BiB: Hannah Fairlight - From CBGB's Auditions to Lone Wolf: The Rise, Risks, and the Real Nashville

0:10 Bringing it backwards. Bringing it backwards. Bringing it backwards. Bringing it backwards. Bringing it backwards. Bringing it backwards. What is going on? It is Adam. Welcome back to Bringing It Backwards, a podcast where both legendary and rising artists tell their own personal stories of how they achieve stardom. On this episode, we had the opportunity to catch up with Hannah Fairlight over Zoom Video. We had Hannah on the podcast three years ago in the midst of the pandemic and right before she put out her album Muscle and Skin. So we recap a little bit about the first interview, kind of where she was born and raised and how she got into music. But then we pick it up really where we left off as far as muscle and skin coming out, and she really dives into this brand new album. We hear what she's been up to for the past three years or four years now.

1:12 But Hannah talks about the new direction for this album and writing it, recording it, and just really everything about Lone Wolf, which is her brand new album. And she's got a show coming up to support that, so she talks all about that as well. You can watch our interview with Hannah on our Facebook page and YouTube channel at bringing It Backwards. It'd be amazing if you subscribe to our channel and like us on Facebook, follow us on Instagram, Twitter and TikTok at bringing back pod. And if you're listening to this on Spotify, Apple Music, Google Podcasts, please rate and review comments. It helps immensely. So thank you so much for that as well.

1:52 We'd appreciate your support. If you follow and subscribe to our podcast, we'll. Wherever you listen to podcasts, we're bringing. It Backwards with Hannah Fairlight. Hey, Hannah, how are you? I'm good. Adam, how are you doing? I'm great. You were on this podcast like three years ago? Yeah, yeah, I was. Thank you. Yeah, yeah. A lot has happened, I'm sure, in the last three years, so I'd love to. To catch up with you. I think you had muscle and skin coming out maybe at the time or about it was out. I can't remember, but it was right around that time. Yep. Correct. Yep. So midst of the pandemic. I believe that is correct, yes. And I also had our second son right around that time. I don't know if it was right before. I might have been pregnant when we did our last. You were pregnant when we did the interview and you have another son. I believe that he kind of popped on for a second. Like he was just like kind of running around your house.

2:53 Kid free right now. One's in Pre K and one's in. In third grade, so. Wow, that's amazing. I have a one. Oh. In second grade. I think we talked about that too, but. Yeah, yeah, yeah. I remember you saying your. I think your husband was playing. He used to play him or he'd watch that. Cool. Like Beatles stuff. I think what I remember. Yeah. Yeah. Awesome. Well, yeah, we can recap a little bit about what we talked about the first time and then really just pick it up with where we left off before. Cool. I love it. Let's do it. Awesome. Awesome. So from what I remember, you're in Nashville now, or you were, but originally from Texas. Yes. So I was born in Texas. I lived in Indiana, Minnesota, and Iowa, all small towns. Graduated from high school in Iowa, so I kind of claim that. Grundy Center, Iowa, small. Wow.

3:43 Okay. So you started in Texas. How long were you in Texas for? Only. Only a couple years. Like, I was a baby. And then you moved around. Did you. Were you. I can't remember. Were you in the military, family or. Just. My dad was just changing his job, kind of moving up in his career. He worked for a big logging company out of Galveston in Texas. Oh, in Texas. Okay. Minute. Yeah. So that's where I was. Came into the world and. Oh, so you started out in Galveston. That's funny. That's like that tip of Houston, right? Like that island. Correct. Yep. Yeah, I've been out there before. Interesting spot. So, yeah, then we moved back to Indiana, where my parents are both from. They met at Purdue University.

4:27 So I was in Rensselaer, Indiana, South Bend, Indiana, Anderson, Indiana. And then I lived in Winstead and Buffalo, Minnesota, before moving to Waterloo. Cedar Falls area, which was the Grundy center, is, like, tiny little town near there. So. Okay. And so you. You said you went to high school there? Yep, I. Let's see. So we moved there when I was 13, and I graduated and left when I was 17. So that was kind of the longest stint I was in one place. And I. I graduated a year early. I really wanted to get out. Get out of the small town.

5:09 Yeah, I was ready. Okay. Were you acting or doing music at the time? I know you've done, but we talked about it. Last year you were in Pitch Perfect 3, and you're on, like, a reality show that took you to Nashville. Right. Are we already in Nashville when they started filming that? Correct. So I did do theater as a kid. I started doing that pretty young, and I took piano, classical piano lessons, and classical saxophone lessons from age 8 until 18 through high school and then I still did some theater in college and I did a year international exchange in Peru. So I lived with a host family for a year in Peru.

5:54 Yeah, that was a really awesome experience. It totally prepared me for kind of just the world, like an introduction to the world and like living in any. I felt like I could live in any city at that point and, and tackle it. So that was a good precursor to moving to New York City. And then I applied to a plethora of film schools when I was in Peru, was accepted to nyu chose that not only for its accolades and you know, being accepted there felt prestigious and honor, but I really wanted to live in New York City and I felt like that was the, a great creative playground and I wanted to gig.

6:39 Honestly, I really wanted to try doing something other than piano recitals and classical music or like playing the talent show at band camp. Right, right. Were you writing your own music at that time or before moving to New York? Like I know you played in a band in New York. I think you said your first show is like at CBGB's, right? Yeah. Good memories. Which is wild. It totally is wild. And it was a huge pivotal point for me, kind of in the like beginner's luck area of my life. So I did actually write songs. I started writing songs around like 12, 13 years old. I had always come up with melodies, but I wrote my first full song, I think when I was 13. It's called don't know. You can find the video online. I like recorded it. That was my first kind of commercial recording that I put out. Really?

7:31 Oh, you, you re, you rerecorded. I re recorded it. I got it. I, I actually, I, I got together and kind of co conspired with a former band camp counselor, Galen Miller, who he and his friend Andy allowed me to record my first full length album. I've never released it. It's called Epimetheus Exposed. So I recorded that when I was 3, 13 or 14 years old. And that was just like a little, my first time trying to record something situation. And then fast forward I got to New York, I didn't have anything other than the Epimetheus Exposed recordings. I didn't have a computer yet. I didn't have a cell phone. Like cell phones were just kind of becoming a thing and they were like flip phones. I didn't really have a means for recording my music and giving it to a club to, you know, try to book a show. So I brought my acoustic guitar that I had bought in Peru to CBGB's and, like, played them a couple songs for my audition to try to get a gig there. And I got one way. Yeah, that's crazy. So you didn't have. Yeah, you didn't have a recording to be like, here, this is what I might sound like. So you just, what, went to a show and said, hey, we're hanging out outside, and we're like, where's the guy that books or a girl that books? And then just played to him. I walked over there, I think it was in the afternoon, and I just knocked on the door. That's. That's all I knew how to do. Like, I didn't

9:02 know what else to how to do it. I was just a kid. I'd, like, come from my, you know, small town, Midwestern shell, and I was trying to break out of that and, like, figure out how to get a gig in New York. So I just walked around with my guitar and I got that first show. I was also a freshman in college, and so I was able to draw on that energy. You know, your first year where you have, like, tons of fast friends. And so I actually had a really decent turnout my first show. And I was so floored by the turnout, like, the support.

9:43 I practiced all of the banter that I would say in between the songs, you know, like, I. That's awesome. Barely knew how to play the guitar. I only knew, like, five chords because I had just taught myself how to play guitar. I'd been piano player before that. They recorded the show, so I had a recording, and I walked out of there with a CD recording of myself playing that I could take to clubs to book. And I walked out, and as I'm exiting the club, they chased after me to tell me also, like, hey, you forgot your. Your money. And I was like, my money? And I got paid. I made like $75 or something. And I was like, oh, my God, this is amazing. I want to do this every day for the rest of my life. It was such a great beginner's luck kind of situation for me. It really lit my fire. Yeah, 100%. And you were just playing as solo.

10:34 As solo artist? Me and my guitar. Yeah, just me. An acoustic guitar, too. Then you. You've joined a band, right, with, like. I forgot you had somebody. Was it Willie Nelson? Somebody's granddaughter? Somebody was in your band, right? Yeah. So I did do a stint for two years in New York under with Girls Don't Cry. Oh, yeah, that's what it was. Girls Don't Cry. Five piece Power Pop band. I played guitar in the band. I had like white hair. We, you know, we did. We did a good job. It was a good. It was a good, like jumping off point for me at the time. It was exciting to have producers excited about us and shopping us. You know, we had like big meetings with RCA and these other, like, showcases and stuff. It was exciting and also a first for me to get to do all that. We were a put together group, kind of like. Kind of like the Spice Girls, Right, Right. So they auditioned like tons and tons of girls and drew from all those auditions to put us together as the group. That must have been a cool, like, you know, moment to get chosen, right, for that, like, to audition and. Yeah, then you get put in. This kind of band that they put. Together made me feel special. We had cool studio that we had 24 hour access to in the Flatiron district. They put really cool instruments in our hands to play. They were really tight reined about the material and they wrote all

12:05 the songs on the first album and they promised us over and over again that we would have more creative rights on the second release, which never came to be because we wound up breaking up. But it was an interesting situation because the girls in the group were powerhouses. And we were all, you know, super young, budding creatives, creative in our own right, and really wanted to make that, you know, come out in the group. And so we had to kind of like bite our lips and bite our tongues and like, do the. Do the music that we were handed and do the thing. They're kind of dressing us and styling us like Avril Lavigne at the time and like, just, you know, stuff that. Yeah, they're trying to sell you guys, right? Like, like, they're like, okay, we're gonna put together this product, so to speak, and we're gonna write the songs and you all are just gonna be the base of this thing. Yeah. And started to rub us all the wrong way. And. And it really, it got under my skin too. I mean, I. I had people that I loved and respected in the New York scene that I would go out, see their shows and like, you know, I tell them what band I was in and they, they would say like, oh yeah, Girls don't cry. Like, you guys play the tracks, right? And I'm like, no, we play our instruments. Like, so it had kind of a mixed reputation. It was like, exciting and cool and also, like, people thought certain things about it. Right. It was

13:38 probably a positive thing. When we broke up, we kind of Tried to do the project without the producers on our own, but our relationships really weren't. Our personal relationships weren't strong enough to carry it. So I went back to doing solo stuff. That's when I released Don't Know. I lived in London for a year and then I did wind up living in Australia for two years, kind of. Gee, you know. Yeah. Checking out the scenes in different places, learning about the world fodder for, you know, an inexperienced young songwriter to try to write songs about stuff. I. I just needed more life experience and I followed my heart and went in all different directions and I did land back in Atlanta and then I found out about the reality show in Nashville and that's when I came on and did that. And that's when I met Raelyn Nelson, Willie Nelson's granddaughter. And we did. We wound up forming a friendship and then doing a duo together as well. Oh, that's what it was. You did a duo with her. Okay. I couldn't remember how that came together, but what was the, the show?

14:48 How did you like, did you hear about it? I don't really remember, to be honest. Like, I don't really remember that show. Was it like on CMT or like what was. Was it like? I don't remember. Yeah, it's great. You don't remember it because. Because it's one of those, like slightly cringe worthy, you know, awkward things that we do in our career. But it was a risk. It was a risk I took. I just. So I, I started doing audio recording for film and television when I was in New York and simultaneous to Girls Don't Cry and like all that stuff I was recording, I'm the person that puts the lavalier mics on you and swings a boom over you and like records the audio for. Oh, sure, sure. Okay. Primarily reality shows is what I got to. Kind of got stuck in the niche of. And so I'd seen a lot of these shows play out, heard through a production company I was working for at the time. Buzz from the Bees was that there was a music show that was going to be in Nashville starring musicians. So I was able to get my hands on like a time and place to come up and do an audition tape for that show, was cast for the show. And so then it was my first time on screen as talent in one of those shows instead of the person behind the camera.

16:06 Doing the audio for was a great experience. Again, it was a risk. I totally thought coming from the production world, I would be my, My, my soul and my dignity would Be preserved in some way. But, you know, it was a learning experience. Hindsight is 20 20. I really wish I would have done some things differently and, like, taken back the night a little bit more, but great things came from it, including, you know, I met my husband through one of the cast members on the show. Oh, cool. It aired on A E. Oh, yeah. It was in. Yeah. Yeah. Okay. I. I think I remember you saying that. That was in 2014, and I put out my first album, Creatures of Habit, during that time. And did the show help that, like. As far, like, were people like, oh, okay, this. It's Hannah from the show. Let me go check this album out? I think so. So I was the character that I was cast as in the show, which, like, for those of you who, you know, indulge in reality tv, it's very manufactured. It's not scripted.

17:19 Obviously, they don't tell you specifically what to say, but you're prompted strongly by producers to do different plot lines. I was the heartbreaker and the new girl in town, so I came in and broke up a bunch of relationships. It was all. Honestly, it was all fake, you know, for the sake of the show. No way. Oh, yeah, yeah. It was. Burst my bubble on reality television. Yeah. Sorry. Sorry to do that. I'm sorry about that. It's so. It's so obvious. Like, in. You watch the Bachelor, and you could tell they're just, like, prompting them on what to say, and then they're like. And it's like, when they do their interviews or whatever, it's just so funny.

18:08 It's very. Yeah. It's very guided, and it's very exploitative, I can happily say. Since moving to Nashville, I've gotten away from reality a lot more, and I've been able to do more documentary and more, like, music, rich projects with audio. So it's been a positive move. But from. From that, I was like. I swore that I would never do anything like that unless it was, A, fully scripted or, B, that I was completely in charge. And I was able to manifest that with Pitch Perfect 3, thankfully. Oh, sure. Okay. So that came after. Wow. Yeah, that would make sense, timing wise. Yep. That's incredible. Yeah. So they. They both helped. They both helped my career. You know, bad publicity is still publicity. So with crazy hearts, there was a little bit of that. There were people who were angry at me for the. For, you know, being the bad girl or whatever. That's so funny. You're like, this is tv. Yeah.

19:16 Was the show, like, were you songwriting on the show? I can't I don't like what was. I'm just curious, and then we'll move on. But what was, like, the premise of the show? Was it, like, everyone was together writing songs or. Oh, I wish it was that deep. It really wound up focusing more on the relationship dynamics and, like, love pyramids. But it was a group of people who are all, like, performing artists. One of them was a manager. She managed an artist. I can safely say only two of us. One of the guys is Leroy Powell. He plays in Whiskey. Wolves of the west and myself are the two that are still even doing music today. Like, they all kind of just fall off after the show. Did you, like, live in a house with everybody or something like that? Was it like that?

20:05 Okay. No, but I had a really cheap apartment in South Nashville because I really moved here in real life. I mean, that was the thing. I was living out of my van. Like, they didn't film any of that. They should have. That'd be a cool story. I know. I thought so, too. They took all the real out of it, the grit. They filmed my friend who lives up the road from where I live now. Her house as my house. And so they made it look like I just moved to Nashville and magically had, like, an acoustic piano and art on the walls and plants and. That's funny. Yeah. Anyway. Okay.

20:47 Yeah. So last time we spoke to you. That's so funny. I. I need to go find it. I want to watch it. I'm curious. I do remember you in Pitch Perfect 3, though. So going from the last time we spoke, you were about to release your album, and then I don't know if you. I don't think you had on Muscle and Skinny. I think we're about to. Anyway, doesn't matter. So talk to me about putting that out, because it was during the pandemic. And now you have a new album which is coming out as well, Correct? Like in next month, I think. Yes. May 24th. Okay. So what's been going on for three years since we talked last time? Well, aside from having another child.

21:36 Yeah. The interesting part about my new album is that I'm not having a child in conjunction with it, because my previous two albums, I've had a baby in the same span of months that I put out an album. So, like, album baby. No baby this time. Just musical babies. I. Let's see. Muscle and skin was. It's exactly like anytime I have wanted to go into the. Into the studio, except that maybe I was exceptionally creatively constipated because I had been doing with Raelyn, and we had put a lot of focus on that, and I hadn't been doing my own project for a minute. And so we had, like, two, three years. We were really, like, wrapped up in that and, like, pushing hard with that. We had a lot of traction with it. It's really sad that it kind of had to go away, but we were both feeling really compelled to, like, put our energy back into our own projects.

22:43 And I. I came out the gate with, like, I wanted to almost do a double album with Muscle and Skin. I. I know, which would have been whatever, but it was all for me, you know, for me, like, I had a lot of art that had. Was sitting around that I had, you know, come up with, and I really wanted to put it somewhere. And when I did that project with Austin Hoke, multi instrumentalist cellist, he and I really went down a rabbit hole. And I. I saw it being something that was very introspective and something with lots of piano, which is really like my heart instrument.

23:25 It's. It's very like. I don't know, it's on a deeper level to me than any other instrument. It's just. It's very connected to my soul and like, my like, child self. Like, that's the instrument that I gravitated toward when I first started doing music. So getting back to that and putting a lot of strings on it, just making this, like, sort of lush. I don't know, telling stories that were. That are much more like, cathartic and internal to me and not necessarily, like, for mass consumption. I mean, not that they couldn't be, but like, I really. It was really a me project and. And it was.

24:08 It was weird that it timed out with COVID the way it did. I felt like, you know, I've laughed about it now because the launch team that I have for Lone Wolf, the gentleman that I was maybe going to work with in the launch for Muscle and Skin, they told me when I had a conversation with them about Muscle and Skin, they were like, this is really a listening album, isn't it? And I was like, well, what does that mean? Aren't they all right? What does that mean? I got what they meant, though. It was like, not a splashy in your face dance album or a rock and roll is like, it's a very light. And they're, you know, they're right.

24:50 We laughed about it. I kind of poked fun at them about it and a couple social media posts and saw them, but. But I really. I really wanted to do it for me and kind of realize this sort of, like, deeper marrying of my external self. The rock dance in your face, highly polished exterior with the interior world, which is like, you know, the me that went to CBGB's with my guitar in my hand and had a big set of balls, like, sit there and play the guitar in front of them and try to get my first audition or, like, had the. The, you know, tenacity to move around the world and go busk in the streets or on the train platform in Germany or whatever. That interior world of, like, grit and muscle and like. So that was a great, really cool culmination. But, you know, after that and after my second son was born, I kind of don't really know. I don't really, like, exactly know where my next albums will take me, but I do always anticipate that it will be a pivot and it will be a different direction than the last one. And I had a feeling I would want to steer away from that internal world and that sort of, like, honestly processing myself to myself

26:21 through music. I wanted to kind of veer away and get back in your face and do something that was more sonically, like, risky in a way that, like, I wanted to. I wanted to. This is going to sound a little weird, maybe, but, like, I wanted to marry the part of me that made muscle and skin and that internal part that is lyrically satiated and poetically satiated with the, like, the part that is sonic about music. That the thing that makes you want to put on a record that you want to listen to, that makes you feel good, like you want to choose it because of the sonics and, like, I wanted to marry those two worlds for myself because I don't know that I've ever quite been able to get there. It's hard to experience your own music from the outside of yourself. Like, look, it's. It's hard to, like, get out of me and be objective toward my own music and think, like, is that something I want to throw on to listen to? Sometimes it's just coming out of me like an emotion, like an emotive process. And I don't think of it as, like, a sonic piece of music that I want to throw on.

27:32 So I want to challenge myself and, like, get back to just, like, rocking. And so it was very natural for me. Last year, I. Well, a couple of things happened and I'll just get deep with you for a second. Really important thing happened. I decided to stop drinking alcohol. And that was a really being sober from alcohol. And weed, which are the two things I've never. Those are the only things I've ever done. Taking those out of the mix and being very clear about my intentions and my just going deeper with self knowledge and like feeling really clear about how I'm approaching music. All of a sudden I just. I didn't even realize I was going to make an album. But I met with my friend Paul Defiglia. I knew he was a producer, I didn't really know a whole lot about him, but he wanted to show me his studio and I went in there with no intention of thinking about recording anything, honestly. And I saw his space and had a conversation with him and he was playing Elliot Smith. And just like the vibe of the space, all of it spoke to me. All of it spoke to me all of a sudden and I was like, I have to make an album here and I think I need to do it, like right now. Like, I. I want to do it now. Like, I think I. And I walked out of that meeting. I think I told him that. And I probably freaked him out a little because I get very forward when I'm like, all of a sudden have this thing, this new goal pop up. And I. I

29:03 sent. I went home and I demoed out every single song. I knew exactly which songs. I had some already written and I had some new ones I needed to like, tighten up and finish. And I demoed every single song that's on the album out that afternoon and sent them to him just like in the voice memo with guitar and, and. And he was. Well, he was a little taken aback by how quickly he was like, whoa, girl. And three weeks later, we were in the studio recording to tape and. Oh, that's awesome. You recorded the tape as well. I. I got the opportunity through a couple friends who I absolutely have to give a shout out to. I'm not going to name them to embarrass them, but they know who they are, who helped me, who helps me fund a lot of this new album. And through that I was able to get right in the studio and get right in there with the guys who have been my, like, main band guys for most of my time in Nashville and. And take care of everybody, right? Because otherwise I would have had to sling merch or do a crowdfunding thing and it would have taken a lot longer. But I was able to strike while the iron was hot and I'm so grateful for that. That's incredible. And I just want to. Not to glaze over what you said earlier, because the Fact that you are sober and you quit drinking and smoking, that's. That's huge. I'm also sober and recovery, and I know how hard that is. And

30:37 congratulations. That's awesome. Thank you. Thank you. Yeah, it's been huge, and I'm excited to sort of continue seeing and feeling how it unfolds. I'm coming up on two years here. Wow. Right. Pretty much right when the album drops, I'll be two years, so. Yeah. That's huge. That's. That's. That's amazing. So congratulations on that. Thank you. I know it's a. Oh, thank you. Yeah, it's a. It's definitely not the easiest thing. And. Yeah, it is and it isn't. It is and it isn't. It feels right. I'll just say that. So I trust that. Yeah. Yeah. I know. For me, yeah, it was doing 12 steps and all that. All that stuff was like, that. That's what saved me. But anyway, that's amazing.

31:22 Congratulations on that. And I'm excited to hear this album. I can't believe you had all those songs ready to go. And it was just like. So I was gonna ask you what was different about this album versus not having the. You know, you said baby, album, baby, out. Like, with this time. You didn't, but it sounds like you already kind of had everything planned out. And it was like you had this, like, moment at the studio that you're like, I have to. I know. You knew that was gonna be an album. You knew where the. You know where it was going, and you're able to cut all those that quickly. That's crazy. Yeah. And I. Contrary to muslin skins, I guess I'll call it weirdness, because I don't know what else to call it. Just like, there's musical moments in muscle and skin and lyric ones that are, like, a little out of left field, maybe, or like a little more experimental. Where I feel like Lone Wolf is. It is so easy to digest. It's right in your face. It doesn't mean the lyrics compromise anything poetically. Like, I feel like I'm just as subversive and weird as I, you know, as I am, because I can't be anything different. Right. But I, like, challenged myself. I had this thing that hit me when I was in the studio. I'd already kind of written a couple songs in this vein that were like three four chord bangers. Like, just three chords. Like, see what you can do with just three chords. See what? See if you can do those three chords, even through the bridge. Like, don't change it. Maybe just, you know,

32:55 change a little thing here or there. But like artists like Jack White, White Stripes vibe, right? Like those super riff driven, simple, simple songs are so powerful and they kind of transcend time. And that is what I was like. I'm being drawn toward doing that, you know, like, that's what I want. I want to try to see if I can write songs like that. And so that was a really big driving force for this album. And a lot of the songs are like that. With a couple quirky, you know, a couple acoustic ones in there to keep that. That vulnerable me and that voice in there. But it's a rocker album. I'm excited about it. Love it. Yeah, I'm excited too. I like the two that you have out thus far. Emotional man and Apologize Me. Those are the two from the album that you have out so far. Yeah.

33:46 Yeah. It was fun to choose the. Which singles to put first and I had shot. I guess this might go with like the clarity of mind I was telling you about earlier, but I'm always like thinking about content and like, what do I need to do? And I like. I was on an audio gig in Arkansas and in my hotel room and I like packed things to shoot the music video in the hotel room for Emotional Men. Well, before we. Oh, that's awesome. Well before we even decided it was going to be one of the singles, but it was the lead single and so I already had my raw material ready so I could just edit it and.

34:27 Brilliant. That's brilliant. Are you doing any like. Like a tour or anything? Because you probably weren't able to tour the last album because you were about to have a baby and it was Covid. But for this one. Are you doing anything for the release? Like, I'm in Nashville now too. I've moved here within the three years you're here. Yeah. So we gotta see you. I know we. We live. Well, I'll tell you off the recording, but yeah. So we're in town, my wife, kids and I, we moved out here. So best decision ever. Yeah, we moved in February 2021. Okay. Wow. Awesome. Yay. So glad you're here. Yes. We should totally get coffee or something.

35:10 The only plans I have for release so far, and I say only with like a big, like underlying italicized whatever, because I'm definitely in the works on capitalizing on the release because I feel like the songs are just really strong and we're pushing it to noncom radio. The third single is going to come out May 10th leading up to May 24th album release. And the third single is called Fever. It's the first song on the album. It comes out guns blazing and like, really excited for the music video too. I've got a group of girls that are my favorites that are gonna. We're all gonna like, just vamp each other up and go crazy in the video. And the. The only thing I have though is a release show at the Underdog, which you probably know being Nashville now. It's right up the street from my house. I love Cal and Amanda so much and what they've curated there. I've loved them since they moved in and started doing it. I've played there a few times before and it just feels really comfortable. And it's the perfect stage and sound and size room for. For the Lone Wolf release.

36:26 Special guest to TBA and. And I'm super excited because I'll have the vinyl in hand, I'll have the CDs in hand. I'll have plenty of wolf print merch that I make myself of my linoleum block. Wolf face that I print on like tote bags and T shirts and stuff. Oh, wow. Yeah, so that's. That's it. June 2nd at the Underdog is the big album release show that I had planned. Exciting. Well, yeah, I'll have to try to make it out to there for sure. That'll be awesome. But I appreciate you. Thank you again for doing this. Hannah, it's always a pleasure speaking to you and I'm going to ask you the same question at the end that I asked you last time if you have any advice for aspiring artists.

37:14 The big thing that I like to say, and I've said this in some interviews recently, a lot, is like, don't be afraid to take risks. Making yourself uncomfortable is going to benefit you so much more than staying inside a safe little box. You will grow and you will become more creatively and you'll also gain so much more respect from your fans if you are real and raw and vulnerable and you take a risk and get just outside of your comfort zone. A lot of artists that have made it, you know, over the decades carry that mantra. You know, David Bowie being like one of the main ones is like, quoted, you got to just put yourself into an uncomfortable space and you'll reap the rewards big time. And whether that means like going into a guitar shop, especially as a chick, and like trying a guitar or a pedal or an amp and like just doing that and, and not feeling afraid to like, ask for what you need or ask questions and not pretending that you know everything.

38:21 Because that was a big thing for me when I was first coming up. That could be an example of getting out of your comfort zone. So, yeah. Bringing it backwards, bringing it backward. Bringing it backward, bringing it backward, bringing it backward, bringing it backward.