February 13, 2025 • 32 mins
In this episode of The Official Yellowstone Podcast, Bobby Bones interviews Andrea von Foerster, the music supervisor for Yellowstone, who plays a key role in selecting the music that defines the show's atmosphere. Andrea shares her process of choosing the perfect tracks to match the mood and themes of the series, from the red dirt country vibe to more reflective moments. Later in the episode, we talk with Dani Rose, a musician whose songs have been featured in all five seasons. Dani recounts the serendipitous way she first met Andrea at a party and how that encounter led to her music being placed on the show. Tune in for an inside look at how the music comes together for Yellowstone and the artists whose careers have been elevated by the show.
You can pre-save Dani Rose's latest single I Ain't Livin' here: https://onerpm.link/IAintLivin
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:07):
Hey, welcome to episode four of the Official Yellowstone Podcast.
This means it's the halfway point of the podcast. It's crazy.
I'm having so much fun talking to like the people
that make the show happen. I love Yellowstone so much.
We've had amazing actors that have told us not only
behind the scenes stories from Yellowstone, but also their careers.
So go check it out the last three episodes. If
(00:29):
you're a massive fan, I think you'll love And if
you're a fan of the show, you probably also love
the music of the show. I do, and we're going
to do that. First, we talk with music supervisor Andrea Forster.
She's the one who calls the shots when it comes
to which artists and songs are featured on Yellowstone. So
obviously Yellowstone is so music intensive it helps set the
(00:51):
scene for so many things. But she's also been the
music supervisor for the movie Five Hundred Days of Summer,
which I love, Liones, which I love love that show
is awesome, land Man, and a bunch of other awesome shows.
And then after Andrea, we get an artist who Andrea
kind of featured and discovered for the show. So first,
here she is when it comes to picking music for
(01:12):
shows and setting the scene. She is a plus Andrea Forster.
So many artists that I know, even friends of mine,
they got their first look from you whenever you were
looking for music for Yellowstone. So how long ahead of
(01:37):
the series launching did they bring you in and what
did they tell you to look for musically?
Speaker 2 (01:42):
I met with Taylor over the phone once I had
already sort of met with a couple other people who
had recommended me, and so Richard Glasser, who was the
head of music at the time of the company, had
referred me to the head of posts, who then referred
me to Taylor, and we talked and we kind of
got along right away. I mean, we both started talking
about how Unforgiven is one of our favorite movies immediately,
(02:03):
and we.
Speaker 3 (02:04):
Just kind of clicked.
Speaker 2 (02:04):
And I don't know that we ever said the music
needs to be this, this and this. I think there
was just an understanding because his writing is so clear,
and he wrote such amazing strong characters that the project
and the characters always tell you what they want, and
so you're not inventing it, you're just listening. And so
when we discussed kind of the songs that we like,
(02:25):
it just did have made sense, and I was brought
on Gosh, I don't know at what point it was.
It was definitely I think we might have been shooting,
but I'm not entirely sure anymore six years ago.
Speaker 1 (02:37):
And do you watch scenes or do you read parts
of script and then start in your head of signing
sonically what it would feel like. How does that process work?
Speaker 2 (02:45):
So I'll get the scripts and I'll read all of them,
and then before we shoot and then sort of flag
anything if there's an on camera, so if we have
any bands that might need to perform, or if there
is someone singing aligned for some reason, or if there's
also like Lady May when they're ripping Beth, they're dancing
in the arena. You know, you want to know all
those things ahead of time so you can clear the
(03:07):
songs and then you know, we start shooting. And the
amazing thing about Taylor's voice and I is just that
everything he writes it's exactly how you see it on screen.
So by the time I happen to see a scene,
it's exactly what I saw on my head from reading
the script, so there's no change. So it's very easy
for me to stay consistent in that way and know
what I'm looking for music for, and then we just
(03:27):
had We have a very narrow lane of music that
we use on Yellowstone because it's red dirt country. It's
it tends to be more reserved or quiet, I always say,
quietly epic kind of music where it's almost like a
journal entry, right, you know, like being set to music,
because everything is very introspective and no one's ever well,
(03:48):
most people aren't normally joyous on the outside, except for
the bunk house boys, so that's usually where we would
have more fun or a rodeo, But other than that,
usually it's it's sort of more from the perspective of
the person's mind that you're watching on screen.
Speaker 1 (04:01):
I've been friends with Lanie Wilson for a long time,
even before she had her first song that was a success,
and even talking to her on microphone before she had
any success or single This is out. She was like, man,
my music's been on Yellowstone and this is like baby Laney,
not in an actual infant, but baby So what about Laney
was it that drew you to going, man, this unknown artist,
like I love what she's doing.
Speaker 3 (04:23):
It's hard to explain, you know.
Speaker 2 (04:25):
The X factor that I think everybody feels or hears
when you hear something new. I had gone between season
one and season two of Yellowstone to Nashville and met
with a ton of people. Totally forgot to schedule lunches
in there, so I just had meetings from like eight
in the morning till night at night for five days
and met with labels and publishers and managers and agencies.
And I had gone to William Morris and Brandy Brammer
(04:49):
had set up a bunch of meetings for me to
meet with each agent, and they brought in, you know,
the music that they thought fit, and I heard Laney
and it was the song we ended up using in
the bowl in the bar scene.
Speaker 3 (05:00):
But I said, she's it, She's she's the tailor verse.
Speaker 2 (05:03):
You know, this is this is good for us, And
sure enough we did use it in the scene, and
then we kept coming back to the will because she's
so talented, and she has that perfect blend of kind
of it's it's somehow along the lines of traditional country
music but still super contemporary, and.
Speaker 3 (05:19):
So she has just a really wide appeal, like she's sort.
Speaker 2 (05:23):
Of like a I said, she was sort of the
next Miranda Lambert, but I can also see her a
little bit in the Dolly parton kind of Universe as well.
Speaker 1 (05:31):
What is your background in music and how did you
end up doing a job like not only this, I've
looked at your resume. I'll get through a lot of
that later, but how did this all happen?
Speaker 2 (05:38):
I always knew I wanted to be in entertainment since
I was very young, and then I went to USC
Film School, and then for production and then double minded
of music business and music recording and all of that
needs nothing to what I'm doing now, but I you know,
I knew I wanted to be in Los Angeles, and
I knew I wanted to be where entertainment was, and
so I just kept getting entertainment jobs. I worked as
(05:58):
a PA in commercials and music video. I did event
production for trade shows for film gear and music videos,
and then.
Speaker 3 (06:06):
I got a job with a supervisor.
Speaker 1 (06:09):
Not well.
Speaker 2 (06:09):
Actually, my first entertainment job was at Disney in the
live action feature feature soundtrack department for Bue of his
demotion pictures groups. So I worked on as an assistant
to another person. I worked on soundtracks for Gone in
sixty Seconds high fidelity Coyote, Ugly Armageddon. I can't even
remember the other ones, but I was just a temp
(06:30):
there and then I went back to school for one
year and then they said they'd hired me out of school,
and they did, so then I worked there for a
little longer, and then I ended up working for a supervisor.
And I didn't know what a music supervisor was, but
my dad, you like, take the meeting.
Speaker 3 (06:42):
So you take the meeting.
Speaker 2 (06:43):
And so I met with a gentleman named Kevin Edelman
in his garage as he was moving, and then it
turned out he was moving to a mile away from
my house. So then I worked for him and worked
on Roswell VIP Providence Popular Ryan Murphy's first show. And
then I worked for another supervisor, Alex Pettsavas, and did
like you know, as a coordinator and ended THEOC and
(07:05):
Gray's Anatomy and things like that.
Speaker 3 (07:06):
I finally was like, you know what, I think I
can do this on my own.
Speaker 2 (07:10):
So in two thousand and six, I started my own
company with absolutely nothing and just kind of started over.
Speaker 3 (07:16):
And luckily, you know, I got work.
Speaker 2 (07:19):
And then you get what you're supposed to get, you know,
so it's like you can't force anything. It's got to
be the right fit. So I feel the same way
about music as I feel about me getting jobs.
Speaker 1 (07:28):
What was the first job that was yours, meaning you're
the head?
Speaker 3 (07:33):
I know.
Speaker 2 (07:33):
I was on Modern Family, but they didn't need me consistently,
so I was on sort of episodes, I think, and
then I was also on Jake in Progress and Kitchen Confidential.
Speaker 3 (07:42):
It's mainly like half hour comedies.
Speaker 2 (07:44):
And then I started, you know, finally getting like the
Holy Grail is an hour long show for any music supervisor,
you know, and especially if it's a drama and you
get montages, you're like, oh, you know, you get to
like have a song really showcased, and that's you know,
what I was always hoping for. And then I got Dollhouse,
which was really fun, and then I got a bunch
(08:07):
of other sort of hour longs. But Scream was one
of my favorite ones that I did for MTV because
I got to use, you know, really like new artists
because we didn't have a budget, so I used Billie
Eilish before she was signed and published, and then then
she had Ocean Eyes out at the time, and then yeah,
(08:28):
the same person that sir Richard Glasser was ahead of
music or on Scream, and then he knew that I liked,
you know, like he just knew my personality because we've
been on panels together around the country in North America,
and so then he said, I got someone free to meet,
and that's how I ended up.
Speaker 3 (08:43):
Getting onto Yellowism.
Speaker 1 (09:04):
I feel like Yellowstone for country music now is what
Grey's Anatomy kind of did for that soft rock singer songwriter.
There are a lot of parallels between the two because
Gray's Anatomy set a lot of music culture in that
area and that's very much what I listened to then,
and it's funny to see Yellowstone do it now and
(09:25):
the ability that you have to showcase your taste with
these artists, when did that culture become Instead of you
searching people were then just throwing stuff at you.
Speaker 3 (09:35):
Well, fun question.
Speaker 2 (09:38):
So the thing is, like I'll say, the number one
thing that makes a difference for music working in a
show is the writing. If you don't have it in
the script to have space for music and you're not
just fixing it a post and throwing a song on it,
it will never work the same way that it does
in the OC and Gray's Antemy and Yellowstone and a
bunch of other shows. So it's got to be in
the writing first, and so it's great eight When writers
(10:00):
have music in mind, it doesn't have to be the
actual song.
Speaker 3 (10:02):
They don't have to write something in but just keep
it in mind.
Speaker 2 (10:04):
For Yellowstone, season one, kind of people didn't know who
we were, and our network was new and all the
rest of it. So by season when I went to
Nashville in between season one and season two, almost no
one had seen the show. So I had to explain
it over and over over again what we wanted. And
you know, we didn't want the Nashville sound. We didn't
want superget produced, we didn't want a ton of reverb,
(10:27):
you know, we didn't want what.
Speaker 3 (10:28):
Was on country radio at the time.
Speaker 2 (10:30):
And so we wanted it to be you know, kind
of more raw, more you know, words and guitar.
Speaker 3 (10:35):
You know, that was the focus.
Speaker 2 (10:37):
And because you can't have big, you know, production songs
against these sort of quiet, reflective moments or you know,
it just it would it would turn into a music
video instead of you being able to live in the
moment of the scene. By I'd say probably season three
is when people started finding me, and nine times out
(10:57):
of ten it's not something that we would use on
the show. So but you know, with like trusted sources
as far as managers and agents and publishers and labels,
or even just some independent people finding us or Taylor
recommending something he heard on the radio or you know whatever,
then you know things worked out or people kind of
learned our sound. But it's and it's evolve since season one,
(11:19):
for sure, and I'm very sad that it's come to
a close.
Speaker 1 (11:23):
Whiskey Myers playing on stage. To be able to actually
go and do this show feels like the greatest compliment
because not only is your music being played, but also
you're being seen, and I feel like that's gigantic for
being and those guys have been around, and I've known
of those guys forever, especially living in Texas. Was in
Texas for ten twelve years, and so I've known of
Whiskey Myers. But it's got to be pretty cool to
(11:46):
be able to find guys like that that are wildly talented,
but then open the door to a brand new audience
like that's got to be one of the best parts of.
Speaker 2 (11:53):
The job, right absolutely, I mean, Whiskey Myers was a
tailor a special. You know, he requested them and we
had him on camera, and that entire explosion is because
of him writing it in and knowing that he wanted them.
I had never heard of them before at that point,
and you know, it just took off. And it's really
fun to be a part of someone's story and to
give them a platform. And obviously it's not even my platform,
(12:15):
it's Taylor's platform, and I'm honored to be able to
help put things, you know, into that universe. And it's
it's really fun to be able to watch people grow
because a lot of the people that we use in
Yellowstone in general, even up to season five, they sort
of went from you know, one level of their career
to sort of to the stratosphere very quickly.
Speaker 3 (12:37):
And it's really cool to watch that.
Speaker 2 (12:38):
But the only bad thing is that I can't afford
them for the horse shows that I booked for they
got too big.
Speaker 1 (12:44):
Another one that I remember, and again I'm not going
to know the exact scene or song, but I'm going, Okay,
what can I think of that moved me? Musically? A
lot of music I've seen every episode, but what moved
me there was a like a wide open field scene
where you're playing a Zach Bryan's slow song and maybe
you can help me. But there was so much of
the song. It was one of those rare times where
I go gotta go and just save that to my playlist.
(13:06):
Can you remember what I'm talking about? Even?
Speaker 2 (13:08):
Was it tiit shamngo. It might have been used that
song for a very long time.
Speaker 1 (13:13):
Whatever it was, it was, Yeah, it was a lot.
And I remember going, Oh, my wife from Oklahoma, so
she was already a big Zac Briant fan, but because
she was such a fan, I was like, nah, but
that was kind of what convinced me. Was like hearing
it in the show and going like, oh, I'm kind
of moved by this. Yeah, so that the show to
even on this show that you know, we've been able
(13:34):
to feature a lot of people that got their breaks
there who for you has been super exciting that you
featured before they were even known and now it's like
you're watching them blow up and there is some credit
to you and the show.
Speaker 3 (13:44):
Yeah.
Speaker 2 (13:45):
I mean, I always want to be careful, like I
think people take too much ownership for things that you know,
if you give it a platform that's amazing, but you're
not the talent. Like if you're their parents, you can
take credit. But so that's why I like to say
that we're a piece of the puzzle, you know, and
you need people to be prepared to kind of have
any success as well, because a lot of people, if
you use their music and they're not online anywhere, they
(14:05):
don't have it on you know, digital service providers like Spotify,
then it's a wasted opportunity.
Speaker 3 (14:11):
So you do need that kind of team in place.
Speaker 2 (14:13):
I will say Zach Bryan was really fun for me because,
like all of this fans, I found him on Twitter
and YouTube and when Twitter was still Twitter, and so
you know, I just watched his videos and I reached
out and you know, I DMed all of two people
in my entire life and that I didn't know, and
he got back to me, and so he was still
in the Navy when I contacted him. I just said, listen,
(14:34):
if you can get yourself to Nashville, I'd love to,
you know, introduce you to Dave Cobb and then you know,
get these two songs recorded because the production was you know,
I think it was an Airbnb that he recorded the
songs in so, you know, we needed something a little
better for TV. And so then Dave Cobb produced two
tracks and we use one of them at the end
of the show, and that was Condemned. And just watching
him rise and rise has been so awesome.
Speaker 3 (14:56):
Anybody that I've.
Speaker 2 (14:57):
Known for a while, you know, we've all seen him
in various club hubs and whatnot, but they just haven't
kind of had a platform yet. And then watching their
sales go up like four hundred percent or you know,
suddenly they're charting on charts they'd never been on before.
It's really fun to be able to see that for people,
you know who just they they're working their asses off
and they're making great music and they deserve to be
seen and heard.
Speaker 1 (15:16):
I have like three more questions for you. I was
looking through your resume and one of my favorite movies
ever is Five Hundred Days of Summer. It's just it's
the best, and one of my favorite musical scenes in
any movie is when they're playing Hall and Oats making
my dreams come. Were you involved in that?
Speaker 2 (15:34):
Yeah, So the writers of that movie were fantastic, and
Scott Newstter and I, you know, like had very similar
music taste. So I was thrilled that, you know, the
Smiths were in there, and you know, it was fantastic,
and you Make My Dreams was written in and so
we had tried to, you know, get the Hallooats on camera.
We just wanted them to kind of sit on a
stoop and you know, kind of get a little shooter fingers, like, hey,
(15:56):
you know when when jose Gordon Levit's walking by in
a postcoital, you know, a happy dream sort of phase.
Speaker 1 (16:03):
And then.
Speaker 2 (16:06):
They didn't want to be on camera for whatever reason
I don't remember, and then we were like, well, we
really want someone on camera, so you know, maybe we
can find something else. I mean, I think we reached
out to just about every eighties act. We also, like
we were like, how can we change you know, everybody
have fun Tonight by Wang Chung? How can we change
Duran Duran's rio to summer? Would they do that for us?
You know, like we just we went wide and it
(16:28):
never really worked better.
Speaker 3 (16:29):
Than You Make My Dreams.
Speaker 2 (16:30):
So we're like, all right, we just want to have
them on camera and we'll have the song. And that
was the best day of shooting ever because we were
in downtown LA right outside of a courthouse. There was
a fountain that we got to control, and you know,
people are just like, what is happening. There's a whole
you know, like everybody dancing, and then there's a marching
band and it was It was really fun and you
(16:51):
make my dreams. It's kind of like the song that
never ends. You could just it can start and stop
anywhere and everyone's still happy.
Speaker 3 (16:57):
It never got boring.
Speaker 2 (16:58):
But that was my first studio film and it was
an absolute joy to.
Speaker 3 (17:02):
Be a part of that film.
Speaker 1 (17:04):
Two questions left. I love Lions. I didn't know I
would love it as much as I did. And we
just started it ate up season one. It was right
as season two was in the middle of it, which
is also how we found Yellowstone, because I don't think
we saw season one while it was happening. We're not
that cool, but all our friends were like, you got
to watch it, so maybe like through like halfway through
(17:25):
season two we got in the Lions is so good
one and then two is even better. What's the difference
in like a lion S type show where it's a
very military it's not on you know in Montana likes
So what kind of music do you look for when
you do that show.
Speaker 2 (17:42):
With every show, you always want to have, you know,
sort of the conversation of breaking down characters, of the
overall sort of sound and whatnot. But Taylor and I
kind of just have the music mind meld at this point,
So would you know, sometimes they'll say, Okay, I want
something that's still like Whiskey Myers, you know, that would
still fit some of the the soldiers in it, and
(18:02):
so then we'll stick with that. But then you know,
you have z always Soldania and her character and she's
not you know, like the sort of rock music so
or southern rock, So we do something that fits her
and her husband better, and then we have music that
fits the daughter better. Or then there's just source music
for a club, so it's more situational and more sourcy.
Speaker 3 (18:22):
We don't have montage songs in that so much.
Speaker 1 (18:26):
My final question, there are things that I'm involved in
that I can't really consume just as pure consumer because
I'm involved. If it's you know, audio stand up comedy,
it's like, I'm so invested in my life it's hard
for me to watch it just as a fan. Is
that hard for you to watch like a movie or
a show and not pay attention to every musical element
without going oh that's great or oh that's tough.
Speaker 2 (18:48):
I never turn off the work ears ever, but I've
I've been. I mean that's why I was a film
school kid too, Like I've always sort of broken down
things and analyzed them and loved them for that. So
there's no joy taken away from being analytical with the
work brain happening. But sometimes I'll watch something and if
it's not good, all I do is figure out the
budget of the songs.
Speaker 1 (19:09):
I really appreciate the time. Again, I mean it, it's
been musically a culture changer what you guys did on
Yellowstone the same way that Gray's anatom. You was then
that this to me and us is what you guys
did now and loved all of my friends that you helped.
And I guess even though you didn't even don't care
about them, they don't known that well. But I think
you did an awesome job, and so thank you so
much for being with us and talking about it means
(19:31):
a lot to me, and I hope you have a
great rest of the day.
Speaker 2 (19:33):
You too, And thank you for just elevating even more
information about Yellowstone because it's it's certainly been a ride,
and it's been really fun and luckily we are sort
of continuing our music style in the tailor verse on
land Man. So I recommend anyone who loved Yellowstone to
check out then.
Speaker 1 (20:13):
Andrey is a big deal in so many people's lives,
including this artist. This is country music artist Danny Rose.
Danny's had a total of five songs featured on Yellowstone.
Danny has a new song being released February twenty eighth
called I Ain't Levin that was featured in season five,
so you may have heard it on the show and
search for and couldn't find it, but it's about to
be out now, so make sure stream it. Support her,
(20:35):
and you can follow Danny on Instagram and check out
our music. DA N I R O sc at Danny Rose. Okay,
Danny Rose. Here she is all with us? Now? Is
Danny Rose? Hey? Danny? How are you? Hey?
Speaker 4 (20:57):
I'm doing well?
Speaker 1 (20:57):
Are you doing pretty good? I was looking at your
music and obviously this is a Yellowstone podcast. I didn't
realize that basically you've been on every season musically except
for season one, but you've pretty much been there through
the whole thing. How in the world did you get
hooked up with the people that cast music from Yellowstone?
Speaker 4 (21:12):
Oh my gosh, Well, it's a great story.
Speaker 5 (21:14):
I was at a birthday party in LA and I
was just hanging out, meeting friends, and I happened to
meet the music supervisor Andrew von Forrester for the show.
Speaker 1 (21:23):
How does the conversation come up that you do music
that fits perfectly in Yellowstone?
Speaker 5 (21:27):
We were just all hanging out. I mean, I'm a
very I'm very much energy oriented. If I gravitate towards
the person and I'm chatting with them and we like
each other, you just assume everybody does music or everyone's
in entertainment. So it was just a normal party and
we were hanging and she told me that she was
a music supervisor and I said, oh great, I do
country music and she said awesome, I'd love to hear it.
(21:48):
And I sent it to her, and then I didn't
hear anything from her for a couple of years, and
then randomly, out of the blues, she just messaged me
and said, hey, I love your music. I'd love to
put it on Yellowstone. It's this brand new show. You
might hear something about it. And at the time, we
had no idea what it was, so I was just like, yeah,
(22:09):
I'd love to.
Speaker 4 (22:10):
Have music on a TV show, and that's how it happened.
Speaker 1 (22:12):
So when you met her, she wasn't overseeing a show
that you knew of as Yellowstone. She literally was just
someone who specialized in finding music like sync music for
TV shows or commercials or whatever. Yeah.
Speaker 5 (22:24):
Like I had known her name because she had done
stuff for Grey's Anatomy, which was a huge show.
Speaker 4 (22:28):
So anybody that does.
Speaker 5 (22:30):
Music on these kinds of TV shows, you're always like, wow,
I would love to show you my music, but I
also I want it to be right, and I never
want to be pushy with any of my stuff. So
I literally just sent her the music and she liked
it and then kept asking for more, and I was
very grateful.
Speaker 4 (22:44):
And at the time we didn't know how huge Yellowstone
was going to be. I didn't know.
Speaker 5 (22:48):
I just thought, oh, you know, it's a paycheck. It's
money that I can use to put towards all of
my other music. Bobby, you know all about this, because
every dollar that you make goes back into or whatever
you're doing.
Speaker 4 (23:01):
This is more money I can invest in my music.
Speaker 1 (23:03):
Whenever it is on the show. Did you feel an
interest that you hadn't felt before, or like people looking
to find who you are following you on social media?
Speaker 4 (23:12):
Absolutely?
Speaker 5 (23:13):
I mean at first, because when season two came out,
it was just kind of starting to bubble and everyone
kind of knew who Taylor Sheridan was and again so
grateful to him for all of these opportunities.
Speaker 4 (23:25):
Without him, it wouldn't happen.
Speaker 5 (23:27):
And it was just like, Okay, this is a new
Tailor Shardan show. You know what is the response and
people were just kind of starting to get excited about it.
It wasn't until season three, I think that people really
started to have the subsession with the show, and it
just blew up almost overnight, and then people started to
find my music, People started to book me for shows,
(23:48):
people started to ask me about music for other TV shows,
and it just kind of was this tumbleweed of energy
and momentum from there.
Speaker 1 (23:56):
You bring up a good point is that I wasn't
on the forefront of watching Yellowstone. I had friends that
were like, hey, you should watch Yellowstone because we just
got into it and season one's over now, but you
should start it. And then when season two started I
was kind of just now caught up with season one.
It was one of those word of mouth shows that, Yeah,
season three was when it really exploded. It was a
bit of Breaking Bad ish, which I wasn't on the
(24:17):
early seasons of Breaking Bad when they came out, But
the show got so big and it was so popular
word of mouth that then I got in and you're right,
like season two, season three was when I was really
fully immersed into Yellowstone. That's cool that people would like
find you and book you for shows because they heard
your music on Yellowstone. That's pretty cool, right.
Speaker 4 (24:35):
It was amazing.
Speaker 5 (24:36):
I mean, people put me on playlists and people were
very excited to hear what I was up to and
what kind of music I was making, and they wanted
to know me. Rolling Stone reached out, Billboard reached out.
I've done so many shows, and then I was able
to meet some of the Yellowstone cast from it. It's
such a community there. It's so family oriented. Everybody at
Paramount Sabrita del Piure, they really put together such a
(24:59):
wonderful family.
Speaker 4 (25:00):
And then from that last.
Speaker 5 (25:02):
Year I was at Stagecoach or this past year I
was at Stagecoach and Yellowstone asked me to come over
and do some social media posts with them.
Speaker 4 (25:09):
So I was in the tent and then I got.
Speaker 5 (25:11):
A chance to meet like I mean, we had kind
of met just brown social circles, Ian Bowen and Jen
Landon and Luke Grimes and just kind of like all
hanging out and so it's just it's one big family.
And it's kind of crazy to think that I'm included
in that because I think of myself as like literally
just no one, but I get to do this awesome stuff,
(25:32):
and I'm just so grateful to be able to have
music in the show and have that kind of as
a propelling factor in what I'm doing next.
Speaker 1 (25:39):
There was a song of yours that was in a
recent episode and we're recording this. Did they take an
unreleased song of yours and play it?
Speaker 4 (25:45):
They actually did so.
Speaker 5 (25:46):
I wrote a song with Brent Cobb and Jesse Alexander
and that hasn't been released yet, but they did play
it on the show.
Speaker 4 (25:52):
This was this past Sunday.
Speaker 1 (25:54):
Do you feel like you have to keep up with
it though?
Speaker 2 (25:56):
Too?
Speaker 1 (25:56):
Now that since they've been so invested in you, like,
are you watching every episode?
Speaker 5 (26:00):
I Mean, I was such a fan to begin with,
so it didn't matter. It's really exciting to be able
to watch a TV show that you're into and then
want to actually watch it and then also see your
music in it.
Speaker 4 (26:11):
So it's like a two part thing.
Speaker 5 (26:13):
I'm watching because I want to hear my music, but
then I'm also watching because I want to know what's happening.
Speaker 1 (26:18):
You've had a song in season two, thirty four and five.
At this point, are they like, Okay, which song do
you want us to use of yours for this season?
It feels like listen. It's a very relationship based industry anyway,
and you're also really good. So do they come to
you and go, hey, we need a song that feels
like this, or do they just go through your entire library?
Speaker 4 (26:34):
They go through my entire library.
Speaker 5 (26:36):
Anytime that I've been in a room where somebody says
I need a song for this movie and here's what
it needs to be like, that song never goes anywhere.
It's always the songs that are about truth and are
about meaning to me, that are real songs that get
the placements. So I will have songs. I won't push
any music, but I'll wait for one of the supervisors
to ask.
Speaker 4 (26:56):
Me, Hey, what have you been listening to you? And
what are your new favorite songs that you've written? And
I'll just send him on where'd you grow up?
Speaker 1 (27:02):
So?
Speaker 5 (27:03):
I grew up in Virginia, but then in fifth grade
we moved to Tokyo.
Speaker 1 (27:09):
The juxtaposition at Virginia and Tokyo that is yeah, that's
that's that's a wild So Tokyo. Why Tokyo was your job?
One of your parents have a job over here.
Speaker 5 (27:19):
My dad's a chemical patent attorney. So he moved us
to Southeast Asia to Japan.
Speaker 1 (27:23):
That's awesome.
Speaker 5 (27:24):
And from fifth grade until ninth grade, we just traveled
Southeast Asia. So I became like a very I went
from like Chantilly, Virginia, where like you do nothing, and
then we moved to Japan and my entire world kind
of opened up. I met so many different kids from
all over the world, and that network really broadened my head.
And then when we moved back in high school, because
(27:45):
we went back to the same house and I went
to Chantilly, it was so depressing because I went from
going on trips with my friends in seventh grade. I
mean I was taking the subway by myself in fifth
grade and because my dad was like, you will do this,
I am sick.
Speaker 4 (27:57):
Of tak sure.
Speaker 5 (27:59):
So literally we would just tour all over the place.
We would go to the Great Wall of China with
my parents like three or four times, the stuff that
you see in school books. I was actually like living
out in real life. And then we moved back to
Virginia and it was just like, oh, okay, well you
can go to the mall and your home. And I
was like, wait, i can't take the subway myself, like
(28:20):
I'm used to going to Tokyo Disneyland like every weekend.
So it was quite a culture shock just to be
dropped back to here we are like essentially middle of
nowhere at Virginia and this is what it is.
Speaker 1 (28:33):
When did you start to feel like music was something
you wanted to do for your life.
Speaker 5 (28:37):
When I was in second grade, I loved to sing
like you know, you get out and do like this
land is my land. I would sing it at the
top of my lungs and yell it it's so loud,
because I was like, I have a powerful voice, but
I don't think I had a great voice at the time.
I think it was terrible. And the teacher would always
come over and say, you know, Danielle. They would call
(28:59):
me to Danielle. I think that what you should do
is just be a bit quieter, because we know that
you love your country's we need you to calm it down.
From that age, I was always wanting to be in
front of the camera doing music, being on stage, performing, singing,
entertainment was always something that I wanted to do ever
since I.
Speaker 3 (29:18):
Was a kid.
Speaker 1 (29:19):
And how long have you been in Nashville?
Speaker 5 (29:21):
Just recently moved there full time the beginning of the summer.
Speaker 1 (29:24):
Your bouncing back and forth, you were doing the go
to town for a few days and write and then
go back home type thing.
Speaker 4 (29:28):
Yeah, that's what I did.
Speaker 5 (29:29):
I was I was living between LA and Nashville, and
then bought a house in Hermitage and just decided I'm
going to live here full time. I had so much
going on, and there's just as you know, there's so
much work in the city and you just have to
be there. I hate to say that because that's such
a thing that people say all the time, Well you
have to be here, you want to you know, you
want to do it, you got to be here.
Speaker 4 (29:47):
But I think it's true.
Speaker 1 (29:49):
Yeah, It's one of those cliches that I've had to
say it to a couple of people, and I'm like,
I know, this sounds like the most cliche thing I
could possibly say. You'd have to be here, and you're right,
and I mean, because there just so many things that happen,
or so many things that are possible because of proximity
that may not be possible otherwise. Well, congratulations on all that.
And by the time this comes out, your record will
(30:10):
have been out Outsiders, So we'll give me some stuff
about the record here. What's happening with you.
Speaker 5 (30:14):
Outsiders is really exciting. It's all about a collection of
saying goodbye the old me and saying hello to the
new me. The title track is good Morning, which is
all about having a funeral for the old me and
laying herd arrest. It's really fun. I did a music
video for it in Nashville. It's hilarious. There's a dance
at the end. As someone who has mastered the Foxtrot,
(30:35):
I think you would really appreciate the dancing at the end,
because I'm.
Speaker 4 (30:38):
Not as good of a dancer as you.
Speaker 5 (30:40):
But there's another really special song on there called Whiskey
or Cold that is out right now, and that song
is all about the other side of addiction. It's different
in the fact that it goes after blaming the alcohol
instead of the person for all of the terrible things
that you have to go through and a loved one
(31:00):
is going through being addicted to something and you have
no control over it. So that's one of my favorite
songs on the record, Whiskey or Colton. I wrote it
with Liz Rose.
Speaker 1 (31:09):
Oh, one of my favorite people and writers, who's awesome.
Lizon's awesome anyways, So you guys can follow Danny on
Instagram DA and I Rose. Danny Rose, we really appreciate
you coming on talking about Yellowstone. Good luck with the record,
I hope at strange tend gabillion streams. Thanks for the
time today and good luck and I'm sure I'll see
you up here in the studio at some point soon.
(31:33):
The Yellowstone Official Podcast hosted by Me Bobby Bones and
brought to you by iHeartMedia Podcasts and MTV Entertainment Studios.
Big shout out to executive producers Jason Red, Lindsey Hoffman,
Karl Catele, and Kevin O'Connell. Also our senior manager of
podcast marketing Ali Canner Grab for keeping the word out,
and of course a big thanks to Will Pearson, president
(31:54):
of iHeartMedia Podcast for him supporting this show. We've also
got special thanks going out to Whitney Baxter, Xavier off Free,
Barbara Parida, Emily Curry, and Joe Flattery. You guys make
this happen. This podcast is produced in association with One
on one Studios over there executive producer Scott Stone and
Director of podcast Development and Production Danielle Waxman. We also
got to give a big nod to Michelle Newman, David
(32:16):
Glasser and David Hudkin for their support. Thank you guys
for tuning in. See you next week.
Hey, welcome to episode four of the Official Yellowstone Podcast.
This means it's the halfway point of the podcast. It's crazy.
I'm having so much fun talking to like the people
that make the show happen. I love Yellowstone so much.
We've had amazing actors that have told us not only
behind the scenes stories from Yellowstone, but also their careers.
So go check it out the last three episodes. If
(00:29):
you're a massive fan, I think you'll love And if
you're a fan of the show, you probably also love
the music of the show. I do, and we're going
to do that. First, we talk with music supervisor Andrea Forster.
She's the one who calls the shots when it comes
to which artists and songs are featured on Yellowstone. So
obviously Yellowstone is so music intensive it helps set the
(00:51):
scene for so many things. But she's also been the
music supervisor for the movie Five Hundred Days of Summer,
which I love, Liones, which I love love that show
is awesome, land Man, and a bunch of other awesome shows.
And then after Andrea, we get an artist who Andrea
kind of featured and discovered for the show. So first,
here she is when it comes to picking music for
(01:12):
shows and setting the scene. She is a plus Andrea Forster.
So many artists that I know, even friends of mine,
they got their first look from you whenever you were
looking for music for Yellowstone. So how long ahead of
(01:37):
the series launching did they bring you in and what
did they tell you to look for musically?
Speaker 2 (01:42):
I met with Taylor over the phone once I had
already sort of met with a couple other people who
had recommended me, and so Richard Glasser, who was the
head of music at the time of the company, had
referred me to the head of posts, who then referred
me to Taylor, and we talked and we kind of
got along right away. I mean, we both started talking
about how Unforgiven is one of our favorite movies immediately,
(02:03):
and we.
Speaker 3 (02:04):
Just kind of clicked.
Speaker 2 (02:04):
And I don't know that we ever said the music
needs to be this, this and this. I think there
was just an understanding because his writing is so clear,
and he wrote such amazing strong characters that the project
and the characters always tell you what they want, and
so you're not inventing it, you're just listening. And so
when we discussed kind of the songs that we like,
(02:25):
it just did have made sense, and I was brought
on Gosh, I don't know at what point it was.
It was definitely I think we might have been shooting,
but I'm not entirely sure anymore six years ago.
Speaker 1 (02:37):
And do you watch scenes or do you read parts
of script and then start in your head of signing
sonically what it would feel like. How does that process work?
Speaker 2 (02:45):
So I'll get the scripts and I'll read all of them,
and then before we shoot and then sort of flag
anything if there's an on camera, so if we have
any bands that might need to perform, or if there
is someone singing aligned for some reason, or if there's
also like Lady May when they're ripping Beth, they're dancing
in the arena. You know, you want to know all
those things ahead of time so you can clear the
(03:07):
songs and then you know, we start shooting. And the
amazing thing about Taylor's voice and I is just that
everything he writes it's exactly how you see it on screen.
So by the time I happen to see a scene,
it's exactly what I saw on my head from reading
the script, so there's no change. So it's very easy
for me to stay consistent in that way and know
what I'm looking for music for, and then we just
(03:27):
had We have a very narrow lane of music that
we use on Yellowstone because it's red dirt country. It's
it tends to be more reserved or quiet, I always say,
quietly epic kind of music where it's almost like a
journal entry, right, you know, like being set to music,
because everything is very introspective and no one's ever well,
(03:48):
most people aren't normally joyous on the outside, except for
the bunk house boys, so that's usually where we would
have more fun or a rodeo, But other than that,
usually it's it's sort of more from the perspective of
the person's mind that you're watching on screen.
Speaker 1 (04:01):
I've been friends with Lanie Wilson for a long time,
even before she had her first song that was a success,
and even talking to her on microphone before she had
any success or single This is out. She was like, man,
my music's been on Yellowstone and this is like baby Laney,
not in an actual infant, but baby So what about Laney
was it that drew you to going, man, this unknown artist,
like I love what she's doing.
Speaker 3 (04:23):
It's hard to explain, you know.
Speaker 2 (04:25):
The X factor that I think everybody feels or hears
when you hear something new. I had gone between season
one and season two of Yellowstone to Nashville and met
with a ton of people. Totally forgot to schedule lunches
in there, so I just had meetings from like eight
in the morning till night at night for five days
and met with labels and publishers and managers and agencies.
And I had gone to William Morris and Brandy Brammer
(04:49):
had set up a bunch of meetings for me to
meet with each agent, and they brought in, you know,
the music that they thought fit, and I heard Laney
and it was the song we ended up using in
the bowl in the bar scene.
Speaker 3 (05:00):
But I said, she's it, She's she's the tailor verse.
Speaker 2 (05:03):
You know, this is this is good for us, And
sure enough we did use it in the scene, and
then we kept coming back to the will because she's
so talented, and she has that perfect blend of kind
of it's it's somehow along the lines of traditional country
music but still super contemporary, and.
Speaker 3 (05:19):
So she has just a really wide appeal, like she's sort.
Speaker 2 (05:23):
Of like a I said, she was sort of the
next Miranda Lambert, but I can also see her a
little bit in the Dolly parton kind of Universe as well.
Speaker 1 (05:31):
What is your background in music and how did you
end up doing a job like not only this, I've
looked at your resume. I'll get through a lot of
that later, but how did this all happen?
Speaker 2 (05:38):
I always knew I wanted to be in entertainment since
I was very young, and then I went to USC
Film School, and then for production and then double minded
of music business and music recording and all of that
needs nothing to what I'm doing now, but I you know,
I knew I wanted to be in Los Angeles, and
I knew I wanted to be where entertainment was, and
so I just kept getting entertainment jobs. I worked as
(05:58):
a PA in commercials and music video. I did event
production for trade shows for film gear and music videos,
and then.
Speaker 3 (06:06):
I got a job with a supervisor.
Speaker 1 (06:09):
Not well.
Speaker 2 (06:09):
Actually, my first entertainment job was at Disney in the
live action feature feature soundtrack department for Bue of his
demotion pictures groups. So I worked on as an assistant
to another person. I worked on soundtracks for Gone in
sixty Seconds high fidelity Coyote, Ugly Armageddon. I can't even
remember the other ones, but I was just a temp
(06:30):
there and then I went back to school for one
year and then they said they'd hired me out of school,
and they did, so then I worked there for a
little longer, and then I ended up working for a supervisor.
And I didn't know what a music supervisor was, but
my dad, you like, take the meeting.
Speaker 3 (06:42):
So you take the meeting.
Speaker 2 (06:43):
And so I met with a gentleman named Kevin Edelman
in his garage as he was moving, and then it
turned out he was moving to a mile away from
my house. So then I worked for him and worked
on Roswell VIP Providence Popular Ryan Murphy's first show. And
then I worked for another supervisor, Alex Pettsavas, and did
like you know, as a coordinator and ended THEOC and
(07:05):
Gray's Anatomy and things like that.
Speaker 3 (07:06):
I finally was like, you know what, I think I
can do this on my own.
Speaker 2 (07:10):
So in two thousand and six, I started my own
company with absolutely nothing and just kind of started over.
Speaker 3 (07:16):
And luckily, you know, I got work.
Speaker 2 (07:19):
And then you get what you're supposed to get, you know,
so it's like you can't force anything. It's got to
be the right fit. So I feel the same way
about music as I feel about me getting jobs.
Speaker 1 (07:28):
What was the first job that was yours, meaning you're
the head?
Speaker 3 (07:33):
I know.
Speaker 2 (07:33):
I was on Modern Family, but they didn't need me consistently,
so I was on sort of episodes, I think, and
then I was also on Jake in Progress and Kitchen Confidential.
Speaker 3 (07:42):
It's mainly like half hour comedies.
Speaker 2 (07:44):
And then I started, you know, finally getting like the
Holy Grail is an hour long show for any music supervisor,
you know, and especially if it's a drama and you
get montages, you're like, oh, you know, you get to
like have a song really showcased, and that's you know,
what I was always hoping for. And then I got Dollhouse,
which was really fun, and then I got a bunch
(08:07):
of other sort of hour longs. But Scream was one
of my favorite ones that I did for MTV because
I got to use, you know, really like new artists
because we didn't have a budget, so I used Billie
Eilish before she was signed and published, and then then
she had Ocean Eyes out at the time, and then yeah,
(08:28):
the same person that sir Richard Glasser was ahead of
music or on Scream, and then he knew that I liked,
you know, like he just knew my personality because we've
been on panels together around the country in North America,
and so then he said, I got someone free to meet,
and that's how I ended up.
Speaker 3 (08:43):
Getting onto Yellowism.
Speaker 1 (09:04):
I feel like Yellowstone for country music now is what
Grey's Anatomy kind of did for that soft rock singer songwriter.
There are a lot of parallels between the two because
Gray's Anatomy set a lot of music culture in that
area and that's very much what I listened to then,
and it's funny to see Yellowstone do it now and
(09:25):
the ability that you have to showcase your taste with
these artists, when did that culture become Instead of you
searching people were then just throwing stuff at you.
Speaker 3 (09:35):
Well, fun question.
Speaker 2 (09:38):
So the thing is, like I'll say, the number one
thing that makes a difference for music working in a
show is the writing. If you don't have it in
the script to have space for music and you're not
just fixing it a post and throwing a song on it,
it will never work the same way that it does
in the OC and Gray's Antemy and Yellowstone and a
bunch of other shows. So it's got to be in
the writing first, and so it's great eight When writers
(10:00):
have music in mind, it doesn't have to be the
actual song.
Speaker 3 (10:02):
They don't have to write something in but just keep
it in mind.
Speaker 2 (10:04):
For Yellowstone, season one, kind of people didn't know who
we were, and our network was new and all the
rest of it. So by season when I went to
Nashville in between season one and season two, almost no
one had seen the show. So I had to explain
it over and over over again what we wanted. And
you know, we didn't want the Nashville sound. We didn't
want superget produced, we didn't want a ton of reverb,
(10:27):
you know, we didn't want what.
Speaker 3 (10:28):
Was on country radio at the time.
Speaker 2 (10:30):
And so we wanted it to be you know, kind
of more raw, more you know, words and guitar.
Speaker 3 (10:35):
You know, that was the focus.
Speaker 2 (10:37):
And because you can't have big, you know, production songs
against these sort of quiet, reflective moments or you know,
it just it would it would turn into a music
video instead of you being able to live in the
moment of the scene. By I'd say probably season three
is when people started finding me, and nine times out
(10:57):
of ten it's not something that we would use on
the show. So but you know, with like trusted sources
as far as managers and agents and publishers and labels,
or even just some independent people finding us or Taylor
recommending something he heard on the radio or you know whatever,
then you know things worked out or people kind of
learned our sound. But it's and it's evolve since season one,
(11:19):
for sure, and I'm very sad that it's come to
a close.
Speaker 1 (11:23):
Whiskey Myers playing on stage. To be able to actually
go and do this show feels like the greatest compliment
because not only is your music being played, but also
you're being seen, and I feel like that's gigantic for
being and those guys have been around, and I've known
of those guys forever, especially living in Texas. Was in
Texas for ten twelve years, and so I've known of
Whiskey Myers. But it's got to be pretty cool to
(11:46):
be able to find guys like that that are wildly talented,
but then open the door to a brand new audience
like that's got to be one of the best parts of.
Speaker 2 (11:53):
The job, right absolutely, I mean, Whiskey Myers was a
tailor a special. You know, he requested them and we
had him on camera, and that entire explosion is because
of him writing it in and knowing that he wanted them.
I had never heard of them before at that point,
and you know, it just took off. And it's really
fun to be a part of someone's story and to
give them a platform. And obviously it's not even my platform,
(12:15):
it's Taylor's platform, and I'm honored to be able to
help put things, you know, into that universe. And it's
it's really fun to be able to watch people grow
because a lot of the people that we use in
Yellowstone in general, even up to season five, they sort
of went from you know, one level of their career
to sort of to the stratosphere very quickly.
Speaker 3 (12:37):
And it's really cool to watch that.
Speaker 2 (12:38):
But the only bad thing is that I can't afford
them for the horse shows that I booked for they
got too big.
Speaker 1 (12:44):
Another one that I remember, and again I'm not going
to know the exact scene or song, but I'm going, Okay,
what can I think of that moved me? Musically? A
lot of music I've seen every episode, but what moved
me there was a like a wide open field scene
where you're playing a Zach Bryan's slow song and maybe
you can help me. But there was so much of
the song. It was one of those rare times where
I go gotta go and just save that to my playlist.
(13:06):
Can you remember what I'm talking about? Even?
Speaker 2 (13:08):
Was it tiit shamngo. It might have been used that
song for a very long time.
Speaker 1 (13:13):
Whatever it was, it was, Yeah, it was a lot.
And I remember going, Oh, my wife from Oklahoma, so
she was already a big Zac Briant fan, but because
she was such a fan, I was like, nah, but
that was kind of what convinced me. Was like hearing
it in the show and going like, oh, I'm kind
of moved by this. Yeah, so that the show to
even on this show that you know, we've been able
(13:34):
to feature a lot of people that got their breaks
there who for you has been super exciting that you
featured before they were even known and now it's like
you're watching them blow up and there is some credit
to you and the show.
Speaker 3 (13:44):
Yeah.
Speaker 2 (13:45):
I mean, I always want to be careful, like I
think people take too much ownership for things that you know,
if you give it a platform that's amazing, but you're
not the talent. Like if you're their parents, you can
take credit. But so that's why I like to say
that we're a piece of the puzzle, you know, and
you need people to be prepared to kind of have
any success as well, because a lot of people, if
you use their music and they're not online anywhere, they
(14:05):
don't have it on you know, digital service providers like Spotify,
then it's a wasted opportunity.
Speaker 3 (14:11):
So you do need that kind of team in place.
Speaker 2 (14:13):
I will say Zach Bryan was really fun for me because,
like all of this fans, I found him on Twitter
and YouTube and when Twitter was still Twitter, and so
you know, I just watched his videos and I reached
out and you know, I DMed all of two people
in my entire life and that I didn't know, and
he got back to me, and so he was still
in the Navy when I contacted him. I just said, listen,
(14:34):
if you can get yourself to Nashville, I'd love to,
you know, introduce you to Dave Cobb and then you know,
get these two songs recorded because the production was you know,
I think it was an Airbnb that he recorded the
songs in so, you know, we needed something a little
better for TV. And so then Dave Cobb produced two
tracks and we use one of them at the end
of the show, and that was Condemned. And just watching
him rise and rise has been so awesome.
Speaker 3 (14:56):
Anybody that I've.
Speaker 2 (14:57):
Known for a while, you know, we've all seen him
in various club hubs and whatnot, but they just haven't
kind of had a platform yet. And then watching their
sales go up like four hundred percent or you know,
suddenly they're charting on charts they'd never been on before.
It's really fun to be able to see that for people,
you know who just they they're working their asses off
and they're making great music and they deserve to be
seen and heard.
Speaker 1 (15:16):
I have like three more questions for you. I was
looking through your resume and one of my favorite movies
ever is Five Hundred Days of Summer. It's just it's
the best, and one of my favorite musical scenes in
any movie is when they're playing Hall and Oats making
my dreams come. Were you involved in that?
Speaker 2 (15:34):
Yeah, So the writers of that movie were fantastic, and
Scott Newstter and I, you know, like had very similar
music taste. So I was thrilled that, you know, the
Smiths were in there, and you know, it was fantastic,
and you Make My Dreams was written in and so
we had tried to, you know, get the Hallooats on camera.
We just wanted them to kind of sit on a
stoop and you know, kind of get a little shooter fingers, like, hey,
(15:56):
you know when when jose Gordon Levit's walking by in
a postcoital, you know, a happy dream sort of phase.
Speaker 1 (16:03):
And then.
Speaker 2 (16:06):
They didn't want to be on camera for whatever reason
I don't remember, and then we were like, well, we
really want someone on camera, so you know, maybe we
can find something else. I mean, I think we reached
out to just about every eighties act. We also, like
we were like, how can we change you know, everybody
have fun Tonight by Wang Chung? How can we change
Duran Duran's rio to summer? Would they do that for us?
You know, like we just we went wide and it
(16:28):
never really worked better.
Speaker 3 (16:29):
Than You Make My Dreams.
Speaker 2 (16:30):
So we're like, all right, we just want to have
them on camera and we'll have the song. And that
was the best day of shooting ever because we were
in downtown LA right outside of a courthouse. There was
a fountain that we got to control, and you know,
people are just like, what is happening. There's a whole
you know, like everybody dancing, and then there's a marching
band and it was It was really fun and you
(16:51):
make my dreams. It's kind of like the song that
never ends. You could just it can start and stop
anywhere and everyone's still happy.
Speaker 3 (16:57):
It never got boring.
Speaker 2 (16:58):
But that was my first studio film and it was
an absolute joy to.
Speaker 3 (17:02):
Be a part of that film.
Speaker 1 (17:04):
Two questions left. I love Lions. I didn't know I
would love it as much as I did. And we
just started it ate up season one. It was right
as season two was in the middle of it, which
is also how we found Yellowstone, because I don't think
we saw season one while it was happening. We're not
that cool, but all our friends were like, you got
to watch it, so maybe like through like halfway through
(17:25):
season two we got in the Lions is so good
one and then two is even better. What's the difference
in like a lion S type show where it's a
very military it's not on you know in Montana likes
So what kind of music do you look for when
you do that show.
Speaker 2 (17:42):
With every show, you always want to have, you know,
sort of the conversation of breaking down characters, of the
overall sort of sound and whatnot. But Taylor and I
kind of just have the music mind meld at this point,
So would you know, sometimes they'll say, Okay, I want
something that's still like Whiskey Myers, you know, that would
still fit some of the the soldiers in it, and
(18:02):
so then we'll stick with that. But then you know,
you have z always Soldania and her character and she's
not you know, like the sort of rock music so
or southern rock, So we do something that fits her
and her husband better, and then we have music that
fits the daughter better. Or then there's just source music
for a club, so it's more situational and more sourcy.
Speaker 3 (18:22):
We don't have montage songs in that so much.
Speaker 1 (18:26):
My final question, there are things that I'm involved in
that I can't really consume just as pure consumer because
I'm involved. If it's you know, audio stand up comedy,
it's like, I'm so invested in my life it's hard
for me to watch it just as a fan. Is
that hard for you to watch like a movie or
a show and not pay attention to every musical element
without going oh that's great or oh that's tough.
Speaker 2 (18:48):
I never turn off the work ears ever, but I've
I've been. I mean that's why I was a film
school kid too, Like I've always sort of broken down
things and analyzed them and loved them for that. So
there's no joy taken away from being analytical with the
work brain happening. But sometimes I'll watch something and if
it's not good, all I do is figure out the
budget of the songs.
Speaker 1 (19:09):
I really appreciate the time. Again, I mean it, it's
been musically a culture changer what you guys did on
Yellowstone the same way that Gray's anatom. You was then
that this to me and us is what you guys
did now and loved all of my friends that you helped.
And I guess even though you didn't even don't care
about them, they don't known that well. But I think
you did an awesome job, and so thank you so
much for being with us and talking about it means
(19:31):
a lot to me, and I hope you have a
great rest of the day.
Speaker 2 (19:33):
You too, And thank you for just elevating even more
information about Yellowstone because it's it's certainly been a ride,
and it's been really fun and luckily we are sort
of continuing our music style in the tailor verse on
land Man. So I recommend anyone who loved Yellowstone to
check out then.
Speaker 1 (20:13):
Andrey is a big deal in so many people's lives,
including this artist. This is country music artist Danny Rose.
Danny's had a total of five songs featured on Yellowstone.
Danny has a new song being released February twenty eighth
called I Ain't Levin that was featured in season five,
so you may have heard it on the show and
search for and couldn't find it, but it's about to
be out now, so make sure stream it. Support her,
(20:35):
and you can follow Danny on Instagram and check out
our music. DA N I R O sc at Danny Rose. Okay,
Danny Rose. Here she is all with us? Now? Is
Danny Rose? Hey? Danny? How are you? Hey?
Speaker 4 (20:57):
I'm doing well?
Speaker 1 (20:57):
Are you doing pretty good? I was looking at your
music and obviously this is a Yellowstone podcast. I didn't
realize that basically you've been on every season musically except
for season one, but you've pretty much been there through
the whole thing. How in the world did you get
hooked up with the people that cast music from Yellowstone?
Speaker 4 (21:12):
Oh my gosh, Well, it's a great story.
Speaker 5 (21:14):
I was at a birthday party in LA and I
was just hanging out, meeting friends, and I happened to
meet the music supervisor Andrew von Forrester for the show.
Speaker 1 (21:23):
How does the conversation come up that you do music
that fits perfectly in Yellowstone?
Speaker 5 (21:27):
We were just all hanging out. I mean, I'm a
very I'm very much energy oriented. If I gravitate towards
the person and I'm chatting with them and we like
each other, you just assume everybody does music or everyone's
in entertainment. So it was just a normal party and
we were hanging and she told me that she was
a music supervisor and I said, oh great, I do
country music and she said awesome, I'd love to hear it.
(21:48):
And I sent it to her, and then I didn't
hear anything from her for a couple of years, and
then randomly, out of the blues, she just messaged me
and said, hey, I love your music. I'd love to
put it on Yellowstone. It's this brand new show. You
might hear something about it. And at the time, we
had no idea what it was, so I was just like, yeah,
(22:09):
I'd love to.
Speaker 4 (22:10):
Have music on a TV show, and that's how it happened.
Speaker 1 (22:12):
So when you met her, she wasn't overseeing a show
that you knew of as Yellowstone. She literally was just
someone who specialized in finding music like sync music for
TV shows or commercials or whatever. Yeah.
Speaker 5 (22:24):
Like I had known her name because she had done
stuff for Grey's Anatomy, which was a huge show.
Speaker 4 (22:28):
So anybody that does.
Speaker 5 (22:30):
Music on these kinds of TV shows, you're always like, wow,
I would love to show you my music, but I
also I want it to be right, and I never
want to be pushy with any of my stuff. So
I literally just sent her the music and she liked
it and then kept asking for more, and I was
very grateful.
Speaker 4 (22:44):
And at the time we didn't know how huge Yellowstone
was going to be. I didn't know.
Speaker 5 (22:48):
I just thought, oh, you know, it's a paycheck. It's
money that I can use to put towards all of
my other music. Bobby, you know all about this, because
every dollar that you make goes back into or whatever
you're doing.
Speaker 4 (23:01):
This is more money I can invest in my music.
Speaker 1 (23:03):
Whenever it is on the show. Did you feel an
interest that you hadn't felt before, or like people looking
to find who you are following you on social media?
Speaker 4 (23:12):
Absolutely?
Speaker 5 (23:13):
I mean at first, because when season two came out,
it was just kind of starting to bubble and everyone
kind of knew who Taylor Sheridan was and again so
grateful to him for all of these opportunities.
Speaker 4 (23:25):
Without him, it wouldn't happen.
Speaker 5 (23:27):
And it was just like, Okay, this is a new
Tailor Shardan show. You know what is the response and
people were just kind of starting to get excited about it.
It wasn't until season three, I think that people really
started to have the subsession with the show, and it
just blew up almost overnight, and then people started to
find my music, People started to book me for shows,
(23:48):
people started to ask me about music for other TV shows,
and it just kind of was this tumbleweed of energy
and momentum from there.
Speaker 1 (23:56):
You bring up a good point is that I wasn't
on the forefront of watching Yellowstone. I had friends that
were like, hey, you should watch Yellowstone because we just
got into it and season one's over now, but you
should start it. And then when season two started I
was kind of just now caught up with season one.
It was one of those word of mouth shows that, Yeah,
season three was when it really exploded. It was a
bit of Breaking Bad ish, which I wasn't on the
(24:17):
early seasons of Breaking Bad when they came out, But
the show got so big and it was so popular
word of mouth that then I got in and you're right,
like season two, season three was when I was really
fully immersed into Yellowstone. That's cool that people would like
find you and book you for shows because they heard
your music on Yellowstone. That's pretty cool, right.
Speaker 4 (24:35):
It was amazing.
Speaker 5 (24:36):
I mean, people put me on playlists and people were
very excited to hear what I was up to and
what kind of music I was making, and they wanted
to know me. Rolling Stone reached out, Billboard reached out.
I've done so many shows, and then I was able
to meet some of the Yellowstone cast from it. It's
such a community there. It's so family oriented. Everybody at
Paramount Sabrita del Piure, they really put together such a
(24:59):
wonderful family.
Speaker 4 (25:00):
And then from that last.
Speaker 5 (25:02):
Year I was at Stagecoach or this past year I
was at Stagecoach and Yellowstone asked me to come over
and do some social media posts with them.
Speaker 4 (25:09):
So I was in the tent and then I got.
Speaker 5 (25:11):
A chance to meet like I mean, we had kind
of met just brown social circles, Ian Bowen and Jen
Landon and Luke Grimes and just kind of like all
hanging out and so it's just it's one big family.
And it's kind of crazy to think that I'm included
in that because I think of myself as like literally
just no one, but I get to do this awesome stuff,
(25:32):
and I'm just so grateful to be able to have
music in the show and have that kind of as
a propelling factor in what I'm doing next.
Speaker 1 (25:39):
There was a song of yours that was in a
recent episode and we're recording this. Did they take an
unreleased song of yours and play it?
Speaker 4 (25:45):
They actually did so.
Speaker 5 (25:46):
I wrote a song with Brent Cobb and Jesse Alexander
and that hasn't been released yet, but they did play
it on the show.
Speaker 4 (25:52):
This was this past Sunday.
Speaker 1 (25:54):
Do you feel like you have to keep up with
it though?
Speaker 2 (25:56):
Too?
Speaker 1 (25:56):
Now that since they've been so invested in you, like,
are you watching every episode?
Speaker 5 (26:00):
I Mean, I was such a fan to begin with,
so it didn't matter. It's really exciting to be able
to watch a TV show that you're into and then
want to actually watch it and then also see your
music in it.
Speaker 4 (26:11):
So it's like a two part thing.
Speaker 5 (26:13):
I'm watching because I want to hear my music, but
then I'm also watching because I want to know what's happening.
Speaker 1 (26:18):
You've had a song in season two, thirty four and five.
At this point, are they like, Okay, which song do
you want us to use of yours for this season?
It feels like listen. It's a very relationship based industry anyway,
and you're also really good. So do they come to
you and go, hey, we need a song that feels
like this, or do they just go through your entire library?
Speaker 4 (26:34):
They go through my entire library.
Speaker 5 (26:36):
Anytime that I've been in a room where somebody says
I need a song for this movie and here's what
it needs to be like, that song never goes anywhere.
It's always the songs that are about truth and are
about meaning to me, that are real songs that get
the placements. So I will have songs. I won't push
any music, but I'll wait for one of the supervisors
to ask.
Speaker 4 (26:56):
Me, Hey, what have you been listening to you? And
what are your new favorite songs that you've written? And
I'll just send him on where'd you grow up?
Speaker 1 (27:02):
So?
Speaker 5 (27:03):
I grew up in Virginia, but then in fifth grade
we moved to Tokyo.
Speaker 1 (27:09):
The juxtaposition at Virginia and Tokyo that is yeah, that's
that's that's a wild So Tokyo. Why Tokyo was your job?
One of your parents have a job over here.
Speaker 5 (27:19):
My dad's a chemical patent attorney. So he moved us
to Southeast Asia to Japan.
Speaker 1 (27:23):
That's awesome.
Speaker 5 (27:24):
And from fifth grade until ninth grade, we just traveled
Southeast Asia. So I became like a very I went
from like Chantilly, Virginia, where like you do nothing, and
then we moved to Japan and my entire world kind
of opened up. I met so many different kids from
all over the world, and that network really broadened my head.
And then when we moved back in high school, because
(27:45):
we went back to the same house and I went
to Chantilly, it was so depressing because I went from
going on trips with my friends in seventh grade. I
mean I was taking the subway by myself in fifth
grade and because my dad was like, you will do this,
I am sick.
Speaker 4 (27:57):
Of tak sure.
Speaker 5 (27:59):
So literally we would just tour all over the place.
We would go to the Great Wall of China with
my parents like three or four times, the stuff that
you see in school books. I was actually like living
out in real life. And then we moved back to
Virginia and it was just like, oh, okay, well you
can go to the mall and your home. And I
was like, wait, i can't take the subway myself, like
(28:20):
I'm used to going to Tokyo Disneyland like every weekend.
So it was quite a culture shock just to be
dropped back to here we are like essentially middle of
nowhere at Virginia and this is what it is.
Speaker 1 (28:33):
When did you start to feel like music was something
you wanted to do for your life.
Speaker 5 (28:37):
When I was in second grade, I loved to sing
like you know, you get out and do like this
land is my land. I would sing it at the
top of my lungs and yell it it's so loud,
because I was like, I have a powerful voice, but
I don't think I had a great voice at the time.
I think it was terrible. And the teacher would always
come over and say, you know, Danielle. They would call
(28:59):
me to Danielle. I think that what you should do
is just be a bit quieter, because we know that
you love your country's we need you to calm it down.
From that age, I was always wanting to be in
front of the camera doing music, being on stage, performing, singing,
entertainment was always something that I wanted to do ever
since I.
Speaker 3 (29:18):
Was a kid.
Speaker 1 (29:19):
And how long have you been in Nashville?
Speaker 5 (29:21):
Just recently moved there full time the beginning of the summer.
Speaker 1 (29:24):
Your bouncing back and forth, you were doing the go
to town for a few days and write and then
go back home type thing.
Speaker 4 (29:28):
Yeah, that's what I did.
Speaker 5 (29:29):
I was I was living between LA and Nashville, and
then bought a house in Hermitage and just decided I'm
going to live here full time. I had so much
going on, and there's just as you know, there's so
much work in the city and you just have to
be there. I hate to say that because that's such
a thing that people say all the time, Well you
have to be here, you want to you know, you
want to do it, you got to be here.
Speaker 4 (29:47):
But I think it's true.
Speaker 1 (29:49):
Yeah, It's one of those cliches that I've had to
say it to a couple of people, and I'm like,
I know, this sounds like the most cliche thing I
could possibly say. You'd have to be here, and you're right,
and I mean, because there just so many things that happen,
or so many things that are possible because of proximity
that may not be possible otherwise. Well, congratulations on all that.
And by the time this comes out, your record will
(30:10):
have been out Outsiders, So we'll give me some stuff
about the record here. What's happening with you.
Speaker 5 (30:14):
Outsiders is really exciting. It's all about a collection of
saying goodbye the old me and saying hello to the
new me. The title track is good Morning, which is
all about having a funeral for the old me and
laying herd arrest. It's really fun. I did a music
video for it in Nashville. It's hilarious. There's a dance
at the end. As someone who has mastered the Foxtrot,
(30:35):
I think you would really appreciate the dancing at the end,
because I'm.
Speaker 4 (30:38):
Not as good of a dancer as you.
Speaker 5 (30:40):
But there's another really special song on there called Whiskey
or Cold that is out right now, and that song
is all about the other side of addiction. It's different
in the fact that it goes after blaming the alcohol
instead of the person for all of the terrible things
that you have to go through and a loved one
(31:00):
is going through being addicted to something and you have
no control over it. So that's one of my favorite
songs on the record, Whiskey or Colton. I wrote it
with Liz Rose.
Speaker 1 (31:09):
Oh, one of my favorite people and writers, who's awesome.
Lizon's awesome anyways, So you guys can follow Danny on
Instagram DA and I Rose. Danny Rose, we really appreciate
you coming on talking about Yellowstone. Good luck with the record,
I hope at strange tend gabillion streams. Thanks for the
time today and good luck and I'm sure I'll see
you up here in the studio at some point soon.
(31:33):
The Yellowstone Official Podcast hosted by Me Bobby Bones and
brought to you by iHeartMedia Podcasts and MTV Entertainment Studios.
Big shout out to executive producers Jason Red, Lindsey Hoffman,
Karl Catele, and Kevin O'Connell. Also our senior manager of
podcast marketing Ali Canner Grab for keeping the word out,
and of course a big thanks to Will Pearson, president
(31:54):
of iHeartMedia Podcast for him supporting this show. We've also
got special thanks going out to Whitney Baxter, Xavier off Free,
Barbara Parida, Emily Curry, and Joe Flattery. You guys make
this happen. This podcast is produced in association with One
on one Studios over there executive producer Scott Stone and
Director of podcast Development and Production Danielle Waxman. We also
got to give a big nod to Michelle Newman, David
(32:16):
Glasser and David Hudkin for their support. Thank you guys
for tuning in. See you next week.
Hosts And Creators
Bobby Bones
Amy Brown
Lunchbox
Eddie Garcia
Morgan Huelsman
Raymundo
Mike D
Abby Anderson
Scuba Steve
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