod.com. Roger that. Asara, the most one-apart fun, is the kind of cologne that chooses you. Like a stranger at a bar sliding you a bottle. No, it's not a drink. It's cologne. Spreads. And invite the sense of vibrant cardamom, addictive toffee, and sensual bourbon vanilla, infused with a trail of amber wood. This high cocktail is the fragrance for adventurous men. Asara, the most one-apart fun. What do you want to do next? I want to talk a little bit about what you need to do next. I want to talk a little bit about what you need to do next. I want to talk a little bit about what you need to do next. I want to talk a little bit about what you need to do next. I want to talk a little bit about what you need to do next. I want to talk a little bit about what you need to do next. I want to talk a little bit about what you need to do next. I want to talk a little bit about what you need to do next. I want to talk a little bit about what you need to do next. I want to talk a little bit about what you need to do next. I want to talk a little bit about what you need to do next. I want to talk a little bit about what you need to do next. [BLANK_AUDIO]
In episode #70 of Sound Up!, Mark Goodman and Alan Light welcome singer/songwriter/actor Yola to discuss her new music and her recent starring role on Broadway. Roger recaps the all-star Jesse Malin benefit concert with guests including Elvis Costello, Lucinda Williams, and Little Steven, and we have a listener review of HBO’s Yacht Rock documentary. In music news, AC/DC announce US tour plans, Elton John faces a health crisis, Snoop Dogg and Sting revisit a Police classic, and The Cure have a live album on the way. This week’s New Music picks include Bright Eyes, Yuna, and Runaway June.
