Home Is Where

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Home Is Where just released their latest record, Hunting Season – a thirteen-track record that takes the Florida band’s sound beyond emo and into a more Americana, country-twinged space. It still features the high-energy music that band is known for in the form of tracks like “Artificial Grass” and “Bike Week” but there is also a more personal, tender side of the band showing through – especially on highlights such as “Shenandoah,” “Milk and Diesel,” and “Stand-Up Special.” It’s Home Is Where’s best album yet and easily one of 2025’s best offerings – a solid stone-cold lock to be on many “Best Of” lists later this year. I was fortunate enough to speak with the band’s songwriting duo in vocalist Bea MacDonald and guitarist Tilley Komorny. We touched on the new record of course – the inspiration behind it and the writing process that took place – amongst other things. Home Is Where will also be heading night one of Liberation Weekend in Washington, D.C. – a two-day festival created by Ekko Astral and the trans rights advocacy collective Gender Liberation Movement showcasing some of the best musical acts today and supporting and celebrating trans rights, with all proceeds beyond event expenses going to the Gender Liberation Movement to help fund and support future rallies, demonstrations, and direct actions in protest of anti-trans policymaking and business activity. If you can make it to this festival, I highly recommend doing so as it’s shaping up to be one of the best festivals of 2025. Below, check out my conversation with Bea and Tilley of Home Is Where.

I see you got a Bob Dylan tee on. I was gonna ask you if you saw the Timothée Chalamet film and what’d you think of it?

Bea MacDonald: It was okay. I think it was fine. I thought it was just fine. I didn’t think it was that great. I thought he was pretty good in it. That was my thing.

The only music biopic I really like is Dewey Cox: Walk Hard. I think that’s the most accurate one.

Tilley Komorny: You got to walk hard.

BM: It really, it really did feel like Dewey Cox, like, like the formula, but there’s also a really good biopic about Bob Dylan called I’m Not There with, like Heath Ledger and Christian Bale and Cate Blanchett.

I remember that one.

So let’s get into it. I really loved The Whaler but Hunting Season just feels like another level up. I’ve listened to it at least once a day since March. I think that’s a great record.

I remember during The Whaler press cycle that you said LP3 was basically already written and it was going to be the next kind of big jump for Home Is Where. And I never really know what to expect when I hit play on a new Home Is Where release and then I read the album bio and then I really didn’t know what to expect. But I love it.

I just want to say is “Shenandoah” is my favorite Home Is Where song ever, I think. It’s the best song on this record, in my opinion. It definitely evokes an emotion that like, I really haven’t felt in a song in a while. When the harmonica hits and just the way it’s sung and how it’s aligned with the guitar tuning and everything…it very invokes a nostalgia for something that feels so loving and touching, it just always really gets to me. It’s just like, it’s such a perfectly beautiful song.

TK: Thank you.

BM: Thank you. That means a whole lot. Hell, yeah.

I’m really really nervous about how people are going to react to the record because it’s so different than anything we’ve done.

It’s not like, you know, I think Tilly and I – I think the whole band really – was like The Whaler was like such like an album album, you know, where it was like, so conceptual, it like literally loops back into itself, everything about that album was so meticulously planned or like improvised in the studio.

And then for this one, we just wanted to write, like, songs, like just like, you know, songs that could fit on, with any other, like, you know… I was thinking like I was listening to a lot of Bob Dylan’s Theme Time Radio Hour. He used to have like a DJ show back in the day. And I found the archive of it.

I just loved the way those songs, like they were all kinds of different genres, like, it’d be like Western Swing and like Rhythm and Blues, and then he’d had like, you know, some rap songs in there here and there. Like, I just like the way he brought out, like, great American songs and how they’d all flow and how they were connected and stuff.

And I wanted to really tap into that and like, have a song that could fit on theme time Radio Hour or something like that. Well, that was a big part of that.

And yeah, “Shenandoah,” that means a whole lot. It’s personal. It’s about my girlfriend and stuff. That’s a very close song, so I appreciate hearing that.

TK: It’s really relieving to hear that your favorite song on the record is one of the softer songs because that is definitely a new direction for us is going more explicitly softer in the instrumentation and the vocal delivery.

And it’s kind of something, I guess, not to talk too much about, like the next thing, but, you know, that’s like something we’re exploring a lot more of is being more kind of tender with the music.

And I was thinking about this the other day, and this might just be me having music journalist brain, but I definitely feel like the sonic transition between “Bike Week” into “Everyone Won The Lotto” is where it kind of clicks more into that Americana slower, tender portion of the record because I feel that the first half of the record still incorporates a lot of that classic Home Is Where sound into it – like “Artificial Grass” is kind of a perfect example of that.

BM: Sure.

But then I just love how the record transitions to this fully blown twang American country vibe, with that Gram Parsons and whatnot influence on it. And just the way “Bike Week” ends, I like how that drone-y tone goes right into “Everyone Won The Lotto” along with a distinct vocal change as well. It’s very somber and very poignant. Take me through the intentionality of the album’s sequencing or if there was any.

TK: Specifically that transition from “Bike Week” into “Everyone Won The Lotto” is definitely the point where the record kind of kind of dives more into the country thing. And that that sort of drone that gets it there is like 20 seconds of like a sustained D note or something like that. And, yeah, I feel like it invokes sort of the sound of, like, I don’t know, kind of like the pedal steel, but from like an electric guitar perspective, I like the idea of it sort of… it’s a hard concept to explain, but like, the idea of like a clothesline and there’s there’s this one consistent string and it’s this drone.

And yeah, it’s like there’s… it’s not there the whole time, but there’s like this implied underlying key that happens through the first half of the record that is supposed to ease the listener in to the rest of the record. And that’s kind of unintentional, in a way.

I mean, you find purpose in it later on, but also it’s just kind of like the vocal key and the range for the instruments and everything that we’re comfortable with. But it definitely wormed itself in there as like a natural underlying tone that, yeah, it becomes more raw, more organic with like steel guitar and things like that in the later half of the record.

BM: Yeah, it was unintentional, but I also heard it.

Also we cut some songs too. This is the first time we’ve had cut a track and the reason why we cut it is because it messed with the flow, but the way the track listing’s kind of worked out is also chronological to how we wrote the songs too.

Like the first song I wrote for the record was “Reptile House” and then “Migration Patterns,” you know, and it goes back. I think it the only thing that doesn’t line up is, I think that “Drive-By Mooning” was written kind of early on, but other than that, I think we kind of maybe like subconsciously wrote each wrote each song thinking it would come after the last song we wrote, even though we didn’t really think about it cause I didn’t want to be restricted by like transitions or just super high conceptual stuff like that.

I just kind of wanted it to be like an album that was a collection of songs, which is not a radical idea, but for us was a little hard.

Yeah, yeah.

TK: Yeah, and it unintentionally ended up finding its own flow instead of just being a collection of songs. But that was not our doing. That’s just the doing of the nature of the recording.

Yeah, no, I love how organic this record flows from track to track.

The band worked with Jack Shirley again, and it was three days of recording this album?

TK: The record was written way before. We had some parts that we were actually writing in the studio and kind of doing some more, for example, like noise collages and things like that – that was experimentation.

But we went in with this record fully written and prepared and rehearsed with the intention of just live recording everything. So everybody set up, we hit record, and then most of what you hear is just that. I mean, we doubled the guitars and Bea did a couple overdubs. But most of it’s just hit record and then we just kind of rocked and that was it. But yeah, it was three days.

BM: Yeah, three days for the band to record, and then an extra two for like pedal steel and I think for Shannon (Taylor of awakebutstillinbed) came in the studio to sing some stuff. So five days overall.

I was very happy to hear Shannon in the background of “Stand-Up Special.” She’s an amazing and their last record is one of the best records ever. Her voice is just so distinct and it was neat to hear her voice alongside your voice again.

TK: Her vocal melodies and writing are just crazy good.

BM: Yeah, we wanted to her back because…I really liked, you know, a lot of those Gram Parson records where he has, you know, Emmylou Harris singing with him – like duets and stuff. So I kind of wanted that too. And that’s like, you know, a country trope, too, is having, like, two singers at the same time.

And, uh, you know, I wanted her back. You know, she’s our buddy and we did that whole tour with her and stuff, and she’s also lives in the area too, which is great. But it was hard for her because she slices, like apparently, like with her records, like she does like a lot of splicing and like stitching together, but we had to get it all in one go around. So it was cool navigating that. Like, like, you know, like trying to get it to sound sounding as, you know, and like she was in the room when we were recording, it was pretty wild.

TK: And if it means anything for the music theory side of it, for country stuff, when you’re doing vocal duets, it’s a lot of close harmony, things where the notes aren’t too…It’s not like an octave higher or something like that. That’s different than what we did when she came on for “Everyday Feels like 9-11” with The Whaler. That was much higher. With “Stand-Up Special” the melodies are a lot closer together, and that’s a close harmony, which is like a staple of mountain tunes and old folk songs like that.

So in the bio about this album it’s mentioned how The Flying Burrito Brothers is an influence on the band and this record. I’ve always been somewhat aware of Gram Parsons as an artist but not his time with the Flying Burrito Brothers. So I did a deep dive into those releases with Parsons. And like, I get it. I get it.

TK: Yeah, The Gilded Palace of Sin is the one.

Yeah, it jumps around and plays with a bunch of different styles and tones. So I get why it’s such kind of like a touchstone album for your band. Take me into the the relationship with that record and how it became an inspiration for Hunting Season.

BM: I first got into Gram Parsons when I was in high school. I just heard Grievous Angel, and then, his version of “Love Hurts” or whatever. And I was like, okay, this is fine. But I was mostly – when it came to country music – into Hank Williams just like, old honky tonk. I wasn’t ready for it, but I thought it was cool.

And then when Home is Where first started, I did a deep dive into like 60’s psychedelic music, and then that album came up and it was like described as like psychedelic country, and I was like, ‘Oh, that sounds awesome.’ And then I saw it was Gram Parsons and I was like, ‘Oh, yeah, I remember this guy.’

And then it just when I heard it, it just like immediately clicked with me. And I really liked it, but I’d listened to it maybe like once or twice a year, and, you know, it didn’t have like a holy kind of place in my heart or anything like that.

But then when we were on tour with Glass Beach, we were in, like, Nebraska or somewhere out west, and we pulled into a Kum & Go , and that album was playing, and it was just like, like a movie moment.

Like, it felt like life was like cinematic, you know, it was like our first big tour, especially after COVID and all that stuff, and we were all hanging out, and I don’t know, it was just really special. We were probably goofing off. I don’t remember what we were talking about, but we were listening to the first track off of that record, because earlier in that tour, we had we were showing each other different kinds of country music that we all liked because it came on shuffle at one point. Somebody put like a Alan Jackson song on or something and then somebody was like, ‘Oh, you listening to this? Have you heard this and that?’

And, you know trading back like late 90s and early 2000s country hits back and forth, and then I was like, ‘Oh, this is country music I like.’ And I put on the Burrito Brothers, and that moment just kind of stuck in my head, and that’s what inspired “Daytona 500” on The Whaler, and then when we made that song, that was kind of that was kind of the branch into what we were gonna do next.

So I was listening to that record obsessively – The Gilded Palace is Sin – and then because of that, I went and listened to a bunch of other Gram Parson shit that I didn’t know about, I listened to the original songs that he was covering or like famous renditions of some of the standards that he was singing, like Buck Owens songs and George Jones and stuff. Like people I’d heard of and like, listened to, like, really casually, but never studied, but then got a way deeper appreciation for George Jones and Bob Wills and the Texas Playboys stuff, just, you know, I went really, really deep on country music.

And Gram Parsons is also from Florida too. Which I think that’s cool. It just was really inspiring. He’s just a weird guy. Like, he wasn’t making straight up country music, but he was really inspired by it, and I really, you know, just relate to that.

’Cause, you know, this (Hunting Season) isn’t, like a honky tonk record or anything like that.

TK: Well, when it comes to Gram Parsons he also did International Submarine Band and The Byrds. Like it’s all in kind of the same breath, all that music and like Bea said, it’s not exactly country, but it’s unique. There’s this comp called Cosmic American Music that’s essentially talking about this genre of music.

BM: Yeah, the Numero Group.

TK: Yeah, yeah.

Yeah, I appreciate this record in like reverse introducing me to the Flying Burrito Brothers because I’ve really enjoyed listening to that recently.

What do you feel like the band has learned the most between writing and recording The Whaler and Hunting Season?

TK: Well, Bea and I wrote most of Hunting Season acoustically – the majority of Hunting Season is an acoustic record whereas The Whaler – the majority is electric, and we really jammed those songs on the road and we toured those songs, we really worked out on the road. But with Hunting Season, it was more of a sterile approach, where Bea and I got to just focus on song craft with just acoustic guitar and voice.

I’d say that we learned a lot from our recording with The Whaler of how you’re supposed to enter a professional studio because we were mostly just kids in the candy store then and just throwing tambourines and shit and just seeing what landed.

But with Hunting Season, I think we have, and I could be wrong and Bea could confirm or deny this, but I think we figured out how to write a song. Just like, write, like a verse chorus.

It’s a silly thing to say, you know having released records before, but I feel like we can successfully write just a song, a standard, a grand American song book song. And that feels that good.

BM: Yeah, it helps because because all the songs before that were written like poems. Like, I wrote them they’re just poems with music attached to them and then some lines, you know, get repeated, like like choruses and stuff.

Whereas this time, it was very intentional that I was writing a song, like, I wasn’t trying…I mean, I wanted it to be beautiful. I wanted it to say something in one way or another. But I also wanted it to be catchy and like fit. Like this is the first time where I came to Tilly with vocal melodies in mind, which is every other time before it, it was, ‘I have this poem I wrote, let’s figure out if we can set a melody to it or some kind of rhythm to it, and then if we can’t, I’ll go back and adjust it,’ whereas this one was fairly easy to write, and I think that’s why it’s our longest record too.

I’ve always appreciated your lyrical writing style, and I feel just like there’s a little bit of a level up. The lyrical imagery is so visceral and it is very much like observations you see like on a road trip – just like mundane observations but the way you write about it is very striking.

BM: I appreciate that. I tried really hard to be a lot clearer on this record and not have it be so shrouded in like metaphor or like flowery words or anything like that. And it’s it is a road record. I wouldn’t call it a concept record. But I gave myself a prompt to make these songs a little bit easier to come out. ’cause having like a pre-established idea has always made the songwriting shit like way easier.

But yeah, they are road songs and they’re really personal. I think it’s a way more personal record than The Whaler. I think The Whaler is way more observational and like existential whereas this one is a little bit more introspective. It’s not like a record about me per se, I don’t think.

TK: I think, if I may, kind of speaking to Bea’s point, The Whaler being more existential, it’s kind of more of a thought…

BM: It’s fucking bummer to play. It’s so dark.

TK: It’s like a felt-based record. You kind of feel it in things. But with Hunting Season, it’s like a lived record. Like we lived it and wrote our experiences right then and there. It wasn’t something really had to think about. We’ve lived those songs and that’s what it is. I like that.

BM: There’s a good point. Like, I didn’t have to think about this record that much. Like, I just kind of came out.

Like you said Bea, this record isn’t like an autobiographical account on your own life, but there are passages and moments where it’s pretty apparent it’s coming from the heart, from a place where you’ve experienced or lived that. For example, the band just put out the video for “Milk and Diesel,” and based on the press release that came along with it, it’s a very personal account of something you’ve experienced in your life.

Take me behind the creation and filming of that video – the silent black and white nature of it is just very cool.

BM: Well, I mean, Texas (Smith) made our last music video and then they’re working on this documentary about us that is starting off as like a 15 minute kind of short encapsulation of like the tour we did last year, but they’re trying to make it into like an actual like feature length music documentary at some point, which will be cool.

And I mean, Tex is close to all of us. We’ve all became good friends with them. And so it was like a no brainer to who were going to work for with the music video, and I came up with this idea, ’cause that song is about dealing with my grandma and my grandpa both got dementia at the same time. And it’s been insane. But you know, I’m really close with them. I have a really…it’s a really weird relationship. I don’t want to get too into that, but the thing with them is my grandpa got me into the – when I was really little – the the old Universal black and white horror movies, you know Dracula and Frankenstein and Wolfman and all that. I love that. Those are my favorite movies and I just love that imagery. Like those movies are like cinema, like to me. So I wanted to do something with that.

So I wrote this script, and then it was probably a little bit…it was a little bit more involved. It was more like a short film than it was in music video. So once we realized what we were working with budget wise, we had to cut back but we kept like the essential stuff with the monsters in there and the Elvis impersonators and they’re in a diner.

And then Tex wanted to do an homage to this film called Sátántangó by Béla Tarr. It’s this art house six hour movie. It’s good, but it’s a lot. And so it’s like a little homage to it.

And we wanted to do like what the exact opposite of what’s going on with music videos is where there’s a lot of cuts, a lot of colors, a lot of like glitz and glamour, you know, like people singing in a colorful room and things like that, which is, you know, it’s cool and stuff, but I wanted to do the opposite of that, where it’s black and white, stagnant, one shot, doesn’t move. Very little, if anything, happens, and there’s no band..

TK: And it’s all one shot.

BM: It was a singular shot so no cuts. I don’t want to say like an anti-music video or anything like that, because I think that’s a little cynical, but, you know, it’s just a little sardonic humor under there a little bit.

And also, I think it helps liven up the song a little bit, too, because I feel like the song I think, it’s one of those weird things where like if you’re if you’re not paying attention to the lyrics, it probably just sounds like a fun song to just have on so, you know, just to lighten up the load, I don’t know.

TK: Yeah, having the characters in the video kind of give a face to the the music, which is pretty cool. And it was yeah, it was also really cool choice to not have a band in the in the in the video at all. It’s just a black and white monster mash party at a diner.

BM: It’s literally the “Monster Mash” (laughs).

I wanted to touch on the song “Roll Tide.” I really appreciate its placement in the album because it kind of breaks up the country sound with this 10-minute penultimate track that incorporates a lot of noise and experimentation. So what inspired this track – as Home Is Where have never stretch a song out to this length before – and if the track listing was intentional at all?

TK: I’ll make a point to that real quick is that we, on the previous record, we did experiment with sort of noise sections. And “Skin Meadow” on the later half of that, we really experimented with, in the studio at least, to try and sort of introduce that cacophonous noise bit, not to this extent. Just to say that we’ve haven’t had like necessarily tried it to this level before, but we have been tinkering with it, you know.

BM: Yeah, we were tinkering.

TK: It’s definitely a song for like the first four minutes.

BM: Yeah, we needed a place to indulge because we were holding back quite a bit compared from the last record and stuff. And you know, I still got a little bit of that dog in me.

And I think we do in all of us, and I think we need to just one kind of concentrated place to all put that. And also, I just really wanted to write a 10 minute song.

I had written the song that was like…do you remember “Masked Year,” Tilly? That was like 30 verses and went on for like, like 16 minutes or something crazy and then we decided not to work on that because..

TK: A bane of my existence.

BM: Yeah, listening to the demos of it were pretty brutal. But I still wanted, I think we all still wanted, like, a long song on there and Roll Tide was I think the perfect place to mess around with that because it’s so simple and so repetitive that it could turn into anything.

Like the limitations were like limitless, it seemed like with that song. Like we could do just about anything we wanted to and have fun doing that.

TK: That later half, the noise part is completely, it was the only time on the record as well, where it’s totally improvisational. Our free jazz or whatever, our Bitches Brew was happening right there (laughs). Arguably less talented, but let me try.

But to speak to the improvisational thing, and I actually want to ask something to Bea about the lyrics, because it’s something I’m thinking about. But the improvisational thing, it’s live recorded. So essentially, I think we did that song in two takes, and then we just chose the only we liked the most. And then we did some overdubs and the noise section, just to add extra cacophony.

So typically when you go into a studio, you double track guitars. Every guitar is tracked twice. But that song the guitar is only tracked once. Everything you’re hearing is one guitar, and that is not standard by any means. That does not really happen in a professional studio ever.

And kind of the reason for that, and the reason that the recording even was cut so short in three days, it was, I was going through like a major anxiety thing, and I was actually in the hospital in California like during the recording and then came back and then did the thing. And it was crazy fucking time.

But the to speak to what Bea was saying with the limits were limitless thing – there were real world limits, like health and things that decided that that song was done. Because we could have kept going, we could have kept adding as many other things as we wanted, but there is certain physical, like that song tested certain real life, like physical limits, and yeah, it was done when we were out of steam, which is kind of a interesting thing from a performing and recording perspective is the song, you know, kind of beats you. Instead of you milking the cow, the cow milks you.

What’s the dialogue that’s sampled in it? What’s that from?

BM: That’s the the Sky King. It’s the guy who stole a plane with nobody on it and just did it to do it. He like worked at the airport and just kind of had a mental breakdown, and he took a plane, and then it crashed, and that’s the black box recording, and I just, when I first heard it, I just…I didn’t know the context for it really. I just heard the audio somewhere. I don’t remember how I heard it, but I knew I needed it – it just really resonated with me. I don’t know why it did either.

Like, I don’t know what it makes me feel, but it makes me feel something really…I don’t know, it just fills me with a profound feeling of something I can’t put my name to. And that feeling was what I wanted the song to reflect too, and I thought it fit better to have it too.

And the song itself was kind of written with that person in mind. And I wanted to be respectful about it. I didn’t want it to be like some kind of edgy sample, you know, like you hear in all kinds of different genres of music. Like, it’s not for shock value and it’s not funny. There’s humorous parts of it but it’s not a joke to me.

It’s something that when I was really going through it, when I was writing this record, because this record was just like, like an escape to get out of some really bad…It’s why there’s a lot of songs on it, because I kept writing it to just not think about what was going on in my life at the time.

Yeah, it just got pretty dark and he just said some shit that was really real, and it was kind of nice to just hear somebody else say it, you know. Like, that wasn’t a movie. It wasn’t a script or it wasn’t like a piece of art, it was real shit.

I really hope no one thinks it’s like disrespectful, I’m a little worried about how people might interpret that, but it just fit. It’s coming from a very sincere place. I hope that, you know, that comes across in in the song.

I mean, I think it does. I’ve never even have heard of that story before, so I was just very curious about it. And I think it works well with just like the last half of that record and like what you’re trying to present in that song .

And then it ends and you don’t even get like a second to like really process it or take a second because it just immediately jumps into “Drive-By Mooning.”

TK: So that question I have on the lyrics for Bea – there’s that line where it’s like, “It dawns on me. It’s late enough to call it morning” on, but the choice of the word dawn, was that like a play on words of like dawn?

BM: Yes, it is, Tilly. Yes, it is.

TK: It was it was pretty good. It was pretty pretty nice. It’s giving poetry.

BM: Thank you. That’s what you get at the Tim Kinsella Academy of lyric writing.

TK: And then later on in the tune, there’s this guitar line that happens later on that’s inspired by the beginning of the Alvvays song, “Marry Me, Archie,” which makes no sense in this context, but…

BM: What song?

TK: The Alvvays song – A-L-V-V-A-Y-S Alvvays – you know that band? They have a song called “Marry Me, Archie.” And the beginning of that tune, there’s this really kind of spooky guitar line. It doesn’t fit with the rest of the song. And it’s just so cool. And there’s an ascending guitar line in “Roll Tide” that’s in a different key and all that, but the same idea is inspired by.

Again, I just do the music part of this (laughs).

So, you have a couple of like festivals coming up this summer. I don’t think the band has necessarily announced like big touring plans yet outside of those (editors note: the band has since announced some headlining tour dates) Are they still calling it faux…after all or whatever the fuck it’s going on with it right now?

BM: I don’t know what we can legally call it. I don’t want to get them in more trouble (laughs).

I’ll just say the festival in Bowling Green, Ohio in June. Then you have the one in Toronto. But the one I really want to talk about is Liberation Weekend at the end of May. Home Is Where is headlining night one. What does playing this fest and headlining it mean to the band?

TK: In 2025, especially in our nation’s capital, to throw a fest for the benefit of trans people is kind of a wild thing. It’s an honor to be a part of that. It’s a lot of good people are putting it together. And the Gender Liberation Movement – I think the organization is called Red Hot. It’s a good charity that actually does on the ground work, and for like trans youth and stuff like that. Yeah, it’s a cool thing to be a part of.

I guess this is the first show we’ve ever or the first festival we’ve ever headlined, which is fucked up, but like as in it’s crazy we are headlining a festival. It’s going to be a beautiful thing to be in person with a bunch of other people who share the same or live the same way we do.

Before I let both of you go is there anything else you want to touch on regarding Hunting Season and beyond?

TK: Yeah, and I want to say to the point of our the rest of our band, (bassist) Connor (O’Brien) and (drummer) Josiah (Gardella), their contributions to the record are fucking awesome. And it wouldn’t be what it is without them. Like, I mentioned earlier, these songs are lived more than they are just felt. And that’s the direct result of being around, you know, all four of us in the same place experiencing the country and all that at the same time. So their contributions are just as impactful. We’re going to be without them on some of these festivals for logistic reasons. But we keep it on the family, you know, our drummer is close with everybody and loved by everybody and it’s all in the family. I just wanted to say that, because it might not be that lineup all the time. But it’s still all…we’re not hiring, you know, outsiders. It’s all people we know, we trust, and everybody signs off on together and you know, it’s we go up as a family.

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