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>> ON THIS EPISODE OF
"THE PLAYLIST," CAPTURE THE
MOMENT WITH MATT KANIA.
>> WELL, MY APPROACH RIGHT NOW
IS WHAT'S CALLED ALLA PRIMA.
I'M TRYING TO FINISH CERTAIN
PARTS OF THE PAINTING.
>> BACK, FRONT, CROSS,
BOOM! THAT'S KIND OF MY MODE OF
OPERATION, IS TO CHALLENGE EVERY
ARTIST TO BE BETTER OR TO
LEARN MORE.
>> CHRISTINE SEITZ, IN CHARGE
AT THE DULUTH PLAYHOUSE. AND A
FRONT-ROW SEAT FOR MUSIC GUEST
LION OR GAZELLE.
>> ♪ YOU ARE MY ONLY FRIEND, I'M
WAITING ON YOU ♪
>> WHEN WE GET A CHANCE TO JUST
SING FOR PEOPLE AND BE OPENING
UP CONVERSATION, HOPEFULLY
THAT'S WHERE WE'RE HEADED,
BECAUSE I THINK THAT'S THE MOST
IMPORTANT THING ABOUT
PERFORMING MUSIC.
>> THESE ARTISTS AND MORE,
COMING UP NEXT.
>> ♪ ...DRIVE ME CRAZY, OH ♪
>> FUNDING FOR "THE PLAYLIST"
IS PROVIDED BY THE CITIZENS OF
MINNESOTA THROUGH THE MINNESOTA
ARTS AND CULTURAL HERITAGE FUND.
>> HERE WE HAVE LION OR GAZELLE,
AND THEY BRING THE WHOLE
PACKAGE--HAUNTING HARMONIES,
INSIGHTFUL SONGWRITING, AND
THEY'RE HERE WITH US ON "THE
PLAYLIST" TONIGHT. PLEASE
WELCOME LION OR GAZELLE.
[APPLAUSE]
[PLAYING GUITAR]
>> ♪ HOLLY WANTS TO PAY THE RENT
WILL SHE LEND A TRICK IN
SOME DARK HOLLOW [INDISTINCT]
THE RIVER STYX
A FINGER IN A CRUCIFIX
HE SAILED THE 7 SEAS BUT HE
CAME BACK JUST FOR ME
BUT I CAN'T GIVE HIM LOVE
I CAN ONLY TOUCH WHAT I CAN'T
>> DO YOU THINK HE LOVES YOU?
I'M NOT TRYING TO MAKE A SCENE
I'VE BEEN THINKING OF YOU
BUT YOU'RE IN MY EVERY DREAM
DO YOU THINK HE LOVES YOU?
I'M NOT TRYING TO MAKE A SCENE
I'VE BEEN THINKING OF YOU
YOU'RE IN MY EVERY DREAM
>> HEADING DOWN THE ROAD
TOO DRUNK TO HOLD MYSELF
I THOUGHT OF EVERYONE
WHO MADE SOMETHING OF YOURSELF
>> THROUGH THESE WINDING STREETS
NAMED AFTER YOU AND ME
>> DEVIL'S IN THE LEAF
HE'S WAITING FOR THE TREES
TO SPEAK AND
>> DO YOU THINK HE LOVES YOU?
I'M NOT TRYING TO MAKE A SCENE
I'VE BEEN THINKING OF YOU
YOU'RE IN MY EVERY DREAM
DO YOU THINK HE LOVES YOU?
I'M NOT TRYING TO MAKE A SCENE
I'VE BEEN THINKING OF YOU
YOU'RE IN MY EVERY DREAM ♪
>> THANKS FOR LISTENING.
THIS IS A NEWER ONE, LIKE,
TWO DAYS OLD.
>> THIS--REALLY, REALLY NEW.
>> YEAH, THERE'S MUCH CAKE
FOR IT IN THE KITCHEN.
>> HA HA!
[PLAYING GUITAR]
♪ DOWN AT THE FAMILY BAR
>> WE'RE SMOKING CHEAP CIGARS
AND WAITING
ON YOU
>> DRESSED LIKE A BEDOUIN
>> YOU ARE MY ONLY FRIEND
I'M WAITING
ON YOU
SAID OH, BABY, YEAH
YOU DRIVE ME CRAZY, OH
>> NOW I CAN ACCEPT MY LOT IN
LIFE FROM A LION WITH BEES IN
HIS MOUTH AND MY
HAIR-STEALING WIFE
>> OHH, OHH
>> NOW I'M NOT ASKING
MUCH OF YOU
THAT YOUR UNDYING LOVE
WILL ALWAYS BE TRUE
>> OHH, OHH
>> DOWN AT THE FAMILY BAR
>> WE'RE SMOKING CHEAP CIGARS
AND WAITING
ON YOU
>> DRESSED LIKE A BEDOUIN
>> YOU ARE MY ONLY FRIEND
I'M WAITING
ON YOU
I SAID OH, BABY, YEAH
YOU DRIVE ME CRAZY, OH
SAID, OH, BABY, YEAH
YOU DRIVE ME CRAZY, OH ♪
[APPLAUSE]
>> RULE ONE.
DO YOUR REMEMBER THAT BUM
YOU RAN INTO
IN THE BATHROOM OF THE RADISSON,
WASHING HIMSELF WITH A RAG, HIS
CLOTHES IN A PILE IN THE CORNER?
HE MUST'VE BEEN IN HIS SIXTIES,
ALL SMILES AND STILL RETARDED
BY HIS FATHER'S RAGE. WELL, THAT
MAN, HE SAID, "THE THINGS HE DID
TO ME AND MY MOTHER, YOU
WOULDN'T BELIEVE, FRIEND. THEY
MADE ME STRONGER." AND YOU
THOUGHT YOU KNEW DENIAL. WHO ARE
YOU NOW SAYING YOU COULD STOP
PAYING ATTENTION, LIKE YOU HAD
WORKED HARD ENOUGH ALREADY?
SOMETIMES IT'S A MATTER OF
FEELING YOURSELF IN AN ELEVATOR,
PUSH UP THROUGH THE FLOORS LIKE
A FINGER THROUGH SARAN WRAP,
OR SIMPLY A MATTER OF HEARING
HILLSIDE BELLS IN LITTLE ITALY.
LOOK, YOU MUST REMEMBER, THE GOD
YOU CHOSE OPENED YOU LIKE AN
OVEN AND PLACED IN YOU HIS
FAVORITE DISH TO SIMMER UNTIL
YOU'RE READY, YOUR HEAD LIKE A
BUZZER, TO TAKE IT OUT
AND EAT IT.
>> WE'RE HERE IN THE STUDIO WITH
CHRISTINE SEITZ, THE EXECUTIVE
DIRECTOR OF THE DULUTH
PLAYHOUSE. CHRISTINE, WELCOME,
AND THANK YOU FOR COMING OVER.
>> THANK YOU. YOU BET.
I LOVE BEING HERE.
>> SO, THE DULUTH PLAYHOUSE IS
OFFICIALLY 100 YEARS OLD
IN 2014.
>> IT IS. 2014. WE'VE CALLED
THIS YEAR "JOURNEY INTO THE
CENTENNIAL." 2014 MARKS THAT
100th YEAR.
>> WHAT DOES IT SAY ABOUT A
COMMUNITY THAT HAD SOME VISION
IN 1914 TO SAY, "THEATER IS
SOMETHING THAT WE WANT
IN OUR COMMUNITY"?
>> YEAH, YOU KNOW, IT'S REALLY
INTERESTING. THE VISION OF THE
DULUTH PLAYHOUSE BACK IN 1914
STARTED BY A GROUP OF WOMEN WHO
WERE SITTING AROUND A TABLE, AND
THEY HAD TRANSPLANTED FROM THE
EAST COAST, SO, THEY WERE
NATURALLY USED TO GOING TO THE
OPERA AND THEATER AND THEY
WANTED DULUTH TO BE A CULTURALLY
RICH AND EXCITING PLACE TO BE,
SO, THEY DECIDED THEY WANTED TO
START A THEATER COMPANY. BUT
WHAT WAS UNIQUE ABOUT THEIR
VISION IS THAT THEY WANTED TO
START A THEATER GROUP WHERE THE
LOCALS COULD GET INVOLVED, AND
THEY ACTUALLY TOOK IT TO THE
NATIONAL DRAMA LEAGUE AND SHARED
THIS IDEA THAT THEY HAD, AND
THEY WERE DISCOURAGED TO DO SUCH
A THING, BECAUSE THEATER WAS
RESERVED FOR PROFESSIONALS, NOT
FOR LOCAL PEOPLE TO DO. SO,
THEY DIDN'T CARE. THEY CAME BACK
AND THEY DID IT ANYWAY. THE
REASON IS THAT THEY SAW THEATER
AS A WAY FOR THE COMMUNITY TO
DIRECTLY, HANDS-ON GET INVOLVED
IN THE ARTS.
>> IN YOUR 100th YEAR AS THE
PLAYHOUSE, THE PLAYHOUSE IS
MOVING OUT OF ITS SAFE ZONE, SO
TO SPEAK, ITS OWN THEATER, AND
STAGING "LES MIS" AT THE DEC.
>> AT THE DEC. I KNOW.
THAT--THAT'S GOING TO BE A VERY
BIG CHALLENGE, BUT WHY NOT?
[LAUGHS] SOMEONE SAID, "WHY ARE
YOU DOING THIS?" I WAS LIKE,
"WHY NOT?" I MEAN, "LES MIS" IS
THE WORLD'S MOST FAMOUS MUSICAL,
AND IF WE WERE GONNA DO THIS
SHOW, I WANTED TO DO IT
AT THE HIGHEST CALIBER WE
POSSIBLY COULD. WE WANTED IT
TO BE PART OF OUR 100th
ANNIVERSARY SEASON, AND IT WILL
BE THE HIGHLIGHT, THE BIG
"KAPOW!" TO OUR 100th YEAR, AND
IT SEEMED ONLY RIGHT TO MAKE IT
THE BIGGEST COMMUNITY-WIDE EVENT
THAT WE COULD. WE'RE VERY
EXCITED TO BE COLLABORATING WITH
A SYMPHONY FOR THE FIRST TIME.
WE HAVE THE MINNESOTA BALLET
INVOLVED AS WELL. ROBERT GARDNER
WILL BE CHOREOGRAPHING IT, AND
WE'VE BROUGHT IN AN OUTSTANDING
DIRECTOR/CHOREOGRAPHER FROM NEW
YORK CITY--DOTTIE DANNER--AND SO
IT'S GONNA BE AN ALL-STAR CAST
AND SOMETHING TO CELEBRATE
AND REMEMBER FOR YEARS TO COME.
>> SO, TELL ME A LITTLE BIT
ABOUT YOUR THEATER BACKGROUND.
WHEN DID YOU GET HOOKED
ON THE STAGE?
>> OH, GOSH, YOU KNOW, IT'S
FUNNY. I--I STARTED DANCING,
YOU KNOW, WHEN I WAS 4. THIS
SCHOOL OF DANCE WAS REALLY
AGGRESSIVE IN PERFORMANCE. SO,
EVERY WEEKEND, I SWEAR TO YOU,
WE WERE TAP-DANCING IN THE MALLS
AND PERFORMING ALL OVER THE
PLACE, AND I HAD COSTUMES AND I
JUST THOUGHT IT WAS JUST THE
GREATEST THING. AND THAT WAS
JUST A NATURAL TRANSITION THAT
WHEN I WAS IN HIGH SCHOOL, I GOT
INVOLVED WITH THEATER, AND SO
THAT'S HOW IT ALL STARTED. I
MOVED TO NEW YORK WHEN I WAS
VERY YOUNG AND FOUND OUT, WHEN I
GOT TO NEW YORK, I HAD A LOT OF
WORK TO DO. [LAUGHS] I WAS THIS
YOUNG, LITTLE THING FROM
MISSOURI AND I REALLY DIDN'T
KNOW A LOT ABOUT ANYTHING.
IN NEW YORK, I DID A FEW
BROADWAY PLAYS, A FEW
OFF-BROADWAY PLAYS, A LOT OF
TOURS, COUPLE LITTLE STUNTS ON
SOME SOAP OPERAS. GOT KILLED OFF
A SOAP OPERA ONCE, LITERALLY.
[LAUGHS] SOME COMMERCIAL WORK.
BUT YOU KNOW, I FIND MYSELF NOW
HERE ACTUALLY IN THE PLACE WHERE
I WANT TO BE AND I SHOULD BE
AND WAS ALWAYS MEANT TO BE, AND
I KNOW THAT BECAUSE I'VE NEVER
FELT MORE CREATIVE THAN AT MY
JOB AT THE DULUTH PLAYHOUSE.
>> YOU KNOW, WE GOT TO SEE YOU
WORK WITH "A CHORUS LINE" AS A
DANCER AND AS A HUMAN BEING
AND A DIRECTOR. YOU WORK THEM
PRETTY HARD.
>> YEAH. I DO. BECAUSE THAT'S
WHAT I THINK IT'S ALL ABOUT.
WORKING HARD AND ACHIEVING NEW
HEIGHTS AS AN ARTIST, AND THAT
GOES FOR ME, TOO. THAT'S KIND OF
MY MODE OF OPERATION, IS TO
CHALLENGE EVERY ARTIST TO BE
BETTER OR TO LEARN MORE OR
TO DEVELOP NEW CRAFTS AND
SKILLS.
>> IF YOU ARE LOOKING AT THEATER
AS A PROFESSION, WHAT'S THE
LANDSCAPE LIKE?
>> IF SOMEONE'S YOUNG AND
INTERESTED AND FEELS LIKE THIS
IS REALLY WHAT THEY WANT TO DO,
THEN I WOULD ENCOURAGE THEM TO
BE IN DANCE, TO BE TAKING VOICE,
AND TO BE INVOLVED EVEN ON A
LOCAL LEVEL IN THE EDUCATION
DEPARTMENT AT THE PLAYHOUSE OR
ANYWHERE ELSE THAT YOU CAN GAIN
OPPORTUNITIES, BECAUSE THE BEST
TRAINING IS OPPORTUNITY.
YOU HAVE TO STICK IT OUT, YOU
HAVE TO WORK HARD, YOU HAVE TO
CONTINUE TO TRAIN, AND IT'S NOT
EASY. IT'S A MARKET, YOU KNOW,
AND YOU'RE THE PRODUCT, AND THIS
IS SOMETHING THAT I TRY TO TEACH
OTHERS, IS THAT WHAT YOU HAVE TO
REMEMBER IS THAT THERE'S ONLY
ONE OF YOU IN THE WHOLE ENTIRE
WORLD, SO, YOU NEED TO FOCUS ON
YOU AND YOU NEED TO BE ABLE TO
SELL YOU, BECAUSE NO ONE ELSE
CAN BE BETTER AT THAT THAN YOU.
AND THAT'S REALLY KEY TO ME,
IS TO COME INTO AN AUDITION AND
NOT COMPETE AGAINST SOMEONE ELSE
BECAUSE YOU'RE NOT THEM,
YOU'RE YOU. SO, THAT IS MY
OVERALL MESSAGE TO YOUNGSTERS,
IS, UNDERSTAND WHO YOU ARE,
UNDERSTAND YOUR STRENGTHS AND
SKILLS, HONE IN ON THEM, GET
THEM SO SWEET AND AT THE TOP OF
YOUR GAME THAT WHEN YOU WALK IN
THE DOOR, IF YOU'RE THE PERSON
THEY WANT, YOU'RE GONNA GET IT.
IT'S A TOUGH ROAD, BUT IT'S WELL
WORTH IT IF IT'S WHAT YOU LOVE,
YOU'RE COMMITTED TO, AND
YOU HAVE THE PATIENCE
AND THE PERSEVERANCE.
>> AND I THINK THAT'S GREAT
ADVICE FOR LIFE. SO, THANK YOU
FOR TAKING THE TIME WITH US AND
GIVING US A LITTLE INSPIRATION
AND SOME INSIGHT INTO
THE PLAYHOUSE.
>> THANK YOU.
>> HAVE A GREAT 100 ANNIVERSARY.
>> THE YEAR AHEAD. HA HA!
>> THANK YOU.
>> AS A PAINTER, YOU WANT TO
JUST PLANT YOURSELF IN THE
PERFECT SPOT.
IDEALLY, IT'S BEST TO START AND
FINISH A PLEIN AIR PAINTING
IN ONE SESSION, WHICH MAY BE
AN HOUR, TWO HOURS, 3 HOURS
DEPENDING ON THE COMPLEXITY OF
THE SCENE AND HOW YOU'RE
RESPONDING TO THE IMAGE.
WELL, THE "WILLIAM A. IRVIN"
IS KIND OF OVERLOOKED BY
RESIDENTS. THEY KIND OF TAKE IT
FOR GRANTED. I MEAN, IT'S REALLY
THIS INCREDIBLE FLOATING MUSEUM,
AND IT'S QUITE A HISTORIC SHIP.
AND SO, IT'S SOMETHING THAT I'VE
BEEN WANTING TO PAINT FOR A LONG
TIME, TO KIND OF REMIND PEOPLE
WHAT A SPECIAL PLACE IT IS.
I REALLY HAD ONLY ABOUT AN HOUR
AND A HALF OF LIGHT, IN TERMS OF
HOW IT WAS HITTING THE SIDE OF
THE HULL OF THE "IRVIN," AND
ONCE THAT LIGHT WAS GONE, IT WAS
REALLY PRETTY MUCH OVER. I
EITHER COME BACK ANOTHER DAY OR
WORK FROM MEMORY. I'LL CHOOSE TO
COME BACK ANOTHER DAY AND HOPE
FOR SIMILAR LIGHT.
WELL, I'M WORKING ON A SOLO
EXHIBITION OF PLEIN AIR OIL
PAINTINGS, AND THE THEME FOR MY
SHOW IS "START SEEING DULUTH."
AND IT'S LITERALLY PAINTINGS
THROUGHOUT DULUTH.
SO, GLENSHEEN IS CERTAINLY
ICONIC, AND IT'S ABSOLUTELY
BEAUTIFUL HERE. THE GARDENS, THE
BUILDING ITSELF INSIDE,
OUTSIDE. IT'S JUST REALLY A
WONDERFUL PLACE TO BE.
THE SUN IS VERY IMPORTANT FOR
THIS PAINTING, BECAUSE THIS IS
A LIGHT AND SHADOW PAINTING.
WELL, MY APPROACH RIGHT NOW IS
WHAT'S CALLED ALLA PRIMA.
I'M TRYING TO FINISH CERTAIN
PARTS OF THE PAINTING
BECAUSE MY LIGHT IS CHANGING
SO RAPIDLY.
WHEN THE SUN COMES BACK, THEN
I'LL PROBABLY GO BACK INTO THE
LIGHT AREAS AND BEGIN CAPTURING
THOSE COLOR MOMENTS.
THERE ARE MANY WAYS TO BEGIN A
PAINTING, AND THE SCENE REALLY
TELLS YOU THE BEST WAY TO BEGIN
THAT PAINTING. IN THIS
PARTICULAR INSTANCE, IT WAS VERY
IMPORTANT TO ME TO GET THE
ARCHITECTURE OF THE SCENE
CORRECT, AND I'M NOT GOING TO,
YOU KNOW, PAINT EVERY LITTLE
TERRACOTTA BRICK, YOU KNOW, OR
ANY OF THOSE KINDS OF THINGS.
IT'S ABOUT HOW THE LIGHT
HITS THOSE OBJECTS, AND THAT'S
WHAT I'M RESPONDING TO
AS A VIEWER.
AND WHEN I PAINTED THIS, I JUST
SIMPLY THOUGHT ABOUT THE CONGDON
FAMILY JUST ENJOYING THIS PORCH
EVERY SUMMER. SO, I REALLY
ENJOYED SETTING UP FOR A
COUPLE OF DAYS.
FOR ME AS A PAINTER, I WILL
CONTINUE PAINTING IN DULUTH FOR
MANY, MANY YEARS TO COME, AND
I'M VERY EXCITED ABOUT WHERE
THAT WILL TAKE ME THROUGHOUT
THE CITY.
[PLAYING GUITAR]
>> ♪ GLORIA
ALONE ON THE RED SEASHORE
I LOVE HER THE BEST
>> [INDISTINCT] SETTING SUN
THE FOREMAN TALKS TO FATHER
AND THE DEAL WAS DONE
>> OTHERWISE [INDISTINCT]
>> GLORIA
ALONE ON THE RED SEASHORE
I LOVE HER THE BEST
THANK YOU FOR YOUR PATIENCE
>> YOU [INDISTINCT]
>> BUT WHAT YOU COULDN'T PAY FOR
THEY JUST GAVE YOU A PASS
SINGING GLORIA
ALONE ON THE RED SEASHORE
I LOVE HER THE BEST
NOW, I COULD NEVER LOVE HIM
THE WAY THAT YOU PLAN
THERE IS ONLY ONE MAN
WHO COULD EVER TAKE MY HAND
NOW, I'M RUNNING THROUGH THE
FOREST
[INDISTINCT] WILL BE MY END
BUT I'LL KISS HIS SOFT LIPS
BEFORE I LICK THE DEVIL'S HAND
SINGING GLORIA
ALONE ON THE RED SEASHORE
I LOVE HER THE BEST
>> SINGING GLORIA
ALONE ON THE RED SEASHORE
I LOVE HER THE BEST ♪
[APPLAUSE]
>> LION OR GAZELLE. SOPHIE
TURK, THANK YOU FOR BEING HERE.
>> THANK YOU FOR HAVING US.
>> TELL ME A LITTLE BIT HOW THIS
DUO AND SOMETIMES MORE
CAME TO BE.
>> TRIO. BRIAN--I WAS INTRODUCED
TO HIM WHEN HE WAS WORKING ON
"I MIGHT LOVE YOU," HIS ALBUM
THAT HE DID MOSTLY BY HIMSELF
WITH MEGGIE PEARSON AND MATT
MOBLEY AND JAKE WILLIS, AND
I HEARD THAT IT WAS GONNA BE
GOOD, SO, I E-MAILED HIM AND I
WAS LIKE, "MAYBE WE SHOULD TRY
SINGING TOGETHER." SO, I
EXPERTLY ATTACHED MYSELF TO HIS
COATTAILS AND THEN HUNG ON.
KICKED EVERYONE ELSE OUT AND I--
THAT WAS JUST--
>> [LAUGHS]
>> YOUR VOICES BLEND
REALLY BEAUTIFULLY, SO, HOW DOES
THAT DEVELOP? FROM THE FIRST
TIME YOU SANG TOGETHER, OR HAS
THAT CHANGED OVER TIME?
>> I DON'T THINK SO. I THINK THE
FIRST TIME WE SANG, WE WERE
REALLY NERVOUS, AND BRIAN WAS
LIKE HALF GONNA FIRE ME THE
MINUTE I WALKED IN, AND THEN WE
GOT MORE COMFORTABLE. WE GOT TO
KNOW EACH OTHER, AND THEN
I THINK--I'M USED TO SINGING
WITH--BEHIND SOMEONE, LIKE, I
GREW UP DOING THAT, AND BRIAN
HAS A REALLY GOOD VOICE, AND I
THINK HAVING TO SING WITH
SOMEONE SERIOUSLY HAS HELPED HIM
BECOME BETTER AS A SINGER, AND
SO, WE'VE BOTH KIND OF
GROWN INTO IT, YOU KNOW. WE'VE
SUNG TOGETHER FOR A YEAR NOW,
SO...
>> AND AT THIS POINT, IS BRIAN
DOING THE SONGWRITING, OR
TELL ME HOW SONGS COME ABOUT.
>> ALL THE SONGS BRIAN WROTE,
AND THEY'RE BEAUTIFUL. LIKE,
IT'S FUNNY HOW HE WRITES SONGS
THAT I CAN SING EASILY AS MY OWN
IF I WANTED TO, AND IT'S NICE OF
HIM TO SHARE WITH ME.
>> YOU ALREADY HAVE SIGNED WITH
CHAPERONE RECORDS, WHICH IS
PRETTY EXCITING. YEAH, WELL, BUT
TELL ME WHAT'S THAT BEEN LIKE?
>> WELL, IT'S OBVIOUSLY NICE,
BECAUSE WE CAN USE THE STUDIO
SPACE AND RECORD AT WILL, WHICH
ISN'T SOMETHING THAT A LOT OF
PEOPLE CAN DO, SO, WE'RE SPOILED
IN THAT WAY, AND...BOB IS GREAT.
LIKE, YOU KNOW, HE'S REALLY
GENEROUS AND HAS BEEN, LIKE,
REALLY WORKING WITH US AND
HELPING US GET GIGS IN,
GET HEARD, AND WE APPRECIATE
THAT A LOT, SO,
IT'S BEEN REALLY NICE.
>> YOU'VE BEEN PLAYING NEAR--
I SAY NEAR AND FAR, BECAUSE I
KNOW THAT YOU'VE PLAYED SOME
GIGS IN MINNEAPOLIS ALREADY.
WHAT'S A GOOD GIG FEEL LIKE?
>> SOMETHING LIKE THIS IS
GREAT, WHERE WE CAN JUST BE
HEARD AND, LIKE, HOPEFULLY
ENJOY IT, YOU KNOW. IF NOT,
JUST AT LEAST HEARD AND PONDERED
FOR A FEW MINUTES IN SILENCE.
>> THERE ARE LYRICS IN THERE
THAT I WANT TO PONDER, YOU KNOW,
SO, WHEN A SONG COMES TO YOU,
HOW DO YOU--WHAT DO YOU BRING TO
IT? DO YOU HAVE TO LISTEN TO IT
AND SING IT FOR A WHILE AND
THINK ABOUT IT OR IS IT "OK,
YES, I GET THIS"?
>> WELL, USUALLY WITH BRIAN,
HE PLAYS ME A SONG, AND LIKE,
IT DEPENDS ON MY REACTION, BUT
9 TIMES OUT OF 10, I'M LIKE,
"OH, MY GOD," AND I LIKE--HE
KNOWS, LIKE, IF IT'S GOOD
BY THE WAY THAT I OVERREACT.
>> WHAT HAS THE REACTION BEEN
SO FAR TO YOUR FIRST ALBUM?
>> WELL, WE HAVE THE "I MIGHT
LOVE YOU." IT'S A VINYL, LIKE,
LP, AND IT'S--BRIAN DID IT
BEFORE I JOINED THE BAND, SO,
IT'S REALLY COOL AND IT'S--
WE HAVE THIS, LIKE, WEIRD GROUP
OF PEOPLE THAT LISTEN TO IT ON
REPEAT, LIKE, IN A TACO BELL.
LIKE, WE HEARD THIS FROM
SOMEONE. SO, WE HAVE THESE,
LIKE, SUPERFANS. THEY'RE FROM
THE SOUTH AND APPARENTLY, THEY
LOVE IT. BUT I REALLY LIKE THAT
ONE. IT'S DIFFERENT, IT'S REALLY
FAR OUT, AND THEN OUR EP IS
ONLINE, AND THAT'S US TOGETHER
WITH MOBLEY AND IT'S--IT'S
WEIRD AND GOOD.
BUT WE'RE WORKING ON SOMETHING
NEW THAT'S GONNA BE EVEN
DIFFERENT, SO...YEAH.
>> LAST QUESTION IS WHERE WILL
IT GO FROM HERE?
>> AS FAR AS WE CAN HANDLE.
WE'RE KIND OF ADULT BABIES, SO,
WE'LL SEE HOW IT GOES, BUT
RIGHT NOW WE'RE ENJOYING WHEN WE
GET A CHANCE TO JUST SING FOR
PEOPLE AND BE HEARD AND THEN
TALK AFTERWARD. LIKE, THAT'S--
HOPEFULLY, THAT'S WHERE WE'RE
HEADED, BECAUSE I THINK THAT'S
THE MOST IMPORTANT THING ABOUT
PERFORMING MUSIC IN GENERAL.
OPENING UP CONVERSATION
WITH PEOPLE.
>> THANK YOU FOR TAKING THE
TIME. AWESOME JOB. SOPHIE,
AWESOME JOB. THANK YOU.
GOOD LUCK.
[APPLAUSE]
[PLAYING GUITAR]
>> ♪ OH, I WILL WATCH YOU
>> I WAS BLIND
>> WHEN I COME ACROSS YOU
>> I FELL BEHIND
>> WHO AM I TO SAY A WORD?
STEP ASIDE AND CURSE THE EARTH
BROKEN BODIES UNTURNED
FORMAL DRESS IN MAMA'S URN
OH, ALL THE REASONS
>> ALL THE REASONS
>> I WILL WANT YOU
>> THROUGH OUR MIND
>> I WILL LEAVE YOU
>> FOR ALL TIME
>> WHO AM I TO SAY A WORD?
STEP ASIDE AND CURSE THE EARTH
BROKEN BODIES UNTURNED
FORMAL DRESS IN MAMA'S URN
OH, ALL OF THE REASONS
>> OH ♪
[APPLAUSE]
>> THANKS.
>> THAT WAS FUN.
>> FUNDING FOR "THE PLAYLIST" IS
PROVIDED BY THE CITIZENS OF
MINNESOTA THROUGH THE MINNESOTA
ARTS AND CULTURAL HERITAGE FUND
AND BY VIEWERS LIKE YOU.