Larkin Poe

Episode Transcript
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Speaker 1 (00:08):
Welcome, Welcome, Welcome back to the Bob Left Sets podcast.
My guests today are Rebecca and Megan Level of Larkin Poe.
Good to have you on the podcast. I got to
ask the obvious question, the name Larkin Poe, where does
it come from?

Speaker 2 (00:25):
So Larkin Poe is the name of our great great
great great grandfather, and since we're sisters, we wanted to
take on a name that has family significance, so we
thought his name was really cool. And he's also a
cousin of Edgar Allen Poe, so we'll take that distant connection.

Speaker 1 (00:43):
Well, let's start at the beginning. Did you grow up
with this legend of Lark and Poe?

Speaker 3 (00:49):
We did, actually, I think coming from a Southern family,
there's a lot of stories that are passed around, so
I remember as children hearing a lot of stories from
our aunts and uncles about their father, their grandfather, their
great grace all the way up. But to be honest
with you, we didn't actually know about the Edgar Allen
Poe connection until we were already in our teens and

(01:11):
had read a lot of Eggar Allan Poe, and so
we were especially titillated by the connection.

Speaker 4 (01:15):
Based on the fact that we were fans.

Speaker 1 (01:17):
So how did you find out the connection?

Speaker 4 (01:20):
Yeah, through a cousin, Linda Sinka.

Speaker 3 (01:22):
She's the family genealogist, and so she just sixth and
time and mapped out the family tree.

Speaker 1 (01:28):
Okay, so you had a group with your sister, the
Lovell Sisters, and then you started your own act Blues Rock.
Was Larkin Poe like the first name or did you
go through like twenty five names and decided on Lark
and Poe?

Speaker 4 (01:45):
You know, I think that we committed pretty quickly.

Speaker 3 (01:48):
We knew we wanted to have like a family name,
so that definitely narrowed the herd. But we definitely didn't
premeditate the fact that it would be so hard for
people to pronounce. Like running joke is you know which
one's Larkin, which one's.

Speaker 4 (02:02):
Poe or Larkin and Po.

Speaker 3 (02:04):
We've actually rolled up to the theaters before and had
our name on the marquee as Larkin and Po. And
it's like, at what point did you or did you
not read the contract, mister promoter.

Speaker 1 (02:16):
The other two members of the band on stage, are
they full fledged members of Larkin Poe?

Speaker 2 (02:25):
No, Larkin Poe is Rebecca and I from the ground up,
and we have always hired members to come along with us,
and it's normally always been a pretty stripped back operation,
like on stage where lean mean rock and roll machine,
you know, just the four of us. So we've got
drums and bass that come along.

Speaker 1 (02:46):
Okay, Well, how long has the members been with you
now and what's the turnover?

Speaker 4 (02:50):
Like?

Speaker 3 (02:52):
You know, up until this last year, we had a
six year stand of the same musicians. So our bass
player Arka Layman, he's been with us now for about
six years. And the drummer Ben Satterly, that was only
I guess the show that you came and saw us
perform in Los Angeles, that was his tenth or eleventh show.

(03:13):
So he's the newest member to the outfit and he
is just showing up like a powerhouse.

Speaker 1 (03:19):
Yeah, he was great. It is great. How did you
find him?

Speaker 4 (03:25):
We held some auditions.

Speaker 3 (03:27):
Actually, we decided we wanted to make a change, and
being in Nashville, you know, there is such a community
of incredible musicians here in town. So we just sort
of sent out a call to some friends and friends
of friends and friends of friends of friends.

Speaker 4 (03:43):
And he was actually the first guy.

Speaker 3 (03:46):
We had two days set aside to run through with
a bunch of different musicians and just learned three songs,
and he was number one of day, number one, and
so he set the bar incredibly high for everybody else.

Speaker 1 (03:58):
Okay, we had the carl She'll say that Brandy Carlyle
is basically herself in the Two Twins. So is this
a democracy amongst the four or the two of you?
Very definitely the bosses.

Speaker 2 (04:13):
I gotta say we are the bosses. Yeah. The two
of us have a very strong idea of what we
want to do and what we want to say with
our music and where we want to get to. And
the way that we have accomplished that is by being
very set in ourselves, like we you know, produce ourselves
and we run our own record label, and that's worked

(04:36):
very well. It makes who we are very distilled.

Speaker 3 (04:39):
Granted that that hasn't always been the case. I think,
you know, the fact that we do feel so self
reliant at this point and feel confidently self reliant is
the fact that we did go through periods of time
in our late teens, you know, early twenties where we
would get in the studio with producers and I think
being chameleon musicians, having grown up being side guys and

(05:00):
other artists endeavors, we know how to, yeah, we know
how to like puzzle piece ourselves creatively into situations. So
it really was a trial and error journey for us
over the years of learning how to say no to people,
of removing people from the inner sanctum, and having it
truly be just the two of us, so that we

(05:20):
knew that every creative decision that we were making was
coming from our hearts and from a very true part
of who we are.

Speaker 1 (05:27):
Well, that raises the question, what is it like being
a woman in rock and roll music, which is very
heavily male dominated.

Speaker 3 (05:38):
I don't think that we're alone in our experience of
certainly getting misjudged. I think we over the years would
oftentimes roll up and be the only female artist on
a festival bill, and so it was a little bit
isolating and a little bit exhausting sometimes to have to
explain yourself to people that you know, no, we're not

(05:59):
the girl friends where the front men, and it's okay,
we know how to tune our guitars and all of
that nonsense. But I do think incrementally we've seen shifts
and it's so wonderful now to roll up and see
so much incredible female talent finally getting I think, you know,
the just deserves like it's so much more interesting now

(06:20):
because I think the industry has shifted in allowing more
space for the female perspective.

Speaker 1 (06:26):
Okay, but to what degree if you had me too moments?

Speaker 3 (06:33):
You know, we've I think that we've been very fortunate,
and I actually I really love to hear your feedback
to this as well, But we have been incredibly fortunate
to work with a lot of really respectful and supportive men.
I mean, over the years, getting hired into bands, you know,

(06:53):
and having a lot of faith creatively placed in us,
and having everything feel very approbate, and so I think
that we we certainly have had a pretty positive experience
all told.

Speaker 4 (07:07):
What do you think that?

Speaker 2 (07:07):
Not that we haven't had moments, but I think that
we've always been of a mindset of moving forward. So
even if there have been moments that we could have
called people out, I think that we've tended to just
be like, you know what, we are not defined by
what the people around us think, and so therefore we're

(07:27):
just gonna just gonna kind of power on and whatever success.
We find it's kind of defined by by ourselves and
and yeah, just kind of moving through it.

Speaker 4 (07:39):
Yeah, and strengthen numbers too.

Speaker 3 (07:41):
I feel really lucky that my sister and I have
been able to move through this many years. I mean,
at this at this point, what we just talied up.
This is our eighteenth year of touring, and I haven't
never gone anywhere without you.

Speaker 4 (07:54):
Like, we're definitely a package deal.

Speaker 3 (07:55):
So I think to be able to have someone who
explicitly and implicitly has as you're back at every turn
that has that has really kept us in a great position.

Speaker 4 (08:04):
So we're fortunate.

Speaker 1 (08:06):
And what about fans. Have you had any rabid fans
who crossed the line?

Speaker 3 (08:12):
Oh, definitely, and that I think again, as Megan said,
you know, you got to be willing to move forward
because one thing that we refuse to have happen is
to have our sense of faith and humanity removed. Because yeah,
you can have run ins with bad eggs, certainly, and
we've had stalkers, We've had people invade our privacy at
our homes. We had to get security systems, we have

(08:33):
to put up gates, and that can be demoralizing. But
also you know, it's funny. I find it a similar,
you know, comparison. When I'm on stage and singing, I
can get really caught up in the moment and mess up,
you know, like four or five words in a verse,
and I beat myself up about it, where I'm just like, oh,

(08:54):
I can't believe I forgot literally the first freakin' verse
of my own song that I wrote, like.

Speaker 4 (08:59):
What is what is wrong with Me?

Speaker 3 (09:01):
And one evening, Megan we were on the bus and
she came to me and she's like, you know, but
you're never keeping track of how many words.

Speaker 4 (09:06):
You get right. Every night.

Speaker 3 (09:08):
You get literally like ninety eight percent of the show
correct with your lyrics, So why are you focusing Why
are you dwelling on that small percentage that didn't fire correctly?
And I think that for us, we've chosen to dwell
on the fans that we do have, that are so
wholesome and so pure and so supportive, and that I
think again has served us as well. You know, we're

(09:31):
eighteen years in and still a little like, I don't
think we're quite jaded.

Speaker 4 (09:34):
So that's great.

Speaker 1 (09:36):
Okay, let's go back to the beginning. You grow up
in Georgia, in Calhoun or a smaller birg where in Georgia.

Speaker 2 (09:44):
We grew up in Calhoun, Georgia, and we grew up
out in the sticks on seventy acres of land. Our
parents real do it yourselfers. They built their own house
out in the country. So we had a pretty idyllic
childhood and that we were. We were definitely tomboys and
had a lot of space and time to follow our passions,

(10:07):
which was music from the ground up. Like we you know,
we were classically trained violinists and pianists, but in our
early teens that's when we really discovered the joy of music,
and that kind of came in the form of bluegrass
music and folk music and roots music.

Speaker 1 (10:27):
Okay, yeah, okay, let's not Let's slow down a little bit.
So were your parents hippies? Why did they live on
seventy acres of land or what kind of background did
they come from?

Speaker 4 (10:39):
There? They are very unique. Our parents are actually both
in the.

Speaker 3 (10:44):
Medical field, but they were very counterculture, very hippy ast hip.
Oh actually, I don't think this is a word, but
I'm excited to say it if I can get it
out right.

Speaker 4 (10:54):
Hippy ish stick, hippie ish tick.

Speaker 1 (10:58):
I don't think you'd have the I think just hippiistic
would be good enough.

Speaker 4 (11:02):
The hippiistic dig it.

Speaker 3 (11:05):
So they actually, yeah, they lived on seventy acres.

Speaker 4 (11:08):
They even before YouTube.

Speaker 3 (11:11):
They would go to the library and like borrow friggin
books on how to build a home.

Speaker 4 (11:15):
And they homeschooled us as well.

Speaker 3 (11:17):
So they had some really out there ideas for the
early nineties, that's for sure.

Speaker 1 (11:22):
And how did they meet.

Speaker 3 (11:24):
They met on the campus of their college in Chattanooga, Tennessee.

Speaker 1 (11:32):
And were they from Georgia? Were they from Tennessee? Where
were their roots?

Speaker 4 (11:37):
Yeah, our mothers from East Tennessee.

Speaker 3 (11:39):
So she's right kind of at the in the foothills
of the Smoky Mountains, the stomping grounds of Dolly Parton.
And her name, honest to God, is Teresa Joe Lean,
which is like the most classic Southern bell name. Love
it East Tennessee girl. And our dad is originally from Atlanta.
And so they were both sent to school by their
families on a conservative college campus just outside Chattanooga. And yeah,

(12:07):
they they hit it off and and and we're lucky
that they did.

Speaker 1 (12:11):
When you say conservative college, is that something you grew
up with? Some sort of conservative background.

Speaker 2 (12:20):
They both came from a conservative background, but they did
not raise us that way. I think at the time
they were kind of coming to terms with the idea
of religion and where they're where they would sit in
their own faith, and so they gave us the option
to go to church, to be involved if we wanted to,

(12:44):
But it was never something that that that we were
forced into and it was never really a part of
our childhood.

Speaker 1 (12:52):
Okay, how many kids in the family.

Speaker 3 (12:55):
Three of us girls at the outset, and then like
eleven twelve years behind was our little brother.

Speaker 1 (13:02):
So what's up with your little brother?

Speaker 3 (13:05):
That is a very good question, Bob, That is a
very good question.

Speaker 4 (13:09):
I think that he's finding his way.

Speaker 3 (13:10):
And as you can imagine, you know, having such a
young sibling with three elder sisters, because it's Megan and
myself and our eldest sister, Jessica, So he had three
little mothers in addition to his mother that are always
in orbit around this young man. And we're definitely we're
trying to coach ourselves on how to be gloves off,

(13:32):
you know, let him figure out his own way.

Speaker 4 (13:35):
We can't solve his problems for him. As much as
we wish that we could.

Speaker 1 (13:39):
Okay, do you take him on the road.

Speaker 3 (13:42):
You know, it's funny. He actually toured with us way back.

Speaker 2 (13:47):
When when he was a baby.

Speaker 3 (13:49):
Yeah, like strapped into the car seat and we'd be
out in the fifteen passenger van, which is the vehicle
that we learned to drive in. We as a band,
we bought a fIF We put some money away and
we bought a fifteen passenger van and he would go
into the car seat. And I think he was about
four years old, and he came to the family and

(14:11):
he informed our mother that he was in fact allergic
to Level Sisters tours and he couldn't participate anymore.

Speaker 4 (14:19):
So he's a real homebody. I think we kind of
burn him out as a baby.

Speaker 2 (14:22):
I feel bad about that.

Speaker 1 (14:24):
Okay, you say your parents are in the medical field,
a little bit more specifically, what do they do?

Speaker 2 (14:31):
So our father was a pathologist and our mother was
a physical therapist.

Speaker 1 (14:38):
And so your father was an MD. Okay, so you're
growing up on seventy acres, how far from civilization.

Speaker 2 (14:48):
We could drive about fifteen minutes and get to a Walmart,
so not too Yeah.

Speaker 1 (14:53):
But you didn't drive when you were a little kid,
So how far are your neighbor's house to the et cetera.

Speaker 3 (15:02):
Yeah, it was a mile down the driveway to get
to the double wide across the street. And we didn't
have any neighbors really, not especially not any neighbors with kids.

Speaker 4 (15:11):
So that's I think.

Speaker 3 (15:12):
Also an interesting dynamic is the fact that not only
are we sisters and creative.

Speaker 4 (15:18):
Collaborators, but we really are each other's best friends. Like
since the.

Speaker 1 (15:22):
Jump, Okay, so you're growing up, I mean, are you
having friends over or is it just the three of you?

Speaker 3 (15:31):
Interestingly enough, I think it's I think it's safe to
say it was fairly isolated, and whenever we started to
to get heavier into the music, I think that that
was always the big basis for our relationships. So we
would go out and have homeschool harmony groups that we

(15:53):
took part in and had some really incredible experiences in
learning to stay harmonies through that. And and then, of course,
as Megan mentioned earlier, our classical training allowed us, you know,
the opportunity to which bless our mom for driving us
like to ten buck to and back multiple times a
week to take part in orchestra and symphony.

Speaker 4 (16:15):
The performances.

Speaker 1 (16:17):
Okay, so you were homeschooled. Now you're old enough to
look back. Thumbs up or thumbs down on homeschooling.

Speaker 2 (16:26):
In our case, thumbs up because we had a very
special situation I think where we were in a rural
county where there weren't many options for good schools, and
so our parents just they just wanted us to have
the opportunity to be able to move at our own pace,

(16:47):
and we were able to move through our school school
work fairly, click quickly, and that allowed us to be
able to do something like music, and then allowed us
the space to be able to tour and take our
schooling on the road. So for us it was really
really great, and we also were able to interact with

(17:08):
a lot of different kinds of people and got socialization
that way. I think it can be very isolating in
certain circumstances homeschooling.

Speaker 1 (17:19):
Okay, your parents are highly educated. What they say about
the three of you in.

Speaker 4 (17:24):
College, I think they never would have anticipated.

Speaker 3 (17:29):
I think, especially from our dad's perspective, since he was
one of the first in his family to ever go
to college and to have higher education.

Speaker 4 (17:42):
The fact that we took a little bit.

Speaker 3 (17:43):
Of a regressionary move backwards and not going to college.

Speaker 4 (17:46):
I think that was disappointing.

Speaker 3 (17:48):
But also I think he sees our passion for what
we do, and he's incredibly proud, so both of our parents,
I think, even though it took them a while to
fully get on board. I mean, I think the biggest
mantra that we heard in our childhood and teens whenever
we were like starting to tour more aggressively, was don't
put all your eggs in one basket.

Speaker 4 (18:09):
This is not your job. This is your hobby.

Speaker 3 (18:11):
This is your hobby, like underlined, italicized and boldened.

Speaker 4 (18:16):
This is your hobby.

Speaker 3 (18:17):
But then I think, you know, with time, they saw
the flexibility, they saw our dedication and the fact that
you know, we've been crafty, we've been what is it
gentle as doves, but you know, wise as boxes when
it relates to our business and to being able to
build a situation that is fulfilling to us, to really
have our passion be our work.

Speaker 1 (18:39):
Okay, so you talk about this classical training, what was
it exactly?

Speaker 4 (18:43):
Suzuki method?

Speaker 1 (18:46):
Okay for violin, give me a little bit more.

Speaker 4 (18:50):
Yeah, we went to lessons once a week.

Speaker 3 (18:54):
Well, I guess technically twice a week, once to piano
and one once to violin every week.

Speaker 4 (18:59):
And we didn't love it.

Speaker 3 (19:00):
I mean I remember, yeah, Mom having to like chase
us around the piano to get assist at that in practice,
So we certainly didn't didn't love it.

Speaker 2 (19:10):
So we started ages three and four years old, and
you know, we took took lessons for many years, and
then once we were proficient enough, we were able to
take part in symphonies, which you know, some some colleges
will allow younger folks to come in and join and

(19:31):
as long as you can pass an audition process, and
we did so we were a part of part of
their like junior symphonies.

Speaker 1 (19:38):
M hm, at what age.

Speaker 2 (19:42):
That was probably age.

Speaker 3 (19:44):
Ten, yeah, ten, eleven, twelve, Yeah, they'reabouts.

Speaker 1 (19:48):
And how much performance was there with a junior symphony?

Speaker 4 (19:52):
You know, there was actually quite a bit.

Speaker 3 (19:54):
I mean it kept us really busy, you know, in
terms of lessons in orchestra and performances, probably what two
to three days, three days a week on average.

Speaker 1 (20:08):
Okay, you're both very proficient with the guitar. When did
you start playing the guitar?

Speaker 3 (20:14):
That would have been right about fourteen fifteen years old.
So of course, like you know, we really we defined
ourselves as musicians because of our love of our involvement
in the whole classical scene. But it wasn't really like
a joy I remember getting like like throw up sick
for recitals and stuff like that.

Speaker 4 (20:35):
It just yeah, it was.

Speaker 3 (20:38):
It was definitely something that like we were doing because
our parents told us to. But then we went to
a bluegrass festival with some family friends when we were
right there at the cuss fourteen fifteen years old, and
we were mind blown. We thought it was so interesting
that there were people up on stage that were jamming,
that they didn't have sheet music on stage, and the

(20:58):
authenticity and the and the spontaneity and like the cross
section of singing and playing it just I think, really
yeah really captured our imagination. And so that's when we
started to make a transition into picking up other instruments.
Megan went to the doughbro when you were about fifteen,
and I picked up thirteen probably, but yeah, yeah, okay, yeah,

(21:21):
we you know, our parents were also always playing all
different kinds of music growing up, like classic rock records,
you know, along with the classical you know, Bach and
Beethoven and folk music, and you know a lot of
like roots music, Alison Kraus and Union Stations. So we
were growing up with the sounds of Southern music in

(21:43):
our heads and being able to play some of those
sounds with the actual instruments that were creating that. Like
hearing us slide guitar and then actually seeing us like
guitar being played was just incredible, and I kind of
knew immediately I really really wanted to pick up pick
up the doughbro.

Speaker 1 (22:06):
Okay, so you pick up guitar and doughbro. How long
after that does it become an act? We were performing live.

Speaker 2 (22:16):
Really pretty quick.

Speaker 4 (22:18):
Yeah, yeah, within a matter of months.

Speaker 3 (22:22):
There's actually some really crappy vhs of our first performance
ever as the Level sisters and so Jessica, our eldest sister,
was still on violin. Megan, you were playing the doughbro
and I was playing mandolin and banjo, and we had
to sheet music on stage because we still were like
struggling to make that leap. And really, I think that

(22:45):
that leap from the classical methodology of reading everything off
the page and then transitioning into a completely different perspective
of playing by ear of improvising. That has taken us
so many years to really like move territories. But yeah,

(23:07):
the very first gig we ever played, we were like
reading it off the page, bless our little Hearts. But
we were bound and determined we wanted to do it,
and surprisingly, I think, given how fresh we were, it was,
it's surprisingly entertaining, like we were actually executing pretty well.

(23:27):
So I look back and I'm like, oh, bless our
sweet little baby hearts, we were doing it.

Speaker 2 (23:30):
Two thousand and five was the first year we toured.

Speaker 1 (23:34):
Okay, so you go on the road, how does that
even come together? You decide you want to play live
and it's a thing. I mean, that's not what your
parents did. Where did the drive come from? And how
did you put the steps together?

Speaker 2 (23:51):
So probably the same family friends that took us to
morrole fests suggested that we submit a demo to Garrison
Keeler's A Prairie Home Companion teen talent competition that he
had going on air, and so we did. We kind
of put together some some music and sent it in

(24:12):
and we were selected as one of the competitors for
the show. And because we played on that show and
this was one of our first gigs ever and there
were four million people listening. Suddenly we were just inundated
with touring opportunities right off the bat, and so that's

(24:33):
how we were able to basically tour full time just
from the jump from our first year, which is looking
back knowing what we know now, very unusual.

Speaker 1 (24:45):
And how did you get an agent? Did you your parents?
The managers? What was your organization? Like?

Speaker 3 (24:51):
You know, we had we had folks approach us, and
we were so green, we didn't we didn't we didn't
know anything about anything. So we actually, you know, after
our performance on the Talent Competition and winning, we actually
had some agents approach us and present us with you know,

(25:14):
a really beautiful, cushy performing arts center tour. And so
we would, you know, we'd get in the family suburban
and you know, we take our instruments and we'd roll
up and there'd be flowers in the dressing room and
you know, snacks and it's soft ticketed events, and we
get on stage and do our thing and carry on,

(25:36):
not having any idea that it was like really atypical.

Speaker 4 (25:40):
We just sort of were rolling with it, and a
lot less our parents.

Speaker 2 (25:43):
I know, they were they were very supportive in those
early days, and a lot of this we have to
lay at the feet of our older sister, who is
very driven in and smart, and she at the time
would have been eighteen or nineteen and just very precocious
and able to guide us through making the decision on

(26:06):
some of these things like getting a manager, getting a
booking agent, and putting tours together, and she would do
the accounting for it. So she really was the one
who was acting as our manager in the beginning, and
our parents were supporting and they came along when we
were when we were too young to be touring alone.

Speaker 1 (26:26):
At what point did your parents stop coming?

Speaker 4 (26:30):
Probably what after the first year or two? Yeah, that's
fair to say.

Speaker 2 (26:36):
I think, yeah, you know, Anna's blurry on it, on
it all.

Speaker 3 (26:40):
Yeah, it's a little challenging to remember. But certainly by
the time that we were doing Larkin Post stuff and
we started Larkin Poe in twenty ten, they had completely
phased out.

Speaker 2 (26:51):
Yeah, because because little brother was allergic to it.

Speaker 1 (26:55):
Okay, So for those who don't know, and you're so young,
how old were you when you started Larkin poem?

Speaker 3 (27:02):
Oh god, what would that make us? Let's see thirteen
years ago. We're right about eighteen nineteen twenty thereabouts.

Speaker 1 (27:11):
Okay, teenagers rebell. So what was it like being on
the road without your parents?

Speaker 3 (27:18):
We were very I mean you may not be able
to tell in speaking to us, but uh, we're pretty like,
I don't know, workman like. I think that we've always
had a passion for getting on stage and delivering good shows.

(27:40):
So like, we never have had any shows where we
have been compromised or like drunk or anything like that
because the music has always been at the center. Oh
so I think especially for me as well, like being
a vocalist and losing my voice somewhat easily.

Speaker 4 (27:56):
I've never been a partier.

Speaker 1 (27:58):
Okay, only one hour on stage and they're certain about it. Travel.
What are you doing with all the other hours?

Speaker 3 (28:06):
We're sight seeing, we're reading, we're doing yoga in the
dressing room. Like Megan's doing her crosswords, just memo and
mema out on the road.

Speaker 1 (28:15):
Eh, her prop work? What is that?

Speaker 2 (28:19):
Oh? Crosswords? I love the New York Times crossword puzzle.

Speaker 1 (28:23):
Oh the crossword? So how good are you? Can you
complete the Saturday Crossword? No problem?

Speaker 2 (28:29):
You know I can complete the Saturday with effort. But
I can certainly get through Thursday, no problem.

Speaker 1 (28:36):
And then what about wordle? Are you addicted to that too?

Speaker 2 (28:39):
Oh? I love it?

Speaker 4 (28:40):
Megan's a freaking wordle.

Speaker 2 (28:42):
I really love wordle too. Yeah.

Speaker 3 (28:44):
Which, actually, let me ask you a question, did you
this is going to air, so we're not going to
spoil anyone's day later?

Speaker 4 (28:50):
Did you do today's crossword or wordle? Excuse me?

Speaker 2 (28:53):
I haven't at least the word Oh, I'd have to look.

Speaker 3 (28:56):
I believe it was pinky. Pinky, which is actually the name.
I know what this is not. This is not you
know a lot of people refer to their instruments as
the color of their instrument with a y on the end.
But my husband actually has a signature custom shop with
Fender that is called Pinky, and someone sent him a
screenshot of today's wordle and it was pinky.

Speaker 4 (29:18):
Anyway, Sorry, quick aside.

Speaker 1 (29:19):
Okay, but the dynamic, you know, I have a sister,
I'm the middle between two sisters, and one of my
sisters is very into birth order. So Rebecca, you're the baby.
Jessica was the oldest meggat's in between. How did it
all play out?

Speaker 2 (29:43):
Huh?

Speaker 4 (29:46):
I think.

Speaker 2 (29:48):
Those dynamics, those sibling dynamics came into a play a
lot more when we were the level sisters because it
was the trio of sisters and that was that could
be fraught at times and the birth order thing it
played out for us for sure.

Speaker 4 (30:07):
Yeah, she's being really polite.

Speaker 3 (30:09):
We used to have some knockdown drag outs when it
was the three of us because there definitely was a
lot of ganging up and that wasn't healthy, And that
is ultimately why we decided to part ways, because we
do I think, above all else, we cherish our relationships
as sisters, and we were destroying our relationships between the
three of us. So ultimately, the fact that Jessica decided
to step back was incredibly courageous on her part. One.

(30:34):
I think that she knew that her heart wasn't in it,
and that's fair. She was like, you know, it's a lifestyle.
I don't like being gone all the time. It's just
not my bag. I'm stepping I'm stepping back, and that
ultimately allowed us to all to this day, like we're
very very close, we're very close friends. We talk every day.

Speaker 2 (30:53):
But I think it was always clear that Rebecca and
I were going to do something together because from the
ground up it's always been and the two of us
always projecting together and running off in the woods together,
and there would just never be a moment we weren't together.
So I think that that was it was just very
clear who the package deal was.

Speaker 1 (31:16):
Okay, Jessica says, she's out. What do you feel? How
do you take that?

Speaker 4 (31:23):
You know?

Speaker 3 (31:24):
I chalk it up a lot to the fact that
we were so so preciously young and ignorant, and we
took maybe maybe like twenty days, and really we searched
our souls and we dug deep, and we asked the
real questions, and we decided that we were going to
soldier on man.

Speaker 4 (31:44):
We were going to start again.

Speaker 2 (31:46):
But it was like losing the third leg of a chair,
and you know, are we going to fall over? I mean,
like I mentioned before, she was handling a lot at
the business side of our venture, and so it was
very scary for us to as teenagers suddenly this whole

(32:06):
business was kind of dropped in our laps, and we
didn't quite know what to do with it at first,
but we did. We've really loved to play music together,
and so it seemed it seemed right to us to
continue on. But at that point in time, we were
kind of walking into Lark and Poe with our eyes open,
knowing what we were getting into.

Speaker 4 (32:26):
Sort of bless us.

Speaker 1 (32:28):
Okay, but Lark and Pull was a change in musical style.
How did that come about?

Speaker 3 (32:34):
Well, again, I think, like Megan says, you know, there
was a lot of fear I think at the outset,
because we were feeling like, okay, we're either going to
think or we're going to swim. But instinctually, we've always,
I think had a really strong sense of gut, whether
or not we've paid attention to it. But early on
we instinctually knew that we wanted to have a big

(32:55):
creative turnover. So in our first year of being a band,
we actually ended up deciding and committing and executing a
plan of releasing four EPs of original material. So we
wanted to do spring, Summer, Fall, and winter, and we
found an engineer. We set up in our parents' basement

(33:16):
and we wrote and recorded in and amongst a bunch
of tour dates that were still outstanding from the level sisters,
you know, roster of work that we still had to
complete on.

Speaker 4 (33:29):
We had.

Speaker 3 (33:30):
We just made so much music and that really gave
us the opportunity to experiment and to try to channel
some of the sounds that we had grew up listening to,
like we we love the Allman Brothers, we love the blues,
we love you know, the source music of America. But
we didn't know how to how to make it happen

(33:50):
because we were so you know, intertwined with the acoustic
elements we had. We had previously as the Level Sister
toured with no drums, no electrified in struments. We were
an all American string band, and we were very bluegrass.
So I think it it really took us a few
years of really challenging ourselves and really making also a

(34:11):
lot of crappy music in order to learn how to
change our approach to songwriting, how to change our approach
to melody, how to honestly go from playing acoustic instruments
to plugging in and learning how to play in front
of an.

Speaker 1 (34:22):
Amplifier, begging you were going to say something.

Speaker 2 (34:27):
I think that we knew there was more to us
than just the bluegrass side of our hearts, even though
we loved it, we were hearing so much more in
our heads that we that we wanted to accomplish, and
I think that we wanted to be able to move people.
We wanted to be louder and fill more space.

Speaker 1 (34:45):
Okay, when you were the Level Sisters, were you making
any money?

Speaker 2 (34:49):
Mm hmm. We did. We did a lot as the
as the Level Sisters. We played on the Grand Ole Lobbry,
we played at Bonaru, we did a lot of touring
and yeah, in theaters and.

Speaker 3 (35:02):
With solid guarantees, which and that I think is the
defining factor for where we currently sit is by you know,
the fortuitous nature of our introduction into the music scene.
We honestly were able to sock aside some money in
order to start playing with.

Speaker 4 (35:20):
The idea of.

Speaker 3 (35:23):
Independently financing our recording process. And it's so funny because
I think at the time we didn't understand the ramification.

Speaker 4 (35:35):
You know, as the Level Sisters.

Speaker 3 (35:36):
We were approached by a bunch of major record labels
who were very excited, you know, that we were going
to be the next chicks. We were going to be
the next Sha Daisy, and that never sat well with
the three of us girls. You know, we spent a
lot of time in Nashville, probably like two and a
half years into the Level Sisters just toying with the

(35:57):
idea of going more the mainstream route.

Speaker 2 (36:01):
And we did sign to to Lyric Street Records in
the beginning and got a little bit down the road
with them towards writing for a record, and very clear
they didn't want to They wanted to have songwriters write
for us instead of us writing our own music, and
that didn't sit well with us, and so they very

(36:21):
graciously let us out of the deal. They were like,
we understand this is you know, you guys are understanding
now that that this is maybe not the path you're
wanting to go down, and so they let us. They
let us go.

Speaker 1 (36:31):
Mm hmm, okay. So you're touring as the Level Sisters,
You're doing a lot of dates. What are you doing
with the money you make?

Speaker 4 (36:41):
We're putting it away.

Speaker 3 (36:43):
And also we're again I just have to tip my
hat to our big siss because she's she's such a
visionary individual and she was, you know, she was figuring
out how to rent venues, sort of the whole Joe
Bonamasa model of like sort of being your own promoter.

(37:04):
And so there were times when we go to cities
that we knew, like Charleston, for instance, where we had
a strong brand, I'm using air quotes for the listeners,
and she would, you know, say, hey, let's go ahead
and like pay for concessions and pay for the promo,
and let's rent this venue out and we know we
can sell x amount of tickets.

Speaker 4 (37:24):
Let's just try it. Let's see what happens.

Speaker 3 (37:26):
So we were using our money to further you know,
in ways that felt authentic to us, like what we
believed in really trying to bet on ourselves and putting
the money into buying more merch and like you know,
drawing out our own T shirt designs and putting it
on a T shirt like hey, you know, we see
a lot of children at the shows, Let's get children's

(37:46):
merch rock And we had baby onesies like you know,
just just having fun with with sort of embodying the
whole small business mentality.

Speaker 1 (37:57):
Okay, when it becomes Lark and Poe, do you throw
all that aside? And is it more traditional?

Speaker 4 (38:04):
No? We we we continued with the model. And and
also I think that that's one.

Speaker 3 (38:10):
Thing that I can find, you know, very refreshing about
our experience is that once you get a taste for
freedom as an artist, Once you're able to honestly do
whatever you want to do and and be able to
seek and feel connection to people, it's really hard to
give that up. So even though you know, we're not

(38:32):
the biggest band in the world, we are free to
do what we want to do. We have a very
small and loyal contingency of fans that will support us,
and from the beginning, that's that's what's motivated us. That's
what we've stuck to and and and it's been it's
been so much more interesting that way. So, yeah, like

(38:52):
the first year of being Lark and Poe, we we
had some money set aside to do those sporyps and
then you know that that led to two more touring,
that led to different touring for us, that led to
more projects that we were working on, and then we
definitely hit a dry season where I think because we
were so young and inexperienced, and you know, people were

(39:16):
expecting the level Sisters, people were expecting us to be
a bluegrass group and then we would show up as
Lark and Poe and be delivering something different that I
think we had like a mismatched of expectation where we
were really trying to change the story, but people weren't
catching the shift with us, so that so we kind
of hit a point in time, I think probably about

(39:39):
four or five years into you know, the band that
we were, we really weren't sure what to do. And
then a different angle of business sort of presented itself
to us, which is to be side guys, and we
had some some really big believers offer us some incredible
gigs as side guys, which actually saved our bank in
big time.

Speaker 1 (40:00):
Okay, you know, this is a very interesting question. Even
at this late date where your direction is more defined,
one could be a prisoner of one's fans and as
you're changing, people don't like change. How did you cope
with that?

Speaker 2 (40:19):
I think that we are very lucky in our fan
base now because we have forced them to change with us,
and the people who didn't like what we were changing
into fell by the wayside, And what we're left with
are people who are saying, we believe in you and
what you want to put forward, and as long as
you are authentic, I'm along for the ride. So I

(40:42):
think that we just power powered on through no matter
what people thought. And so now we have a we
have a lot of people who are like, do whatever
if you want to make a emo record where we're
on board.

Speaker 1 (41:01):
Okay, let's talk about learning and playing the instruments. So
you go to Merlefest, Megan, and you want to play doughbro?
Is that there's no other choice? You go right to
the dough bro And how do you learn?

Speaker 2 (41:17):
So I, at the same time as picking up doughbro,
I tried to play guitar and mandolin and banjo. And
me and Fretz we don't really we don't really go together.
And I was very lucky to have found a doughbro
player in Chattanooga, because really they are very far few
and far between, and especially teachers of the doughbro. And

(41:39):
there was a dobro player, Lou Womp in Chattanooga, who's
a fantastic player, and he kind of got me started
down the road. I didn't I didn't take lessons from
him for very long, but it got me started down
the path. And then from from there, I mean, I
listened to everything that Jerry Douglas ever played. It was
a huge Jearry Douglas fan, and I just learned every

(42:02):
solo that he ever played.

Speaker 1 (42:06):
Okay, you know, it looks like an impossible instrument from
one who doesn't play it. You know, how hard is
it to play the dobro to learn, et cetera.

Speaker 2 (42:19):
I would say it's one of those instrument where you
can kind of sit down in front of it and
you can you can make sounds, but very difficult to
master the instrument, very very awkward to get past that
original hump of learning.

Speaker 3 (42:41):
And this is Rebecca cutting in as a failed dobro player.
I can attest it is she is under selling it.
It is so awful. The dobro is like I mean,
I don't say that I want more people to pick
it up, No, but there is a difference. Like I
can play, you know, I play guitar, and so playing
slide even on like a traditionally held guitar, it's uncomfortable,

(43:04):
but there is like a sense of familiarity when you're
even when you're just messing around. Anybody can like tune
their guitar to an open g or D and like
slide around and you can kind of make some cool sounds. Mechanically,
the dobro being in the lap and you're holding this
heavy hunk of steel, there isn't a place to like
slide your finger into the slide, like because you still

(43:25):
play using a doughbro slide, which is a very different situation,
and it's and you play with banjo picks, so you're
not even like really touching the instrument.

Speaker 4 (43:36):
It's all through. It's awful. I'm to be honest with you.

Speaker 3 (43:40):
I watch her every night on stage, and I'm sort
of baffled by the fact that you make it look
so easy and that you really persevered and for whatever reason,
it was in your genetic makeup to like get into
it and stick with it.

Speaker 4 (43:55):
But it's so awkward, so terrible.

Speaker 1 (43:59):
So when did you and how did you decide to
play standing up as opposed to sitting down.

Speaker 2 (44:06):
Well, I watched Jerry Douglas stand and play with the doughbro,
and so I did learn standing up for the dough bro.
But what was instrument interesting transferring from the doughbro to
the lap steel, which I guess you could really say
the lap steel is the electrified version of the dobro,
and I when we became Lark and Poe and plugged in,

(44:27):
I really wanted to be electrified and I wanted to
be just as loud as Rebecca on the electric guitar.
So the lap steel was just an obvious choice for me.
And the problem with the lap steel is, as you
can tell by its name, it really traditionally is just
played in the lap like no nobody. I didn't see
anybody standing and playing it. So I went to a

(44:49):
family friend who owned a steel company at the time,
and he helped me fabricate a part that would slide
onto my lap steel so that I could stand and play.
And it was in the shape of a doughbro so
it felt comfortable to me to be able to stand
and play and I could could run around because I
just couldn't imagine sitting on stage like I had to

(45:11):
get up.

Speaker 1 (45:13):
So how hard is it? I mean, because not only
is it around your neck, it has to balance at
a certain angle.

Speaker 2 (45:21):
I think it's taken many years for me to get
to the place where I am, but I think that
especially now that I that I have the rig where
I'm comfortable standing, I think that more people could stand
and play it because there's now equipment to be able

(45:42):
to stand and play. It's just simply because the equipment
wasn't around at the time for me to be able
to stand and play.

Speaker 3 (45:49):
But that's like a little bit ridiculous for you to say,
because the equipment's not around. The equipment is now here.
Also because like you literally built I don't know if
you know this, Bob, but she has her own signature
guitar that she has funded herself, that she creatively figured
out how.

Speaker 4 (46:05):
To make it.

Speaker 3 (46:07):
She worked with an incredible luth or, Paul Beard, to
bring it into the world and to work with Jason
with Jason is it Jason Lawler with Lawler Pickups to
like bring to Now they're actually making lap stials that
are more akin to the Rickenbacker, but in a new
shape that is that is engineered for standing.

Speaker 2 (46:26):
Well, that's what I mean. At the time, there wasn't
any equipment for me to be able to stand in place,
so it wasn't a comfortable thing to do at first.
But now there's a lot more talk about it, and
there's instruments now available, my mind being the one that's available,
but it's now available for people to be able to
do it more comfortably.

Speaker 4 (46:46):
Necessity is the level.

Speaker 1 (46:47):
Okay, is this a business or a hobby your.

Speaker 2 (46:52):
Yeah, it's it's out there. It's an electro liege is
the name of the instrument. It's available for people to purchase. Yeah,
I'm very very proud. Me and Paul Beard, who's an
incredible luthier. We put a lot of time and energy
into designing a really incredible lap steal that's meant for touring.

Speaker 1 (47:13):
And how many can you sell it a year?

Speaker 2 (47:16):
I have, It hasn't been out a year yet, so
I will. I'll have to let you know when a
year comes. It's it's been around since November.

Speaker 1 (47:24):
Okay. And do you buy it online? Do you buy
the retail stories, you buy the guitar center? You buy
it everywhere?

Speaker 2 (47:32):
Right now, it's just available on our website electroligh dot com.
And I mean, I hope at some point we could
partner with like a guitar center to get it out
there and more available to people to pick up.

Speaker 1 (47:47):
Let's say I buy it since it's online and I
don't like it, can I return it?

Speaker 2 (47:53):
I've never had anyone ask, so yeah, I'd probably take
it back if you didn't like it. I want, I
want people to be happy with what they've what they've bought,
but I have not had any dissatisfied customers as of yet.

Speaker 1 (48:06):
Okay, now, Rebecca, you know, tell us a little bit
more what your first guitar is and how much practice
you had to put in to become proficient.

Speaker 3 (48:16):
Yeah, so transitioning from the violin, I actually picked up
the mandolin first, which was a little bit of like
a cheapskate because the mandolin is tuned the same as
the violin, so very quickly I was able to get
proficient on the mandolin and selfless plug. I guess it
was like what twenty fifteen or something. We went to

(48:38):
meal Fest and I was the first and only girl
at that point in time to have won the mandolin competition,
which was like an international thing.

Speaker 2 (48:45):
Because it was judged blind. So that was really a
really cool moment for that competition.

Speaker 3 (48:54):
Yeah, to finally have a girl get up there, which
now it's like, man, there's so many women out there
who kick my ass. But so I think playing the
mandolin got me more comfortable with playing a pick, but
it still cemented me in the mentality of like being
tuned in fifths since it's just like a violin. So

(49:16):
I always played acoustic guitar, but I was very limited
to you know, just GC and D like bluegrass rhythm guitar,
and I never really had aspirations to play lead.

Speaker 4 (49:29):
But the deeper that we.

Speaker 3 (49:30):
Got into the level Sisters and especially early Lark and Poe,
when I was having a call to write songs, I
really couldn't effectively write on the mandolin. So I started
to lean more under the guitar because I guess I
knew less about it, and so it was more of
an impersonal experience where I wasn't focused about like playing

(49:51):
a hot lick or something on the guitar. It was
more about letting it facilitate me bringing a song.

Speaker 4 (49:56):
Into the world.

Speaker 3 (49:59):
And honestly, at the the guitar just kind of sat
there as like a songwriting tool for me for five
or six years, and it wasn't until honestly, probably about
they five or six years ago, six or seven years
ago tops, where I really wanted to become a good
guitar player. And that was really challenging because when I think,

(50:24):
the older that you get, it's like hard to be
bad at things. So especially given that we were already touring,
you know, at a relatively high level where people like
especially internationally, who would buy tickets to come and see
you know, Lark and Poe do their thing, to get
on stage and to be like kind of like muddling

(50:49):
through an instrument trying to like push for stuff on
stage was really humbling, and I think as a result,
I was very shy to like really apply myself. I
would just sort of like leave all the soloing to Megan.
But honestly, I think five six years ago I buckled down.

(51:09):
I was like this, it's time, and so I just
I got a jazz master like Elvis Costello, who's one
of my biggest heroes, and just started writing riffs and
really started writing riffs for the band that would push
me to learn how to play the guitar. So even
outside of like going back and like learning Stevie ray
Vaughn or you know, learning slash solos, I was just

(51:30):
writing my own riffs to find my voice on the guitar,
and that really facilitated me building competence to be able
to start stepping out as a player.

Speaker 4 (51:41):
And it's been really gratifying.

Speaker 3 (51:42):
It's it's been a slow burn, but a very gratifying
burn for me as a guitarist.

Speaker 1 (51:46):
So you're totally self taught.

Speaker 3 (51:49):
On the guitar, yes, I mean, I mean I'm a
YouTube baby as well, though, So I do feel like
you know the amount of content that is available for free,
that so many incredible music since release. Yeah, like sitting
and watching so much on YouTube has been super helpful
for me.

Speaker 1 (52:06):
And how many guitars do you own?

Speaker 3 (52:09):
I own in my touring rotation, I tour with about
three or four, but all told, I have maybe six
or seven lectric guitars. But I live in a house
where because my husband is also a guitarist and he
is a materialist in every sense of the word. There
we are now at about ninety seven guitars in this house.

Speaker 1 (52:30):
Okay, since you keep bringing him up, tell us who
your husband is and how you met him.

Speaker 3 (52:36):
His name's Tyler Bryant and he is a Texas musician.
He has a band called The Shakedown and we were
introduced through a producer in town. Yeah, it's hard not
to bring him up because I do feel like a
lot of my interest in becoming a good guitar player
is also bright proximity because he's such an effortless player
and to be around like everybody in the family, and

(52:59):
to be the only player that's not like up to
snuff because Megan is an exceptional improviser, Like you're definitely
mind melded to your fingers, and your husband. Meghan is
married to an exceptional musician by the name of Mike
Seal mind melded his fingers and Tyler as well. So
I was like, you know what, I'm not going to
be that guy in the family. We're stepping up the game.

Speaker 1 (53:22):
Okay, So how did you meet your husband, Megan?

Speaker 2 (53:27):
So, Mike Seal played in Larkin Poe in our first
year of touring. So he he was a guitar player
who joined joined us for the first eight months or so,
mm hmm, yeah, okay.

Speaker 1 (53:42):
You know you're touring musicians. I think it was Metallica
was on the road for a long time. They came home,
all of them got divorced. This is decades ago. Okay.
How do you keep a relationship going when you're on
the road and they're on the road, et cetera.

Speaker 2 (54:00):
A lot of dedication and communication. It's it's not easy,
for sure, and there have been years when we just
haven't seen each other a whole lot. Like the it's
it's the worst when the tours don't line up. If
you're home and then they're gone and then you reverse.

(54:24):
It can be really really heartbreaking. But we always, you know,
we always just have been super committed to making it work.
And there is a great comfort in your partner knowing
exactly what you're going through, because it is a very
strange way to spend your life, and it can help
to have somebody who really knows what you're going through.

Speaker 4 (54:46):
Yeah.

Speaker 3 (54:47):
I do think it's actually, somewhat unexpectedly been a great
saving grace to be able to have so much of
a shared experience, because I do think it's very easy
to have a highly romanticized mental image of what touring
is like. Only in the last two years have we
actually been able to finally go out on bus tours.

(55:08):
Previously we were, you know, fifteen people in a fifteen
passenger van with the van and trailer and you're waking
up at six am and driving until three am, and
you're you're eating shit out on the road. You're not
making money like you know, like all this sort of
like the residual stress of touring.

Speaker 4 (55:27):
It's not what people anticipate.

Speaker 3 (55:29):
So I think the fact that you know, Meghan and
Tyler and Mike and I, that we all have that
shared sense of okay, like you're not out there like
snorting cocaine off someone's hu haas Like, no, you're just
you're out there counting merchandise.

Speaker 4 (55:42):
Like I understand, and I trust what you're.

Speaker 3 (55:44):
Doing, and and hey, I get what you're going through.

Speaker 4 (55:47):
That that really does help you, like stay.

Speaker 3 (55:49):
In sync with somebody, stay step to step even when
you're miles apart.

Speaker 1 (55:55):
How about the temptations of the road. You can talk
about drugs, there's article, there's women, and you ever, in
the back of your mind say well, I'm not seeing
and most people live in all the time with their
spouse and just just let your mind run wild.

Speaker 3 (56:15):
Well, Tyler and I've been we've been together now since
what twenty fifteen, and we met when we were both
twenty I guess we were twenty five when we met,
something like that.

Speaker 4 (56:25):
And I think.

Speaker 3 (56:26):
Especially early on, there there was a lot of concern.
I think a lot of insecurity that existed that would
that would allow your.

Speaker 4 (56:36):
Your insecurities to run away with you, for sure.

Speaker 3 (56:40):
But also I think acceptance is key too, Like, you know,
I know my values and I know that I married
Tyler for his values. So you know, if ever he
wanted to make a change, I think I'm pretty sure
we'd both be man enough to like come to each
other and end things appropriately. I just I just don't
really sense that there's ever been a thread in our

(57:01):
relationship that would want to create drama and or betrayal.

Speaker 4 (57:05):
In that way.

Speaker 3 (57:05):
I think we've both had people step out and be
shitty to us such that we would never want to
do that, that we care enough and respect each other
enough to not want to do that. But again, Bob,
like hey, never say never.

Speaker 2 (57:17):
But also I think that we throughout the years have
come to really value the feeling of having your family
on the road, and it's the kind of atmosphere you
can manifest. And we are the leaders of our organization
and we can set the tone for what it's going

(57:40):
to be like for the people who are working for
us and touring with us, and what we want that
environment to be is kind. And you can really struggle
with mental health on the road. I think being an
artist is it's challenging for that aspect, and you can
struggle with addiction, and there's all always things available to you,

(58:01):
like like like what you mentioned, and we want people
to be in a in a in a safe space
where we can mitigate some of those risks for people,
and that's always been especially in the last what seven
years of lur Campo, We've really wanted to create a

(58:22):
great touring atmosphere for for our people, like we really
value the people who are putting their lives in our
hands and sometimes quite literally when you're driving the van,
and we want to we want to, you know, make
it special as special as we can.

Speaker 1 (58:41):
Okay, you mentioned mental health. To what degree has you
had challenges?

Speaker 2 (58:49):
I have had quite a lot of challenges over the
past couple of years, and I think the pandemic has
had has brought it on for a lot of artists.
And I think it's because people are constantly grinding. And
I can say that for us for sure, grinding and
grinding and grinding for many years, and you don't sometimes
have a moment to stop and reflect. And the pandemic

(59:12):
I think, really forced a lot of us to stop
and reflect. And I think that that was challenging in
a lot of different ways. And I certainly experienced a
lot of I guess you could call it a mental breakdown,
but where I really experienced what an anxiety disorder is
like and suddenly had such an appreciation for some of

(59:38):
these terms that fly around that I've spoken to and
not really known intimately what they what they feel like
is like now I do, And I think that that
makes me all the more passionate for what people can
go through as far as mental health and all the

(01:00:02):
things that can can go wrong. And I'm using air
quotes because there's always reasons for why we're experiencing things,
or or maybe there isn't a reason, but there's a
mechanism for it. So I have a lot more respect
for it.

Speaker 1 (01:00:15):
Now, did you see it professional to help you get
over the home?

Speaker 2 (01:00:20):
I did go to therapy, Yeah, and I did go
I went to the doctor to try and figure out
what I what I needed to do because I was.
I was really blown away by it, absolutely and helped
a lot having having Rebecca because she's just has my
back and every way and so so supportive and came

(01:00:40):
through it. You know, you just kind of have to
go through things and believe that you're going to come
out the other side. And I and I really did,
and I and I believed that I was going to
come through it, and I did.

Speaker 1 (01:00:52):
How about medication.

Speaker 2 (01:00:56):
I have had a lot of family members who have
dealt with this before, so it was something that I
feel lucky and very privileged to have watched other people
go through. So I kind of knew when I was
starting to experience the anxiety disorder. I knew what was
happening to me, so I knew who to go and
talk to, and the family that had experienced it suggested

(01:01:20):
that I try and at least try to do to
try to come through it without medication.

Speaker 4 (01:01:26):
First.

Speaker 2 (01:01:27):
I think there is a place certainly for medication, but
they suggested that I try without first, just to see
where I sat, and I'm glad for that because I
was able to come through without.

Speaker 1 (01:01:47):
Okay, people have no idea how difficult it is to
go on the road. You know, they see somebody an
hour and a half on stage. They don't know that
they're in close contact, traveling with the same people every day.
They get on their nerves, you get off stage, takes
hours to calm down, which is why a lot of

(01:02:08):
artists take drugs, because the cycle goes day day and
how do you cope with the stress.

Speaker 2 (01:02:14):
Of the road.

Speaker 3 (01:02:18):
I think it's something that we still engage with or
try new things because you're You're exactly right, it is.
It is a very tough experience, and I think especially
as well, when a lot of the conversations you have
with people about the touring lifestyle is this overwhelming narrative

(01:02:39):
of you.

Speaker 4 (01:02:39):
Guys are so lucky.

Speaker 3 (01:02:41):
It's you're seeing the world and like, you guys are
just always on vacation, aren't you. And so then you
can also build up this this callous against realistically looking
at your situation where it's like you feel, oh, I'm
so blessed, like I shouldn't I don't even I shouldn't want.
I shouldn't engage with the fact that I'm really uncomfortable

(01:03:03):
and sleep deprived and missing my family and very very
homesick and just craving like to be in one place
for more than five minutes. I shouldn't feel these things.
So then I think, as Megan was speaking to earlier,
you are constantly in the state of sort of squashing
and and just continuing to move in order just.

Speaker 4 (01:03:23):
To survive, but educating yourself, medicating yourself.

Speaker 3 (01:03:28):
Right, yeah, which which again I think in terms of
like the culture of our band, that's just never been
such a huge thing for us, which I it's just
by happenstance, and I feel very fortunate that we actually
together as a team, haven't had issues with substance or alcoholism.

Speaker 4 (01:03:44):
And but that's just that's not a credit to us.
That's just circumstantial, I think.

Speaker 3 (01:03:50):
But I think being able to be together and to
communicate a lot, the fact that we go through things
together and we are constantly working on our relationship real time,
because as you can imagine, everything that you just described
is at times amped up to like the nth degree
when you're experiencing those stressors, the isolation, the you know,

(01:04:13):
the exhaustion, the monotony, the fast paced nature with a sibling,
and and you're like trying to have that balance of
work and sibling relationship that I think because so much
energy gets transferred into maintenancing our connection that we're able

(01:04:37):
I think, to have a lot of release in that way.

Speaker 4 (01:04:44):
It's hard.

Speaker 3 (01:04:45):
It's actually, as I'm saying it, like do you know
where I'm coming from, But it's a little bit hard
to describe.

Speaker 2 (01:04:50):
Yeah, yeah, I do. I think. I think having having
someone by your side who who keeps it real with
you and you experience the highs and the lows together,
it's not something I take for granted. And then like

(01:05:10):
you're saying, not squashing the emotions that you're feeling, but
at the same time also feeling overwhelmed, overwhelmingly grateful for
the opportunities that we've been able to have. And you know,
we have meet and greets ahead of the show, and
we're able to speak with some of the most amazing

(01:05:31):
people who have these incredible stories and feel so privileged
to be a part of their lives and actually quite
a real way and to have that connection with then
thousands of people, it feels really incredible. And that's why
you push through, because at the end of the day,

(01:05:54):
we are really lucky to be able to have those
experiences with other people. And that's that's why you push.

Speaker 3 (01:06:01):
Yeah, Because I mean, we can either we can either
come to the world with a nihilistic perspective, right of ah, God,
you know, the bloody Gospel of tooth and claw and
we all die and like.

Speaker 4 (01:06:12):
Why are we here?

Speaker 3 (01:06:13):
And I struggle with myself right right, which is which
is a very real perspective, and I think that it's
staying within that groove, that groove of the needle. You
can go down the path of isolation and addiction, and God,
I'm just so tired and we have you know, fifteen
shows left, et cetera, et cetera. Or you can lean

(01:06:34):
into the connection, you can focus on the positives. You
can you can really, you know, look into someone's eyes
and hear them say to you, your music got me
through the pandemic. Your music is what saved me. And
you can believe the words that are coming out of
their mouth, and that completely drives your experience in a

(01:06:55):
different direction.

Speaker 1 (01:06:57):
Okay, you mentioned earlier sight seeing and you mentioned again
I know this guy who is the tour photographer for
led Zeppelin, grant a completely different era film as opposed
to digital, a lot more work, and he said, I've
been around the world and seeing nothing. So to what
degree how do you take advantage of the places that

(01:07:17):
you do go.

Speaker 3 (01:07:20):
We've been making an effort more so, and again I
think it's it's such a luxury actually, because you know,
for so many years toying in the van, we would,
honest to god, roll up, you know, minutes before the
gig and then immediately have to leave. But being able
to make that leap into a tour bus has really
changed our experience.

Speaker 2 (01:07:41):
And you find those moments that you look forward to
in those those little things. Like for us, it's very
food based. We love to experience the culture of another
city based on like their food and their coffee. So
it's like we're always wanting to try out the different
espressos of you know, all of these years in cities
and they're different foods. So that that makes things exciting

(01:08:04):
and fine little things that you can look forward to.

Speaker 4 (01:08:06):
Yeah, go out in sight see.

Speaker 1 (01:08:08):
Can you mention one or two restaurants that are your favorites?

Speaker 3 (01:08:12):
Ooh, let me think one of my favorites in Paris
is it's a restaurant that is all fire based.

Speaker 4 (01:08:25):
They cook all of their.

Speaker 3 (01:08:26):
Food over the open flame, and it's called Robert at
Luis and that is in Paris.

Speaker 4 (01:08:32):
That's one that comes to my mind.

Speaker 2 (01:08:34):
There also is a department store in Tokyo at the
Shibuyah crossing, that really famous crossing, and if you go
down into the basement of that place, there's the most
incredible sushi I've ever eaten in my life. Amen, So

(01:08:54):
that's a that's a must.

Speaker 1 (01:08:55):
Eat, Okay, And what particular cuisine is your face?

Speaker 2 (01:09:01):
Ooh, I love Japanese and Korean food definitely my favorite.

Speaker 3 (01:09:08):
Man, that's a good question, Proba. Probably probably sushi is
my favorite. I have to say, well, nothing can rival
some good southern cooking. There's a place here in Nashville.
I think there's two locations in town called Monel's and
it's like the whole family style eating where they bring

(01:09:28):
out just whatever's on the menu. You don't order, they
just bring everything out, and that that I do love.

Speaker 4 (01:09:34):
You can't rival some fried okra.

Speaker 1 (01:09:37):
Have you seen the film Jiro Dreams of Sushi?

Speaker 4 (01:09:40):
Yes, amazing film.

Speaker 2 (01:09:42):
I love that film.

Speaker 1 (01:09:44):
Okay, let's go back. You know, I like to go
to countries where they don't speak the language and it's
really exotic. So where have you been that you really
enjoy or where would you want to go that you
have a bit?

Speaker 4 (01:09:57):
Take it away, sissy one.

Speaker 2 (01:10:02):
I really love Japan, so I probably would love to
go back there on a on a vacation. But I
would we we haven't gotten the opportunity to go to
South America and I would really love love to go
to South America and be able to tour down there some.

Speaker 4 (01:10:19):
Yeah, I have to I would. I would align with that.
Mm hmmm hmm.

Speaker 1 (01:10:23):
Okay, you know the obvious question sort of the elephant
in the room, and it sounds sort of sexist, but
it's there.

Speaker 3 (01:10:32):
What about children, Oh, we absolutely want to have children.
And I do think that there's a lot of lip
service for women in the music industry about trying to
make touring, you know, more accessible for women. I have
had so many conversations with so many different women on

(01:10:52):
different tours who've had positive and negative experiences with being
able to to continue to tour once you have babies.
And logistically it sounds like a nightmare.

Speaker 4 (01:11:02):
But is it possible? Yes? Are good things always easy?

Speaker 1 (01:11:06):
No.

Speaker 3 (01:11:07):
I think the fact that we are in a position
of leadership in our organization, the fact that there are
two of us and so we share similar goals that
would absolutely be.

Speaker 4 (01:11:18):
On the docket for sure.

Speaker 2 (01:11:22):
Began it's I think it's one of those things that
you will not know how you'll deal with it until
you have to deal with it. But likes she's saying,
I think that everything is possible. I think we have
had the two of us move through a lot of
difficult situations and we've always made it work. So I

(01:11:42):
have every faith that we'll be able to move through
whatever it is that we want to do. And we
do want to have kids, and that will be part
of it that we will absolutely figure out.

Speaker 1 (01:11:52):
Okay, So if you look at your career, you have
the Garrison Keeler moment, you have all these peaks, You
win the award for mandolin at Ruralfest. Can you tell
me about a couple of times where it didn't work out?

Speaker 4 (01:12:07):
Oh?

Speaker 3 (01:12:07):
Yeah, I mean I think, well, it's hard to even
think about what year this would be.

Speaker 4 (01:12:17):
It would be probably two thousand and maybe sixteen.

Speaker 3 (01:12:24):
Well, we had two gigs on the calendar for Larkin
Poe and we were struggling to make to like find traction,
struggling to know what to do, and so much of
our time was invested in going out and being musicians
for Elvis Costello, being musicians for you know, Connor Oberst
and Christian Bush and Keith Urban.

Speaker 4 (01:12:43):
That you know.

Speaker 3 (01:12:44):
There we were presented with the question, a very real
question of like if we were going to continue. And
also I think we were sort of at a rocky
patch in our relationship with Sisters too.

Speaker 2 (01:12:52):
We did some tours where we played to the bar
staff didn't sell not even one ticket, and that is
a humbling experience. And you still play the show and
you give it.

Speaker 1 (01:13:07):
You're all do you ever consider giving up?

Speaker 4 (01:13:11):
Yeah? Definitely, Yeah.

Speaker 3 (01:13:13):
I think in twenty sixteen, I'm pretty sure that's the
year we were having very very serious conversations, which, interestingly enough,
is like when I mean, we were at the bottom,
like you couldn't get any lower. We weren't working under
the title of our band. The work that we had
done was demoralizing, like Megan saying, I mean, yeah, in

(01:13:34):
Kentucky there was four people in the venue and they
were all working in the bar, And that's really hard
to explain to yourself and to the people that you're
paying to be there, why that's happening, and how to
come back from that emotionally. And I think having those
tough conversations led us to having some galvanizing moments between

(01:13:58):
the two of us in our relationship and creatively approaching
the music that we were gonna make.

Speaker 2 (01:14:06):
Actually, we had felt like we had maybe gotten away
a little bit from who we were. I think we
would just we didn't know what our voice was, We
didn't really remember who we were, and so it's like
we needed to come back together and figure out who
who we were.

Speaker 3 (01:14:24):
But it is insane actually to sit from this vantage
point and peer into the past and try to remember
emotionally where we were.

Speaker 4 (01:14:31):
At, because it felt desolate.

Speaker 3 (01:14:33):
It felt like it felt like we had burned through
the wick and we were done. But then somehow, baby
step by baby step, we we.

Speaker 4 (01:14:43):
Didn't give up.

Speaker 3 (01:14:44):
We tried new things, we started writing some different songs,
we found new management.

Speaker 4 (01:14:52):
We yeah, like we just sort of we didn't give up.

Speaker 3 (01:14:58):
We didn't we didn't reached the point of self destruction
that we were like burning the house down. We just
were sort of ghosts in the house. And we knew
that we knew that we were capable, but we did
feel disconnected.

Speaker 2 (01:15:11):
From self and we had we had recorded a couple
of albums where we didn't produce or even co produce,
and those albums didn't do very well and didn't really
feel like us, and I think we didn't feel like
it was authentic. So that's when we decided, we've got

(01:15:32):
to produce ourselves, and we really want it to be
on our own label. We really want to figure out
who we are.

Speaker 1 (01:15:41):
Okay, So, was as Rebecca said, was it a lot
of little things or was there a specific turning point
and you remember when you realize, wait a second, this
is now happening.

Speaker 3 (01:15:54):
I do actually, and I think, really it is whatever
the inverse of death by a thousand cuts, It's like
a thousand band aids. We started doing our cover series
on YouTube as well. We started using social media in
a new way. We started to really actually invest time
into connecting with the fans that were actively following us

(01:16:15):
on Facebook and YouTube and Instagram, and we started to
share our talents and snippets. We would, you know, work
up a Crosby Stales, Nash and Young cover, we would
work up an Alvis Costello tune, we'd work up a
traditional bluegrass song, and we would post it and we'd
share that with people imperfectly, and we were really shocked

(01:16:36):
when that started to catch on. We actually did a
cover of Preach and Blues by Sunhouse, which we performed
in Los Angeles, and we try to do it every
night because it's such a meaningful song to us. That
was one of our first cover versions to really go
viral on Facebook and YouTube, and and it.

Speaker 2 (01:16:56):
Was it was coming back to our roots, if we
were returning home in a way, coming back to the
music that brought us up, which was bluegrass, but also
was Mountain music and blues were like a very familiar
territory and it felt like a new discovery but also
a homecoming.

Speaker 1 (01:17:16):
Okay, how many views would these videos get?

Speaker 3 (01:17:22):
Yeah, a few million, but I think honestly it was
even less for us the amount of views and who
the views were like on that video, specifically on preaching Blues.

Speaker 4 (01:17:32):
Bob Seger watched it.

Speaker 3 (01:17:35):
Actually I guess it was Bob Seger's wife who watched
it and then showed it to Bob Seger. And then
Bob Seger asked his people to get in touch with
our people, which then resulted in us going out on
the road supporting him in his arena.

Speaker 4 (01:17:49):
Tour in eighteen. Is that right?

Speaker 3 (01:17:52):
Yeah, twenty eighteen, I believe we went out on the
road with him, and again the power of social media
to be able to connect you to an opportunity that
you we had, we didn't conceive of that as a possibility,
but he watched the video and was moved by what
we were doing and invited us out based on that
that cover.

Speaker 1 (01:18:11):
And today with TikTok being the premiere platform and also
there's Instagram and Instagram wheels. To what degree are you
active on those platforms.

Speaker 4 (01:18:23):
We're very active. I think you gotta.

Speaker 3 (01:18:27):
One, you gotta dance with who brung Ya, And I
think the fact that we are an independent band supported
by individuals, and those individuals watch us on social media
and keep tabs on us and believe in us and
bother to tune in, we always want to maintain that connection.

Speaker 2 (01:18:44):
To be honest, when we were first making the videos,
it was just a practice tool. We didn't consider it
to be something something real, Like we didn't really know
if these viral video views, if million views on a
video would actually translate to anything in the real world,

(01:19:04):
like are we gonna Will we be able to sell
tickets based on this? And it turns out that yes,
it does, because once those videos went viral, like we
the very next European tour that we went out on,
which was like a twenty two show run, and twenty
one show sold out of that tour, so it was

(01:19:26):
like it was a very real thing.

Speaker 1 (01:19:29):
And to what degree do you interact and respawn to
the fans and the people who watch these videos.

Speaker 4 (01:19:40):
It's an interesting balance.

Speaker 3 (01:19:41):
I like this question because I feel like it puts
us a little bit in a hot seat. We try
not to read the comments, but also we can't help
but read the comments because we especially after the pandemic,
we know and love these user names and we have
you know, I mean to back up a little little bit.
You know, during the pandemic, we live streamed what four

(01:20:03):
or five times a week.

Speaker 2 (01:20:05):
Because I would say before the pandemic, we didn't interact
with people directly much through the internet. Then the pandemic
came along and we had already a huge online fan base.
That saved us that we had a we had some
people to turn to during the pandemic, and we were

(01:20:27):
able to keep working and we would do live streaming
and from then there. From there we were directly commenting
and exchanging with people, and like we recognized the user
names and we know who the people are, and we're talking,
like talking on a daily basis with these people.

Speaker 1 (01:20:45):
And do you try to activate any of these people?
Do you say hey, I'm coming to your town, bring
your friends stuff like that, or do you keep it
at a distance.

Speaker 4 (01:20:56):
It's a balance, you know. I think we're honestly learning.

Speaker 3 (01:20:59):
We're still learning how, yeah, how to how to interact
in a real way because there is a fear I
feel like you're kind of like we, like we spoke
about earlier. You know, you're sort of like one bad
egg away from throwing out the whole cart. And so
I think there is fear about reading comments because it's hard.

(01:21:20):
It's hard to read critical stuff from from people who
are emboldened by anonymity. You know, people can say the
most terrible shit online that you can't even like fathom.
It's like if I was standing in front of you, you
couldn't say this stuff to my face, like what.

Speaker 4 (01:21:34):
Are you doing?

Speaker 2 (01:21:35):
People could?

Speaker 4 (01:21:35):
Some Yeah, well some people could. That's true.

Speaker 1 (01:21:39):
Back at all, So back you know, like ten years ago,
maybe a little bit longer. The end of the first decade.
I used to call the heaters on the phone because
everybody is findable. Wow, and I was on a streak
of good experience. I call up saying, you know, this
is Bob Left that you obviously have a big problem
with me. Just tell me what it is, you know.
But then you read some people who are just you know, rigid.

(01:22:02):
But it was interesting. But let's assume you're going on
a tour, making up a tour. You're going on twenty
twenty three fall tour. Do you have everybody's emails addresses.
How are you going to reach the lark in poth fans.

Speaker 4 (01:22:19):
It's a bit of both.

Speaker 3 (01:22:19):
I mean, I think that we have felt very protective
about trying to have a direct connection to our fans
because you know, perhaps there is a future in which
there is no Facebook or Instagram and how do you
reach these people. So we do have an email list,
We do try to capture, you know, people's information so

(01:22:40):
that we can let them know what's going on. But
it is it's a little bit of a scary reality,
you know, because we do rely on these platforms to
get our message out there to people.

Speaker 4 (01:22:50):
So you bring up an interesting point.

Speaker 1 (01:23:00):
Okay, let's go back to the songs themselves. What you
were in the lovell Sisters? Was it always original material?
How did you start to write songs? How do you
write songs? And how do you write songs today?

Speaker 2 (01:23:12):
Oh, the lovel Sisters was virtually no songs of our own.
We did a lot of traditional numbers and towards the
end of the Level Sisters was when we were really
discovering the idea of songwriting. And Rebecca is really leading
the charge with that. Rebecca still leads the charge with

(01:23:35):
a lot of our songwriting.

Speaker 3 (01:23:37):
Yeah, and uh, I think that songwriting is just like
you know, any other muscle. I think it does require strengthening, unless,
of course, and we've said this before in the past,
it's a little bit trite, but like unless you're Tom Petty,
and Tom Petty just starts with mudcratch like writing friggin bangers,
you know, from the jump. But I do think it's

(01:23:59):
something that we that I personally have learned how to
do better and better with time, such that I feel,
you know, our most recent album, Blood Harmony has some
of my most favorite songs that I've written, just strictly
because I think, you know, you write a hundred songs
in order to get one.

Speaker 1 (01:24:14):
Well, the question is do you write a hundred songs
to get one?

Speaker 4 (01:24:18):
I do I have?

Speaker 2 (01:24:21):
So?

Speaker 1 (01:24:21):
Do you write out inspiration or do you sit down
and say I have to write an now album? How
do you do it?

Speaker 4 (01:24:28):
It's a bit of both.

Speaker 3 (01:24:30):
I think because we do tours so hard and I
do sing so aggressively and ferociously during our shows, I
do have to be very careful with vocal capital when
we're touring, so I don't really write when we're touring,
just because during the day, I'm usually like trying to
limit how much I'm talking just to optimize for the
show and protect the vocals that I can give to

(01:24:51):
the people who've bought the tickets. So we do wind
up having more of a seasonal approach, where we'll we'll
be off the road for a second and get together
a batch of songs.

Speaker 2 (01:25:01):
I feel like we like to write in preparation for
an album because we do take a lot of what
we've learned during the touring season and apply it to
the next record. But Rebecca is writing all the time
for fun, but those songs sometimes aren't necessarily for us
is just working the creative muscle or writing from inspiration.

(01:25:23):
But we do take quite a workman like approach when
we're writing for an album, like we are writing today
from ten am, you know, till we get like three
or four ideas at least, or finish at least you know,
two or three songs.

Speaker 3 (01:25:39):
And we also have to be careful because I'm definitely
like the creative energy that is newest idea is the
best idea, and so I get bored with things very quickly.
So that's also where like we really have to wait
to like, like, I'll be information gathering for months and
I'll have like probably like fifty or sixty titles in
my notebook, but I make myself wait to write them

(01:25:59):
because otherwise, by the time it comes to getting into
the studio, I'll be like so bored with these songs
that they'll just be wasted in the end. There's so
much waste in the creative process.

Speaker 4 (01:26:10):
I feel like, how about.

Speaker 1 (01:26:12):
The Nashville model of writing sessions with third parties? You
ever do that?

Speaker 3 (01:26:17):
That gives me anxiety personally. We have some we have
had some, and we've had had some successful experiences.

Speaker 4 (01:26:23):
But I do think.

Speaker 3 (01:26:26):
That's that's somewhere I think I would like to learn.
I would like to to grow a bit, because I
do think that the there are some incredibly special songwriters
in Nashville who who are really able to collaborate to
the benefit of the music. So I would never want
to self isolate just because I like had stage fright

(01:26:47):
or writers right or something. You know.

Speaker 4 (01:26:49):
I'd like to try and.

Speaker 2 (01:26:51):
To be honest, writing together the two of us is
a fairly new thing as well. We did it very
successfully with this last record, Blood Harmony, and that's the
first one. We've really collaborated from the ground up on
a lot of the songs on the record, and really
heavily collaborated on all of all of them the editing process, especially.

Speaker 1 (01:27:13):
Now speaking of Tom Petty's got that great line, the
record company didn't hear a single. To what degree do
you feel internal pressure to write that one song that's
going to be relatively ubiquitous and push you into another league.

Speaker 3 (01:27:31):
I love this question because I think there is no
right answer from where we currently sit.

Speaker 4 (01:27:40):
I think.

Speaker 3 (01:27:42):
There is no pressure to write a hit one because
I think the days of hits are are ever shrinking
for bands like us. I think the compromises that one
sometimes must make in order to have a hit song
outweighs the pros. That's that's that's where we're coming at

(01:28:08):
it for now. I think that we have definitely built
a career based on context and bodies of work with
our fans. I think our biggest concern when when curating
a body of work for an album has been that
is an entertaining listen from tip to tail, Because one

(01:28:30):
of my least favorite things is to put on an
album where it's like you're just skipping through to get
to the hits, or there's just a lot of filler.
So I think, obviously we've not written our best record
are you know, who's.

Speaker 4 (01:28:42):
To say what our best record is?

Speaker 3 (01:28:44):
But I do think that with every album that we've made,
we've gotten closer to having every song at least be
an entertaining listen.

Speaker 1 (01:28:52):
However, people don't realize when you write a lot, we
create a lot. You know, when you hit an eleven, okay,
and you can't do it every day, but you know
when you get there. So do you have a couple
of songs you say, yeah, irrelevant of acceptance, you know,
streams on Spotify when you're writing in and you go, yeah,

(01:29:15):
this is the one, this is going to resonate.

Speaker 4 (01:29:19):
That's so interesting. I don't know exactly how to respond.

Speaker 2 (01:29:27):
I think probably we've never written that song. Fully, I
think that we have hit on it, hit on songs
that I feel like, this is a this is a
good song, and I I love what this song has
to say, and this song is true and authentic to us,
and and I like and I love that.

Speaker 4 (01:29:49):
It's it's also subjective.

Speaker 3 (01:29:51):
Yeah, that's what That's what I find challenging to answer,
is because I think one of the things you have
to consider as a human is that you are involved
in the process, right. So it's like when you're a
writer and you're writing your thing, you have emotional connection

(01:30:11):
to it, so you can give it extra space or
love it especially hard when maybe it's not the best song.
So really, I don't know that I would ever feel
competent in separating my own emotional ties to the art
to really have an objective viewpoint on its quote unquote quality.

Speaker 1 (01:30:36):
Okay, shifting gears a little bit. I was talking to
your manager has got a lot of experience, Peter Leak,
and he was talking about direction that you made a
record with restoration hardware. How did Peter help focus you
and direct your career?

Speaker 4 (01:30:53):
Oh? I like this, what would you have to say this?

Speaker 2 (01:30:57):
In meeting Peter Leak and also Anipe it works side
by side together, we found people who were just one
hundred percent supportive and that is what we needed. And
they have really gone along with us on the things
that we've wanted to undertake that have created so much
more work for them, and we so appreciate that they

(01:31:21):
have been really instrumental in helping us create our own
record label. And that has given us the freedom to
be able to go in all of these different directions
that we've wanted to go. I mean, their support has
made it possible for us to go further.

Speaker 1 (01:31:44):
Now, when I went to see you live, I found
the music very reminiscent of late sixties and early seventies
blues rock to what deg we Are you versed in
the music of those artists.

Speaker 4 (01:31:58):
Yeah, very well versed.

Speaker 3 (01:32:00):
I think I've personally found a lot of passion for
researching turn of the century blues music and allowing that
to filter into my understanding of rock en roll and
blues rock and roll from.

Speaker 4 (01:32:15):
The sixties and seventies.

Speaker 3 (01:32:16):
So yes, definitely have listened, listened a lot, listened extensively.

Speaker 1 (01:32:22):
Okay, I'll throw out some band names. If you listened
to fog Hat, yeah, okay, have you listened to Mountain?

Speaker 4 (01:32:30):
I have listened to Mountain.

Speaker 3 (01:32:31):
I don't know their records as much, but we've done
a couple of fog Hat covers. I don't think we
actually ever posted them, but I dig fog Hat, I
dig Mountain, but I'm not as well.

Speaker 1 (01:32:40):
First, okay, what fog Hat covers were they?

Speaker 4 (01:32:43):
We did Chevrolet that was my favorite.

Speaker 1 (01:32:48):
Okay, And what about the trio British guitarist Jeff Beck,
who unfortunately recently passed Jimmy Page and Eric Clapton. To
what degree do you know their work extends?

Speaker 4 (01:33:00):
Yeah, big fans of all three of their playing.

Speaker 1 (01:33:05):
Okay, So if you had to take two records from
that world, what albums would you pick?

Speaker 4 (01:33:14):
Man, that's a good question.

Speaker 3 (01:33:16):
Are we allowed to use Zeppelin for Jimmy Page?

Speaker 1 (01:33:21):
Absolutely, we can continue Zeppelin.

Speaker 4 (01:33:24):
Let's see.

Speaker 3 (01:33:27):
I think Slowhand and I think probably Zeppelin four.

Speaker 1 (01:33:33):
Okay, what are your favorite tracks on Zeppelin four?

Speaker 3 (01:33:39):
That's hard to answer, because again, I think from our perspective,
it's the album as a whole.

Speaker 4 (01:33:45):
It's not singles, it's not tracks.

Speaker 3 (01:33:48):
It's like, oh yeah, just drop a needle and listen
through the whole thing.

Speaker 4 (01:33:52):
And that is a big difference. It is a big difference.

Speaker 1 (01:33:55):
Okay. But if I'm listening to that album, rock and
Rolling Black really don't do it for me. The Battle
of Evermore and when the Levy breaks, I could listen
to those every day and going to California, Joe.

Speaker 3 (01:34:10):
Dog No, But I do love that you're picking the
mandolin tracks though.

Speaker 4 (01:34:14):
Good your hat off hat off.

Speaker 1 (01:34:16):
Well, you know, I don't want to get too much
of a discussion of Zeppelin. I just don't find Black
Dog innovative enough. You know, it's got the riff. If
I'm going with Zeppelin, you know, the first album with
Good Times Bad Times. I'd rather listen to that than
Black Dog, although it's not as fast a record, but
you know, slowhand that's an interesting album too. So have

(01:34:41):
you met all those people? No?

Speaker 3 (01:34:45):
Actually, and I'm a little bit devastated by the loss
of I'm like so many people of Jeff Beck because Tyler,
my husband, was one of Jeff's proteges, and I missed.
We were actually out on tour and so he came
through Nashville and I didn't realize that I was missing
my opportunity to meet him. That's that's very hard. But

(01:35:06):
we've never met any of these cats. We've seen Clapton
live out in Los Angeles. I've never seen Jimmy Page
and I never got to see Jeff live.

Speaker 2 (01:35:15):
We opened for Robert Plant once.

Speaker 1 (01:35:17):
Yeah, Okay, tell me more about after the Lovell Sisters,
when you became side people. How did that come about
and how did you integrate into these acts?

Speaker 3 (01:35:32):
So Initially, I think our first side gig was with
Elvis Costello.

Speaker 2 (01:35:38):
What a way to start, I know, we had no idea.

Speaker 3 (01:35:42):
So again, it was at merle Fest, and this would
have been I guess twenty seventeen or eighteen.

Speaker 4 (01:35:52):
I believe it's thereabouts.

Speaker 3 (01:35:54):
Actually twenty sixteen, yeah, right, twenty fifteen, twenty.

Speaker 2 (01:35:57):
Sixteen, now this is this was back in two thousand
and seven.

Speaker 3 (01:36:01):
Oh, Lord, I get my dates, so you're absolutely right. Yeah,
we would have met Costello for the first time in seven. Golly,
that was a big margin of error.

Speaker 4 (01:36:09):
Lord.

Speaker 3 (01:36:11):
And so they had a big all star jam on stage,
and and Elvis got up, and we were familiar with Elvis' music,
but hadn't really connected who it was who was on
stage singing, because I didn't recognize that my amish true
cover as the man that was up singing.

Speaker 4 (01:36:26):
A gospel tune. But we dashed across stage.

Speaker 3 (01:36:29):
In this jam and started seeing harmonies to Elvis on
like Angel Band or some traditional gospel tune, and we
sort of struck up an unlikely friendship. And he has
been a really true mentor to us and invited us
out to open up for him on a few occasions
and Rebecca was just.

Speaker 2 (01:36:47):
Very bold, and they had they had been writing each
other letters and emails, just talking about music, and Rebecca
had seen that he was playing in Europe and doing
a solo tour and said, Hey, I see that you
don't have a band. Would you like us to be
your band? And that was how it started, originally us

(01:37:08):
backing him up. He's like, you know what, sure, come
on out and be my band.

Speaker 1 (01:37:13):
Okay, let's focus on that. To what degree are you
bold and aggressive, Rebecca and making opportunities?

Speaker 4 (01:37:20):
Oh? Very bold?

Speaker 3 (01:37:22):
I mean I think it's so trite and tired, but
like you miss all the shots, you don't take, one
hundred percent of the shots you don't take.

Speaker 4 (01:37:31):
And I think.

Speaker 3 (01:37:33):
Especially there is a power of the idealism of your
early twenties too, where it's like you feel unstoppable man,
like I'm never gonna die, I'm gonna gun for it all,
and that has really served us well. But I think
also like being motivated by love, by a joyful love
of music, has really opened a lot of doors that

(01:37:53):
otherwise wouldn't have opened.

Speaker 1 (01:37:56):
Tell me a couple of things you did in the
last couple of years that you would consider bold trying
to open the door or get it move up the ladder.

Speaker 3 (01:38:05):
Oh, let's think about this as recently as and you
were there. You saw Mike Kimble and Steve f Roni
on stage, and I I have to say, I think
that Steve Roni is one of the biggest hearts on
this planet.

Speaker 4 (01:38:20):
He's an incredible human.

Speaker 3 (01:38:22):
But we met those two gentlemen back in the day
for a Music Cares event from mister Tom Petty. We
were part of the backing band through Elvis Costello. We
met t Bone Burnette and t Boone. Burnette was looking
for some musicians to take part as as part of
the house band, so we were hired to play mandolin
an acoustic guitar, and Megan was going to play dobro

(01:38:44):
and lap steel and we sang BGVS. So we crossed
paths with with both Mike and Steve at that event,
and being huge Petty fans, we were of course just
like tripping over ourselves, but we we sort of struck
up some friendship again and ahead of our Los Angeles show.
I've only ever texted Mike like on his birthday just

(01:39:08):
to wish him happy birthday, but I reached out to
him and said like, Hey, we're coming through, We're playing
the Fonda. Would you be interested in coming out as
our guest? And he said yeah, hell yahad what are
we playing?

Speaker 4 (01:39:20):
And I was so stuck.

Speaker 3 (01:39:21):
And this is literally like probably maybe six or seven
days ahead of the show, and I immediately just started
frantically screenshotting the text and sending it to Meg.

Speaker 4 (01:39:30):
And I'm like, oh my god, what do we suggest?

Speaker 3 (01:39:32):
And you know, we shot out some ideas and both
both Steve and Mike came out and sat in with us.
And I never would have believed if you told me
two weeks ahead of the show that we would have
the Heartbreakers on stage with us playing a Tom Petty tune,
that that was going to happen.

Speaker 4 (01:39:50):
It was so special.

Speaker 1 (01:39:52):
Okay, what is an ask you're afraid to ask, but
would like to.

Speaker 4 (01:39:58):
Just in general?

Speaker 3 (01:40:00):
Yeah, mmm, man, this could go in so many different directions.
I love the broad nature of the question, so to
see what comes to your mind.

Speaker 2 (01:40:18):
I mean, we've over the years talked a lot about
our respect for Bonnie Ray and how much we would
love to do something with her, and we probably could
find a way to reach her.

Speaker 4 (01:40:34):
I feel like that would be exceptional.

Speaker 3 (01:40:37):
I think to do like an all female review, like
do something with some dueling slides, oh Man, with Bonnie Ray,
with Joan Jet, with Melissa Ethridge, with Eryl Crowe, with
who else should we add?

Speaker 4 (01:40:51):
Man?

Speaker 1 (01:40:53):
I think that's a pretty good list.

Speaker 2 (01:40:55):
Pretty good.

Speaker 1 (01:40:58):
Let me just focus on this period of time where
you are Lark and Poe and you're wondering whether you're
side people or whether you're going to be an act?
Is Lark and Poe? You mentioned Keith Urban, you mentioned
these other racks. What acts did you work with and
how extensive was that work?

Speaker 3 (01:41:17):
Yeah, So, you know, outside of doing on again, off
again tours with with Elvis Costello, we also picked up
work with Christian Bush, who is one half of sugar Land,
and he's Atlanta based and so through the scene he
was aware of our our musicianship. We you know, we
did a lot of early work, you know, and Decatur

(01:41:39):
in and around Atlanta. Eddie's addic and sort of the
stomping grounds of the singer songwriter scene. So he actually
hired us to come out for his solo project and
he gave us a lot of work like twenty sixteen,
twenty seventeen that helped pay our bills, and we learned
so much actually getting to watch him as a bandleader
and how he integrated with his people.

Speaker 4 (01:41:58):
Very inspirational.

Speaker 2 (01:42:00):
And then after that Connor Oberst which eyes.

Speaker 4 (01:42:04):
Yeah, that was a cool experience.

Speaker 2 (01:42:06):
Yeah we did. I can't even remember a few months
with him.

Speaker 1 (01:42:12):
Yeah, how did that connection even happen?

Speaker 3 (01:42:15):
Yeah, it's I was actually just trying to remember and
and I just made I remember. So again, t Bone
Burnett invited us. Well, let me think about this. We
were in Los Angeles working on our album Ken and
Elvis Costello was in town at Capitol Records and they

(01:42:35):
were doing the New Basement Tapes. So it was that
all star cast of individuals cutting live and so I,
you know, just sort of on a whim text at
Elvis like, oh my gosh, are you in town. We're
in town making our record. What are you all up to?

Speaker 4 (01:42:50):
Do you need any vgvs?

Speaker 3 (01:42:53):
And so they invited us over to come and play
mandolin and sing some some background vocals for the New
Basement Tapes. And so we met Taylor Goldsmith from Dawes
and a handful of folks and Marcus Mumford and Rihanna
geedd Ins and just sort of found some like minded individuals.
And Dawes was doing some work with Connor Oburst. They

(01:43:15):
were his band, yeah, his Upside Down Mountain tour, and
so they were doing a Letterman and they needed additional players,
and so in order to get sort of all worked
up for the late night appearance, we went out on
the road and acted as the band for Connor and
it's some really interesting work. I think I played mostly mandolin,

(01:43:36):
which was sort of an out liar for me at
that time, and.

Speaker 2 (01:43:38):
We were seeing the vocal harmonies that First Aid Kit
had recorded on his record.

Speaker 1 (01:43:45):
Okay, if you go to your Wikipedia page, not that
I always rely on it, and I'm sure that you
can tell when when the act itself was involved. There's
this list of all these accomplishments. Now you talk about
very Home Companion. Even Garrison Keeler is out of that
and the whole thing is imploding. But people who've consistently

(01:44:10):
been creative know you think about your big break and
then you achieve that you realize it's not that big,
and you also realize things you may not even want
it to do end up paying dividends. So you know,
I can read a list of all this stuff, But
what has moved the needle for you? And what is

(01:44:32):
it that would move push it over the limit?

Speaker 2 (01:44:40):
You hit the nail on the head that it's wonderful
to get a Grammy nomination, But when it comes right
down to it, it doesn't. It doesn't really mean anything
for us. What means something is the people that buy
the tickets and that connection that I was speaking about before,

(01:45:04):
the fact that somebody moved their life around just a
little bit to make room for you. And if you
multiply that times a million, that's quite a wave that
you're creating, and that is so incredible, and that moves

(01:45:25):
the needle a lot. And when we are able to
travel around the world and at this point now we've
not played to it just the bar staff and quite
some time, and feels so incredibly lucky to be able
to do that. That it's those people who are actually
out there buying the music, buying the merch and supporting.

(01:45:46):
To have those people around is what really makes a difference.

Speaker 1 (01:45:51):
Yes, but in your career, I mean you have some
peaks like the Garrison Keeler thing that opened up opportunities.
Everything's changed now. Late night performances will give you a
video Don't move the needle, SNL will show that the
the labels behind it, CBS Sunday Morning. Is there anything

(01:46:12):
that still moves the needle? H?

Speaker 3 (01:46:14):
Yeah, I guess it depends on on Yeah, like huntry too, because.

Speaker 2 (01:46:24):
It's it's been very interesting that when you're talking about
like promotion, what moves the needle in the UK is
different from Germany. And and we've we've actually had an
opportunity to go on some of the there, like late
night TV shows that actually still do make a huge
difference over there. You know, We've gotten to do Germany's

(01:46:45):
version and in France's version, and and it is really
cool to be able to go on those shows and
see how much of a difference it still makes. That's
that's been pretty pretty amazing, especially over over in Europe.
We've had a lot of great opera cotunities like that.

Speaker 4 (01:47:01):
Yeah.

Speaker 3 (01:47:01):
And I think it's an interesting question and one that
I think probably based on the amount of change that
we've seen in the industry in the last like I
mean really condensed change in the last five ten years,
It's hard to know how to answer that question, I think,
especially for a band like us who lives so outside industry,
you know.

Speaker 2 (01:47:17):
We Oh sorry, I just totally I totally interrupted you.
But as I was thinking about it, I was like,
what has brought us all of these opportunities really? As
social media? I mean, that's got to be what has
driven our success is videos going viral and people finding them.

Speaker 3 (01:47:35):
Well and paired with relentless touring. The fact that we
have honestly beaten the streets for eighteen years and have
managed to continue to keep our strength up and revel
in the connection with people enough to really merit, continuing
to work really hard and carry ourselves literally around the world.

Speaker 1 (01:47:54):
Okay, you have achieved quite a status, But what is
the dream?

Speaker 3 (01:48:02):
This may be a little bit boring, but I honestly
think the dream for us is just being able to
continue what we're doing better, just a little bit better
each time. I think that that for us has actually
been the biggest gift is how long it's taken us

(01:48:24):
to get anywhere.

Speaker 4 (01:48:26):
I see.

Speaker 3 (01:48:27):
I see bands that are much younger than us who
have much less quote unquote experience hitting it big and
not being able to really I think have the context
to like appropriately assimilate the meaning of their success. But
I think for a band like us who has slapstickers

(01:48:47):
on the CD and stuffed the jewel cases and the
digipas and drawn the T shirt and driven the van
and paid for the gasoline and paid for the band
members when you yourself were not getting paid. And the
level up from a mini van to a fifteen passenger
again as Lark and Poe into a tour bus, being

(01:49:13):
able to command, you know, a later night slot, being
able to carry your production with you for the first time,
being able to call your heroes and have them text
you back and be like, yeah, I'll be your guest.

Speaker 2 (01:49:27):
Suddenly this is the dream.

Speaker 3 (01:49:28):
Suddenly suddenly it's it's uh, you understand, you understand what
it means.

Speaker 4 (01:49:36):
And so I think, because we've been patient.

Speaker 3 (01:49:39):
With our story again, we're not you know, there's there's
buzz around Lark and Poe for sure, Is it the
biggest buzz?

Speaker 2 (01:49:48):
No?

Speaker 4 (01:49:48):
Do we need it to be? No, because we get
to do what we want.

Speaker 3 (01:49:52):
And you know, we've been able to literally pay our bills,
even though sometimes the you know, we didn't quite get there,
or the bills were themselves very very small because we
were living in somebody's attic. We've been able to do
it with music, and music has always been there for
us and there's nothing better than that. And it sounds
like I'm like being like the Hallmark version, but it's

(01:50:13):
it's honest. That's the honest, to God's truth.

Speaker 1 (01:50:16):
Okay, you have your sleeves rolled up, you have tattoos
on your hands and your arms. I don't see any
tattoos on Megan. Megan, do you have any tattoos?

Speaker 2 (01:50:26):
I do. Actually they're just a little little bit more hidden,
but I do.

Speaker 4 (01:50:29):
I have. I have a few.

Speaker 2 (01:50:32):
I have a few.

Speaker 1 (01:50:32):
Yeah, okay, but is that reflective of your personalities?

Speaker 4 (01:50:38):
Oh?

Speaker 2 (01:50:39):
What do you think, Megan?

Speaker 4 (01:50:40):
I want to hear what you have to say.

Speaker 2 (01:50:41):
Yes, Because here's here's Rebecca going in to get a tattoo.
I don't really know what I'm gonna get, but it's
just gonna make it self known. And then the person
like they talk, her and the tattoo artists talk and
they and then he draws something up and and she goes, Okay,
let's do it, and then she gets a tattooed on her.
Whereas I would sweat bullets about what I'm gonna get

(01:51:05):
and should I do it? I don't really know. I
don't I don't know what I want to put on
my body.

Speaker 4 (01:51:11):
Well that's not even really fair. Hold on one second,
let me add let me add it to I've.

Speaker 2 (01:51:14):
Been wanting to get more tattoos for years, but I
don't know what I want to get.

Speaker 3 (01:51:18):
But this, I think is also like what she's just describing,
is the magic of our relationship, because I am definitely
like the uh the just fling it at the wall
and see what sticks person, and that has a place.

Speaker 4 (01:51:33):
And Meghan is our researcher.

Speaker 3 (01:51:35):
Meghan is our measured researcher who will make sure that
that you know, Rebecca's not booking the first flight that
she sees and paying triple the price.

Speaker 2 (01:51:44):
But the world of creativity isn't always so concrete, so
there's some things you can't research. And I think that's
probably what what is hard for me fair, Fair, But
that's why we have each other.

Speaker 1 (01:51:57):
Okay, Like that old cheap trick song, Southern girls, what
are people you're from the South Georgia, Tennessee? What are
people in the north and coasts don't understand about the South?

Speaker 4 (01:52:10):
Mm hmmm.

Speaker 3 (01:52:18):
I think most importantly, we all have to aspire to
be the best versions of who we are, right And
I think also you know, birth and place and status,
and if you're poor, you're rich, or you're white or
you're black. All this stuff has connotations attached. All this

(01:52:41):
stuff has baggage. But I think for us being Southerners
and making the kind of music that we make, it
feels very important to us because we want to be
the best version of who we are. And I think
it's hard to you know, grow up listening to Southern
rock and roll and loving a lot of Southern rock

(01:53:02):
and roll, but not finding yourself and the music, not
seeing your own reflection back looking back at you out
of the music. So I think I think for us,
whenever we travel abroad or we travel around the country
and we are making Southern music, we're making Southern rock
and roll, it's important for people to understand that we're

(01:53:24):
doing it on our terms, and we're doing it with
a with a big with a big heart, you know,
with with hopefully being able to.

Speaker 4 (01:53:32):
Provide like a wider perspective.

Speaker 3 (01:53:37):
So I'm not exactly answering your question because I it's
a little tricky to know how how to so simply
reply what am I missing?

Speaker 4 (01:53:50):
I think.

Speaker 2 (01:53:50):
Uh, I think it's that very possibly. We don't want
a pigeonhole either the north or the South.

Speaker 3 (01:53:59):
Yeah.

Speaker 4 (01:54:00):
Uh, that's fair.

Speaker 3 (01:54:02):
Yeah, I think it's very It is very tempting to
paint with the broad brush and to to oversimplify, but
I think that that can be very very dangerous.

Speaker 4 (01:54:12):
People are people, That's.

Speaker 1 (01:54:15):
What Depeche Mode said. In any event, what can Lark
and Po fans look forward to in the future.

Speaker 3 (01:54:23):
Oh man, we have some good stuff coming down the pipeline.
I think I've I've had some really momentous experiences personally
this year that I think are really gonna give me
a lot to work from from a songwriting perspective.

Speaker 4 (01:54:39):
So I'm looking forward to that.

Speaker 3 (01:54:40):
You know, like in the little Heidi Hole of my
heart where I just keep all the titles, there's stuff
that's kicking around that I think will we'll open up
some new doors press creatively.

Speaker 2 (01:54:50):
I think we've learned a lot in touring this year
that's gonna be very applicable to the next record. So
I'm real really excited for us to be able to
write some more because I do think that our next
record is going to be pretty special. I just have
a feeling.

Speaker 4 (01:55:07):
Yeah, and also so much touring, so much touring this year.

Speaker 1 (01:55:10):
What did you learn on the road?

Speaker 4 (01:55:14):
Oh man, what have we learned?

Speaker 2 (01:55:21):
I I think that we're becoming more open to collaborations again,
because we were very collaborative in the early years. Then
we closed ourselves off a little bit to learn more
about ourselves. And now that we're at a place where
we know who we are, I think that we're I

(01:55:44):
think we're becoming more open again in a great way.

Speaker 4 (01:55:48):
Yeah.

Speaker 3 (01:55:48):
And I would also say that I think, you know,
speaking about over oversimplification. You know, sometimes there is this
this huge and instinct to rate our experiences is positive
or negative, like you have a flat tire, and it's
very easy to say, like, ah, this sucks, this is

(01:56:09):
the worst thing that's happened to me today. And I
think increasingly like the older that I get, and the
more opportunities and experiences that come through the door, positive
or negative, I realize there are no good guys, there
are no bad guys. Like everybody is a little bit
of everything, and that also applies to the experiences that

(01:56:31):
we have in life. You know, you can't you can't
judge the book by its cover, because there is a
bigger picture that we can't see when we're granularly focused
into the details.

Speaker 4 (01:56:43):
It's like it's more.

Speaker 3 (01:56:44):
I think I'm having you guys, I'm having a spiritual
awakening now.

Speaker 4 (01:56:48):
But it is it's like it's more of a dow.

Speaker 3 (01:56:50):
Perspective of, like, you know, accepting things as it comes
and not rating, not rating your experiences, just letting them
wash over you. Anyway, welcome to my ted talk.

Speaker 1 (01:57:01):
On that note, I think both of you have been
very open talking about the ups and downs and the
steps in your career, and people don't have any idea
how hard it is to make it. So I want
to thank both of you, Rebecca and Meghan, for taking
the time to talk to me and my audience.

Speaker 2 (01:57:19):
Thank you for having us. We so appreciate you in
your perspective.

Speaker 1 (01:57:24):
Okay, till next time. This is Bob left Sex

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Host

Bob Lefsetz

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